Ween: Gene Ween, Dean Ween, Andrew Weiss, Claude Coleman, Mean Ween, Glenn McClelland, Charlie McClelland, Bill Fowler, George Altonen, Matt Kohut, Stephan Said.

Engineers: Gene Ween, Dean Ween, Claude Coleman, Jr., Andrew Weiss.

Personnel: Dean Ween (vocals, guitar); Gene Ween (vocals); Kirk Miller (sound effects).

Audio Mixer: Andrew Weiss.

Recording information: Byoak Garms, Holicong, PA; Flood Zone, Holgate, NJ; New Hope, PA; Stockston, NJ; Stoney Brook Studios, Hopewell, NJ; Tuff Guy Studios, Vernon, NJ; Zion House Of Flesh, Hopewell, NJ.

Photographers: Rupert Truman; Tom Nichols.

Unknown Contributor Roles: Matt Kohut; Jason Reddy; Mean Ween.

On the surface, The Mollusk is a return to the panoramic, multi-genre extravaganza of Chocolate and Cheese, but in its own way, it's as much of a concept album as 12 Golden Country Greats. It just isn't as explicit about its intentions. Nearly every song on The Mollusk has a nautical theme, buoyed by a heavy progressive rock influence. Several songs deviate from the theme -- the synthetic new wave pulse of "I'll Be Your Jonny on the Spot" and the frenzied pseudo-country of "Waving My Dick in the Wind" are neither seafaring nor prog -- but there's an unmistakable watery undertow to the record. Perhaps the loose concept is the reason why The Mollusk is the most concise album in Ween's canon, but it's not what makes the record so impressive. Like Chocolate and Cheese, The Mollusk could seem like a comedy record to outsiders, but the songwriting and performances are so remarkably accomplished that it is just as listenable after the shock of the humor has faded away. "The Mollusk," "Mutilated Lips," "The Golden Eel," and "Buckingham Green" are all startlingly accurate send-ups of prog-rock, and they are better written than many of their inspirations. Similarly, the vulgar shanty "The Blarney Stone," the faux-Richard Thompson tragedy "She Wanted to Leave," and the sunny, Caribbean-flavored "Ocean Man" are terrific songs offering evidence that Ween are improving as songwriters and musicians with each record. Ironically, this array of silly jokes and musical parody is a richer and more diverse listen than most of its alternative rock contemporaries. ~ Stephen Thomas Erlewine

Ween can be as slimy as a giant squid or as hard to crack as a clam, but the mollusk that Ween most resembles is an octopus--with a tentacle in every genre and an obfuscating cloud of black ink thrown in for good measure, once they grab a hold of you with their suckers, they don't let go. Ween's sixth album, THE MOLLUSK not only ensnares you with its sinewy melodies, it gobbles you whole.

Ween have followed the country madness of 12 GOLDEN COUNTRY GREATS with a true return to form. The eclectic, genre-hopping style of PURE GUAVA and GOD WEEN SATAN blossoms again, and songs like "Buckingham Green" and "The Blarney Stone" find Ween straddling the line between '70s arena-rock heavy metal ballads and bawdy 19th century Irish drinking songs. While not as overtly puerile or as heavy as some of their earlier material, THE MOLLUSK has its share of memorable moments and is destined to become a true Ween classic.