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Couldn't agree more, especially about Blink 182's California. They used to be my second favourite band, but they lost me because at some point I had the feeling that they don't grow with me, they don't speak to me anymore. I think what really makes a band great and important is not only putting out commercially successful records, it's much more than that. It's the ability to evolve and to grow up with your music and with your fans. That's why I always hate it when people say "GD should make another Dookie", because Dookie had its time and it was perfect, but a new Dookie just wouldn't fit, it wouldn't be honest. They probably tried it with the trilogy and it didn't work out because it just wasn't them. That's the reason why I love RevRad so much, because it's the most honest thing they have ever put out, it feels so natural in Green Day's evolution and history.

Let Yourself Go is such a great song! I just love how it's so carefree and fun

Headline from the Prague show: Fan holds Green Day hostage until they play her favorite song

Brutal Love is hands down the best Trilogy song. But if I were to pick a handful of favourites DRB would be among them. Possible unpopular opinion: not that fussed on Stray Heart. I see a lot of people loving it but I find it meh.

Forever Now sounded so great live. The ending is absolutely epic. I'm glad they wrote a song like that.

I was listening to AI today and I wish they play on this new tour Give Me Novacaine/She's A Rebel or Extraordinary Girl.

Everyone can admit that the trilogy has flaws. But it irritates me when people make criticisms which are just as relevant in other albums e.g "All the songs sound the same" Dookie and Warning songs sound just as similar to each other (I still love those albums of course). "Random track listing" Nimrod has the most random track listing ever. "Overproduced" I'd take the trilogy's overproduction over 39/Smooth and Kerplunk's underproduction

These videos are unlisted and barely have any views. I thought someone else might find them interesting.

When I buy an album, I have no intention of putting it on a computer. I just buy the album and listen to it.

I had one last night that I was going to a concert but when we got there I needed to change close (I was still in pajamas?). There weren't any bathroons, so I was behind a curtain to change, and while I was putting on a bra, Tre Cool walks in and starts yelling at me that I'm inappropriate, that should be dressed, and a whole bunch of other shit. I was trying to be dressed. Which I tried to explain, but that didn't help. And I have to be honest - it has fucked me up more than it should.

Well, they know it works. General opinion is that their long songs are some of their best. Could be a lot of fun writing them. Maybe that's just how it works out when they're experimenting. I don't think it's entirely baffling considering Billie adores JOS, as do most of this forum. Yeah, pretty much. Green Day being my favourite band, the trilogy is still better than most of the non-GD stuff I listen to, but when you compare it to other GD music it's just apparent that they could do a lot better (and have.) Ah come on, you know by now he's just trolling you when he says stuff like that.

No, I just joined cause I thought this was Nickelback community. Stupid april fools jokes.

Sorry - do even like this band?

Dirty Rotten Bastards has zero cohesiveness. It's a couple tiny songs strung together poorly. I compare to something like Forever Now (which flows brilliantly) and I don't even get how they thought that was a good multi-part song to begin with.

Warning definitely has diversity, compare Castaway to Macy's Day Parade, or Misery to literally anything.

Haven't posted in this thread yet, so I thought I would give my two cents about a well worn subject; I genuinely enjoy most of the Trilogy. Hate me if you please.

Something I've never seen anybody say ever: I like the My Generation cover. One time I had it on repeat for some reason during a road trip and I fell in love with it.

If it is, then I will gladly hop onto that train, no shame here.

Thank you very much for your feedback. I love discussing matters with you since your posts are also very insightful and in-depth. 21st Century Breakdown is undoubtedly lyrically their most brilliant album. The story, however, should have been less vague. It loses its thread after Peacemaker and only picks it up with Restless Heart Syndrome. Had it been thoroughly fleshed out, the record would have equaled American Idiot storywise. Sometimes a magnum opus can drive an artist crazy to his own detriment. Psychologically Christian is a very interesting character, particularly how his thoughts and perception of the world relate to Billie's own perspective on the things he writes about. Billie's personal state of mind is almost tangible in songs like Restless Heart Syndrome and See the Light. 21CB is on a personal level brutally honest when one looks past the literal meaning of its lyrical brilliance and pierces the dramatic opacity of Christian and Gloria which separates the creator from the listener. I cherish this record intensely because I don't think Billie wants to top it. Few legendary acts have produced more than two distinctive rock operas. They stand next to Pink Floyd and Rush in having accomplished that, but even they couldn't keep churning out such epic records for longer than a decade without some loss of quality. 21CB is the apex of their rock opera era, but also the end of it. They have completed that part of their musical voyage and have moved on and rightly so, for those who try recapture halcyon grandeur by re-enacting their heydays only end up blemishing their legacy. I can talk for days about the significance of this record for them as a band and what it meant for me as a listener and a person.

