A conversation/review of ¡Tre!

First, there was ¡Uno!

Then, came ¡Dos!

Now, Mike and I return to give our thoughts on ¡Tre!, the final installment in Green Day's 2012 album trilogy. Though with it being the finale, most thoughts dealt with the trilogy as a whole. But make no mistake, ¡Tre! is an album worth looking into and we did so below.

Mike: So here we are: Tre. Green Day's stadium-sized conclusion to this whole throwback inspired trilogy. Decidedly more 50s inspired, the thing that shocked me more than anything was how lean some of these songs are. Make no mistake, the album is peppered with Beatles-esque strings, porcelain piano, sassy horn sections, and even another multi-suite rock opera, but the middle is deceptively stripped down--reminding fans of Dookie, Nimrod, and Uno. Given how Tre was supposed to be the "epic" installment, a good half the album is dedicated to Green Day's 3 chord blitzkriegs. That seems to be a theme running throughout this LP: a torn sound exploring contradicting feelings. Still, it's easy to see Tre as the effervescent cousin to 21st Century Breakdown. The main difference seems to be a concerted shift away from Bush Era "the world is burning" urgency and a larger focus on "where are we now" self-refection. Even with American Idiot, it's easy to forget that Green Day never felt like an aging band. With Tre they seem older in the sense that they're finally addressing where they are in the longview. The band starts turning their thoughts inward, on where they're going and where they've been. It results in an often sobering, but upbeat, set of songs. Given this introspective slant, I was surprised that Tre comes off even looser than Dos at times. Did you get that sense?

Matt: Tre comes off much looser than Dos, there is no doubt about that. I've read a lot of reports about the three albums and what they were supposed to be, but this is what I hear: Uno = the singles album, Dos = the darker look inward and Tre = the upbeat b-sides. That's not a knock on any of the albums, but they just don't seem as separated as reports have made them out to be. The Beatles-era throwback can be heard on all albums, as well as the more "punk" songs. But it does feel like Dos took you through a dim tunnel and Tre is the light at the end. Admittedly, it's hard to talk about Tre without talking about the trilogy. But I'm sure this conversation will go there so I will try to come back to just this selection. I actually waited to have this conversation because at first listen I was very underwhelmed. These weren't bad songs, but they just didn't do anything for me. A few more listens and I realized songs were becoming stuck in my head. There are some clear standouts - "Brutal Love" manages to be both soft and loud and "Amanda" is a fun sing-a-long. But what bothers me still is more than a few tracks are bland and just seem to be there. "Drama Queen" does nothing for me and "Little Boy Named Train" feels phoned in. For me personally, "Dirty Rotten Bastards" is my highlight. I was fan of the ADD-type multiple-tracks-in-one songs found on both American Idiot and 21st Century Breakdown so to see that format return here was very welcome. I think it's safe to say that you and I are having these conversations because we are fans of the band. With that said, what songs are some of your favorites?

Mike: Far and away, my favorite song on Tre is "X-Kid." Between its rich harmonies and soaring chorus, I think it best captures the sense of freedom Green Day tried to explore on Tre. I definitely loved the brash, doo-wop come-on of "Brutal Love," and "Dirty Rotten Bastards" simply rips with a blistering midsection and nimble bass work from Mike Dirnt. Though the narrative is less specific than Green Day's past multi-suite songs, it's sure to be a crowd pleaser for years to come. Additionally, even though this batch of songs, wasn't overtly political, "99 Revolutions" was a lean and mean pop-punk number that embodies the spirit of what Occupy Wall Street was supposed to be, which I found immediately appealing. I agreed with you on the placid, directionless "Little Boy Named Train," but I have to disagree about "Drama Queen." For me, it was a really new perspective for Billie Joe's writing. For as far back as Dookie the "Woman-Who's-Trouble" has crept up into Green Day's stories, dragging Billie Joe through the ringer. Here, it's almost as if he sees himself in this younger person, and he's looking at her with equal parts nostalgia and wonder. It choked me up quite a bit. Between its clinking ivories and acoustic resonance, it rests comfortably in the album's 4-spot and felt like a great palate cleanser. Though Tre sports some of the slower songs in this trilogy, I can understand feeling a bit underwhelmed on first listen. Both Uno and Dos have a very strong sonic direction, and I think Tre oscillates more than Green Day meant for it to. Addressing those Beatles influences, I think that really started to creep into their writing during 21st Century Breakdown and it's not surprising that it crops up everywhere on this trilogy. In fact, it makes sense that such an aesthetic is more prevalent on Tre, given its grab bag approach to cataloging these writing sessions. I do agree that this trilogy feels separate, either in aesthetic or in content matter. Dos only really felt dark towards its close with "Amy," but I do think there is a buoyancy and clarity with the songs on Tre. In fact, I think that's why I prefer it to Dos: It operates with a level of realism and level headiness that you'd expect after 2 mammoth rock operas. 

