The Legacy of the Joke Band (Disguised as an Analysis of Ween): Part One

Recently, my friend Joe and I were continuing our age-old battle concerning the merits of Ween, a band that is often labeled a joke band, who recently broke up after years of creating musically proficient, genre-bending "joke" songs. A quick search on the internet shows that Ween has battled this label for years, and they probably tend to even welcome it, given such song titles as "Poop Ship Destroyer" and "Spinal Meningitis (Got Me Down)." Yet in later years, the boys in Ween proved excellent songwriters, who could assemble a killer band. Their various pastiches of different genres helped define the "Ween Sound," a far-reaching enterprise, indeed. Whether creating twisted country records with actual country session musicians on 1996's 12 Golden Country Greats, giving into their psychedelic tendencies completely on 1997's The Mollusk, or perfecting the pop song throughout their catalog, Ween always surprised. The Zappa comparisons were endless, but Ween went beyond Zappa commercially. They were seemingly less interested in experimentation and more interested in creating songs that worked, often on their own terms. They knew when to reign the joke in. Like Zappa fans, many Ween fans would buy any album that came out. Thus, an excessive amount of live albums were released. But these albums each offer different insights into Ween as a live entity. By following their own muse, Ween built a solid fan base, which provided enough support for them to continue trying new things.

Yet earlier this year, Freeman dropped a bomb; he was quitting to pursue a solo career. While this might not have been a complete surprise, fans can only wonder if the band will be back soon. Freeman released a solo album under his own name, not his jokey Ween moniker, Gene Ween, composed of songs written by Rod McKuen, a sort of 70's poor man's version of Leonard Cohen. (Check your local Goodwill for remaindered copies of his records and books). Only time will tell if this is a new direction of schlock for Freeman. Just like much of Ween's output, it is hard to tell how serious he is. We could be in for a collection of Allman Brothers covers next instead of originals or Ween outtakes -- or will there be a cosmic Ween reunion next year that will take the band to new heights? Cause for alarm is common when a solo career is in the cards. Dean Ween, the band's other principle member, is continuing to work on his other project MoistBoyz, who have veered from electronic to heavy metal throughout their career. They too could be considered a Joke band, but one with less inspiration and originality than Ween.They pride themselves on being openly politically incorrect and their albums recall a heavy metal Dwarves with tongue planted less firmly in cheek. Neither post-Ween project is liable to have the depth and range that was so necessary to the Ween formula.

That being said, we must ask what separates Ween from the run-of-the-mill joke band. In order to determine that, we must figure out exactly what makes a joke band. Are there rules involved, or are these musicians just having fun? If so, at their own expense or the expense of the audience? Or does the successful "Joke band" allow their fans to be part of an inside joke that others misunderstand? Does good musicianship or lyrics preclude the band from joke band status? Is a band like Ween able to elevate themselves beyond the joke and have a successful career despite their joke status? Or is it because of their joke status? There are many questions. I often wonder how bands like Phish excel, when it seems that their lyrics are mostly jokey, while other bands with jokey lyrics are either one-hit wonders or are known mostly for their inability to remain serious. Discussing every band with jokey lyrics does not work, because they are not all joke bands. The Barenaked Ladies and Smashmouth could both be called joke bands, yet their popular status elevates them to one-hit wonder type acts with a strong popular following.

Similarly, jam bands such as Phish use their musical skill to break past the joke elements in their sound. So is the primary element in the joke band, one of intention? It must be. Many bands include joke songs. AC/DC/s "Big Balls" comes to mind. So does Ugly Kid Joe's "Everything About You." Yet mentioning these types of songs brings us back to a binary that shouldn't exist. "Joke bands" are not all purveyors of the one-hit wonder, nor are they all popular bands bringing in humor. Many of them are neglected by much of the music listening public. They appeal to those who get the jokes, or are offshoots of more serious projects. The reasons for joke bands primarily seems that they are fun. Not only for the fans to listen to, but for the musicians. The side project type allows them to let off steam. The other type is purely conceptual, allowing the band to pay tribute to a favorite subject or just fuck around. Should this lessen their effect or make them less worthy than serious bands?

