Green Day | ||
| Allmusic Biography : Bay Area trio Green Day stormed the mainstream in the early 90s with their snarling, snotty brand of three-chord pop-punk, which was delivered with a heavy dose of anarchic attitude and headline-grabbing antics. Influenced by the late-70s punk predecessors before them, they went on to introduce a new, younger generation to the genre. Major-label breakthrough Dookie was the jewel in the crown of their 90s punk era, a modern classic regarded as one of the most defining albums of the decade. Maturing in the 21st century, the band hit a career peak with 2004s Grammy-winning international success American Idiot, a socio-political rock opera that ushered in the next stage of their evolution as one of Americas most acclaimed rock bands. In 2015, 25 years after their debut, Green Day were inducted into the Rock & Roll Hall of Fame. Green Day arose from the Northern California underground punk scene. Childhood friends Billie Joe Armstrong (guitar, vocals) and Mike Dirnt (bass; born Mike Pritchard) formed their first band, Sweet Children, in Rodeo, California when they were 14 years old. By 1989, the group had added drummer Al Sobrante and changed its name to Green Day. That same year, the band independently released its first EP, 1000 Hours, which was well-received in the California hardcore punk scene. Debut full-length 39/Smooth and the Slappy EP arrived soon after in 1990. By 1991, the group had signed a contract with local independent label Lookout. Combining their first three efforts into one compilation, Green Day issued 1,039/Smoothed Out Slappy Hours for the label. Shortly after its release, the band replaced Sobrante with Tre Cool (born Frank Edwin Wright III), who became the bands permanent drummer. Throughout the early 90s, Green Day continued to attract a cult following, which only gained strength with the release of their second album, 1992s Kerplunk. The underground success of Kerplunk led to a wave of interest from major record labels, and the band eventually decided to sign with Reprise. Dookie, Green Days major-label debut, was released in the spring of 1994. Thanks to MTVs support of the initial single, "Longview," Dookie became a major hit. The album continued to gain momentum throughout the summer, with its second single, "Basket Case," spending five weeks on top of the American modern rock charts. At the end of the summer, the band stole the show at Woodstock 94, which increased the sales of Dookie. By the time the fourth single, "When I Come Around," began its seven-week stay at number one on the modern rock charts in early 1995, Dookie had sold over five million copies in the U.S. alone; it would eventually top ten million in America, selling over 15 million copies internationally. Dookie also won the 1994 Grammy for Best Alternative Music Performance. Green Day quickly followed Dookie with Insomniac in the fall of 1995; during the summer, they hit number one again on the modern rock charts with "J.A.R.," their contribution to the Angus soundtrack. Insomniac performed well initially, entering the U.S. charts at number two and selling over two-million copies by the spring of 1996, yet none of its singles -- including the radio favorite "Brain Stew/Jaded" -- was as popular as those from Dookie. In the spring of 1996, Green Day abruptly canceled a European tour, claiming exhaustion. Following the cancellation, the band spent the rest of the year resting and writing new material before issuing Nimrod in late 1997. Three years later, their long-awaited follow-up, a refreshingly poppy record titled Warning, was released. Another long wait preceded 2004s American Idiot, an aggressive rock opera that became a surprise success -- a chart-topper around the world, a multi-platinum Grammy winner, and easily the best-reviewed album of their career. Green Day reveled in the albums success, hitting numerous award shows and performing as part of Live 8 in July 2005. That fall brought the release of Bullet in a Bible, a concert album that documented the trios expansive Idiot live show. With their popularity and commercial viability restored, Green Day took on several small projects before returning to the studio. They contributed a cover of John Lennons "Working Class Hero" to the charity album Instant Karma, appeared in The Simpsons Movie, and recorded an entire album of 60s-styled rock & roll under the alias of Foxboro Hot Tubs. While presenting an award at the Grammys in early 2009, the band announced the impending release of Green Days eighth album, 21st Century Breakdown, which had been recorded with veteran producer Butch Vig. In May of 2009, 21st Century Breakdown was released, picking up where American Idiot left off as another ambitious punk rock opera. The album was a commercial success, selling over 215,000 copies in its first three days of sales. In 2009, American Idiot was adapted for the stage, and the following year, Green Day lent their talents to the original cast recording, combining a driving score with Broadway vocal arrangements. The band released the live Awesome as F**k in 2011. During the summer of 2012, Green Day unveiled their ambitious plans for the fall and winter: they would release not one but three new albums. The records -- ¡Uno!, ¡Dos!, ¡Tré! -- would appear in September 2012, November 2012, and January 2013, respectively, with each individual bandmember gracing one of the album covers on his own. The first, appropriately called ¡Uno!, was preceded by the disco-rock single "Kill the DJ" and the anthemic arena rocker "Oh Love." ¡Uno! was set for a splashy release in September 2012, but the weekend prior to its release, Billie Joe Armstrong had an on-stage breakdown during a set Green Day played at the iHeartRadio Music Festival in Las Vegas. Days later, it was announced that Armstrong entered rehab for substance abuse; not long afterward, the bands touring plans for 2013 were canceled. ¡Dos! arrived as scheduled in November 2012 and ¡Tré! was moved up to a December release. Demolicious, a collection of 18 demos recorded during the making of their ¡Uno! ¡Dos! ¡Tré! trilogy, showed up in time for 2014s Record Store Day release schedule. In 2015, Green Day were inducted into the Rock & Roll Hall of Fame. Following their induction, producer Rob Cavallo announced that he had started work on a new album with the trio. As they labored on the new record, Green Day released a single called "Xmas Time of the Year" for the 2015 holiday. The raucous "Bang Bang" was the first taste of their 12th record, Revolution Radio, which arrived in October 2016. The album topped the charts around the globe and featured the radio hit "Still Breathing." A year later, the group released a career-spanning compilation called Greatest Hits: Gods Favorite Band, which included the previously unreleased "Back in the USA." Another retrospective release arrived in 2019, commemorating the bands 25th anniversary of playing Woodstock 94. Green Day Live!: Woodstock 1994 received a limited pressing for Record Store Day and debuted at number 156 on the Billboard 200. | ||
