Green Day is an American rock band formed in the East Bay of California in 1987 by lead vocalist and guitarist Billie Joe Armstrong, together with bassist and backing vocalist Mike Dirnt. For most of the band’s career, they have been a power trio[1] with drummer Tré Cool, who replaced John Kiffmeyer in 1990 before the recording of the band’s second studio album, Kerplunk (1991). Touring guitarist Jason White became a full-time member in 2012, but returned to his touring role in 2016. Before taking its current name in 1989, Green Day was called Sweet Children, and they were part of the late 1980s/early 1990s Bay Area punk scene that emerged from the 924 Gilman Street club in Berkeley, California. The band’s early releases were with the independent record label Lookout! Records. In 1994, their major-label debut Dookie, released through Reprise Records, became a breakout success and eventually shipped over 10 million copies in the U.S. Alongside fellow California punk bands Bad Religion, the Offspring, Rancid, and Social Distortion, Green Day is credited with popularizing mainstream interest in punk rock in the U.S.
Though the albums Insomniac (1995), Nimrod (1997), and Warning (2000) did not match the success of Dookie, they were still successful, with the former two reaching double platinum status, while the latter achieved gold. Green Day’s seventh album, a rock opera called American Idiot (2004), found popularity with a younger generation, selling six million copies in the U.S. Their next album, 21st Century Breakdown, was released in 2009 and achieved the band’s best chart performance. It was followed by a trilogy of albums, ¡Uno!, ¡Dos!, and ¡Tré!, released in September, November, and December 2012, respectively. The trilogy did not perform as well as expected commercially, in comparison to their previous albums, largely due to lack of promotion and Armstrong entering rehab. Their twelfth studio album, Revolution Radio, was released in October 2016 and became their third to debut at No. 1 on the Billboard 200. The band’s thirteenth studio album, Father of All Motherfuckers, was released on February 7, 2020.
Green Day has sold more than 75 million records worldwide,[2] making them one of the world’s best-selling artists. The group has been nominated for 20 Grammy awards and has won five of them with Best Alternative Album for Dookie, Best Rock Album for American Idiot and 21st Century Breakdown, Record of the Year for “Boulevard of Broken Dreams”, and Best Musical Show Album for American Idiot: The Original Broadway Cast Recording.
In 2010, a stage adaptation of American Idiot debuted on Broadway. The musical was nominated for three Tony Awards: Best Musical, Best Scenic Design, and Best Lighting Design, winning the latter two. The band was inducted into the Rock and Roll Hall of Fame in 2015, their first year of eligibility. Members of the band have collaborated on the side projects Pinhead Gunpowder, The Network, Foxboro Hot Tubs, The Longshot, and The Coverups. They have also worked on solo careers. (wikipedia)
American Idiot is the seventh studio album by American rock band Green Day, released on September 21, 2004, by Reprise Records. The album was produced by Rob Cavallo in collaboration with Green Day, an arrangement the group have been using since they signed with a major label. Recording sessions for American Idiot were made at Studio 880, in Oakland and Ocean Way Recording in Hollywood, both in California, between 2003 and 2004. A concept album, dubbed a “punk rock opera” by the band members, American Idiot follows the story of Jesus of Suburbia, a lower-middle-class American adolescent anti-hero. The album expresses the disillusionment and dissent of a generation that came of age in a period shaped by tumultuous events such as 9/11 and the Iraq War. In order to accomplish this, the band used unconventional techniques for themselves, including transitions between connected songs and some long, chaptered, creative compositions presenting the album themes.
Following the disappointing sales of their previous album Warning (2000), the band took a break before beginning what they had planned to be their next album, Cigarettes and Valentines. However, recording was cut short when the master tapes were stolen; following this, the band made the decision to start their next album from scratch. The result was a more societally critical, politically charged record which returned to the band’s punk rock sound following the more folk- and pop-inspired Warning, with additional influences that were not explored on their older punk albums. Additionally, the band underwent an “image change”, wearing red and black uniforms onstage, to add more theatrical presence to the album.
American Idiot became one of the most anticipated releases of 2004. It marked a career comeback for Green Day, charting in 27 countries, reaching for the first time the top spot on the Billboard 200 for the group and peaking at number one in 18 other countries. It has sold over 16 million copies worldwide, making it the second best-selling album for the band (behind their 1994 major-label debut, Dookie) and one of the best-selling albums of the decade. It was later certified 6× Platinum by the Recording Industry Association of America in 2013. The album spawned five successful singles: the titular track, “American Idiot”, “Holiday”, “Wake Me Up When September Ends”, “Jesus of Suburbia” and the Grammy Award for Record of the Year winner “Boulevard of Broken Dreams”.
American Idiot was very well received critically. It was nominated for Album of the Year and won the Award for Best Rock Album at the 2005 Grammy Awards. It was also nominated for Best Album at the Europe Music Awards and the Billboard Music Awards, winning the former. Its success inspired a Broadway musical, a documentary and a planned feature film adaptation. Rolling Stone placed it at 225 on their 2012 list of the “500 Greatest Albums of All Time”, and again in 2020, at 248. (wikipedia)
It’s a bit tempting to peg Green Day’s 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 aren’t quite that simple. American Idiot is an unapologetic, unabashed rock opera, a form that Pete Townshend pioneered with Tommy, but Green Day doesn’t use that for a blueprint as much as they use the Who’s mini-opera “A Quick One, While He’s Away,” whose whirlwind succession of 90-second songs isn’t 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 Dü’s 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 it’s an idiosyncratic, visionary work in its own right. First of all, part of Green Day’s 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 isn’t only tougher, it’s 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 Armstrong’s 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. There’s a lot to absorb here, and cynics might dismiss it after one listen as a bit of a mess when it’s 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 aren’t 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, it’s 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. (by Stephen Thomas Erlewine)
Personnel:
Billie Joe Armstrong (guitar, vocals, piano)
Tré Cool (drums, percussion, background vocals; vocals on 12.4.)
Mike Dirnt (bass, background vocals, vocals on 12.3.)
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Rob Cavallo (piano)
Jason Freese (saxophone)
Kathleen Hanna (vocals on 10.)
Tracklist:
01. American Idiot 2.54
02. Jesus Of Suburbia 9.07
02.1. Jesus Of Suburbia 1.51
02.2. City Of The Damned 1.51
02.3. I Don’t Care 1.43
02.4. Dearly Beloved 1.05
02.5. Tales Of Another Broken Home 2.38
03. Holiday 3.52
04. Boulevard Of Broken Dreams 4.20
05. Are We The Waiting 2.42
06. St. Jimmy 2.55
07. Give Me Novacaine 3.25
08. She’s A Rebel 2.00
09. Extraordinary Girl 3.33
10. Letterbomb 4.05
11. Wake Me Up When September Ends 4.45
12. Homecoming 9.17
12.1. The Death Of St. Jimmy 2.24
12.2. East 12th St.1.38
12.3. Nobody Likes You 1.21
12.4. Rock And Roll Girlfriend 0.44
12.5. We’re Coming Home Again 3.11
13. Whatsername 4.12
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14. Shoplifter (single track) 1.51
15. Governator (single track) 2.32
Music: Billie Joe Armstrong – Tré Cool – Mike Dirnt
Lyrics: Billie Joe Armstrong, except
Mike Dirnt on 12.3. and Tré Cool on 12.4.
More from Green Day:
The official website:
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