Matt: I have to admit you have swayed me on “Drama Queen.” It’s still not a favorite of mine, but after looking at it from the perspective you gave it also isn’t on the list with “Little Boy Named Train.” The more I listen to Tre, the more I realize I like it more than I thought. “Walk Away” is a song I find myself wailing along with and one I might put as a closer if I were to go back and rearrange songs from each album to make one mixtape to listen to, so to speak (I am going to do that). For me though, it will still be the forgotten stepchild of the trilogy. Uno was just stronger on a song-by-song basis and Dos simply delivered. “Dark” may have been the wrong word to focus on, instead “twisted” is a better description. Even with the soulfoul bounce found at the beginning, the introduction of “Lady Cobra” into “Nightlife” helps go down the rabbit hole. Dos felt like they were throwing everything at the table and not caring if it stuck - a notion I enjoyed. But Tre, as a closing chapter, plays its part. As stated before, it’s the refreshing light at the end of the tunnel - though after three albums someone traveling through said tunnel may just be overwhelmed. It was a good idea, though maybe not executed expertly (Billie Joe’s hiatus is obviously a contributing factor). But give Green Day credit. Through the course of 37 tracks, there are some gems that were able to keep longtime fans happy and show the veteran band can still roll with the best of them.

A conversation/review of ¡Dos!

In early October, my good friend Mike and I discussed ¡Uno!, the first of Green Day's trilogy album release. Earlier this month, ¡Dos! was released to the masses and Mike and I teamed up to give our thoughts on what has been referred to as the "sophomore slump" of the three (so far). With ¡Tre! planned for next month, expect a return to conversation - as well as a recap of the trilogy as a whole. But for now, discuss with us all things ¡Dos!.

Mike: So Dos, the meaty middle of Green Day's three-album trilogy, has finally hit the net. Proclaimed to be the raw, dirty, party album of Green Day's wildest impulses, I'd say the album largely lives up to that billing. After listening to Uno, and from what I've heard from Tre, it's clear that Dos is firmly rooted in 50s-60s rock n' roll yearning, married alongside some of the band's most snarling performances. Though the group doesn't channel the same kind of rage and intensity like on 1996's Insomniac, this is easily the most punchy record Green Day has put out in years. The thing that impressed me most on first listen, and what I DIDN'T get from Uno, was a sense of recklessness from these songs. Billie Joe Armstrong's guitar slashes, burns, and blisters; Mike Dirnt's bass flutters and booms; and Tre Cool's drumming is relentless. The songs themselves are sinewy and lustful, a stark contrast to Uno's often chunky arrangements and power-pop push.

Matt: I have to say upon first reading this that I didn't have the same reaction you did. I was under the impression that Uno had a bit more, shall we say, swagger about it. And on first listen, Dos seemed a little slow. But then I went back and listened to Uno again and then back to Dos and now I definitely see what you were saying. When I think of Uno, I think of "Let Yourself Go," easily one of my favorite Green Day songs and that's where I see all the snarl. But a trip back to the album made me realize that it was full of almost "safe" songs. Mind you, they were still good. But Dos does turn it up a notch, maybe not with the actual volume but with the intensity of the lyrics and the feeling. The 50s-60s rock n' roll sound you spoke of reminds of some of their Foxboro Hot Tubs work. As we begin to talk about songs, let's start with the elephant in the room. What are your thoughts on "Nightlife?"