 | Album: 1 of 25 Title: 39/Smooth Released: 1990 Tracks: 10 Duration: 30:55 Scroll: Up Down Top Bottom 25% 50% 75% Wikipedia Allmusic AlbumCover | 1 At the Library (02:26) 2 Don’t Leave Me (02:37) 3 I Was There (03:34) 4 Disappearing Boy (02:49) 5 Green Day (03:26) 6 Going to Pasalacqua (03:28) 7 16 (03:22) 8 Road to Acceptance (03:33) 9 Rest (03:03) 10 The Judge’s Daughter (02:32) |
 | Album: 2 of 25 Title: 1,039/Smoothed Out Slappy Hours Released: 1991-04-19 Tracks: 19 Duration: 55:59 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Wikipedia Allmusic AlbumCover | 1 At the Library (02:26) 2 Don’t Leave Me (02:37) 3 I Was There (03:34) 4 Disappearing Boy (02:49) 5 Green Day (03:26) 6 Going to Pasalacqua (03:28) 7 16 (03:22) 8 Road to Acceptance (03:33) 9 Rest (03:03) 10 The Judge’s Daughter (02:32) 11 Paper Lanterns (02:23) 12 Why Do You Want Him? (02:30) 13 409 in Your Coffeemaker (02:52) 14 Knowledge (02:17) 15 1,000 Hours (02:23) 16 Dry Ice (03:44) 17 Only of You (02:43) 18 The One I Want (02:59) 19 I Want to Be Alone (03:09) |
| 1,039/Smoothed Out Slappy Hours : Allmusic album Review : When Green Days first album appeared, anyone predicting that fame, MTV, top-selling albums, and more would be on the horizon in the near future would have been happily patted on the head and then sent to the insane asylum. It helps to remember that Nirvanas breakthrough was still a year away, for one thing, and, for another, 1,039/Smoothed Out Slappy Hour isnt a truly great album in the first place. Its not bad, by any means, and quite arguably just about everything on it could be transposed with a slight aural tweak here and there to Dookie or Insomniac without anyone batting an eye. Its just little more than a fun punk-pop album with some entertaining metallic flash here and there, one of many such records that the late 80s and early 90s produced in the indie rock world. After a great start with "At the Library," its quickly clear that the rest of the record is going to continue in the same vein. Whats fun is realizing how much the band already had to work with, pursuing obvious love of three-chord forebears like the Dickies and the Ramones to energetic if not revelatory ends. Billie Joe Armstrongs balance of disaffection and nervous, goofy passion is well in place, while hes already showing his effective, no-frills approach to chewy feedback melody. Songs like "I Was There" and "Road to Acceptance," not to mention the implicitly weed-celebrating "Green Day" itself, are great calling cards for later breakouts on both levels. Mike Dirnts no slouch himself, providing good backing vocals when needed for harmony, but oddly enough the most prominent performance throughout comes from original drummer John Kiftmeyer, who wouldnt last through to the next album. Call it a quirk of recording, but there it is. | ||
 | Album: 3 of 25 Title: Kerplunk! Released: 1992-01-07 Tracks: 16 Duration: 42:14 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Wikipedia Allmusic AlbumCover | 1 2,000 Light Years Away (02:24) 2 One for the Razorbacks (02:30) 3 Welcome to Paradise (03:30) 4 Christie Road (03:33) 5 Private Ale (02:26) 6 Dominated Love Slave (01:41) 7 One of My Lies (02:19) 8 80 (03:39) 9 Android (03:00) 10 No One Knows (03:39) 11 Who Wrote Holden Caulfield? (02:44) 12 Words I Might Have Ate (02:32) 13 Sweet Children (01:41) 14 Best Thing in Town (02:03) 15 Strangeland (02:08) 16 My Generation (02:19) |
| Kerplunk! : Allmusic album Review : Green Days second full album was the perfect dry run for the bands later assault on the mainstream, containing both more variety and more flat-out smashes than previous releases had shown. With Tre Cool now firmly in place as the drummer, the lineup was at last settled, and it turned out Cool and Mike Dirnt were a perfect rhythm section, with the former showing a bit more flash and ability than John Kiftmeyer did. Together the two throw in a variety of guitarless breaks that would later help to define the bands sound for many -- warm and never letting the beat go. As for Billie Joe Armstrong, his puppy-dog delivery and eternal switching between snotty humor and sudden sorrrow was better than ever, as were his instantly memorable riffs. The metal-strength chug that always informed the bands best work isnt absent either -- check out Armstrongs opening riffing on "Christie Road." The whole thing starts with a note-perfect bang -- "2000 Light Years Away" is the absolute highlight of the groups premajor-label days, with a great chorus and classic yearning lyrics. It got buried in the wave of Dookies success a bit, but one other number didnt -- "Welcome to Paradise," also a standout on that album, appears here in its original form. Rob Cavallo punched up the radio-friendly sound on the latter take, but even here its a treat and a half -- quick, rampaging, and once again with a great stop-start chorus to spare. Other straight-up pop winners include "One of My Lies" and "Who Wrote Holden Caulfield?." Elsewhere, Green Day slow down tempos, try acoustic numbers, and in one hilarious moment, pull off a ridiculous yet worthy country pisstake with the Cool-written "Dominated Love Slave." [CD versions included the Sweet Children EP as a slightly surprising bonus.] | ||
 | Album: 4 of 25 Title: Dookie Released: 1994-01-28 Tracks: 14 Duration: 39:45 Scroll: Up Down Top Bottom 25% 50% 75% Spotify TrackSamples Wikipedia Allmusic AlbumCover | 1 Burnout (02:07) 2 Having a Blast (02:44) 3 Chump (02:54) 4 Longview (03:59) 5 Welcome to Paradise (03:44) 6 Pulling Teeth (02:30) 7 Basket Case (03:03) 8 She (02:14) 9 Sassafras Roots (02:37) 10 When I Come Around (02:58) 11 Coming Clean (01:34) 12 Emenius Sleepus (01:43) 13 In the End (01:46) 14 F.O.D. / All by Myself (05:46) |
| Dookie : Allmusic album Review : Green Day couldnt have had a blockbuster without Nirvana, but Dookie wound up being nearly as revolutionary as Nevermind, sending a wave of imitators up the charts and setting the tone for the mainstream rock of the mid-90s. Like Nevermind, this was accidental success, the sound of a promising underground group suddenly hitting its stride just as they got their first professional, big-budget, big-label production. Really, thats where the similarities end, since if Nirvana were indebted to the weirdness of indie rock, Green Day were straight-ahead punk revivalists through and through. They were products of the underground pop scene kept alive by such protagonists as All, yet what they really loved was the original punk, particularly such British punkers as the Jam and Buzzcocks. On their first couple records, they showed promise, but with Dookie, they delivered a record that found Billie Joe Armstrong bursting into full flower as a songwriter, spitting out melodic ravers that could have comfortably sat alongside Singles Going Steady, but infused with an ironic self-loathing popularized by Nirvana, whose clean sound on Nevermind is also emulated here. Where Nirvana had weight, Green Day are deliberately adolescent here, treating nearly everything as joke and having as much fun as snotty punkers should. They demonstrate a bit of depth with "When I Come Around," but that just varies the pace slightly, since the key to this is their flippant, infectious attitude -- something they maintain throughout the record, making Dookie a stellar piece of modern punk that many tried to emulate but nobody bettered. | ||
