It’s finally here: the solo debut by Mickey Melchiondo, Jr., half of the legendary genre-jumping rock weirdoes, Ween. And while Aaron Freeman, Melchiondo’s partner in brown, shed his nom de Ween for his own extra-band efforts, Melchiondo embraces his, calling the record The Deaner Album and digging deeper than ever into the eclectic and occasionally juvenile tendencies that make Ween who they are. With an all-star cast of Ween world musicians, the music hops from devastating Prince-loving double-guitar put-down jams (“Mercedes Benz”) to overt stylistic tributes (the blue skies of the album-opening “Dickie Betts”). Instead of using the solo debut as a platform for late career “maturity,” as would seem to be dictated by the Laws of Rock, Melchiondo offers a tour of many of Ween’s alleged pop transgressions of the past 30 years, like the gleeful sludged-out nihilism of “I’ll Take It (And Break It)” or the quasi-country-stomp hate-spew of “Exercise Man.” Unlike his Ween partner Freeman, though, Melchiondo doesn’t veer toward the vulnerable too often, approaching it on the classic-feeling “You Were There” and the moist stereo-panned loser’s lament “Charlie Brown,” but moreoften finding it with a guitar, like on the the mournful mid-tempo instrumental “Garry.” Give or take its lack of Ween’s emotional gravitas, The Deaner Album is everything a good ol’ Ween fan could hope for, popping with anthemic swear-filled scuzz-rockers, long stretches of brilliant, unflashy guitar playing and consistently surprising songwriting turns.