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September 3 - 9, 2009
buzz@boulderweekly.com


Ween on me
A sobering interview with a cult favorite
by Adam Perry


• Puppy love

The Sick Puppies throw up a sick sophomore album
by Alan Sculley



Ween on me
A sobering interview with a cult favorite
by Adam Perry

Despite last year’s joyous release of an incredible live show from 1992, all those early years when Ween consisted of Dean and Gene (two young, talented and hilarious Pennsylvania kids) and a drum machine seem like ancient history. Seeing a Ween show without drummer-extraordinaire Claude Coleman behind the kit has been impossible for the past 15 years or so, but that could change soon.

Rumors have been spreading all over the Internet about Coleman — a multi-instrumentalist who also leads the band Amandla and teaches at Paul Green’s School of Rock Music in New York City — taking a break from Ween to make sense of a life that has been perhaps too fast and fun since his near-fatal auto accident.

However, when asked recently about Coleman’s departure (which was confirmed online by a heartfelt statement from the drummer), Dean Ween (born Mickey Melchiondo) told Boulder Weekly, “Claude is still in the band the last time I checked.” In a follow-up email, Ween’s manager Greg Frey said, “Mickey’s answer regarding Claude is spot on. Anything else is hearsay.”

Similarly, seeing a Ween show without watching singer/guitarist Gene Ween (born Aaron Freeman) drinking out of a bottle of Jack Daniels seemed impossible until just recently, but the band is being somewhat facetious about life as Ween without their notoriously hard partying. It’s common knowledge that Ween’s 2007 release La Cucaracha was recorded after Freeman made a much-needed trip to rehab, although that didn’t stop fans who attended Freeman’s sold-out solo shows in Boulder this past spring from throwing bags of weed at Freeman’s feet onstage. Nor did Freeman’s admirable recovery from addiction squelch Melchiondo’s trademark sadistic humor, as evidenced by our recent conversation.

Boulder Weekly: I remember you blogging years ago about not enjoying festival gigs. It seemed like you guys were literally helicoptered in and out of your first Bonnaroo performance for fear of exposure to hippies, but now you seem to be playing tons of festivals every year and really enjoying them.

Dean Ween: I have actually had a really good time the three times we’ve played Bonnaroo. I don’t think that the “hippie jam festival” thing is as prevalent anymore. More and more festivals offer variety — Bonnaroo now has headliners like The Police or Bruce Springsteen [and] I just saw a festival where Public Enemy headlined. Regardless of how we feel about it, a large part of our audience also enjoys [jamband music], and it has brought more people to our gigs.

Some festival highlights for me were getting to hang out with Art Neville and watching the original Meters from five feet away on the side of the stage at Vegoose and chatting with Bob Weir at Bonnaroo. Lowlights are always the poorly organized festivals and rain, crappy catering, no backstage areas and porta-potties when you have to take a crap with no dignity left intact.

BW: It seems like your shows get even longer and “browner” with each year you’re a band. How do you map out every night and keep every show different?

DW: We actually only plan the first two hours of every gig; our three- and four-hour shows occur when everything is firing on all cylinders and the crowd is with us. I have always written the set lists, but it has gotten to be too much, so now Aaron and I have started doing them together this year. We try and not play the same songs every night, and we work songs in and out of the set list when we get tired of them. Some songs I like to play every night, and others come in and out.

BW: Red Rocks is hailed by many acclaimed artists as the best venue in the United States. What was it like the first time you played there, and why do you keep coming back?

DW: It’s definitely the best venue we’ve ever played in the U.S. and abroad. The first time we played there was opening for Big Head Todd 15 years ago. It has become a destination spot for Ween fans around the country; they fly in from everywhere just to be a part of that scene, and I don’t blame them. We’ve also done gigs there with Tenacious D opening up and the Flaming Lips, as well.

Having the Meat Puppets this time should be the best though, because they’re one of my favorite bands of all time and friends of ours.

BW: I wrote a piece on Aaron in May, applauding his sobriety and talking about his remarkable solo tour. How has touring, writing and recording as Ween changed since the partying mellowed?

DW:
Oh, man, it’s awesome. Every night the five of us have a nice dinner with angel hair pasta and apple juice and a nice strong black cup of coffee after dessert. We then do our sound check and have a group prayer session followed by band therapy with our touring psychologist. Then we give each other blow jobs and Prozac enemas and write the set list. It’s so much better now than before.

