Green Day

Sonicbond Publishing Limited

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First Published in the United Kingdom 2023

First Published in the United States 2023

This digital edition 2023

British Library Cataloguing in Publication Data: A Catalogue record for this book is available from the British Library

Copyright William E. Spevack 2022

ISBN 978-1-78952-261-7

The right of William E. Spevack to be identified as the author of this work has been asserted by him in accordance with the Copyright, Designs and Patents Act 1988. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without prior permission in writing from Sonicbond Publishing Limited

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This book is dedicated to my mom, who passed away weeks after I began writing it. She was excited to know it was for a band she enjoyed. Despite her older age, she didn’t mind rocking out to Green Day and was very supportive. She served as a big inspiration for me to continue and complete this enjoyable endeavor. Mom, I love you and miss you, and this book is for you.

Rest in peace Dianne Spevack.

Acknowlegements

Thanks to Stephen Lambe for giving me this opportunity. This has been a fantastic journey and your feedback has been a huge help throughout the process. Thanks also to Peter Kearns, the editor who greatly improved this book. Both of you have been invaluable to me in this unforgettable experience.

And thanks to Helga Spevack, Keith Koncurat, Dareth McKenna, Monte Large, Frantz Andersen, Holly Lown, Yuliya Alterman, and my Bard professors, particularly Donna Ford Grover.

Contents

Foreword: Green Day, The Radio Revolutionaries

Introduction

1000 Hours (EP) (1989)

39/Smooth (1990)

Slappy (EP) (1990)

Sweet Children (EP) (1990)

Kerplunk! (1991)

Dookie (1994)

Insomniac (1995)

Nimrod (1997)

Warning (2000)

American Idiot (2004)

Bullet in a Bible (Live) (2005)

21st Century Breakdown (2009)

American Idiot: The Original Broadway Cast Recording (2010)

¡Uno! (2012)

¡Dos! (2012)

¡Tré! (2012)

¡Cuatro! (2013)

Revolution Radio (2016)

Greatest Hits: God’s Favorite Band (2017)

Father of All Motherf**kers (2020)

Live Albums

Compilations

Videos

Side Projects

Solo

Foreword: Green Day, The Radio Revolutionaries

Green Day is an incredibly successful band, critically and commercially. Singer/guitarist Billie Joe Armstrong, bassist Mike Dirnt and drummer Tré Cool have been together creating rock music with a punk heart for over three decades. The trio has reigned supreme, shattering previously-conceived notions about how commercially successful a punk-rock band can be, and helping extend the boundaries of the genre. For three decades, Green Day bounced off the wide walls of alternative rock’s creativity with a passion and fire that ignited some of rock’s greatest albums. According to Joel Whitburn’s Rock Tracks 1981-2008, Green Day, at that point, was ranked as the third overall most successful rock band on the Billboard Modern Rock charts, behind only the Red Hot Chili Peppers and U2. They also ranked third all-time on that chart for most top tens and most number one’s. They revolutionized 1990s punk by installing brilliant melodic pop songwriting infused with their sneering and snotty youthful. The following decade, they expanded their alternative rock sound so widely that they became one of the few bands in history to inspire a second generation of youthful fans through a different style of rock music.

In Rodeo, California, in the 1980s, singer/guitarist Billie Joe Armstrong and bassist Mike Dirnt were just kids out to have some fun. By the 1990s, through massive sales and commercial appeal, the group – who’d drummer Tré Cool at the start of the decade – fueled a firestorm of new pop-punk bands that crashed into the mainstream. The biggest-selling punk album of all-time – 1994’s Dookie – was the centerpiece of the new punk revolution. Despite backlash from the indie punk community, who thought Green Day was selling out, the band continued to successfully blast through more of their influential pop-punk sound, inspiring hundreds of bands around the world.

After perfecting their formula, by the turn of the century, Green Day challenged themselves to push past punk’s aural barriers and embrace their love for classic rock, folk rock, power pop and straight pop, opening their musical and lyrical minds, to create more ambitious works. After they cleared the slate of their older works by releasing a greatest hits album and a B-sides compilation in the early-2000s, the band set themselves up for maximum stardom.

With tremendous ambition, they took on the category of the rock opera. 2004’s American Idiot was the result of Armstrong’s idea of how it felt to live as a youth in America in the 2000s. Heavily politicized and socially aware, the concept album’s alternative-rock style struck a chord with a new set of fans growing up with teenage angst and a distrust for politicians. The record became successful and critically acclaimed. The massive thematic scope continued with a second concept album – 2009’s 21st Century Breakdown – which successfully navigated similarly troubled waters on social, political and personal levels.

By the 2010s, Green Day had reset their strategy. Feeling nostalgic, the trio looked to rekindle their early, non-thematic pop-punk songwriting, feeding it with garage rock, through their brief side project band Foxboro Hot Tubs. Green Day issued the trio of records ¡Uno!, ¡Dos! and ¡Tré!. The new albums stalled their momentum some, but by then, their legacy was set. In 2015, Green Day was inducted into The Rock N’ Roll Hall Of Fame, and re-established their credibility as one of the world’s best rock bands by unleashing some of their greatest songs and performances to create the stimulating Revolution Radio.

