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Green day (Nimrod)

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.


01 Nice Guys Finish Last 2:49
02 Hitchin’ A Ride Violin – Petra Haden 2:51
03 The Grouch 2:12
04 Redundant 3:17
05 Scattered 3:02
06 All The Time 2:10
07 Worry Rock 2:27
08 Platypus (I Hate You) 2:21
09 Uptight 3:04
10 Last Ride In Violin – Petra Haden 3:47
11 Jinx 2:12
12 Haushinka 3:25
13 Walking Alone 2:45
14 Reject 2:05
15 Take Back 1:09
16 King For A Day Horns – Gabrial McNair, Stephen Bradley 3:13
17 Good Riddance (Time Of Your Life) 2:34
18 Prosthetic Head 3:38

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Biography of Green day:

Bay Area trio Green Day stormed the mainstream in the early '90s with their snarling, snotty brand of three-chord pop-punk, which was delivered with a heavy dose of anarchic attitude and headline-grabbing antics. Influenced by the late-'70s punk predecessors before them, they went on to introduce a new, younger generation to the genre. Major-label breakthrough Dookie was the jewel in the crown of their '90s punk era, a modern classic regarded as one of the most defining albums of the decade. Maturing in the 21st century, the band hit a career peak with 2004's Grammy-winning international success American Idiot, a socio-political rock opera that ushered in the next stage of their evolution as one of America's most acclaimed rock bands. In 2015, 25 years after their debut, Green Day were inducted into the Rock & Roll Hall of Fame.

39/SmoothGreen Day arose from the Northern California underground punk scene. Childhood friends Billie Joe Armstrong (guitar, vocals) and Mike Dirnt (bass; born Mike Pritchard) formed their first band, Sweet Children, in Rodeo, California when they were 14 years old. By 1989, the group had added drummer Al Sobrante and changed its name to Green Day. That same year, the band independently released its first EP, 1000 Hours, which was well-received in the California hardcore punk scene. Debut full-length 39/Smooth and the Slappy EP arrived soon after in 1990. By 1991, the group had signed a contract with local independent label Lookout. Combining their first three efforts into one compilation, Green Day issued 1,039/Smoothed Out Slappy Hours for the label. Shortly after its release, the band replaced Sobrante with Tre Cool (born Frank Edwin Wright III), who became the band's permanent drummer.

Kerplunk! Throughout the early '90s, Green Day continued to attract a cult following, which only gained strength with the release of their second album, 1992's Kerplunk. The underground success of Kerplunk led to a wave of interest from major record labels, and the band eventually decided to sign with Reprise. Dookie, Green Day's major-label debut, was released in the spring of 1994. Thanks to MTV's support of the initial single, "Longview," Dookie became a major hit. The album continued to gain momentum throughout the summer, with its second single, "Basket Case," spending five weeks on top of the American modern rock charts. At the end of the summer, the band stole the show at Woodstock '94, which increased the sales of Dookie. By the time the fourth single, "When I Come Around," began its seven-week stay at number one on the modern rock charts in early 1995, Dookie had sold over five million copies in the U.S. alone; it would eventually top ten million in America, selling over 15 million copies internationally. Dookie also won the 1994 Grammy for Best Alternative Music Performance.

InsomniacGreen Day quickly followed Dookie with Insomniac in the fall of 1995; during the summer, they hit number one again on the modern rock charts with "J.A.R.," their contribution to the Angus soundtrack. Insomniac performed well initially, entering the U.S. charts at number two and selling over two-million copies by the spring of 1996, yet none of its singles -- including the radio favorite "Brain Stew/Jaded" -- was as popular as those from Dookie. In the spring of 1996, Green Day abruptly canceled a European tour, claiming exhaustion. Following the cancellation, the band spent the rest of the year resting and writing new material before issuing Nimrod in late 1997. Three years later, their long-awaited follow-up, a refreshingly poppy record titled Warning, was released. Another long wait preceded 2004's American Idiot, an aggressive rock opera that became a surprise success -- a chart-topper around the world, a multi-platinum Grammy winner, and easily the best-reviewed album of their career. Green Day reveled in the album's success, hitting numerous award shows and performing as part of Live 8 in July 2005. That fall brought the release of Bullet in a Bible, a concert album that documented the trio's expansive Idiot live show.