Mike: It's interesting you bring up the Foxboro Hot Tubs vibe because Billie Joe said Dos was essentially the second FBH record. I'd also like to add that when Green Day were teasing us with the prospect of 3 new albums, they kept saying they'd sound like the Beatles meets AC/DC. For my money, Dos fits that description perfectly, jagged guitar lines and messy blues-splattered solos, coupled with Fab Four earnestness. I can see your point about having a slower vibe than Uno. Where there's a bouncy, buoyant quality to Uno's tracks, songs like "Lazy Bones," "Stray Heart" and the hilariously titled "F*** Time" sport some tremendous build ups. I supposed with the exception of the twisted "Makeout Party" and the White-Stripes-from-Hell thrash of "Lady Cobra," Dos isn't a very fast record. I guess for me, its intensity seems more apparent because these choruses explode, awash with powerchords and layered backing vocals. Which brings us to the late album ugly duckling: "Nightlife." I'll go on record in saying the rap doesn't work. It opts for sleazy, but comes across cheesy. With Lady Cobra talking about sugar towns, it's really hard to take this song seriously, feeling more like a group-wide double-dare contest that went too far. That said, there are some interesting things happening musically, some hefty low-end and some flange soaked spy-movie guitar. Sort of reminds me of a dubbed-out version of "Espionage" from Shenanigans. Despite the rather upbeat quality of some of these tracks, what do you think of the sinister hedonism hinted at with "Amy" and "Nightlife" in light of Billie Joe's recent rehab stint? Foreshadowing or spooky coincidence?

Matt: Short answer - the spookiest of coincidences with a little bit of foreshadowing. Knowing what we do now, it almost seems like Billie Joe is talking to himself in a way and oddly the timing of the release couldn't have been more perfect as it helps take Dos up a notch. I was waiting for us to bring up "Amy" because it's one of those songs where I instantly loved it the first time I heard about it. There's something heartfelt about it and it doesn't steer too far in the direction of sappy. For what they were trying to do, I have no problem saying it was a damn near perfect song and will go even farther as saying it was a top song of 2012, I like it that much. The motives discussed with "Nightlife" and "Amy" do help to paint a slightly darker picture than the kind of upbeat stylings of "Stray Heart" and "F*** Time." I think "Nightlife" goes well with your point of the Beatles meets AC/DC influence in that yes, the song is all kinds of cheazy, sleazy (pimping ain't easy) but it's also fun and definitely not what you would expect from Green Day. So for at least one track, there are no comparisons to bands of yesterday - No Clash, No Ramones - and for once they have a song that is all them. I think for that reason and that reason alone, it works. For one track out of an album full of really strong ones, a favorite being "Lazy Bones," it helps to show their range. I do like the nod of a dare gone too far and while I don't want to see it again, I think "Nightlife" fits where it was. Also, it shows a bit of a branching out, much like I felt with "Troublemaker" on Uno. With that said, the two albums seem a bit similar and it's looking like Tre is going to be less of a final chapter and more of a simple Part 3. And that's not a bad thing.

Mike: I think it's interesting that you brought up the fact that our other punk comparisons aren't necessarily apt for Dos. This album definitely sports more of a rock n' roll vibe, the difference between The Jam and the Ramones I'd say. The other big difference I hear on Dos is the sense of desperation vs. this sense of confidence we hear on Uno. From the yearning found on the back of "Lazy Bones'" three-part harmonies, to the reverb twitch and moan of "Amy," Dos is a decidedly more insecure batch of songs. This LP exudes confusion, from its schizophrenic bass lines to its rapid fire drums. There's an insistence on Dos that whatever existential ennui is bugging Billie Joe, it seems to be all consuming. "Stop When The Red Lights Flash" really embodies this for me, with its relentless riffing and gang vocal shouts of "I'll make you/Surrender!" While I agree with you that Dos never verges on sappy, I do think the album is hampered by it's "party from hell" vibe. By that, I mean you can't divorce the songs from the adolescent rambunctiousness that birthed them. Setting aside how imperfect "Nightlife" is, the thing I struggle with on Dos is HOW adolescent some of these feelings are - and the 40-year old man they're coming from. Whether it's the spin the bottle references on "Makeout Party" or the riot grrrl pining of "Ashley," the strength of Green Day's post-Warning material has always been the scope and breadth of Billie Joe's writing. With a few exceptions, that's largely absent on Dos, and the band opts for something immediate and splashy. While I can see Uno having more staying power for me, I do think Dos sports a more immediate sonic sugar rush and that accessibility that will endear it to old and new fans alike. In no uncertain terms, the fuzzy-punk freakout of Lady Cobra is exactly what I needed from Green Day. Coupled with Uno's energy, Dos' looseness sets us up for an interesting time with Tre, a record that the band has described as sobering. Even through there might be a few more warts on Dos, maybe that's the point of this LP. After over 2 decades in the limelight, Green Day have certainly earned some fun, and it's pretty exciting to hear them so enthused.