 | Album: 5 of 25 Title: Insomniac Released: 1995-10-06 Tracks: 14 Duration: 32:56 Scroll: Up Down Top Bottom 25% 50% 75% Spotify TrackSamples Allmusic AlbumCover | 1 Armatage Shanks (02:17) 2 Brat (01:43) 3 Stuck With Me (02:15) 4 Geek Stink Breath (02:15) 5 No Pride (02:19) 6 Bab’s Uvula Who? (02:08) 7 86 (02:47) 8 Panic Song (03:35) 9 Stuart and the Ave. (02:03) 10 Brain Stew (03:13) 11 Jaded (01:30) 12 Westbound Sign (02:13) 13 Tight Wad Hill (02:01) 14 Walking Contradiction (02:31) |
| Insomniac : Allmusic album Review : Dookie gave Green Day success, but it was never really clear whether they wanted it in the first place. However, given the incessantly catchy songwriting of Billie Joe, the success made sense. Green Day were traditionalists without realizing it, learning all of their tricks through secondhand records and second-generation California punk bands. They didnt change their sound in the slightest after signing to a major label, which meant that they couldnt revert back to a harsher, earlier sound as a way to shed their audience for Dookies follow-up, Insomniac. Instead, they kept their blueprint and made it a shade darker. Throughout Insomniac, there are vague references to the bands startling multi-platinum breakthrough, but the album is hardly a stark confessional on the level of Nirvanas In Utero. Its a collection of speedy, catchy songs in the spirit of the Buzzcocks, the Jam, the Clash, and the Undertones, but played with more minor chords and less melody and recorded with a bigger, hard rock-oriented production. While nothing on the album is as immediate as "Basket Case" or "Longview," the band has gained a powerful sonic punch, which goes straight for the gut but sacrifices the raw edge they so desperately want to keep and makes the record slightly tame. Billie Joe hasnt lost much of his talent for simple, tuneful hooks, but after a series of songs that all sound pretty much the same, it becomes clear that he needs to push himself a little bit more if Green Day ever want to be something more than a good punk-pop band. As it is, they remain a good punk-pop band, and Insomniac is a good punk-pop record, but nothing more. | ||
 | Album: 6 of 25 Title: Green Day Released: 1996 Tracks: 22 Duration: 1:17:12 Scroll: Up Down Top Bottom 25% 50% 75% AlbumCover | 1 Welcome to Paradise (01:24) 2 One of My Lies (03:07) 3 Chump (02:32) 4 Longview (03:25) 5 Basket Case (03:04) 6 When I Come Around (02:48) 7 Burnout (02:23) 8 F.O.D. (02:35) 9 Welcome to Paradise (04:27) 10 Only Of You (02:58) 11 Chump (03:37) 12 Longview (03:32) 13 Burnout (02:08) 14 2,000 Light Years Away (03:31) 15 Christie Road (04:00) 16 Going to Pasalacqua (04:19) 17 F.O.D. (02:34) 18 Knowledge (03:07) 19 Paper Lanterns (09:28) 20 Dominated Love Slave (02:50) 21 One of My Lies (02:53) 22 Road to Acceptance (06:25) |
 | Album: 7 of 25 Title: Foot in Mouth Released: 1997-04-30 Tracks: 11 Duration: 30:45 Scroll: Up Down Top Bottom 25% 50% 75% Allmusic AlbumCover | 1 Going to Pasalacqua (03:51) 2 Welcome to Paradise (03:40) 3 Geek Stink Breath (02:16) 4 One of My Lies (02:20) 5 Stuck With Me (02:30) 6 Chump (02:32) 7 Longview (03:33) 8 2,000 Light Years Away (02:49) 9 When I Come Around (02:41) 10 Burnout (02:03) 11 F.O.D. (02:24) |
 | Album: 8 of 25 Title: nimrod. Released: 1997-10-10 Tracks: 18 Duration: 49:09 Scroll: Up Down Top Bottom 25% 50% 75% Spotify TrackSamples Wikipedia Allmusic AlbumCover | 1 Nice Guys Finish Last (02:49) 2 Hitchin’ a Ride (02:51) 3 The Grouch (02:12) 4 Redundant (03:17) 5 Scattered (03:02) 6 All the Time (02:10) 7 Worry Rock (02:27) 8 Platypus (I Hate You) (02:21) 9 Uptight (03:04) 10 Last Ride In (03:47) 11 Jinx (02:12) 12 Haushinka (03:25) 1 Walking Alone (02:45) 2 Reject (02:05) 3 Take Back (01:09) 4 King for a Day (03:13) 5 Good Riddance (Time of Your Life) (02:34) 6 Prosthetic Head (03:38) |
| nimrod. : Allmusic album Review : Following the cool reception to Insomniac, Green Day retreated from the spotlight for a year to rest and spend time with their families. During that extended break, they decided to not worry about their supposedly lost street credibility and make an album according to their instincts, which meant more experimentation and less of their trademark punk-pop. Of course, speedy, catchy punk is at the core of the groups sound, so there are plenty of familiar moments on the resultant album, Nimrod, but there are also new details that make the record an invigorating, if occasionally frustrating, listen. Although punk-pop is Green Days forte, they sound the most alive on Nimrod when theyre breaking away from their formula, whether its the shuffling "Hitchin a Ride," the bitchy, tongue-in-cheek humor of "The Grouch," the surging surf instrumental "Last Ride In," the punchy, horn-driven drag-queen saga "King for a Day," or the acoustic, string-laced ballad "Good Riddance." Its only when the trio confines itself to three chords that it sounds tired, but Billie Joe has such a gift for hooky, instantly memorable melodies that even these moments are enjoyable, if unremarkable. Still, Nimrod suffers from being simply too much -- although it clocks in at under 50 minutes, the 18 tracks whip by at such a breakneck speed that it leaves you somewhat dazed. With a little editing, Green Days growth would have been put in sharper relief, and Nimrod would have been the triumphant leap forward it set out to be. As it stands, its a muddled but intermittently exciting record that is full of promise. | ||
 | Album: 9 of 25 Title: Shenanigans Released: 2000 Tracks: 14 Duration: 33:45 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Wikipedia Allmusic AlbumCover | 1 Suffocate (02:56) 2 Desensitized (02:48) 3 You Lied (02:27) 4 Outsider (02:18) 5 Don’t Wanna Fall in Love (01:40) 6 Espionage (03:25) 7 I Want to Be on T.V. (01:18) 8 Scumbag (01:45) 9 Tired of Waiting for You (02:34) 10 Sick of Me (02:09) 11 Rotting (02:53) 12 Do Da Da (01:32) 13 On the Wagon (02:49) 14 Ha Ha You’re Dead (03:06) |
