| | Ween Pod CD Ween Discography of CDs
 (2 Customer Reviews)
Another collection of inspired pop pastiche and four-track dementia, 1991's The Pod is nearly as long as GodWeenSatan: The Oneness but even weirder and more deranged, due in large part to the band's Scotchguard habit and the severe cases of mononucleosis Gene and Dean Ween contracted while recording the album. As a result, The Pod is dark and murky, with a slightly distant, fuzzy feel. On some songs, such as the cryptic, prog-inspired "Right to the Ways and the Rules of the World," the psych-tinged "Dr. Rock," and the mystic hard rock of "Captain Fantasy," this sound works well, but on others -- like the opening track "Strap on That Jammypac" -- it just doesn't fit. Ween flexes their stylistic chops a bit on "Sorry Charlie"'s country-rock, "Sketches of Winkle"'s crazed speed metal, "Oh My Dear"'s cute four-track, and "Pork Roll Egg and Cheese"'s Beatlesque psych-pop, but the majority of The Pod, for better or worse, focuses on sludgy weirdness like "Molly," "Awesome Sound," "Laura," and "Can U Taste the Waste?" That most of these songs are grouped together in the middle of the album makes them even more strange and impenetrable -- though they may make more sense under the influence of Scotchguard or other, heavier, chemicals. Where GodWeenSatan: The Oneness' sense of fun and experimentation was contagious, The Pod is insular; you can tell that Dean and Gene had a fun -- or at least bizarre -- time making the album, but it doesn't translate. Though it does feature a few of Ween's best songs, The Pod is easily their most difficult work. However, hardcore fans will still find digging through its messy sprawl worthwhile. ~ Heather Phares
Recorded at The Pod, Solebury Township, Pennsylvania from January to October 1990.
Ween: Dean Ween, Gene Ween.
Additional personnel: Mean Ween (bass).
Spin (12/92, p.68) - Ranked #10 in Spin's list of the `20 Best Albums Of The Year' - "...Ween puts psycho-acoustics back into classic rock..."
Spin (5/92, p.84) - "...simple, murky rock creations that ooze with talent, creativity, and occasional burps, snorts and giggling..." Pod Music Review Average Rating: (5 out of 5 stars)  The Greatest Band In The History Of The Universe!
I've just acquired all Ween's cds and cannot stop listening! Be careful with this music, it may very well become a serious addiction!
Submitted by Rockin' (in the USA)
Was This Review Helpful? Yes No THEY'RE BACK!!!
Another collection of inspired pop pastiche and four-track dementia, The Pod is nearly as long as when Dean Ween, Mean Ween and Gene Ween has done everything in 1989 and 1990 for GodWeenSatan: The Oneness but even weirder and more circumstances to deranged, due in large part to the band's Scotchguard habit and the severe cases of mononucleosis Gene and Dean Ween contracted while recording the album. As a result, The Pod is dark and murky, with a slightly distant, fuzzy feel. On some songs, such as the cryptic, prog-inspired "Right to the Ways and the Rules of the World," the psych-tinged "Dr. Rock," and the mystic hard rock of "Captain Fantasy," this sound works well, but on others — like the opening track "Strap on That Jammypac" — it just doesn't fit. Ween flexes their stylistic chops a bit on "Sorry Charlie"'s country-rock, "Sketches of Winkle"'s crazed speed metal, "Oh My Dear"'s cute four-track, and "Pork Roll Egg and Cheese"'s Beatlesque psych-pop, but the majority of The Pod, for better or worse, focuses on sludgy weirdness like "Molly," "Awesome Sound," "Laura," and "Can U Taste the Waste?" That most of these songs are grouped together in the middle of the album makes them even more strange and impenetrable — though they may make more sense under the influence of Scotchguard or other, heavier, chemicals. Where GodWeenSatan: The Oneness' sense of fun and experimentation was contagious, The Pod is insular; you can tell that Dean and Gene had a fun — or at least bizarre — time making the album, but it doesn't translate. Though it does feature a few of Ween's best songs, The Pod is easily their most difficult work. However, hardcore fans will still find digging through its messy sprawl worthwhile.
Submitted by Mrrrrrrrj (Pittsburgh, PA)
Was This Review Helpful? Yes No | Have you heard this album? |  |
Purchase Pod CD To buy, Click on price to add to cart | Best Of Ernest Ashworth CD (1991)
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| | Black Caesar DVD (1973) Widescreen
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| | God Ween Satan CD (1990) Anniversary Edittion; Anniversary Edition
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Dean and Gene Ween were barely out of their teens when they recorded GodWeenSatan: The Oneness, and it shows: it's juvenile in the best sense of the word, mixing their sprawling sense of humor with punk, heavy metal, and a surprising amount of pop literacy. At a whopping 23 tracks long, the album features a lot of noodling and lots of whacked-out pop, including "Nan," a dweeby tale of unrequited love, and the jazzy "Never Squeal," which shows off Ween's musical prowess and versatility. GodWeenSatan: The Oneness also introduces many of the song styles the band included on their later releases, such as the prog-rock-inspired ballad "Squelch the Little Weasel," the Prince homage "L.M.L.Y.P.," the playful, helium-laced pop of "Don't Laugh" and the funky, soulful "Nicole." "El Camino"'s pseudo-flamenco, "Birthday Boy"'s surprising vulnerability, and the rambling, silly stoner-folk of "Puffycloud" also set the tone for Ween's future work. Though they'd released plenty of cassettes on their own by the time of GodWeenSatan: The Oneness' release, Ween still sounds like they're trying ideas on for size. Song snippets like "Cold & Wet," "Fat Lenny," and "I Gots a Weasel" are fun but less successful than some of the band's more developed songs or their more crazed outbursts, such as "You Fucked Up," "Wayne's Pet Youngin'," and "Papa Zit." Stomping rockers like "Old Queen Cole," the sparse weirdness of "I'm in the Mood to Move" and the gospel parody "Up on the Hill" ...
