| | Ween Pod CD Ween Discography of CDs
 (2 Customer Reviews)
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)
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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)
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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, comedy and many famous friends. As host and narrator, Wayne walks through pivotal moments in America's past. His guests include Jack Benny as a citizen asking George Washington (Lorne Greene) about that dollar he supposedly threw ...
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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.
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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.
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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.
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