| Shenanigans : Allmusic album Review : Shenanigans is the companion piece to 2001s International Superhits. Where that compilation collected Green Days singles, this rounds up the B-sides and such ephemera as soundtrack compilations, gathering the best (plus the new "Ha Ha Youre Dead") for a 14-track trek through the bands alternate history. Now, any serious rock listener knows that B-sides dont necessarily mean subpar material, and such 90s bands as Oasis and Suede have had B-sides every bit as good as the material that made the official albums, and their subsequent B-sides albums have been gems in their discographies. This is largely because both bands had prime periods where everything they did pretty much turned to gold. Green Day never quite had an equivalent prime period. After they made their mark with Dookie, they maintained a high level of quality, constantly expanding their vision and refining their craft with each album, but they never had a time where they burned so brightly they couldnt fit all the great songs onto the proper albums and had to spill em out over the B-sides. Green Day knew what their best songs were, and apart from "J.A.R.," which they threw out to the Angus soundtrack, they kept em on the albums, and they turned out material for B-sides largely because they had to; that was the game in the 90s -- you had to make sure the multi-part singles in the U.K. had unique material, and if a soundtrack came calling, you had to ante up. So, the songs that comprise Shenanigans are an appealing mixed bag since they were, by and large, songs Green Day finished because they had to. Since theyre an excellent, restless band, theres variety here -- bits of surf rock, classic British Invasion, classic British punk, and singalong pop -- nothing is less than enjoyable, and some of it is quite good. But its never terrific, revelatory, or amazing, giving the dedicated fans songs they just cant live without (to reduce it to the Oasis/Suede terms, no "Acquiesce," no "My Insatiable One"). Its fun, to be sure, especially for the fans who are the compilations target audience, but everything here sounds like the classic definition of B-sides -- good and familiar, but not as good as what made the album. | ||
 | Album: 10 of 25 Title: Warning Released: 2000-09-20 Tracks: 12 Duration: 41:14 Scroll: Up Down Top Bottom 25% 50% 75% Spotify TrackSamples Wikipedia Allmusic AlbumCover | 1 Warning (03:42) 2 Blood, Sex and Booze (03:33) 3 Church on Sunday (03:18) 4 Fashion Victim (02:48) 5 Castaway (03:52) 6 Misery (05:05) 7 Deadbeat Holiday (03:35) 8 Hold On (02:56) 9 Jackass (02:43) 10 Waiting (03:13) 11 Minority (02:49) 12 Macy’s Day Parade (03:34) |
| Warning : Allmusic album Review : By 2000, Green Day had long been spurned as unhip by the fourth-generation punks they popularized, and they didnt seem likely to replicate the MOR success of the fluke smash "Good Riddance (Time of Your Life)." Apparently, the success of that ballad freed the band from any classifications or stigmas, letting them feel like they could do anything they wanted on their fifth album, Warning. They responded by embracing their fondness for pop and making the best damn album theyd ever made. Theres a sense of fearlessness on Warning, as if the band didnt care if the album wasnt punk enough, or whether it produced a cross-platform hit. There are no ballads here, actually, and while there are a number of punchy, infectious rockers, the tempo is never recklessly breakneck. Instead, the focus is squarely on the songs, with the instrumentation and arrangements serving their needs. Its easy to say that Green Day have matured with this album, since theyve never produced a better, more tuneful set of songs, or tried so many studio tricks and clever arrangements. However, that has the wrong connotation, since "mature" would indicate that Warning is a studious, carefully assembled album thats easier to admire than to love. Thats not the case at all. This is gleeful, unabashed fun, even when Billie Joe Armstrong is getting a little cranky in his lyrics. Its fun to hear Green Day adopt a Beatlesque harmonica on "Hold On" or try out Kinks-ian music hall on "Misery," while still knocking out punk-pop gems and displaying melodic ingenuity and imaginative arrangements. Warning may not be an innovative record per se, but its tremendously satisfying; it finds the band at a peak of songcraft and performance, doing it all without a trace of self-consciousness. Its the first great pure pop album of the new millennium. | ||
 | Album: 11 of 25 Title: Maximum Green Day Released: 2001-06-11 Tracks: 11 Duration: 57:45 Scroll: Up Down Top Bottom 25% 50% 75% Allmusic AlbumCover | 1 Punk Rock Rules the Airwaves (05:45) 2 Not-So-Sweet Childhood (05:00) 3 Roots (05:07) 4 Doing It for the Kids (04:35) 5 Playing Out (05:04) 6 Pushing Hard (05:18) 7 Working for the Man (04:14) 8 Top of the World (05:04) 9 Flipside (04:32) 10 Fighting the System (05:35) 11 Still Shouting Out Loud (07:31) |
 | Album: 12 of 25 Title: Tune In, Tokyo… Released: 2001-08-22 Tracks: 7 Duration: 24:02 Scroll: Up Down Top Bottom 25% 50% 75% Wikipedia Allmusic AlbumCover | 1 Church on Sunday (03:51) 2 Castaway (05:21) 3 Blood, Sex and Booze (03:40) 4 King for a Day (?) 5 Waiting (?) 6 Minority (06:44) 7 Macy’s Day Parade (04:24) |
 | Album: 13 of 25 Title: International Superhits Released: 2001-11-12 Tracks: 21 Duration: 1:00:54 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Wikipedia Allmusic AlbumCover | 1 Maria (02:46) 2 Poprocks & Coke (02:38) 3 Longview (03:59) 4 Welcome to Paradise (03:44) 5 Basket Case (03:03) 6 When I Come Around (02:58) 7 She (02:14) 8 J.A.R. (Jason Andrew Relva) (02:50) 9 Geek Stink Breath (02:15) 10 Brain Stew (03:13) 11 Jaded (01:30) 12 Walking Contradiction (02:31) 13 Stuck With Me (02:15) 14 Hitchin’ a Ride (02:51) 15 Good Riddance (Time of Your Life) (02:34) 16 Redundant (03:17) 17 Nice Guys Finish Last (02:49) 18 Minority (02:49) 19 Warning (03:42) 20 Waiting (03:13) 21 Macy’s Day Parade (03:34) |
| International Superhits : Allmusic album Review : In the heady days of the post-grunge mid-90s, it was hard to see who were real and who were pretenders -- and that didnt even take into account whose music would stand the test of time and whose wouldnt. Which is a roundabout way of saying that even if Green Days breakthrough record, Dookie, sold millions upon millions of copies, it was hard to tell if it was a fluke of their talent or their time -- whether they deserved it or not, or whether they just were in the right place at the right time. Years later, after many more hits and brilliant albums like Warning, it became clear that Green Day were an exceptional band that was blessed to come along at precisely the right time, so they could flourish commercially and artistically. If you look at their peers, youll realize that not many were able to pull that trick off, and a collection like International Superhits! confirms that they not only were popular and good, but they could have held their own against their idols. And thats not