![]() It's a prime example of their main dichotomy: a sense of humor so puerile that at times even Jack Black would be embarrassed, and musicianship so strong that you'd swear they'd been gigging since the 70s.Īfter this minor rut, the album provides variety in spades: a heartbroken tenor crooner alone at the keyboard a two-minute boogie-bash wherein Dean demonstrates the happy medium between Eddie Van Halen's notes-per-second and Stevie Ray Vaughan's look-how-far-I-can-bend-this an awesome deep-southern-fried slow stomp a version of a Chinese folk dirge to a deceased mate. Nonetheless, most Weenies take the approach that there's no such thing as too much of a good thing, and in that context, there's quite an appeal to so many variations on a theme, and the boys really do wring more out of it than you'd expect. 5 is so wrong it's almost, but not quite, right. Admittedly, the fact that fans voted online for the first joint appearance of parts 1, 2 & 3 is great. 18 minutes of screaming, moaning, pounding and thrashing (and briefly, melodic jamming) is funnier in conception than it is in execution. ![]() Following a wonderfully psychedelic version of "Happy Colored Marbles" from 2003's quebec comes "The Stallion", Parts 1-5. That twistedness leads to the biggest plus/minus of the album.
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