@Dakke, your posts are always so insightful and I really appreciate them. Your analysis of the behind-the-scenes situation with 21CB is very accurate, I believe. Just maybe a month or two ago, for some reason I felt the need to go back and read their Rolling Stone article from the beginning of that era. And I was blown away by how negative it read. Nothing about it was happy or exciting or hopeful, it was all about what a monster it was to create and how Billie was nervous about his kids listening to some of the darker things he wrote. It's interesting though—all that laboring over the album could definitely be viewed as forced, but I genuinely think it's one of their absolute best albums. I actually like the loose storyline of 21CB better than the more concrete one in AI. I love how Billie plays with identity and who you are versus what you project to the world. How Christian thinks Gloria is this amazing person, only to realize she's just a junkie preaching to the choir, and how Christian rages against "the enemy" only to realize he's his own worst enemy—it is brilliant writing in my mind.

The gap was due to the difficult writing and conception process of 21st Century Breakdown. It took them 40 months from January 2006 to the end of recording in April 2009. Remember that they needed a third that amount of time to conceive, write and record American Idiot in its entirety (now I do believe Billie certainly drew some inspiration thematically and structurally from Warning, particularly Warning (political) and Misery (story)). It was a very frustrating process and Billie actually created the Hot Tubs alter ego to be away from the new album for a while. The Hot Tubs were their wild, unencumbered counterpart, but it's also around that time (2008) that Billie started drinking more extensively again. In the context of the wild FBHT shows, that posed no cause for concern, but in hindsight it sowed the seeds for the excessive abuse in the period between Broadway musical opening and iHeart. Therefore the long and frustrating creation of 21CB contributed indirectly to him going off the rails and even then Billie knew things were going wrong. If you listen to Restless Heart Syndrome and See the Light and pay close attention to the lyrics, there's a personal darkness lurking behind the conceptional gloom which was only fully revealed on Dos! Now to return to the matter at hand, I don't believe it impacted the quality of the individual songs in a negative way. Save for Know Your Enemy, they are all lyrically of the best musical craftsmanship. The overall story, however, shouldn't have been there in the first place and suffered under the grand ambition to create an even longer and more epic record than AI. With its 70 minute length standard edition, it flirts with the limit of how long a single record can be without losing quality. The gap of course also allowed for more polish, but I don't think the storyline benefitted from the prolonged conception of the record. It almost certainly took a great toll on Billie's mind and body and is probably culpable of giving way to Billie's abuse post release. Rock operas are very time and energy-consuming to write and produce, particularly to keep a story straight and sensible throughout. There's a reason why the Who never wrote a third rock opera after Quadrophenia. Rush stated very explicitly that the troublesome recording process of their fourth opera Hemisphere led them towards more conventional, non-concept records, starting with Permanent Waves.

Yeah, it's a good song, but it doesn't work too well live. Of all the love songs on the trilogy, only the acoustic version of Stay the Night and Brutal Love really work live.

After all this time I still don't have RevRad on my computer. I have the CD and I've listened to it several times online and stuff, but I still haven't put the damn thing on my computer.

I'd imagine the main (obvious) reason for its popularity is the fact that it's a single with a music video (A music video that from what I've seen, is fairly popular in the community). Overall I do find it catchy, I don't hate it, and don't really mind the lyrics. But it's just lacking something for me and I don't seem to know what it is. It's not terrible, but not great.

I don't connect with it lyrically and it just seems to be more of a FBHT song rather than a Green Day song. Which might be why it's popular but I don't really feel it.

I agree, it's always been a song I've wanted to like a lot more than I do.

I am so glad they continue to make longer songs every album!

I agree! All these songs are wicked, I don't know why people are so picky on the sound from album to album and comparing them to each other, with one having to be better, when they are all so great on their own and in their own ways. One of the best things about Green Day to me and why they are one of my favorite bands is the simple fact that for me, they have never done a bad record! Nobody who sais they have could do half as good which is the funniest thing about it.

Complaining about long songs when they are like one of the best songs on each of their albums oh man this is extremely sad

This is hilarious!

I know this is technically a picture thread but this is a meme!

10 was more than enough, trust me.

Yesterday I had a dream: I went to a GD concert. Oh, wait... It wasn't a dream!

I like the song but as far as GD multi-part songs go, it's pretty meh. Forever Now works a lot better. The songs actually connect. Dirty Rotten Bastard has a weird opening of singing "Yeah", then a good catchy drinking song (at least that's what it sounds like to me), then a complete clusterfuck, then the drinking song part but slower and then finishes with 1 minute of Billie singing "We're carried away" for some reason What's crazy is that this is considered the best trilogy song but the worst GD multi-part song. That says a lot about what people think of the trilogy.

The "I got the urge to binge and surge" part is so fun, though.

I had a dream that I was at the show they're going to be doing in Glasgow in July and Green Day had found out it was my birthday so Billie pulled me up on stage and got everyone to sing Happy Birthday to me. Then he said that we've got some presents for you and Mike and Tre went off stage and they came back with a load of merchandise and Billie said that's not all and that they were going to take me out to dinner the next day. I never got to the dinner because my son though it would be a good time to wake me up.