an idle boast, either -- listening to this generous 21-track collection, which does contain all the hits but also a new song and such non-LP songs as "J.A.R. (Jason Andrew Relva)" (from the Angus soundtrack, if youre keeping track), it becomes clear that the group was as melodic as the Jam or the Buzzcocks and as impassioned as the Clash, only they were American and coming about 15 years too late. Those British comparisons are accurate -- they borrowed the sound and style of classic U.K. punk and delivered it with the spirit and attitude of the 80s underground, which gave them a distinctly 90s spin, where 80s irony met 60s and 70s classicism. So, even if they were unintentionally working within a familiar framework, they infused it with passion and unpredictability -- particularly in the sense that nobody would have guessed that Billie Joe Armstrong was such a damn good songwriter, no matter if he was writing frenzied punk like "Brain Stew/Jaded," sub-Stray Cat strut like "Hitchin a Ride," or affecting pop like "When I Come Around" and "Good Riddance (Time of Your Life)." Better still, that just scratches the surfaces of his talents, and it doesnt even acknowledge that he partnered with a band that could deliver those songs, resulting in a body of work more consistent and thrilling than the Sex Pistols and more ambitious than the Ramones. If that sounds like sacrilege, well, you just havent listened with open ears, as this stellar collection proves. Distilled to their singles, Green Day sound fiercer than ever, and more musically vibrant -- and, if youre a fan of the albums, its easy to realize that this just scratches the surface of what theyve done. But that surface is spectacular -- proof positive that Green Day are one of the great punk bands, regardless of era. And theres no better proof of that than this addictive, essential collection. | ||
 | Album: 14 of 25 Title: American Idiot Released: 2004-09-20 Tracks: 13 Duration: 57:17 Scroll: Up Down Top Bottom 25% 50% 75% Spotify TrackSamples Allmusic AlbumCover | 1 American Idiot (02:55) 2 Jesus of Suburbia: I. Jesus of Suburbia / II. City of the Damned / III. I Don’t Care / IV. Dearly Beloved / V. Tales of Another Broken Home (09:08) 3 Holiday (03:52) 4 Boulevard of Broken Dreams (04:21) 5 Are We the Waiting (02:43) 6 St. Jimmy (02:55) 1 Give Me Novacaine (03:26) 2 She’s a Rebel (02:00) 3 Extraordinary Girl (03:34) 4 Letterbomb (04:06) 5 Wake Me Up When September Ends (04:45) 6 Homecoming: I. The Death of St. Jimmy / II. East 12th St. / III. Nobody Likes You / IV. Rock and Roll Girlfriend / V. We’re Coming Home Again (09:19) 7 Whatsername (04:12) |
| American Idiot : Allmusic album Review : Its a bit tempting to peg Green Days sprawling, ambitious, brilliant seventh album, American Idiot, as their version of a Who album, the next logical step forward from the Kinks-inspired popcraft of their underrated 2000 effort, Warning, but things arent quite that simple. American Idiot is an unapologetic, unabashed rock opera, a form that Pete Townshend pioneered with Tommy, but Green Day doesnt use that for a blueprint as much as they use the Whos mini-opera "A Quick One, While Hes Away," whose whirlwind succession of 90-second songs isnt only emulated on two song suites here, but provides the template for the larger 13-song cycle. But the Who are only one of many inspirations on this audacious, immensely entertaining album. The story of St. Jimmy has an arc similar to Hüsker Düs landmark punk-opera Zen Arcade, while the music has grandiose flourishes straight out of both Queen and Rocky Horror Picture Show (the 50s pastiche "Rock and Roll Girlfriend" is punk rock Meat Loaf), all tied together with a nervy urgency and a political passion reminiscent of the Clash, or all the anti-Reagan American hardcore bands of the 80s. These are just the clearest touchstones for American Idiot, but reducing the album to its influences gives the inaccurate impression that this is no more than a patchwork quilt of familiar sounds, when its an idiosyncratic, visionary work in its own right. First of all, part of Green Days appeal is how they have personalized the sounds of the past, making time-honored guitar rock traditions seem fresh, even vital. With their first albums, they styled themselves after first-generation punk they were too young to hear firsthand, and as their career progressed, the group not only synthesized these influences into something distinctive, but chief songwriter Billie Joe Armstrong turned into a muscular, versatile songwriter in his own right. Warning illustrated their growing musical acumen quite impressively, but here, the music isnt only tougher, its fluid and, better still, it fuels the anger, disillusionment, heartbreak, frustration, and scathing wit at the core of American Idiot. And one of the truly startling things about American Idiot is how the increased musicality of the band is matched by Armstrongs incisive, cutting lyrics, which effectively convey the paranoia and fear of living in American in days after 9/11, but also veer into moving, intimate small-scale character sketches. Theres a lot to absorb here, and cynics might dismiss it after one listen as a bit of a mess when its really a rich, multi-faceted work, one that is bracing upon the first spin and grows in stature and becomes more addictive with each repeated play. Like all great concept albums, American Idiot works on several different levels. It can be taken as a collection of great songs -- songs that are as visceral or as poignant as Green Day at their best, songs that resonate outside of the larger canvas of the story, as the fiery anti-Dubya title anthem proves -- but these songs have a different, more lasting impact when taken as a whole. While its breakneck, freewheeling musicality has many inspirations, there really arent many records like American Idiot (bizarrely enough, the Fiery Furnaces Blueberry Boat is one of the closest, at least on a sonic level, largely because both groups draw deeply from the kaleidoscopic "A Quick One"). In its musical muscle and sweeping, politically charged narrative, its something of a masterpiece, and one of the few -- if not the only -- records of 2004 to convey what it feels like to live in the strange, bewildering America of the early 2000s. | ||
 | Album: 15 of 25 Title: Transmissions Released: 2007-07-23 Tracks: 18 Duration: 50:08 Scroll: Up Down Top Bottom 25% 50% 75% Allmusic AlbumCover | 1 409 in Your Coffeemaker (02:49) 2 Welcome to Paradise (03:29) 3 2,000 Light Years Away (02:22) 4 The Judge’s Daughter (02:29) 5 Christie Road (03:38) 6 Only of You (02:48) 7 Who Wrote Holden Caulfield? (02:46) 8 Going to Pasalacqua (03:48) 9 Paper Lanterns (04:23) 10 One of My Lies (01:25) 11 Dominated Love Songs (01:44) 12 F.O.D. (01:12) 13 Words I Might Have Ate (02:48) 14 Chump (02:32) 15 Longview (03:30) 16 Basket Case (03:23) 17 When I Come Around (02:48) 18 Burnout (02:04) |
