Now, Ween is a band that I don't hear enough about on here, which is sad because they're probably in my top 10 artists of all time. So, welcome back to another Thursday Album Throwback (it's been some time), where I'll try to tell you as much as possible about one of my all-time favorite albums, The Mollusk.
The Mollusk is the sixth studio album by Ween, a band known for their genre-defying sound and playful experimentation. Released on June 24, 1997, this album is a treasure trove of creativity, blending elements of psychedelic rock, progressive rock, and even nautical themes, making it a standout in Ween’s diverse discography.
The journey to The Mollusk really began in 1992, when Pennsylvania’s experimental rock duo, Ween, made an unexpected leap into the major label scene. During the surge of alternative music popularity following Nirvana's success, Ween's signing stood out as particularly unexpected. Their early works, including GodWeenSatan: The Oneness (1990) and The Pod (1991), were anything but commercial. Aaron Freeman (Gene Ween) and Mickey Melchiondo (Dean Ween) created what they called the 'Brown Sound,' an eclectic mix that left audiences either captivated or bewildered.
Ween joined Elektra Records, a label known for its willingness to take risks on unique acts. Elektra had found success with unconventional bands like Phish, The Sugarcubes, and They Might Be Giants, and perhaps saw Ween as the next in line for alternative success. However, Ween’s first major-label release, Pure Guava (1992), was a chaotic blend of eccentricity and experimental rock. Their follow-up, Chocolate and Cheese (1994), showed some progression toward conventional songwriting but still maintained their distinctive, offbeat style.
By 1997, Ween was ready to push their creative boundaries even further. This time, they envisioned a concept album centered around nautical themes. The result was The Mollusk, an album that combined whimsical sea shanties, gritty guitars, and waves of psychedelic soundscapes. Inspired by the playful surrealism of The Beatles' Yellow Submarine, Ween crafted an album that, despite its eccentricities, was surprisingly accessible.
The recording of The Mollusk was an adventurous process. The band drew inspiration from a variety of sources, including classic rock and vaudeville, and recorded much of the album in unconventional settings. Despite these unconventional methods, the album’s production quality was remarkably polished. Tracks like “I’m Dancing in the Show Tonight” set the stage with a vaudeville flair, while the title track “The Mollusk” introduced listeners to a serene, nautical world.
The Mollusk is a testament to Ween’s ability to blend genres while maintaining a cohesive sound. The album’s diverse tracks range from the psychedelic “Mutilated Lips” (personal favorite) to the upbeat and catchy “Ocean Man,” which later gained popularity through its association with SpongeBob SquarePants and meme culture. The album’s closing track, “Ocean Man,” exemplifies Ween’s talent for crafting memorable hooks, showcasing their unique blend of humor and musicality.
Though The Mollusk didn’t achieve immediate commercial success, it marked Ween’s first entry into the Billboard 200. The album solidified their reputation for delivering live performances that were both chaotic and meticulously crafted. Their time with Elektra Records may have been brief, but it allowed Ween the creative freedom to produce one of the most unconventional and enduring albums in rock history. Even decades later, The Mollusk remains a radical and uncompromising piece of art, capturing the essence of what makes Ween so uniquely fantastic.
Standout Tracks
"I'm Dancing in the Show Tonight" - The album begins with "I'm Dancing in the Show Tonight," a tune that mixes the whimsy of a sea shanty with the familiarity of a Christmas carol. This track sets a playful tone, combining elements of cabaret and progressive rock, reminiscent of the quirky harmonies of The Beatles but with a cheeky twist. The piano and jovial melody create an almost vaudeville atmosphere, establishing a sense of whimsical unpredictability.
"The Mollusk" - Following the playful opener, "The Mollusk" immerses listeners in a harmonious and emotionally charged soundscape. This track maintains an air of joy and wonder, enhanced by a horn finale that feels authentic rather than synthesized. The seamless shift from the cheeky introduction to this pop gem captivates listeners, drawing them deeper into Ween's aquatic world.
