Welcome, dear readers! After reviewing They Might Be Giants’ “Flood,” we thought it would only be fitting to jump to the yin of TMBG’s yang. If the duo of Johns are the smarty pants college grads, Ween are the dead-end high school dropouts.
Though their satirical drug-laden goofiness might err on the side of dimwitted and mindless music, Ween are undoubtedly a prodigious duo. Forming in the late 1980s, they quickly broke into the mainstream, performing a sonic 180 towards the late ‘90s, taking more inspiration from Lennon, McCartney and old school psychedelia.
“Quebec” is often hailed as one of their greatest albums and cited among some of the greatest independent rock records of the past few decades. Though their sound matured over the years, their lyrics still contain their biting wit and absurdism. Let’s see what Henry and James think about it!
Henry’s Review:
One could go on endlessly about the genius of “Quebec.” “It’s Gonna Be a Long Night” opens the album, with principal guitarist Dean Ween on vocals, sounding like an Americanized Lemmy Kilmister. The album swings down with “Zoloft,” a swirling psychedelic tune that sings its praises about SSRIs.
The ethereal sound of “Transdermal Celebration” cannot be expressed in words. It’s a cinematic cut that’s sure to send chills down anyone’s spine. Dean Ween confessed some years later to using Carlos Santana’s guitar and equipment to record the solo, without his permission. The outcome was worth it, as this song is one that you must experience to understand.
“Among His Tribe” is an intimate experience, relying heavily on a graceful acoustic guitar line that repeats throughout the song. In contrast, “So Many People in the Neighborhood” thrusts the listener into paranoia and insanity. Sounding woefully uneasy at the start, it quickly devolves into beeps, boops and distorted vocals from Gene Ween.
“Tried and True” is easily the biggest song on the album, though it still has the hallmarks of every Ween song. The catchy dual guitar parts and down-pitched vocals distract the listener from its childish humor. The guitar solo in the middle is fed through a sitar emulator and is one of the greatest solos on any Ween record.
As always, the record returns to the duo’s signature psychotic sound with “Happy Colored Marbles,” though this song is equally as catchy as “Tried and True.” The chorus exposes the listener to warbly synthesizers and quiet screams.
“Chocolate Town” is an unusual song for the group. Nearly devoid of all the idiosyncrasies the band is known for, it mixes psychedelia with a country twist, a la their 1996 album “12 Golden Country Greats.” The song has become a staple of their live shows, and one of the most memorable tunes from the group’s later work.
Later, “The Fucked Jam” tests the listener’s patience. Somewhere between a mockery of Aphex Twin and two robot cats duking it out, this song would stick out like a sore thumb on an album by any other band.
“The Argus” is a desolate and solemn song. Ween have an unmatched talent of balancing overstimulation with haunting ballads. The backing chorus and layered vocals make this song a tearjerker, giving the poor listener emotional whiplash once again.
Ending on yet another ballad, “If You Could Save Yourself (You’d Save Us All)” throws out every conception one might have of this band. It’s hard to tell how sincere the band is being here, given the song’s heavy lyrics over a parody of the stereotypical power ballad. This record sounds like a downright parody of ‘80s overindulgent hits like “November Rain.”
Though “Quebec” contains some of the most accessible of Ween’s work, it never starts to sound like another band. Throughout the parodies and homages to different bands and genres, this record never ceases to sound like Deaner and Gener. Like the Beach Boys’ “Pet Sounds,” a lot of the magic in this album must be heard to be believed.
Rating: 5/5
James’ Review:
Three of the best Ween songs begin the record and, judging by their eclectic discography, that’s a profound compliment. “It’s Gonna Be a Long Night” delivers sick riffs and frenetic vocals from Dean Ween, all the while admiring drug abuse in a semi-sarcastic tone and giving the false impression that “Quebec” will be about a house party gone wrong.
“Zoloft” glorifies a more socially acceptable drug that I was on until a few weeks ago, complete with muffled vocals and harp notes meant to illustrate some hallucinogenic trip. While I’ll argue Zoloft won’t make you trip balls, the song mirrors the ignorant bliss of the world the drug elicits.
“Transdermal Celebration” is one of the best songs ever made, and I will die on that hill. The lyrics are incredibly substantive yet not overly wordy, the pacing is immaculate—as a chorus after the first verse would’ve been overkill—and the music itself…wow.
The following two tracks completely juxtapose each other, with “Among His Tribe” featuring folky Dean Ween vocals and lyrics about nature, clashing with the intro track. “So Many People in the Neighborhood” offers an interesting reflection on the ambiguous intentions of members of a community, as the song manages to consume itself halfway through.
“Tried and True” is a solid entry-level track for those who only know the duo from 1997’s “Ocean Man,” but if you want to get freaky, try “Happy Colored Marbles.” Functioning as the album’s most sonically jovial track at points, there’s always a looming doom hovering over before any signs of happiness are crushed by the explosive ending two minutes in, aided by the drummer and newest member of the Foo Fighters, Josh Freese.
“Hey There Fancypants” sounds more consistently innocent apart from the depressing lyrics. “Captain” is a homesick bender, doubling down on the despondency from “Among His Tribe.” “Chocolate Town” is another conventional cut made masterfully, with just enough cymbal taps and bass by visiting member Dave Dreiwitz.
Many fans have definitely waved their hands—or phone flashlights—at concerts to the solemn “I Don’t Want It.” The speaker comments on the good old times with his partner, lamenting, “You tripped me and I laughed when you fell, now / This isn’t how it should be.” The resolution found in each instance of the chorus makes this one hit hard.
It’s a good thing this isn’t no skips because “The Fucked Jam” disrupts this album’s perfect consistency as the worst core song and only vocal-less tune. In terms of the final three tracks, they aren’t as in the listener’s face as the first three, but “Alcan Road” starts us off promisingly. It’s a necessary segue into the final two, though it’s a tad too airy for my liking. My gripes with these tracks don’t deter my unconditional love for the record as a whole, however.
“The Argus,” without delving into who that figure is, starts sublime and climaxes near the end of its five-minute runtime with a guitar solo that is worth the wait. The album could’ve concluded there, though I’ll call back to “SpongeBob SquarePants,” a series this duo contributed to greatly.
The final track, “If You Could Save Yourself (You’d Save Us All),” is akin to “Sweet Victory” from the SpongeBob episode, “Band Geeks.” The only track to include an organ besides the first track shows how “Quebec” goes full circle. The passion from Gene Ween on the chorus, specifically “The time I’ve spent working myself to death,” along with accordion usage and the song’s overall progression ends the album on the highest of notes.
Rating: 5/5