 | Album: 16 of 25 Title: 21st Century Breakdown Released: 2009-05-12 Tracks: 18 Duration: 1:09:15 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Wikipedia Allmusic AlbumCover | 1 Song of the Century (00:57) 2 21st Century Breakdown (05:09) 3 Know Your Enemy (03:11) 4 ¡Viva la Gloria! (03:30) 5 Before the Lobotomy (04:37) 6 Christian’s Inferno (03:07) 7 Last Night on Earth (03:56) 8 East Jesus Nowhere (04:34) 9 Peacemaker (03:24) 10 Last of the American Girls (03:51) 11 Murder City (02:54) 12 ¿Viva la Gloria? (Little Girl) (03:47) 13 Restless Heart Syndrome (04:21) 14 Horseshoes and Handgrenades (03:14) 15 The Static Age (04:16) 16 21 Guns (05:21) 17 American Eulogy: Mass Hysteria / Modern World (04:26) 18 See the Light (04:35) |
| 21st Century Breakdown : Allmusic album Review : American Idiot was a rarity of the 21st century: a bona fide four-quadrant hit, earning critical and commercial respect, roping in new fans young and old alike. It was so big it turned Green Day into something it had never been before -- respected, serious rockers, something they were never considered during their first flight of success with Dookie. Back then, they were clearly (and proudly) slacker rebels with a natural gift for a pop hook, but American Idiot was a big album with big ideas, a political rock opera in an era devoid of both protest rock and wild ambition, so its success was a surprise. It also ratcheted up high expectations for its successor, and Green Day consciously plays toward those expectations on 2009s 21st Century Breakdown, another political rock opera that isnt an explicit sequel but could easily be mistaken for one, especially as its narrative follows a young couple through the wilderness of modern urban America. Heady stuff, but like the best rock operas, the concept doesnt get in the way of the music, which is a bit of an accomplishment because 21st Century Breakdown leaves behind the punchy 60s Who fascination for Queen and 70s Who, giving this more than its share of pomp and circumstance. Then again, puffed-up protest is kind of the point of 21st Century Breakdown: its meant to be taken seriously, so its not entirely surprising that Green Day fall into many of the same pompous tarpits as their heroes, ratcheting up the stately pianos, vocal harmonies, repeated musical motifs, doubled and tripled guitars, and synthesized effects that substitute for strings, then adding some orchestras for good measure. It would all sound cluttered, even turgid, if it werent for Green Days unerring knack for writing muscular pop and natural inclination to run clean and lean, letting only one song run over five minutes and never letting the arrangements overshadow the song. Although Green Days other natural gift, that for impish irreverent humor, is missed -- they left it all behind on their 2008 garage rock side project Foxboro Hot Tubs -- the band manages to have 21st Century Breakdown work on a grand scale without losing either their punk or pop roots, which makes the album not only a sequel to American Idiot, but its equal. | ||
 | Album: 17 of 25 Title: 21st Century Breakdown / American Idiot Released: 2012-08-13 Tracks: 31 Duration: 2:06:32 Scroll: Up Down Top Bottom 25% 50% 75% Allmusic AlbumCover | 1 Song of the Century (00:57) 2 21st Century Breakdown (05:09) 3 Know Your Enemy (03:11) 4 ¡Viva la Gloria! (03:30) 5 Before the Lobotomy (04:37) 6 Christian’s Inferno (03:07) 7 Last Night on Earth (03:56) 8 East Jesus Nowhere (04:34) 9 Peacemaker (03:24) 10 Last of the American Girls (03:51) 11 Murder City (02:54) 12 ¿Viva la Gloria? (Little Girl) (03:47) 13 Restless Heart Syndrome (04:21) 14 Horseshoes and Handgrenades (03:14) 15 The Static Age (04:16) 16 21 Guns (05:21) 17 American Eulogy: Mass Hysteria / Modern World (04:26) 18 See the Light (04:35) 1 American Idiot (02:55) 2 Jesus of Suburbia: I. Jesus of Suburbia / II. City of the Damned / III. I Don’t Care / IV. Dearly Beloved / V. Tales of Another Broken Home (09:08) 3 Holiday (03:52) 4 Boulevard of Broken Dreams (04:21) 5 Are We the Waiting (02:43) 6 St. Jimmy (02:55) 7 Give Me Novacaine (03:26) 8 She’s a Rebel (02:00) 9 Extraordinary Girl (03:34) 10 Letterbomb (04:06) 11 Wake Me Up When September Ends (04:45) 12 Homecoming: I. The Death of St. Jimmy / II. East 12th St. / III. Nobody Likes You / IV. Rock and Roll Girlfriend / V. We’re Coming Home Again (09:19) 13 Whatsername (04:12) |
 | Album: 18 of 25 Title: The Studio Albums 1990-2009 Released: 2012-08-27 Tracks: 125 Duration: 6:30:53 Scroll: Up Down Top Bottom 25% 50% 75% Allmusic AlbumCover | 1 At the Library (02:26) 2 Don’t Leave Me (02:37) 3 I Was There (03:34) 4 Disappearing Boy (02:49) 5 Green Day (03:26) 6 Going to Pasalacqua (03:28) 7 16 (03:22) 8 Road to Acceptance (03:33) 9 Rest (03:03) 10 The Judge’s Daughter (02:32) 11 Paper Lanterns (02:23) 12 Why Do You Want Him? (02:30) 13 409 in Your Coffeemaker (02:52) 14 Knowledge (02:17) 15 1,000 Hours (02:23) 16 Dry Ice (03:44) 17 Only of You (02:43) 18 The One I Want (02:59) 19 I Want to Be Alone (03:09) 1 2,000 Light Years Away (02:24) 2 One for the Razorbacks (02:30) 3 Welcome to Paradise (03:30) 4 Christie Road (03:33) 5 Private Ale (02:26) 6 Dominated Love Slave (01:41) 7 One of My Lies (02:19) 8 80 (03:39) 9 Android (03:00) 10 No One Knows (03:39) 11 Who Wrote Holden Caulfield? (02:44) 12 Words I Might Have Ate (02:32) 13 Sweet Children (01:41) 14 Best Thing in Town (02:03) 15 Strangeland (02:08) 16 My Generation (02:19) 1 Burnout (02:07) 2 Having a Blast (02:44) 3 Chump (02:54) 4 Longview (03:59) 5 Welcome to Paradise (03:44) 6 Pulling Teeth (02:30) 7 Basket Case (03:03) 8 She (02:14) 9 Sassafras Roots (02:37) 10 When I Come Around (02:58) 11 Coming Clean (01:34) 12 Emenius Sleepus (01:43) 13 In the End (01:46) 14 F.O.D. / All by Myself (05:46) 1 Armatage Shanks (02:17) 2 Brat (01:43) 3 Stuck With Me (02:15) 4 Geek Stink Breath (02:15) 5 No Pride (02:19) 6 Bab’s Uvula Who? (02:08) 7 86 (02:47) 8 Panic Song (03:35) 9 Stuart and the Ave. (02:03) 10 Brain Stew (03:13) 11 Jaded (01:30) 12 Westbound Sign (02:13) 13 Tight Wad Hill (02:01) 14 Walking Contradiction (02:31) 1 Nice Guys Finish Last (02:49) 2 Hitchin’ a Ride (02:51) 3 The Grouch (02:12) 4 Redundant (03:17) 5 Scattered (03:02) 6 All the Time (02:10) 7 Worry Rock (02:27) 8 Platypus (I Hate You) (02:21) 9 Uptight (03:04) 10 Last Ride In (03:47) 11 Jinx (02:12) 12 Haushinka (03:25) 13 Walking Alone (02:45) 14 Reject (02:05) 15 Take Back (01:09) 16 King for a Day (03:13) 17 Good Riddance (Time of Your Life) (02:34) 18 Prosthetic Head (03:38) 1 Warning (03:42) 2 Blood, Sex and Booze (03:33) 3 Church on Sunday (03:18) 4 Fashion Victim (02:48) 5 Castaway (03:52) 6 Misery (05:05) 7 Deadbeat Holiday (03:35) 8 Hold On (02:56) 9 Jackass (02:43) 10 Waiting (03:13) 11 Minority (02:49) 12 Macy’s Day Parade (03:34) 13 86 (03:00) 1 American