Green Day - The Green Day Collection (1994-2015/2016) [Official Digital Download 24-bit/96kHz]

The Green Day Collection encompasses 9 studio albums from the punk rock band Green Day, including: Dookie, Insomniac, Nimrod, Warning, American Idiot, 21st Century Breakdown, ¡Uno!, ¡Dos!, and ¡Tré!.

Green Day couldn't 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, that's 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 comfortable 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.

Tracklist:

01 - Burnout
02 - Having a Blast
03 - Chump
04 - Longview
05 - Welcome to Paradise
06 - Pulling Teeth
07 - Basket Case
08 - She
09 - Sassafras Roots
10 - When I Come Around
11 - Coming Clean
12 - Emenius Sleepus
13 - In the End
14 - F.O.D.
15 - All By Myself




"Insomniac" is the fourth studio album by American Punk Rock band Green Day. Though it peaked at number 2 on the Billboard 200 chart and was certified 2× Platinum by the Recording Industry Association of America in 1996, "Insomniac" did not have the sales endurance of its predecessor "Dookie", largely due to its slightly darker lyrical tone and its heavier and more abrasive sound. The album has sold over 2,100,000 copies in the United States according to Billboard as of 2012.

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 didn't change their sound in the slightest after signing to a major label, which meant that they couldn't revert back to a harsher, earlier sound as a way to shed their audience for Dookie's follow-up, Insomniac. Instead, they kept their blueprint and made it a shade darker. Throughout Insomniac, there are vague references to the band's startling multi-platinum breakthrough, but the album is hardly a stark confessional on the level of Nirvana's In Utero. It's 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 hasn't 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.

Tracklist:

01 - Armatage Shanks
02 - Brat
03 - Stuck With Me
04 - Geek Stink Breath
05 - No Pride
06 - Bab's Uvula Who!
07 - 86
08 - Panic Song
09 - Stuart and the Ave.
10 - Brain Stew
11 - Jaded
12 - Westbound Sign
13 - Tight Wad Hill
14 - Walking Contradiction

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 group's 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 Day's forte, they sound the most alive on Nimrod when they're breaking away from their formula, whether it's 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." It's 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 Day's 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, it's a muddled but intermittently exciting record that is full of promise.

Tracklist:

01 - Nice Guys Finish Last
02 - Hitchin' a Ride
03 - The Grouch
04 - Redundant
05 - Scattered
06 - All the Time
07 - Worry Rock
08 - Platypus (I Hate You)
09 - Uptight
10 - Last Ride In
11 - Jinx
12 - Haushinka
13 - Walking Alone
14 - Reject
15 - Take Back
16 - King for a Day
17 - Good Riddance (Time of Your Life)
18 - Prosthetic Head

By 2000, Green Day had long been spurned as unhip by the fourth-generation punks they popularized, and they didn't 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 sixth album, Warning. They responded by embracing their fondness for pop and making the best damn album they'd ever made. There's a sense of fearlessness on Warning, as if the band didn't care if the album wasn't 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. It's easy to say that Green Day have matured with this album, since they've 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 that's easier to admire than to love. That's not the case at all. This is gleeful, unabashed fun, even when Billie Joe Armstrong is getting a little cranky in his lyrics. It's 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 it's tremendously satisfying; it finds the band at a peak of songcraft and performance, doing it all without a trace of self-consciousness. It's the first great pure pop album of the new millennium.

Tracklist:

01 - Warning
02 - Blood, Sex and Booze
03 - Church On Sunday
04 - Fashion Victim
05 - Castaway
06 - Misery
07 - Deadbeat Holiday
08 - Hold On
09 - Jackass
10 - Waiting
11 - Minority
12 - Macy's Day Parade

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.

Tracklist:

01 - American Idiot
02 - Jesus Of Suburbia
03 - Holiday
04 - Boulevard Of Broken Dreams
05 - Are We The Waiting
06 - St. Jimmy
07 - Give Me Novacaine
08 - She's A Rebel
09 - Extraordinary Girl
10 - Letterbomb
11 - Wake Me Up When September Ends
12 - Homecoming
13 - Whatsername

About the Mastering: American Idiot was a multi-track digital session mixed through an analog desk with analog EQ and analog effects to an analog tape deck. It was delivered to Ted Jensen at Sterling Sound in NYC as an analog 1/2” 2-track master and converted to 96/24 digital.

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 2009's 21st Century Breakdown, another political rock opera that isn't 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 doesn't 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: it's meant to be taken seriously, so it's 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 weren't for Green Day's 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 Day's 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.

Tracklist:

01 - Song Of The Century
02 - 21st Century Breakdown
03 - Know Your Enemy
04 - Viva La Gloria!
05 - Before The Lobotomy
06 - Christian's Inferno
07 - Last Night On Earth
08 - East Jesus Nowhere
09 - Peacemaker
10 - Last Of The American Girls
11 - Murder City
12 - Viva La Gloria? (Little Girl)
13 - Restless Heart Syndrome
14 - Horseshoes And Handgrenades
15 - The Static Age
16 - 21 Guns
17 - American Eulogy: Mass Hysteria/Modern World
18 - See The Light

About the Mastering: 21st Century Breakdown was a digital master at 96K and was mastered at that resolution by Ted Jensen at Sterling Sound in NYC.

