Perhaps the element which stands out to me the most after listening to the near 40 minute album is the energy that The Offspring display in virtually every one of the 13 songs. Smash’s first track, Nitro (Youth Energy) is, as one would expect from a song titled as it is, both energetic and powerful and lays down the blue print for the tracks to follow. Through The Offspring’s fast paced, high octane attack, each of the band members compliments each other rather nicely.
Ignition is The Offspring’s second full length studio release and their first released on a compact disc (Debut released on vinyl then reissued in 1995). It was released in 1992, two years before the release of the massively successful and breakthrough album Smash. This is also the Offspring’s first album on Epitaph. Ignition was produced by Thom Wilson, who has done work with The Vandals and the Dead Kennedys. Ignition shows The Offspring in their most punk form (along with self titled) to attract fans of punk, but still has that catchiness and pop appeal to attract fans of pop punk, and some for both.
Most people are generally familiar with The Offspring’s later albums such as the catchy Americana and Smash, but before they broke their way into the mainstream, this punk band from the O.C. showed surprisingly well written and lyrical punk rock music. In 1989, The Offspring recorded their first self-titled later to be released on Nitro in 1995.
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, it’s hard not to view 2016’s 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 they’ve 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 that’s precisely what they do.
Green Day’s ¡Tré! is the finale of the band’s 2012 trilogy. Its earlier entries were the average ¡Uno! and the album-whose-rating-matched-its-title ¡Dos!, and ¡Tré! falls somewhere in the middle of these muddled albums. It’s a mixed bag that doesn’t reach the lows of a forced, guest rap appearance, while containing some of the best songs the trilogy has to offer.
Green Day have got love on the brain, while their toes are firmly dipped in the influences of eras gone by on ‘¡Dos!, the second album of their new trilogy. The disc even has a old-school pacing, clocking in at just under 40 minutes, but taking 13 tracks to get there. The quick-hitting nature of the songs makes the album a more immediate listen that seems to fly by.
This long-player, which is the first in a trilogy of records seeing release over the next four months, is a departure from those past albums’ dramatic, structural formats and lacks their hyper-angsty and political themes.
Since Green Day were the Nineties punk brats nobody expected to grow up, everything they do comes as a surprise. What’s more bizarre: the fact that they sound so ambitious and audacious on their eighth album, or the fact that they even made an eighth album? Either way, the losercore mutts who crashed the radio in 1994 chanting “I got no motivation,” with Billie Joe Armstrong wasted on his mom’s couch — they’ve ended up the last band standing, the ones living up to their era’s loftiest ideals and still writing their toughest songs long after they should have landed on Sober House. And they did it with a goddamned rock opera.
The album starts out with “Warning”, a slowly-paced track (for Green Day). The instrumentals for this track are incredibly simple, especially the drumming by Tre Cool. They form a background for Billie Joe’s lyrics, which are quite clever. The highlight of the song comes directly after the chorus, with a tom-tom led beat and some wind sounds in the background. This is followed by “Blood, Sex, and Booze” which is an average track.
Green Day’s ‘Nimrod’ originally came out October 14, 1997. In honor of the album turning 20 this year, and our feature on the Best Alternative Rock Songs of 1997 that includes Green Day’s “Hitchin’ A Ride” and “Good Riddance (Time of Your Life),” we’ve republished it here.