Most joke bands don't take themselves seriously. They might have visual gimmicks like Gwar, who take the costumes and pageantry of Kiss to a new level. They seem intent on , and ultimately, content with on their joke band status, reveling in it and continually using it to build infamy. Though many haven't heard Gwar, they have heard of them. Through their jokey, gimmicky appearance, they have become notorious. Their music has always left something to be desired because it is often overshadowed by image. There are thousands of bands that sound like Gwar, but none that dress like them. Other bands like Tenacious D revel in gimmicky, but smartly thought out lyrics. Plus, they can play, and they don't let it get in the way of their jokes. Mostly known as a side project for actor Jack Black, they have been known to seriously rock. Their subject matter borders on Ween material, often dwelling on the joys of food and sex with an obsession for heavy metal, Dio, and balls out rocking. What sets them apart from many joke bands is the ability to write interesting lyrics and transcend their comedic base. Their songs are hooky, catchy, and dirty, guaranteed to attract both frat boys and music snobs for very different reasons. Yet unlike Ween, they do not experiment so expertly with other styles.

Perhaps another vestige/outpouring of the Joke Band is found in the tribute band. Unlike the cover band, which usually whiles away their time in somewhat technically proficient covers of many bands, tribute bands are obsessive. Understandably so, as they must commit to covering just one band day after day, dressing up and emulating what made that band special in a cartoony, often cloying, manner. These bands range from good imitators who just play the songs well to those who emulate the band perfectly to those spastic types who do the songs in an entirely different style. Some regular cover bands verge on joke bands as well. To name a few. Richard Cheese does smarmy lounge versions of classic rock and show tunes. Me First and the Gimme Gimmes do melodic punk covers of everything from classic rock to show tunes. Manic Hispanic does Latin-inflected versions of punk songs. By affecting one style to cover an assortment of different types of music, these bands swing very close to capturing the parodic element of the joke band. Gimmicky and often hokey, they teeter on the edge of cheese. Real tribute bands often take it even farther, adopting the costumes and personas of their heroes. Bands with an extremely diehard following are often fodder for the tribute band: Kiss, Guns N Roses, the Misfits, and other sacred cows. These tribute acts seem to attract a younger audience than cover bands that play the local fair --  these younger audiences will follow them just like they followed the original acts, appearing at most of their shows, obsessively following them around like Deadheads because they will never see the original band. Some of these bands  have special gimmicks that distinguish them from their inspirations, not just in style, but in appearance. The Misfits have inspired this sort of adoration. From all female tribute the Bitchfits to the overweight tribute the Misfats, they run the gamut. Indeed, these gimmicks put them in joke band contention. If they were just musos playing the songs perfectly, they would be easier to take seriously. But what's the fun in that? Their obsession gives them added credibility as performers, and makes them more interesting as entertainers. The jokey part helps them truly stand out -- perhaps, some of these other joke bands replace their lack of talent with jokes, perhaps not.

Each year on Halloween or New Years Eve, many musicians blow off steam with tribute sets. Others start joke bands for similar reasons. Many of these are lesser known bands that only play to a few enthusiasts. They often have themes: "Hey guys, let's start a band based on Super Mario characters? How about a band based on Dungeons and Dragons? We can call it D20. We can write all reggae songs about smoking weed. Hell, that's never been done before." and so on, ad infinitum. Whole genres have been started this way from Nerdcore to Powerviolence. People tried new things as a joke and ended up sticking with them. While bands like Sewer Trout and Isocracy were stepping stones for larger careers, some bands became careers. I wonder if the Dwarves actually started this way. Gimmicks are the first step to the joke band.

