First and foremost, Ween are two funny bastards.
Having clarified this point, let's also add that they can play, but especially these days, I prefer to emphasize the fact that they don't take themselves seriously at all. This debut album of theirs was probably the result of an autogenic training session fueled by hallucinogenic mushrooms, beer, and some adult films. A senseless and hilarious adventure, considering their prodigious ability to chew through decades of rock history, making this work something more than just a simple parody.
Growing up in the Eighties, the decade of hard rock and Prince, it should come as no surprise to find them citing the boorish hard rock typical of that period (Fat Lenny, with a southern vibe; or Wayne's Pet Youngin', complete with an over-the-top solo) or explicitly referencing the Minneapolis genius (LMLYP, let's see who's the first to figure out the acronym...). However, Ween don't shy away from exploring both gospel (Up On The Hill) and reggae (Nicole, whose duration must have been proportional to the blunts smoked during the recording sessions); Don't laugh, I love you is their version of girl pop (ending with a series of aberrant vocalizations, almost worthy of the Boredoms) and Mushroom Festival In Hell (whose title is a classic case of omen nomen) is a bacchanal that would make the Butthole Surfers blush.
In this rollercoaster of styles, it's worth mentioning Marble Tulip Juicy Tree: a highlight of the album, it reviews the clichés of psychedelic rock, with reverse guitars, offbeat singing, and a guitar solo that is as over-the-top as it is drugged-out, practically Eddy Van Halen on a high. The cherry on top is the demented lyrics accompanying music of such quality (which, as you may have realized by now, isn't exclusive to just this track).
Just to stay true to themselves, this album was reissued in 2001 in a "25th anniversary edition": minor detail, only 11 years had passed since the first release.
What a bunch of bastards.