Green Day's new millennium elevation to Very Important Band is so complete that when they decided to return to their frivolous punk roots they couldn't 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 O'er 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 Day's intentions. Compared to their busman's 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. It's the work not of punks but of road warriors eager to have a new batch of crowd-pleasers out on tour.

Tracklist:

01 - Nuclear Family
02 - Stay The Night
03 - Carpe Diem
04 - Let Yourself Go
05 - Kill The DJ
06 - Fell For You
07 - Loss Of Control
08 - Troublemaker
09 - Angel Blue
10 - Sweet 16
11 - Rusty James
12 - Oh Love

About Mastering: Uno! was a 96/24 multi-track digital session mixed through an analog desk with analog EQ and analog effects. It was delivered to Ted Jensen at Sterling Sound in NYC as 96K digital mixes and mastered at 96/24.

The GRAMMY Award-winning band Green Day releases the second installment of their ongoing album trilogy. The thirteen-track collection is garage rock at its finest. The memorable record showcases an array of musical styles and includes the standouts “Stray Heart,” “Ashley” and “See You Tonight.” Tre, the concluding chapter, is slated for a release in December, 2012.

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 album's release. Needless to say, the band's complicated plans for 2012 and 2013 were adjusted, with the supporting tour scrapped and the concluding LP Tre! 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 it's "Fuck Time," and he's 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 Day's terrific 2008 busman's 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 it's all due to the knowledge of Armstrong's 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.

Tracklist:

01 - See You Tonight
02 - Fuck Time
03 - Stop When The Red Lights Flash
04 - Lazy Bones
05 - Wild One
06 - Makeout Party
07 - Stray Heart
08 - Ashley
09 - Baby Eyes
10 - Lady Cobra
11 - Nightlife
12 - Wow! That's Loud
13 - Amy

About the Mastering: Dos! was a 96/24 multi-track digital session mixed through an analog desk with analog EQ and analog effects. It was delivered to Ted Jensen at Sterling Sound in NYC as 96K digital mixes and mastered at 96/24.

Green Day, the iconic Punk/Pop trio, has released the third and final installment in their highly-acclaimed trilogy Uno! Dos! Tre!. The album features twelve brand new Green Day tracks and includes the standouts “Brutal Love,” “X-Kid” and “99 Revolutions.” Tre! is a blazing set that showcases the band’s rich diversity.

Arriving earlier than expected but last as planned, Green Day's third album of 2012 concludes their pop-punk trilogy not on a triumphant note but on one of confusion. Green Day's blueprints for 2012 and beyond may have been trashed by Billie Joe Armstrong's unexpected entry into rehab but that doesn't alter the albums themselves, which aren't necessarily a carefully constructed trilogy but rather an outpouring of energy, the group pushing out every completed song it had. ¡Tré!'s two predecessors had clear identities: ¡Uno! was the arena rock record; ¡Dos! was the punk-garage lark. In contrast, ¡Tré! feels like leftovers, the songs that didn't fit either theme, a collection of songs capturing the band at its loosest and poppiest, throwing away tunes without much care. It's hookier and not as ponderous as ¡Uno! but not quite as breakneck as ¡Dos!, never delving into the sleaze of "Fuck Time," never feeling like a last grasp at adolescence the way ¡Dos! did at its best. Instead, ¡Tré! is a morning-after record, sometimes regretful, sometimes unrepentant, divided between unapologetic partying and amends for their wayward ways. On the whole, ¡Tré! winds up on the happier side of the scale: the rhythms are insistent, the hooks immediate, the veneer bright and cheerful, never once regretting the chaos that happened the night before. But underneath this good time is the slight, perhaps unconscious, admission that things cannot continue as they did before. There is not the desperation or the hedonistic pulse that ran through ¡Dos!, but rather a shrugging admission that the time for partying is over. So there's a bittersweet undertow to ¡Tré!, a feeling underscored by Armstrong's rehab: he could no longer continue trying to recapture his youth, but dammit if he doesn't come close to doing so at times throughout ¡Tré!

Tracklist:

01 - Brutal Love
02 - Missing You
03 - 8th Avenue Serenade
04 - Drama Queen
05 - X-Kid
06 - Sex, Drugs & Violence
07 - A Little Boy Named Train
08 - Amanda
09 - Walk Away
10 - Dirty Rotten Bastards
11 - 99 Revolutions
12 - The Forgotten

About the Mastering: Tré! was a 96/24 multi-track digital session mixed through an analog desk with analog EQ and analog effects. It was delivered to Ted Jensen at Sterling Sound in NYC as 96K digital mixes and mastered at 96/24.

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