GodWeenSatan: The Oneness

Professional ratings

Review scores
Source	Rating
AllMusic	[3]
Entertainment Weekly	B+[4]
OndaRock	7/10[5]
Pitchfork	9.6/10[6]
The Rolling Stone Album Guide	[7]
Select	4/5[8]
Spin Alternative Record Guide	7/10[9]
Sputnikmusic	4.0/5[10]
Uncut	[11]
The Village Voice	[12]

David Browne, writing for Entertainment Weekly, praised the album's silliness and frequently ranting nature, writing: "As it veers uncontrollably from the stupid to the unlistenable, God Ween Satan becomes the energizing sound of two street-corner nutjobs railing as best they can against the entire world. Equal opportunity for clever morons to punish the masses with the aid of modern recording equipment — it’s truly a wonderful thing."[4] Andrew Perry of Select wrote that Ween derived their "sonic dementia" from post-hardcore, but that the band's stylistic range was much wider, including parodies of bubblegum pop and lovers rock. He concluded that the "anarchic" album was "unrealistically varied and never boring. You won't have heard the like of this before".[8]

In a retrospective review, Pitchfork's Matt LeMay wrote: "Unafraid to say 'fuck' for no apparent reason, unafraid to rock out on cheesy metal riffs, and unafraid to pick to pieces just about every variety of music, Ween managed to capture the essence of their sound on their debut as well, if not better than, on any later album."[6] Uncut describe the album as containing pastiches of "anything on the rock planet", with Ween offending and delighting the listener "in equal measure".[11] Heather Phares of AllMusic described GodWeenSatan as "almost as eclectic and inspired" as Ween's subsequent albums, with a palpable sense of fun that makes it "more than just a promising debut".[3] Less favourable was Robert Christgau in The Village Voice, who quipped of "L.M.L.Y.P" that Ween "went on about pussy for nine minutes (good idea) in a Princey blues-minstrel drawl (bad one)".[12]

All tracks written by Ween except "L.M.L.Y.P.," which contains a partial cover of "Shockadelica" and elements of "Alphabet St." (Prince). Towards the end of "Birthday Boy", "Echoes" by Pink Floyd begins to play, due to Ween recording on cassettes which already contained material.

Ween

• Gene Ween – guitar, vocals
• Dean Ween – guitar, vocals, drums

Additional musicians

• David Williams – backing vocals on "I'm in the Mood to Move"
• Eddie Dingle – vocals on "Nan"

Production

• Andrew Weiss – bass guitar, producer, mixing
• Theo Van Rock – mixing

Mixed at the Zion House of Flesh -Additional drums recorded at Graphic Sound by Greg Frey[13]