It's definitely the weakest part of Kerplunk, but I consider the inclusion more fanservice than anything else. Still, Sweet Children should just have been available as a separate EP. In context, it's an average cover, definitely not the stuff they pulled off with Working Class Hero and A Quick One, but it's fun to have it on the record and in my opinion it's the right record to put it on (coincidentally, My Generation was off the the Who's first 1963 record, so it wasn't their best either, at least not their grand rock opera style they started to write with A Quick One, the closing song of their eponymous second record). It also shows the influence the Who had in their early days and how they would inspire them to write opera's in the vein of Tommy and Quadrophenia.

Yeah I mean I take into account it's obviously really early songs that they just recorded in a random studio on the spur of the moment because they happened to get the chance to get something recorded. And I kind of enjoy the novelty of hearing that early material. But it's still the worst

Yeah, Dookie is more monotonous compared to Nimrod and most other post-Dookie records, but at the time it felt fresh and refined. I prefer to judge albums in their historical context and for that reason Dookie's sonical uniformity is more a virtue than a sin like it was with the trilogy. It was sonical progress in a good way. With the trilogy, everything felt like an anachronistic regression, a throwback to a halcyon past they couldn't pull off properly, largely due to Billie's condition at the time. That's one of my biggest qualms with the trilogy and the whole concept behind it, the need to bring back 1992 in all its facets, sonically, lyrically, live etcetera. They tried to reanimate an entire era that had vanished. Their voices and playing had matured and harkening back to that time was just counter-intuitive. Respecting the past and remembering where you come from is good, indulging in nostalgia however leads to a failed reanimation of an incarnation that is bound to end up with disappointment and disillusion. Blink's California is another example of a misguided attempt of a band to revive their early years in all its glory, only to fall flat. The result feels dishonest and forced. If you prefer the trilogy over their Lookout records, then I understand that. I also prefer Tré! and Uno! (the latter to a certain extent) over 39/Smooth. I think Kerplunk was a vast improvement over their first compilation studio album and showcased a greater diversity with Christie Road, Who Wrote Holden Caulfield and No One Knows. Yet that's just my opinion.

One of the better Uno! songs. I'm more a Carpe Diem guy, but I appreciate the relaxed, joyful nature of both0

While 'all the songs sound the same' is a vague criticism, it can be argued that Warning has far more diversity than for example Uno! Misery and Minority are totally different, as are Jackass and Church On Sunday. People call the trilogy 'overproduced' because its vocals and instrumentals are flatout sterile compared to even 21st Century Breakdown when vocal filters became a dominant element. It simply doesn't work for 'back to the roots' records. Even many Trilogy fans prefer the Demolicious sound over the album versions of the same songs. I agree that 'random track listing' isn't the strongest of the criticisms I have raised against the Trilogy. The rap part is just 'off' in my opinion and ruins an otherwise fun song. It doesn't sound like Green Day in a bad way. That mostly due to the collab and Lady Cobra's voice, thus it doesn't sound more like a Green Day song than any track on Foreverly does. Still, I think Nightlife is one of the most significant and personal songs of the Trilogy because it shows on a metaphorical level that Billie was completely losing control after the release of 21st Century Breakdown. Kill the DJ ain't too bad, but should have been on Dos! instead of Uno! with the whole party theme.

All three have lots of great tunes! They are terribly underrated and lots of people around here love them.

It defintely applies to FN, Scattered and Letterbomb as well. (Even though all these seem to be current staples.) AND STUART I agree about all three, especially Outlaws (wow! This has to be the first time I spelled it correctly lol).

Those are Converse monochrome low-top Chuck Taylors. He has also worn Draven Wayne shoes quite a bit, but those were discontinued recently I believe.

Green Days cover of Fifteens' C Yo Yus or the real title - C#(tion) - kicks ass. I dunno if this is off topic or whatever but there are 465 pages of this thread so I hope I don't get banned again.

I like it! Mike's little bass fill and "Heineken, fuck that shit!" make it brilliant.

What's funny is around the 21CB era, GD released 2 hours of material as well which was of higher quality. In 2008 they released Stop Drop & Roll which was 32 minutes, then they released 21CB in 2009 which was 69 minutes long. And they released the B-sides and Bonus tracks which in total was about 24 minutes of material. In total that's 125 minutes (2 hours 5 minutes).

I'm surprised no one has made a dick: out I am forcibly removed from a Green Day show meme yet

a friend of mine had a green day dream recently. he said that Green Day played a fest and Ozzy played too and I was there along with a bunch of our friends. He said that after the fest we went to a bar and Green Day came in and they had a special Green Day brand beer. He said that Billie wanted to try it because he was sober and hadn't had it yet, so Tre poured him a beer and billie took a sip and spit it out and yelled "bleh" and then dumped the beer out

I didn't know they were edited actually. But in that case, they would have edited Brutal Love. That would have been blasphemy, but I guess you can cut the beginning and end a bit and not ruin it too much. It's by far the best song on the trilogy, so I would hope it would have some success!