Adam Perry writes a music-related blog called “Beautiful Buzz” at www.adamperrywrites.wordpress.com

Respond: letters@boulderweekly.com

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On the Bill
Ween performs with the Meat Puppets at 8 p.m. on Sunday, Sept. 6, at Red Rocks Amphitheatre, 18300 W. Alameda Pkwy., Morrison, 720-865-2494.


Puppy love
The Sick Puppies throw up a sick sophomore album
by Alan Sculley

The Sick Puppies made its first CD, Dressed Up As Life, under the kind of inconvenient circumstances that can make it challenging to create an album that’s all it can be.

“We were signed to an independent label,” bassist Emma Anzai said during an early July phone interview. “Basically, the producers were doing it on their down time. So whenever they had time off, usually late at night or on the weekend, we’d go in and quickly put something together and record it. We were just lucky to even be doing that. So I think the focus was more on getting it done rather than concentrating on the other bits.”

In fact, work had to be spread out so much that it took about a year to finish Dressed Up As Life.

But things were much different when it came to Tri-Polar, the new CD by Sick Puppies. Dressed Up As Life eventually got picked up by major label Capitol Records, and that meant having a bigger recording budget.

“We had a schedule,” Anazi said. “So we had to write and record by a certain time, and we were out on the road by this time. So we went, ‘OK, great.’ We had a block of time where we could really focus on it.”

Anzai feels she and her bandmates, singer/guitarist Shimon Moore and drummer Mark Goodwin, took advantage of the improved situation. And while she is proud of Dressed Up As Life, she’s confident that Tri-Polar is a more fully realized work.

The new CD, Anzai said, also reflects the growth of a band that had only been together in this configuration for a short time when work began on Dressed Up As Life.

Moore and Anzai formed the original lineup of Sick Puppies in Australia in 1997 with drummer Chris Mileski and got an immediate break after entering a contest sponsored by an Australian radio network that featured a prize of a record deal and opportunity to go on tour.

The band, indeed, made a CD, Welcome To The Real World, and did a tour. But Anzai said she and Moore realized the population in Australia just wasn’t big enough to make a career work.

So in March 2005, Moore and Anzai moved to Los Angeles, leaving behind Mileski, who chose not to leave Australia.
The band, though, didn’t take off on arrival in the States. In fact, it took almost two years and a stroke of good luck to finally get things happening for the Sick Puppies.

Before coming to Los Angeles, Moore had taken some video footage of Juan Mann, who gained some notoriety in Sydney for walking around a local mall with a sign that offered “Free Hugs.”

While in Los Angeles, Moore got word that Mann was going through serious depression over the death of his grandmother.

Remembering his video footage, Moore decided to create a video greeting card with the Sick Puppies song “All The Same” providing a soundtrack for the footage.

Moore then posted the video on the popular website YouTube, and within days, it had gotten more than 250,000 hits.
The attention the Free Hugs video was getting prompted Los Angeles radio station KROQ to start playing “All The Same,” and in short order record labels started courting the Sick Puppies. Virgin ended up signing the group.

The video certainly gave the Sick Puppies a nice start, but now it’s a new phase with Tri-Polar. The early signs are promising for the band. The song “You’re Going Down” has started getting early airplay at rock radio and is also being used as a theme song for the WWE.

“You’re Going Down” is one of several songs (“I Hate You” and “So What I Lied” are among the others) on Tri-Polar that sound like they could get airtime on rock radio. The songs feature catchy, but beefy guitar riffs and plenty of rhythmic punch to go with the hearty vocals of Moore.

Anzai feels the Sick Puppies made strong musical strides in Tri-Polar.

“I think this time around, because we’ve been on the road and also we’ve worked with our producers, [Antonina and Tim, known as the Hit squad],” she said. “So this time around it was a lot more focused and we could get what we wanted. I think we achieved it more than we did before. I mean, I’m really, really excited and happy about this album.”

The Sick Puppies will be on tour into the fall, opening dates for fellow hard rockers Shinedown. Anzai said having the Tri-Polar songs to play is taking the group’s live show to a new level.

“The last tour we had the [Dressed Up As Life] album and then give or take a couple of songs, and we couldn’t really interchange too many others,” she said. “We did some stuff from other bands like Muse. But this time around we’ve got a lot to choose from, and I think we can pick and choose the best ones from both albums. Hopefully it will be a much better set.”

Respond: letters@boulderweekly.com

On the Bill

Sick Puppies perform with HURT, Veer Union and Brookroyal at 8 p.m. on Wednesday, Sept. 9, at the Bluebird Theater, 3317 E. Colfax Ave., Denver, 303-322-2308.
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