| | John Wayne's Tribute To America DVD (2007)
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John Wayne's first television special, originally aired as Swing Out, Sweet Land on NBC-TV in 1970, is a patriotic and poignant journey through American history -- with music, ...
| | Billy Joe Shaver Everybody's Brother CD (2007)
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A Billy Joe Shaver album is always cause for celebration, but on this 2007, Grammy-nominated release, the outlaw country troubadour shines in a whole new way. Produced by John Carter Cash, the album features all country-gospel originals, half of them sung in duet with a laundry list of country greats, including the late Johnny Cash, old partner in crime Kris Kristofferson, and Tanya Tucker. Although the Christian-themed lyrics are ...
| | 2Gether Again CD (2000)
Pod CD music
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2Gether began as the center of a made-for-MTV movie parodying the boy-band craze spearheaded by acts such as 'N Sync and the Backstreet Boys. The soundtrack to that film featured the "band" crooning tunes that obeyed all the sonic rules of the genre, changing up the game via humorous lyrical subversion. At the time, it seemed like that was the end of the story.
However, not only has 2Gether re-emerged with a second album fully the equal of their first, they've also managed to maintain major commercial success with their elaborate musical prank. The percentage of their teen and pre-teen audience that's in on the joke may be difficult to determine, but fans of the style won't even care whether they're being put on, as the hook-filled production is impossibly infectious.
2nd Rel.From MTV Band;On Tour W/Britney Spears
Personnel: Dennis Lambert (vocals); Nick Moroch, Sean Cruse (guitar); Danny Donnelly (acoustic guitar); Brian Steckler ...
| | Patrick Bruel Bruel CD (1995) (Import) Germany
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| | Spencer Davis Group Live In Europe 73 CD (2000) (Import) United Kingdom
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| | Dr Jeffrey Thompson Brainwave Symphony CDs (1999) Box Set
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| | I'll Live In Glory CD (2003)
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| | Byrds Mr. Tambourine Man CD (1965) Bonus Tracks; Japan
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Includes original liner notes by Billy James, and new liner notes by David Fricke and Johnny Rogan.
All songs have been digitally remastered using a 20-Bit Super Mapping system.
This remastered release features 18 tracks from the classic group, including six bonus songs.
Few debut singles in the history of rock & roll have had the immediate and overwhelming impact of The Byrds' version of Bob Dylan's "Mr. Tambourine Man." Marrying a Beatles-like electric jangle to Dylan's insight and folky melody (in many ways, breaking Dylan into the pop market), it not only forecast the band's influence on the future of pop music but reestablished an American rock & roll presence in the face of the British Invasion. The album of the same name, released in June of 1965, was a shotgun blast before the canon roar that Dylan's HIGHWAY 61 REVISITED (released just two months later) would become.
As much as Bob Dylan was an overwhelming influence on the young Byrds--four of the twelve tracks on MR. TAMBOURINE MAN were Dylan songs--his contributions were only a part of what made the band special. The chiming sound of McGuinn's 12-string guitar was the group's backbone, characterizing The Byrds' presence in a way few rock instrumentalists had done until then. Gene Clark proved to be a mighty songwriter in his own right--"I'll Feel A Whole Lot Better" has stood the test of time better than any other track here. Yet, what distinguished The Byrds and MR. TAMBOURINE MAN most was that they couldn't be easily pigeonholed. Combining disparate musical backgrounds and openly reconstructing everything from a British wartime standard ("We'll Meet Again") to a Jackie DeShannon pop tune ("Don't Doubt Yourself, Babe") in their own open-minded image, the Byrds kicked down the door to a new sound called folk-rock. Many would soon follow.
One of the greatest debuts in the history of rock, the Byrds' Mr. Tambourine Man was nothing less than a significant step in the evolution of rock & roll itself, demonstrating that intelligent lyrical content could be wedded to compelling electric guitar riffs and a solid backbeat. It was also the album that was most responsible for establishing folk-rock as a popular phenomenon, its most alluring traits being Roger McGuinn's immediately distinctive 12-string Rickenbacker jangle and the band's beautiful harmonies. The material was uniformly strong, whether they were interpreting Bob Dylan (on the title cut and three other songs, including the hit single "All I Really Want to Do"), Pete Seeger ("The Bells of Rhymney"), or Jackie DeShannon ("Don't Doubt Yourself, Babe"). The originals were ...
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