Idiot (02:55) 2 Jesus of Suburbia: I. Jesus of Suburbia / II. City of the Damned / III. I Don’t Care / IV. Dearly Beloved / V. Tales of Another Broken Home (09:08) 3 Holiday (03:52) 4 Boulevard of Broken Dreams (04:21) 5 Are We the Waiting (02:43) 6 St. Jimmy (02:55) 7 Give Me Novacaine (03:26) 8 She’s a Rebel (02:00) 9 Extraordinary Girl (03:34) 10 Letterbomb (04:06) 11 Wake Me Up When September Ends (04:45) 12 Homecoming: I. The Death of St. Jimmy / II. East 12th St. / III. Nobody Likes You / IV. Rock and Roll Girlfriend / V. We’re Coming Home Again (09:19) 13 Whatsername (04:12) 1 Song of the Century (00:57) 2 21st Century Breakdown (05:09) 3 Know Your Enemy (03:11) 4 ¡Viva la Gloria! (03:30) 5 Before the Lobotomy (04:37) 6 Christian’s Inferno (03:07) 7 Last Night on Earth (03:56) 8 East Jesus Nowhere (04:34) 9 Peacemaker (03:24) 10 Last of the American Girls (03:51) 11 Murder City (02:54) 12 ¿Viva la Gloria? (Little Girl) (03:47) 13 Restless Heart Syndrome (04:21) 14 Horseshoes and Handgrenades (03:14) 15 The Static Age (04:16) 16 21 Guns (05:21) 17 American Eulogy: Mass Hysteria / Modern World (04:26) 18 See the Light (04:35) |
 | Album: 19 of 25 Title: ¡Uno! Released: 2012-09-21 Tracks: 12 Duration: 41:48 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Wikipedia Allmusic AlbumCover | 1 Nuclear Family (03:03) 2 Stay the Night (04:36) 3 Carpe Diem (03:25) 4 Let Yourself Go (02:56) 5 Kill the DJ (03:41) 6 Fell for You (03:08) 7 Loss of Control (03:07) 8 Troublemaker (02:45) 9 Angel Blue (02:46) 10 Sweet 16 (03:03) 11 Rusty James (04:09) 12 Oh Love (05:03) |
| ¡Uno! : Allmusic album Review : Green Days new millennium elevation to Very Important Band is so complete that when they decided to return to their frivolous punk roots they couldnt do it in a small way. They started to knock out a bunch of garage punk tunes and wound up with not one but three collections of punk-pop: a trilogy entitled ¡Uno!, ¡Dos!, ¡Tré!, each released within a couple months of one another. For as many passing references to the Clash as there are on ¡Uno! -- musical and lyrical, with the opening "Nuclear Family" alluding to the riff of "Safe European Home" and "Rusty James" talking about the "last gang in town" -- this is no Sandinista!, as it finds Green Day shrinking their world, not expanding it. This is all power pop and three-chord rockers, the tempo insistent and the hooks spiky and sharp; the only time things let up is at the end with "Oh Love," an arena filler so indebted to the Who that Billie Joe Armstrong winds up referencing "Love Reign Oer Me." Even then, the sound is big, crisp, and clean, as it is throughout ¡Uno!, and that clarity undercuts some of the punkiness of Green Days intentions. Compared to their busmans holiday Foxboro Hot Tubs, ¡Uno! seems well-pressed and tidy, every note and every rhythm in its right place, and while that inspired recklessness is missed, this brisk, cheerful collection of pop is a relief after the operatic ambitions of 21st Century Breakdown. The hooks fly furiously, the attack is precise -- so precise that the mock dance-rock of "Kill the DJ" almost plays like a Xerox of Franz Ferdinand (it also is the one explicitly political song here, as if the trio members wanted to hide their intentions) -- and the hooks, in both the melodies and riffs, are so huge, they gleefully bludgeon doubters into blissful submission. Its the work not of punks but of road warriors eager to have a new batch of crowd-pleasers out on tour. | ||
 | Album: 20 of 25 Title: ¡Dos! Released: 2012-11-09 Tracks: 13 Duration: 39:28 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Wikipedia Allmusic AlbumCover | 1 See You Tonight (01:06) 2 Fuck Time (02:45) 3 Stop When the Red Lights Flash (02:26) 4 Lazy Bones (03:34) 5 Wild One (04:19) 6 Makeout Party (03:14) 7 Stray Heart (03:45) 8 Ashley (02:50) 9 Baby Eyes (02:22) 10 Lady Cobra (02:05) 11 Nightlife (03:05) 12 Wow! That’s Loud (04:27) 13 Amy (03:25) |
| ¡Dos! : Allmusic album Review : Two days after the release of ¡Uno!, the first installment of an ambitious punk-pop trilogy from Green Day, Billie Joe Armstrong checked into rehab for various substance problems, problems that reached a head during an on-stage meltdown at a radio festival the weekend prior to the albums release. Needless to say, the bands complicated plans for 2012 and 2013 were adjusted, with the supporting tour scrapped and the concluding LP ¡Tré! moved up from January to December. Amidst the chaos, the one thing unaffected was ¡Dos!, which appeared according to schedule in November of 2012. While certainly cut from the same cloth as ¡Uno!, ¡Dos! has a different feel than its cousin. Green Day pushed all of their Who-inflected arena rock onto the first of the albums, leaving ¡Dos! a high-octane collection of garage pop and hooky punk. At the outset, Billie Joe declares its "F*** Time," and hes not entirely kidding, either. This is the "Makeout Party" album, a breakneck sprint through songs about girls ("Ashley," "Amy"), wild ones, and "Nightlife," the latter awkwardly incorporating a rap from Lady Cobra. Armstrong spits out profanities as he thrashes on his guitar, pounding out hooks that dig in immediately, possibly because they recall anything from 60s frat-rock to 70s punk. In that sense, ¡Dos! recalls Green Days terrific 2008 busmans holiday Foxboro Hot Tubs (indeed, "F*** Time" began as a FHT song), but this feels more hedonistic, even if the production is crisper and clearer than Stop Drop and Roll!!!! Maybe its all due to the knowledge of Armstrongs post-recording breakdown, but he feels positively desperate to have a good time at all costs, grasping for a quickly fading past. Clearly, all the partying caught up to him, but while he was racing recklessly, he cut this terrific little party record. | ||
 | Album: 21 of 25 Title: Uno...Dos...Tré! Released: 2012-12-07 Tracks: 37 Duration: 2:08:00 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Allmusic AlbumCover | 1 Nuclear Family (03:03) 2 Stay the Night (04:36) 3 Carpe Diem (03:25) 4 Let Yourself Go (02:56) 5 Kill the DJ (03:41) 6 Fell for You (03:08) 7 Loss of Control (03:07) 8 Troublemaker (02:45) 9 Angel Blue (02:46) 10 Sweet 16 (03:03) 11 Rusty James (04:09) 12 Oh Love (05:03) 1 See You Tonight (01:06) 2 Fuck Time (02:45) 3 Stop When the Red Lights Flash (02:26) 4 Lazy Bones (03:34) 5 Wild One (04:19) 6 Makeout Party (03:14) 7 Stray Heart (03:45) 8 Ashley (02:50) 9 Baby Eyes (02:22) 10 Lady Cobra (02:05) 11 Nightlife (03:05) 12 Wow! That’s Loud (04:27) 13 Amy (03:25) 1 Brutal Love (04:54) 2 Missing You (03:43) 3 8th Avenue Serenade (02:36) 4 Drama Queen (03:07) 5 X-Kid (03:41) 6 Sex, Drugs & Violence (03:31) 7 A Little Boy Named Train (03:37) 8 Amanda (02:28) 9 Walk Away (03:45) 10 Dirty Rotten Bastards (06:26) 11 99 Revolutions (03:49) 12 The Forgotten (04:58) |