In the 2020s, Green Day is still a band in high demand for tens of millions of fans. This book tracks how their music progressed from their indie days, through their rock operas, to their most recent material. It dissects every song from every album.

Introduction

In 1977, punk was on the minds of many. But there was a five-year-old who was not in tune with the punk rock world. Billie Joe Armstrong had talent and was ready to let loose when his mother, Ollie, loaded him into the car to take him to a recording studio. When they were at parties, she’d recognized that little Billie Joe could sing well.

He was born the youngest of six children on 17 February 1972 in Oakland, California. By 1977, he recorded a song called ‘Look For Love,’ written by James J. and Marie Louise Fiatarone. It was pressed for Fiat Records with James producing. Billie Joe’s recording was soft rock with a tint of light jazz. But in the year that punk popped, the Sex Pistols were singing ‘Anarchy In The U.K.,’ and The Clash were singing ‘Hate And War.’ Tiny Billie Joe and his little female backing group predicted Green Day’s early path of marrying love with punk. The B-side was a short interview with Billie Joe that had him dreaming of being in a rock band and making people happy with his music. A snippet of the interview was added to the intro of the Green Day song ‘Maria’ found on International Superhits. Not too surprisingly, Billie Joe loved rock ‘n’ roll much more than the light-jazz ballad he sang in 1972, and he particularly loved punk. In 1982, Armstrong’s father, Andy, died from cancer. Ollie remarried later, but Billie Joe didn’t like his stepfather.

Advancing time another five years, the 15-year-old Billie Joe was playing music with his 15-year-old friend Mike Pritchard. Michael Ryan Pritchard’s rough childhood was enough to drive him into his own teen angst since his parents were divorced and his mother had drug addiction issues. Michael was an only child, born on 4 May 1972 in Oakland, California. His tough situation inspired him to pick up his guitar and rock out the pain, when he wasn’t working to help the family make ends meet. By befriending his fellow Pinole Valley schoolmate Billie Joe, Mike had both a place to live and a place in a band. Despite both guitarists dealing with life as youths from a broken home, Billie Joe and Mike were on the right path, and while heading towards their future musical careers, their pals – bassist Sean Hughes and drummer Raj Punjabi – helped them out. They would write music together, where Billie Joe would be forthright with his opinions on relationships and sing about how he pined for girls that were just out of his reach. Relative to the East Bay punk scene, Green Day were sweet children singing about innocence, growing up and waiting for first kisses.

Naming themselves Sweet Children and beginning to play live shows in late 1987, Sean Hughes and Raj Punjabi eventually faded off back into their own lives, and older teen drummer John Kiffmeyer entered the fray. He was born on 11 May 1969 in El Sobrante, California. He adopted the nickname Al Sobrante, and would eventually be credited that way on some Green Day releases. John had played in a band before – Isocracy – and had more experience in the local music scene than Armstrong or Dirnt. Once he joined Sweet Children, John was able to help them make more social connections, and the band grew prominently in the East Bay. Without a bassist, Mike had to switch from guitar to bass. Anytime he was pretending to play bass, he made a dirnt dirnt sound, which is how he acquired his stage name, Mike Dirnt. The band’s lineup and sound were set.

The majority of their 1990s work was to come in bite-size, three-minute nuggets that were easily digested and highly addictive. Many songs would speed like a motorcycle towards the three-minute mark, fast enough to toss listeners into the road. Though the listeners may have been bruised from the speed and aggression, the band’s music, fortified – the almost-roadkill audience were satisfied, excited, and motivated enough to get up, dust themselves off and jump onto the next speeding motorcycle-like song shooting towards them. Billie Joe grew more comfortable writing lyrics, improving on every new platter Green Day released from 1989 through to 2004.

The band’s live shows were fresh and lively enough to gain the attention of small-time local music executive Larry Livermore, who’d co-founded Lookout Records with his friend David Hayes. Livermore – a musician himself in the band The Lookouts (featuring future-Green Day drummer Tré Cool) – signed Sweet Children to a recording contract. In Green Day’s 1994 interview with MTV’s 120 Minutes, Tré Cool spoke of the band’s 1988 signing: ‘I lived in the middle of nowhere, and I called their old drummer (Al Sobrante) and asked them to come play this party. I told him, ‘Look, there’s gonna be no one there except this guy Larry, which is the guy that does Lookout. There’s gonna be a few kids.’ Mike continued the tale: ‘It was the deciding factor, and how we based our friendship too, and how we really got to know each other. We smoked a lot of pot up there, and just played in a freezing cold place with no roof and a generator. After three songs, all these guys wanted to leave. They were like, ‘Can you move your van?’ and we’re like, ‘No, you’re staying for the show. There’s 11 of you here and we drove 20,000 hours to get here‘.’ Billie Joe added: ‘The woman running the show wasn’t there, so we broke into the house. It wasn’t even a signing thing. It was just like, ‘Well, you want to do a 7-inch?’