Now that we have examined the various factions that make up the fractured joke band world, we can examine more closely the elements of the joke band. We have looked at some: intention, blowing off steam, entertainment, but there are surely others. Musical ability is definitely part of the equation. Many of these bands start because the musicians are just learning their instruments -- this is especially true of most punk joke bands, which either get started as side projects or as beginning projects along the lines I have already described. Or truly talented and honed musicians start them for fun i.e. No Means No's hockey-themed side project, the Hanson Brothers. Some like Ween seem to start with little talent, but find their latent power later on, unsure as to whether they should remain jokey or not. Although there is surely no inverse relationship between level of musicianship and the joke band. Musicians become better with practice, and we should not hold it against them. Or should we? Do punk bands cease to be punk as they break away from the three chord structure? Do joke bands gain credibility if they play well? These are just the benefits of playing together for a long time. So talent does hold a place in the efforts of long-running joke bands.

Another element could be connected to intention and blowing off steam; it is fun to write songs that are humorous or could be misconstrued by others. This plays into many of the strange genres that are created. When the guys in (insert powerviolence or pop punk band name here) started, they wanted to have fun, but they also wanted to make their music fun, or ridiculous, for other like-minded souls. Coming up with an amusing name is fun, but actually using it for your touring band is even better. Your name and music are glorified by these few like-minded people, but it also turns off others. This is a definite advantage if you are in a band of certain reputation. You can attract people with a horrible name, but you can also take great amusement as the straights go running into the night. By naming your band Anal Cunt or John Cougar Concentration Camp, you send the normals running for the door. Part of the intention lies in disturbing people that act like your grandma. Plus, they will not understand what you are doing anyway. If you play off of other better known bands, you not only poke fun at their relatively straight names, but also at their fans who should know better. Many of the normals won't understand your intentions. By playing obtuse, noncommercial music, you have already gone far enough. Why on earth would you drag their favorite band underground into your already insane and twisted lair? Their joke bands are safe; they do covers of classic rock songs, or they focus on nerdy, scientific songs with humorous lyrics that border on mainstream stand-up comedy. Why would one want to be repulsive, especially if they play extreme music? In fact, it is unfair to label these bands Joke Bands, but their gimmicks almost ask for it.

Is obscurity another element of the joke band? Ween started out rather obscure, playing to those in the know, but easily transcended their fan base when they began playing the Jam Band circuit. Richard Cheese and his ilk play to the massive audiences that enjoy typical cover bands. But what of these Joke Bands who have a gimmick that only appeals to small and obscure audiences? Bands, such as Jud Jud, who do hardcore songs in the style of Beavis and Butthead or Misfits tribute bands have a small, but loyal audience. Only those on the inside will really get their jokes,but isn't that part of their intention. To remain a joke band, must you remain obscure, or are you more effective if a larger number of people get the joke?

In that case, fame could be an element of the joke band. If more people get the joke, the band could become credible. Andrew W.K. is a good example of this, as he has taken what might be construed as a joke and turned it into a cult career. On an even larger level, Gwar has perpetuated a joke that has drawn legions of fans, bringing the theatricality of Kiss and the jokiness of most power violence bands together to the delight of thousands of fans. Their over the top costumes and gallons of fake blood, cartoon lyrics, and extreme devotion to touring has only solidified their fan base. This brings us to bands that don't have gimmicks, but shamelessly ape other musicians in their quest for fame. While not obstensibly Joke bands, and I know I will take some flack for this, going back to whether it is a matter of intention or not, there are bands like Limp Bizkit or Nickelback, or perhaps even Marilyn Manson, who have devoted fan bases that will defend their bad artistic decisions at every level. Are these bands intentionally trying to be jokey in order to ensnare more listeners, or are they just purely creating something that appeals to a lower common denominator?

Unlike Jam bands like Phish, the talent and originality of these famous nu-metal bands is certainly debatable, yet there is something in their music that appeals to a lot of people. This might be the elusive factor that makes jokey bands huge; perhaps people can relate to humor, intentional or unintentional, at a more visceral level than sheer artistry. Maybe humor is easier to understand at a lyrical level. I'm not trying to misconstrue humor with simplicity. Bands like Ween and Phish work on a much deeper intellectual level than Gwar or the top 40 nu-metal, protogrunge bands.