 | Album: 22 of 25 Title: ¡Tré! Released: 2012-12-07 Tracks: 12 Duration: 46:42 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Wikipedia Allmusic AlbumCover | 1 Brutal Love (04:54) 2 Missing You (03:43) 3 8th Avenue Serenade (02:36) 4 Drama Queen (03:07) 5 X-Kid (03:41) 6 Sex, Drugs & Violence (03:31) 7 A Little Boy Named Train (03:37) 8 Amanda (02:28) 9 Walk Away (03:45) 10 Dirty Rotten Bastards (06:26) 11 99 Revolutions (03:49) 12 The Forgotten (04:58) |
 | Album: 23 of 25 Title: Demolicious Released: 2014-04-19 Tracks: 18 Duration: 1:02:47 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Allmusic Wikipedia AlbumCover | 1 99 Revolutions (04:06) 2 Angel Blue (02:55) 3 Carpe Diem (03:39) 4 State of Shock (02:28) 5 Let Yourself Go (03:00) 6 Sex, Drugs & Violence (03:25) 7 Ashley (02:47) 8 Fell for You (03:12) 9 Stay the Night (04:40) 10 Nuclear Family (03:03) 11 Stray Heart (03:50) 12 Rusty James (04:15) 13 A Little Boy Named Train (03:57) 14 Baby Eyes (02:15) 15 Makeout Party (03:12) 16 Oh Love (05:13) 17 Missing You (03:41) 18 Stay the Night (03:09) |
| Demolicious : Allmusic album Review : Released in conjunction with the limited editions and rarities of 2014s Record Store Day proceedings, Demolicious collects 18 demos recorded around the same time as Green Days 2012 ¡Uno! ¡Dos! ¡Tré! album trilogy. By the time of those albums, Green Day had come a long way from their scrappy roots at all-ages clubs like Gilman Street, and the Jam-inspired/spirit of 1977 mod punk tunes of early albums like 39/Smooth and Kerplunk! were 20 years old or more. The recording quality of many of these "demos" rivals the production on proper albums from many indie acts, and even sounds fuller at times than the low-budget early records of Green Day themselves. That said, the versions presented here are far rawer and more exciting than the fully produced songs that made it onto the albums. Highlights include previously unreleased track "State of Shock" and an acoustic version of "Stay the Night" from ¡Uno! Though more stripped-down and loose than usual album fare, the tunes on Demolicious end up feeling more direct and more fun, many songs ending with the sound of the bandmembers lightheartedly joking, complimenting each other, and sounding generally like theyre having a blast rocking out their new tunes, warts and all. | ||
 | Album: 24 of 25 Title: Revolution Radio Released: 2016-10-07 Tracks: 12 Duration: 44:29 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Wikipedia Allmusic AlbumCover | 1 Somewhere Now (04:08) 2 Bang Bang (03:25) 3 Revolution Radio (03:00) 4 Say Goodbye (03:39) 5 Outlaws (05:02) 6 Bouncing Off the Wall (02:40) 7 Still Breathing (03:44) 8 Youngblood (02:32) 9 Too Dumb to Die (03:23) 10 Troubled Times (03:04) 11 Forever Now (06:52) 12 Ordinary World (03:00) |
| Revolution Radio : Allmusic album Review : Green Day imploded after the December 2012 release of Tre, the final part of a triple-album project. The very unwieldiness of Uno, Dos, and Tre -- all released in rapid succession in the autumn of 2012 -- suggested that Green Day were perhaps suffering from a lack of focus, but the group wound up taking a forced hiatus once leader Billie Joe Armstrong entered rehab in the middle of the triple-album rollout. Given all this chaos, its hard not to view 2016s Revolution Radio as a consolidation, a way for the band to shake off all distractions and get back to basics. Discarded alongside the mess and garage rock affectations that marked Uno, Dos, and Tre is any sense of concept at all -- a marked departure from their work of the past 15 years. Green Day may no longer be writing rock operas, but despite a title that seems swiped from the Clash, Revolution Radio retains a sense of righteous indignation reminiscent of prime Who that the trio channeled on American Idiot and 21st Century Breakdown. Without a concept, the stabs at social significance sting a little harder -- granted, Armstrong makes it impossible to miss the meaning of the anti-mass shooting "Bang Bang" or the self-explanatory "Troubled Times" -- but this concentration on individual songs also shifts the focus back to how the band really can craft dynamic rock songs. Often, this means their best songs are the simplest -- the heavy-booted swing of "Say Goodbye" or the frothy, clap-along "Youngblood" -- but the mini-epic of "Forever Now" shows theyve retained the flair for the dramatic that they developed on American Idiot. If Revolution Radio can seem a little too pat -- the concluding ballad "Ordinary World" is a conscious callback to both "Good Riddance (Time of Your Life)" and "Wake Me When September Ends" -- such discipline was needed after the ungainly sprawl of 2012. Here, Green Day have nothing more in mind than righting their ship, and thats precisely what they do. | ||
 | Album: 25 of 25 Title: Greatest Hits: God’s Favorite Band Released: 2017-11-17 Tracks: 22 Duration: 1:15:36 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Allmusic AlbumCover | 1 2,000 Light Years Away (02:24) 2 Longview (03:59) 3 Welcome to Paradise (03:30) 4 Basket Case (03:03) 5 When I Come Around (02:58) 6 She (02:14) 7 Brain Stew (03:13) 8 Hitchin’ a Ride (02:51) 9 Good Riddance (Time of Your Life) (02:34) 10 Minority (02:49) 11 Warning (03:42) 12 American Idiot (02:55) 13 Holiday (03:52) 14 Boulevard of Broken Dreams (04:21) 15 Wake Me Up When September Ends (04:45) 16 Know Your Enemy (03:11) 17 21 Guns (05:21) 18 Oh Love (05:03) 19 Bang Bang (03:25) 20 Still Breathing (03:44) 21 Ordinary World (03:01) 22 Back in the USA (02:36) |
| Greatest Hits: God’s Favorite Band : Allmusic album Review : Green Day released their first hits collection in 2001, just prior to opening up a wildly successful second act with 2004s American Idiot. Greatest Hits: Gods Favorite Band incorporates all the hits from that second act in an album thats just one song longer than the 21-track International Superhits! Gods Favorite Band repeats ten songs from its predecessor and theyre all the ones youd expect: "Longview," "Welcome to Paradise," "Basket Case," "When I Come Around," "She," "Brain Stew," "Hitchin a Ride," "Good Riddance (Time of Your Life)," "Minority," and "Warning." Similarly, the six Green Day albums since International Superhits! are represented by the big hits -- "American Idiot," "Holiday," "Boulevard of Broken Dreams," "Wake Me Up When September Ends," "Know Your Enemy" -- with the triple-album ¡Uno!, ¡Dos!, ¡Tré! being dismissed with only one song ("Oh Love"). To this foundation, the band adds two new cuts -- "Back in the USA" and a duet with Miranda Lambert called "Ordinary World" -- but the real appeal of Gods Favorite Band is how it serves as a testament for the longevity of Green Day, which is the opposite argument of International Superhits! That collection still stands as an excellent distillation of Green Days frenetic 90s, while this one paints the band as sturdy rock & roll lifers. | ||