It's easy to scoff at juvenile humor. You hear a single utterance of "fuck" or "pussy," and you turn your nose up at the lack of sophistication. No laughter escapes your tightly pursed lips. You fume with rage, images of smug, pathetic 13-year-olds spending daddy's cash on the newest Adam Sandler record cascading through your highly evolved brain.

But those tightly pursed lips are trembling. Somewhere deep inside you, buried beneath back issues of The New Yorker and piles of free jazz CDs, something is happening. Almost like a little 13-year-old boy kicking you in the nuts from the inside and saying, "Dude! Holy shit! That is fucking funny!" Sure, you can deny this reaction. But the fact remains that, when executed properly, juvenile humor can be absolutely hilarious. If the timing's right, the phrasing's right, and the context's right, a well-placed "fuck!" can translate into unquestioned excellence.

Of course, establishing the correct context, timing, and phrasing is not at all easy. And establishing it in such a way that it will entertain upon repeated listening is practically impossible. Ween's debut album, God Ween Satan: The Oneness, is a massive, near-overwhelming bombardment of profanity, hard rock riffing, and goofy genre parody. But no matter how absurd Ween are being, they always manage to accomplish a seemingly contradictory task: sounding exactly like every band operating within the genres they attack while sounding only like themselves.

"You Fucked Up" is a perfect mission statement for Ween-- a sloppy, furious faux-metal number with recklessly shrieked, flat-out hilarious vocals. Granted, there's nothing particularly funny about the lyric, "You fucked up/ You fucking Nazi whore!" But in the context of a psychotic hard rock song, it's difficult to miss the humor. "Tick" couples the overblown rage of "You Fucked Up" with a unique brand of twisted, gleeful pop, while "Don't Laugh (I Love You)" distills this warped glee to its purest, most cloyingly twee essence.

Songs like "Tick" and "You Fucked Up" succeed largely because they tap into that most primal, basic urge to rock out. Sure, there's an undeniable element of parody to these songs. But the parody is backed up by the fact that the songs themselves are actually really, really good.

Fortunately, God Ween Satan isn't all crunchy riffs and barely contained screams. Stylistically, the album is absolutely all over the place. "L.M.L.Y.P.," a longtime fan favorite and live staple, takes on the obscure Prince b-side "Shockadelica," adding a distinctively Ween twist. Cheesy talk box guitars and slapbass provide perfect backing for a hilarious take on Prince's over-the-top sexuality, with Gene Ween's effects-laden vocals intoning in a high-pitched warble, "Let me lick your pussy/ Let me lick your cunt." At over eight minutes, "L.M.L.Y.P." does come awfully close to outstaying its welcome. But let's not forget that "Purple Rain" clocks in at an eternal 8:40.

"Squelch the Weasel" is the closest thing to a folk song to be found on God Ween Satan. Unlike the straight-up lyrical imitation of "Cold Blows the Wind" from The Mollusk, "Squelch the Weasel" is a folk song about... weasels. Lyrical and musical elements from traditional folk music, or at least the commonly held notion of what traditional folk music should sound like, permeate the song, but there's no question that this is pure Ween.

The same can be said for "Up on the Hill," a gospel-styled number about the demon god Boognish that is perhaps the closest thing to a theme song the brothers Ween have recorded. A dramatic, multitracked Gene Weens croons, "When I was younger/ My momma told me/ She said, 'Gener, I wanna smell it'/ And then she smelled it/ And it was smelly/ And I said, 'Lordy lordy lord, I'm coming home." It's gospel, but it's totally fucked. And yet it's pulled off convincingly enough that it can be enjoyed just as much outside of the context of a parody as inside.

Like any 29-song schizophrenic freakout, God Ween Satan is not without its highly questionable moments. "Common Bitch" is a weaker version of "You Fucked Up." "Mushroom Festival in Hell" gets points for sounding exactly like its name, but also loses points for sounding exactly like its name. The aforementioned "Don't Laugh (I Love You)" closes with a frightful swirl of toneless vocals that, though annoying, seems to be in keeping with the pure dementia of this album.

But this, the "25th Anniversary Edition" of God Ween Satan, finally fixes the one biggest problem that confronted the original: undeniably shitty production. The whole album played at what seemed like a good 10 decibels below most other CDs, and the sound quality in general was aggravatingly muddled. Finally, thanks to the magic of technology, God Ween Satan can be heard in all its crisp, pure glory, without the loss of the rough-edged sound that's been a major element of the album.

And it's a good thing, too, as this is one of the most wonderfully twisted albums ever to be released upon the unsuspecting masses. 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. And as a result, God Ween Satan isn't just good. It's fucking good.