Universal acclaim- based on 72 Ratings
Jul 25, 2015Loved every song on this album! Its a shame that they chose not to continue in this direction at all, I would have really liked to see more ofLoved every song on this album! Its a shame that they chose not to continue in this direction at all, I would have really liked to see more of this coming from them.… Full Review »
Sep 19, 2014For me, clearly worst album from Green Day since they become popular, Little disappointing, especially after great "street" pop-punk albumFor me, clearly worst album from Green Day since they become popular, Little disappointing, especially after great "street" pop-punk album Insomniac, when they`re elevating their self-loathing and by american symbols-powered sense of loyalty to place, where they`re grown. But still not bad, even, very good. The sound and pace of songs are too much not-punk, but, well, it was an album of ex-rockers, in time, when their glory looks gone forever.… Full Review »
Jun 11, 2014Green Day, Green Day, Green Day. No wonder you never attempt anything new. For years in the 90s, Green Day released album after album ofGreen Day, Green Day, Green Day. No wonder you never attempt anything new. For years in the 90s, Green Day released album after album of short, mediocre punk rock music. Their 1997 album Nimrod began to change things up a bit, but it was still, for the most part, punk. Then, Green Day made this album; an album which, in my opinion, is one of their best records, and is by far my personal favorite Green Day record. It's so different, and not-punk. It doesn't have useless cursing every other lyric, and when cursing is there it feels entirely necessary, and it feels like it's there to prove a point. Musically it's great, like usual. Guitar-wise it's one of their best;with Billie Joe Armstrong relying less on power-chords, and more on finger-pick-y, major/minor chords. Bass-wise it's equally as good, but that's just because bassist Mike Dirnt is one of the best bassists that doesn't rely solely on slapping to be great (i.e Flea). It's not drummer Tre Cools best album, but it does feature some great drumming from one of the best drummers ever (key phrase: one of the best). However, all this in mind, this album is by far Green Day's least successful album; critically, commercially, and fan-wise. It has, however, become one of those albums which people now see the beauty in (like Smashing Pumpkin's Adore), but it's all forsaken by the fact that it's almost ten years after the album came out, it doesn't matter anymore. This is one of two Green Day albums where they tried something totally interesting and new; the other being American Idiot. This album was stylistically new, at least by Green Day standards, and American Idiot was huge, and grandiose, and simply epic. The epic-ness would be repeated on 21st Century Breakdown, and the albums following (Uno!, Dos!, and Tre!), would be their attempt at a return to their punk roots (key word: attempt). This album does, however, have it's share of punk quickies, but very few, with only three that I'd call punk in the sense that it's retreading old territory; "Fashion Victim" (great song), "Castaway" (good song), and "Jackass" (okay song). All the other songs bring something new to the table, from acoustic-y folk rock ("Warning"), to polka-sounding European marches ("Misery"), to early 2000s pop jams ("Waiting"), to simply beautiful acoustic ballads ("Macy's Day Parade"). I'd say there's only one song that doesn't really do much for me, which would be "Jackass". That isn't to say that all the other songs are great either, "Castaway" drags a bit at only 3:53, featuring very repetitive, trite choruses, and "Deadbeat Holiday" is rather unfocused shifting clumsily from verses attempting to sound, for lack of a better word, epic, to pop/punk choruses. However, the other nine songs on the album truly make up for these slight faults. This almost flawless collection of songs, pitted with Green Day's, as always, tight production style, leaves the listener with a solid album, sure to leave him/her with an urge to listen through the albums again.
There are two songs which didn't really fit in the narrative of my review, which I feel the need to mention; "Church on Sunday" and "Minority". "Church on Sunday" is a song I can connect with a lot, especially (and I know I'm taking it ("If I promise to go to church on Sunday/ will you go with me on Friday night?") too literally, and that's on purpose) because I'm a Jew living in America, a mostly Christian country. Even if I'm not a practicing Jew, it's still very connectable, and is just in general a great song about compromise. "Minority" on the other hand is a great cross between folk rock and punk rock, with, apparently, political undertones. Personally, I've never been able to precisely distinguish said political undertones, and really only see it being political as people constantly describe it as such.… Full Review »