Sweet Children entered a recording studio for the first time to record their first EP. The band decided that a name change was needed to avoid possible mix-ups with local band Sweet Baby. As many fans know, Sweet Children changed their name to Green Day simply based on their love of marijuana. But there were still no psychedelic, druggy vibes, as the band were known to enjoy harder music like AC/DC, Van Halen, Black Sabbath, Husker Dü, The Replacements, and fellow labelmates – and one of their biggest influences – Operation Ivy. Still, unlike other punk rockers of the day, Green Day enjoyed other rock acts that weren’t always hard-edged, like The Beatles, Elvis Presley, The Who, Queen, Bruce Springsteen and R.E.M. Billie Joe’s influences were rooted in what came from his parents and his five siblings.

In a 1990 interview with Flipside, the band explained how they figured out what music they wanted to play, by elimination. Billie Joe stated:

Well yeah, it just evolved. We tried a few different things, and we got sick of the whole heavy metal thing, because it wasn’t that interesting. We didn’t really have the taste to be a hardcore band, so we started doing this. Yeah, I couldn’t really sing about destroying the government or anything like that, because I don’t know much about it. It’s not our style, so we don’t write them. There’re girls out there.

Billie Joe reflected on old times with Larry Livermore in a 2009 interview reuniting the two: ‘The funny thing was, everything we were doing, we were being heartfelt about. We were singing love songs because that’s what we felt like. That’s what was in my heart. And I think that creeps people out a little bit. Vulnerability really creeps people out.’

For their two indie albums and three indie EPs, Green Day wrote and sung about love with a reflective, vulnerable attitude typically found in softer music. When tying-in their distorted guitar tones, tough rhythms and brash musical attitude, they created a workable dichotomy. Their hooky, singable vocal melodies ramped up the resonance of their songs’ intentions. The songs consisted of a hit-’n’-run of just two verses, a chorus, a brief intro and coda. Musically, the focus was strictly propulsive punk with only a guitar, bass, drums and Billie Joe’s vocal, set in a thin indie-rock production.

Green Day performed mostly pop-punk for the 1990s, sometimes leaning towards metal riffs, sometimes straight punk. Bassist Mike Dirnt was playing simpler than he would later, and drummer John Kiffmeyer was creative enough to keep the songs stimulating. But the overall band performance was stifled by the poor studio recording. Decades later, new generations of teen fans go on YouTube and express how Billie Joe knows them and their lives. The lyrics aren’t challenging but resonate richly across age groups and generations. Fans can feel like they’re Green Day’s buddy or group therapist.

Rocking venues in East Bay, with some of their time spent at Tim Yohannan’s club at 924 Gilman in Berkeley, California, Green Day continued to write songs and gain a consistent audience. Livermore felt it was time to gather the group together for the recording session, directing them to producer/engineer Andy Ernst at Art-Of-Ears studio in San Francisco.

1000 Hours (EP) (1989)

Personnel:

Billie Joe Armstrong: lead vocals, guitar

Mike Dirnt: bass, backing vocals

John Kiffmeyer: drums

Producer: Andy Ernst

Recorded at Art-Of-Ears studio, San Francisco, California

Label: Lookout

Release date: May 26, 1989

Chart: US: –

Recorded in just seven hours, Green Day’s 1000 Hours EP was direct, simple, and a fine outing for these 16-year-olds. It acts like a short play about a teen boy in his bedroom dreaming about a girl. The protagonist assumes she doesn’t have a crush on him, let alone any feelings of love, and once the EP is flipped to the B-side, we find out his theory was correct. Side B keeps the listener in the bedroom as the teen boy tries unsuccessfully to suppress his unrequited desire. Several Green Day biographies point to a friend of Billie Joe’s sister named Jennifer as being the target of Billie Joe’s infatuation. She was older than him, and unwilling to date the young, somewhat-naïve schoolkid. Billie Joe finally confirmed it in 2014 when he tweeted, ‘All the songs from the 1000 Hours 7" are about the same girl.’

Dreaming and daydreaming are the themes. ‘The one I love that I’ve been dreaming of’ is a line in ‘1000 Hours.’ ‘Late last night I had a dream and she was in it again’ and ‘Oh I love her, keep dreaming of her’ are lines in ‘Dry Ice.’ ‘Many nights awake I lie’ displays the restlessness of ‘Only Of You.’ Many more nights of worry, carpet-bomb Billie Joe’s thoughts with insomnia in ‘The One I Want’ with another three mentions – ‘Sitting in my room late last night,’ ‘All these long and sleepless nights’ and ‘Every night, I’m thinking about the words you say’ exhibit Billie Joe’s thoughts of love changing him into a sleep-deprived, nocturnal being that pines for Jennifer.

Side A

‘1000 Hours’ (Lyric: Armstrong; Music: Green Day)

The romantic ‘1000 Hours’ starts with a sweet (as children) melody. The guitar buzzes reliably, with the bass and drums along for the ride. Many of Green Day’s