"Polka Dot Tail" - This song best showcases Ween's playful side, combining quirky lyrics with an infectious melody that’s impossible not to sing along to. The lyrics here, as in much of the album, are surreal and ambiguous, adding to the album's whimsical and unpredictable nature.
"Mutilated Lips" - Personal favorite as mentioned above, a real psychedelic journey, this track features surreal lyrics and a hypnotic rhythm, exemplifying Ween's knack for blending the bizarre with the beautiful. Inspired by the experience of kissing someone unattractive while under the influence of LSD, the song's lyrical content is provocative. Yet, the musical execution transforms it into an anthemic piece, reminiscent of R.E.M.'s more stylized ballads, featuring intricate keyboard modulation.
"Ocean Man" - Arguably the most famous song from the album, "Ocean Man" is a catchy, upbeat tune that’s been featured in various media, including the end credits of the movie The SpongeBob SquarePants Movie.
"Buckingham Green" - This epic track is a fan favorite, known for its powerful guitar riffs and dramatic flair, reminiscent of classic rock operas.
The Mollusk has garnered a cult following over the years and is often cited as one of Ween’s best works. Its influence can be seen in the works of many modern artists who admire its daring approach to genre-blending and storytelling. The album’s unique sound and whimsical themes continue to inspire musicians and fans alike, proving that The Mollusk is a timeless piece of art.
For me, The Mollusk is more than just an album; it’s an experience. The first time I listened to it, I was struck by how seamlessly Ween transported me to their fantastical world. Even before I picked it up to listen, I was mesmerized by the album cover art. Each track felt like a new adventure, filled with unexpected twists and turns. Whether it’s the playful "Polka Dot Tail" or the mesmerizing "Mutilated Lips" (which remains one of my all-time favorite songs to this day), there’s something about this album that feels both familiar and otherworldly.
We knew we had to have amazing artwork to go with this record. It’s gotta be fucking consistent with all the craziness on this thing. We thought of Storm Thorgerson from Hipgnosis, who did Dark Side Of The Moon, the Zeppelin records, and all the Floyd records. He went to art school with those guys. We went to the best, we asked for the best, and Elektra coughed up the money. When Storm heard the record, he personally called me and said, “I didn’t know such a band existed.” He had done a Cranberries and a Phish record recently in the ’90s, and he just delegated the shit to other people at that time. He said, “I’ve found the band with the spirit that I like.” He was so into it, and all the calls came directly from him. He amended his contract to say, “I want to do everything, and I won’t charge anymore. I want to do every poster, every ad, any promo CD, single, picture discs, whatever.” If you go back and find any print adds associated with The Mollusk, all the artwork is unique to him.
For the cover, he said, “I want to make an amalgamation of all these fucked-up sea animals.” Storm and his team went to an aquarium and took all these photos of bizarre sea creatures. He drew them by hand or painted them, so it’s neat. I have these big mockups of his process.
If I ever open a Ween Museum, those will be prominently displayed. We toured in England, and after a gig in London, I think he was with his son or Harry Waters. He got so drunk and must have kissed me 50 times. He said, “You guys are the band. You’re the rightful heirs to Floyd and Zeppelin.” It was the highest praise, and it was real! His assistant said, “You’ve got to understand. He hasn’t seen a show in fucking years. He thinks everything is shit,” which is basically how I feel with age. The record really vindicated us; to get that reaction from the old-school meant so much.
Ween’s The Mollusk Turns 20: An Oral History By Mickey Melchiondo
Revisiting The Mollusk reminds me of the beauty of musical exploration and the joy of discovering new sounds and stories. It’s a testament to Ween’s creativity and their ability to push the boundaries of what music can be. So, if you haven’t already, dive into The Mollusk and let it take you on a journey you won’t soon forget.
Thanks for joining me on this trip down memory lane. Stay tuned for more Thursday Album Throwback posts in the future, where I will talk about more of my favorite albums. As always, keep exploring the wonderful world of music.