Instant Karma: The Amnesty International Campaign to Save Darfur With their popularity and commercial viability restored, Green Day took on several small projects before returning to the studio. They contributed a cover of John Lennon's "Working Class Hero" to the charity album Instant Karma, appeared in The Simpsons Movie, and recorded an entire album of '60s-styled rock & roll under the alias of Foxboro Hot Tubs. While presenting an award at the Grammys in early 2009, the band announced the impending release of Green Day's eighth album, 21st Century Breakdown, which had been recorded with veteran producer Butch Vig. In May of 2009, 21st Century Breakdown was released, picking up where American Idiot left off as another ambitious punk rock opera. The album was a commercial success, selling over 215,000 copies in its first three days of sales. In 2009, American Idiot was adapted for the stage, and the following year, Green Day lent their talents to the original cast recording, combining a driving score with Broadway vocal arrangements. The band released the live Awesome as F**k in 2011. ¡Uno! During the summer of 2012, Green Day unveiled their ambitious plans for the fall and winter: they would release not one but three new albums. The records -- ¡Uno!, ¡Dos!, ¡Tré! -- would appear in September 2012, November 2012, and January 2013, respectively, with each individual bandmember gracing one of the album covers on his own. The first, appropriately called ¡Uno!, was preceded by the disco-rock single "Kill the DJ" and the anthemic arena rocker "Oh Love." ¡Uno! was set for a splashy release in September 2012, but the weekend prior to its release, Billie Joe Armstrong had an on-stage breakdown during a set Green Day played at the iHeartRadio Music Festival in Las Vegas. Days later, it was announced that Armstrong entered rehab for substance abuse; not long afterward, the band's touring plans for 2013 were canceled. ¡Dos! arrived as scheduled in November 2012 and ¡Tré! was moved up to a December release. Demolicious, a collection of 18 demos recorded during the making of their ¡Uno! ¡Dos! ¡Tré! trilogy, showed up in time for 2014's Record Store Day release schedule.

Revolution Radio In 2015, Green Day were inducted into the Rock & Roll Hall of Fame. Following their induction, producer Rob Cavallo announced that he had started work on a new album with the trio. As they labored on the new record, Green Day released a single called "Xmas Time of the Year" for the 2015 holiday. The raucous "Bang Bang" was the first taste of their 12th record, Revolution Radio, which arrived in October 2016. The album topped the charts around the globe and featured the radio hit "Still Breathing." A year later, the group released a career-spanning compilation called Greatest Hits: God's Favorite Band, which included the previously unreleased "Back in the USA." Another retrospective release arrived in 2019, commemorating the band's 25th anniversary of playing Woodstock '94. Green Day Live!: Woodstock 1994 received a limited pressing for Record Store Day and debuted at number 156 on the Billboard 200.

Don't miss the other albums we have from Green day:


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.

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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.

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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.

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    21st century breakdown

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.

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    American idiot

West Coast pop-punks' first release in four years is the political concept album you didn't know they had in them. While never very lyrically insightful or poetic, American Idiot is certainly the band's most ambitious record to date, with a consistent narrative spun throughout its 13 tracks-- two of which boast runtimes in excess of nine minutes. Life-changing? Not a bit, but there's something to be said for having the balls.

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Released in 1994 as their first album on a major label, Dookie arrived at the end of the Nirvana-era, and blasted a hole in the moody grunge enveloping the music world. Spikey, pop-y, arrogant as hell, Dookie is full of attitude and tunes. From opener "Burnout", the album rarely lets up pace, with manic tempos, loud guitars, funky bass and pissed-off lyrics lacing every track.

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Some people will tell you that pop punk is all about sugar and niceness, pizza and songs about taking girls to prom and hanging with your bros. Yup, there’s plenty of that (and plenty of that stuff rules too) but Green Day’s Insomniac is so, so much more than that. Coming directly off the back of the Berkley trio taking the world by storm with Dookie (back when they were still a trio, before the addition of a fucking backing singer onstage and when there wasn’t nearly as many people onstage as there are in Slipknot), this is an album about disillusionment, the conflict between the person you having to go blow-for-blow against people who have never met you and their perception of you and fuelled by a Lemmy-sized meth habit and a fuck tonne of anger.

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Green Day's second full album was the perfect dry run for the band's later assault on the mainstream, containing both more variety and more flat-out smashes than previous releases had shown. With Tre Cool now firmly in place as the drummer, the lineup was at last settled, and it turned out Cool and Mike Dirnt were a perfect rhythm section, with the former showing a bit more flash and ability than John Kiftmeyer did. Together the two throw in a variety of guitarless breaks that would later help to define the band's sound for many -- warm and never letting the beat go.

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    Revolution radio

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.

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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.

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