A conversation/review of ¡Uno!

Straight from the “trying something a little different department” here are some thoughts about Green Day’s latest, “Uno,” with a twist. The conversation below came as a result of me needing to talk about some music after being so disappointed with the new No Doubt album (one of my friend’s tweeted “I can't stop laughing at the new No Doubt album. I feel like this is some kind of joke”). The best person I knew to discuss this with was Mike and as to not be a total rant of a message, I also included my praise for the new Green Day songs. The following conversation took place and I present it to you, unedited, as our blog piece on “Uno.”

(We jump into the conversation after I had just finished pronouncing my dissatisfaction with “Push and Shove” from No Doubt)

Matt: But Green Day on the other hand... I am really liking it. I won't say love yet, but I am more than satisfied. After hearing it a couple times I feel two things. 1) It's kind of weird to not be a concept album and have it be just straight rock songs. But at the same time it's kind of refreshing. Like, we know they can take it there but it's nice to have them excel at being simple. 2) I feel like the songs they officially released were a perfect indicator for the rest of the record. The really cool thing though - we still have two more of these.

Mike: Uno is really wonderful. I'm on the fence as to whether it's a 4 or a 4.5 for me, but it was definitely worth the wait. The thing that surprised me was how consistently energetic it is. I love the nods to Nimrod and Cheap Trick, and it sounds irreverent after AI and 21CB's seriousness. If I had a complaint it's that I could have used more beef on the guitars, and some of the choruses are a bit repetitive. Still, I think ditching the concept and getting back to pop-punk and old school rock & roll revitalized them. There are some deep cuts on this, especially Sweet 16 and Rusty James. And I REALLY like Oh Love as a closer. What are your favorites? And I think your excitement for Dos and Tre definitely matches my own.

Matt: Uno is on the opposite end of the spectrum from No Doubt. The more I listen, the more I like it. I agree about everything you stated - from the nods to the consistency to the lack of beef. Like I said above, I think there's something to be said for how simple it is. This is a band that two records ago was running down the leader of the free world and now are saying "I had a dream that I kissed your lips and it felt so true / Then I woke up as a nervous wreck and I fell for you." That song and Carpe Diem are a couple of my favorites, but for some reason the oddness of Troublemaker has me pulling toward it. Take away the fact that it's a single, but Let Yourself Go is my absolute favorite. And I remember you saying Oh Love sounds like a closer so good call on that one.

Mike: I was so worried when I heard the YouTube version of Carpe Diem because it's similar to Before The Lobotomy. The studio version is sooooo good though. I love how punchy it is, and how much Cheap Trick sneaks into the second chorus. The big stand out for me was Rusty James. I love that Green Day are fucking calling out the Gillman St. gestapo and all the people that say they aren't "punk enough." Where AI and 21CB sounded world-weary, I love that Uno sounds YOUTHFUL, echoing your sentiment about Fell For You. Let Yourself Go is a song I feel like they wanted Christian's Inferno to be, and I love that they finally figured out how to write it without all the studio effects. That's the thing I think I appreciate most: Uno feels like 4 guys just JAMMING, where their past 2 records felt like carefully sculpted monuments. That's definitely something to appreciate, but there's something to be said for simplicity and energy. Also, that countdown on Nuclear Family.

Matt: That simplicity and energy that you mentioned is what’s drawing me back to this album. Not to overstate it, but what they did with the last two albums was brilliant. But going to just straight punk rock and roll (that’s the genre name I’m going to go with) was just as bold as a move. I think people are going to write off this album before even listening, but I think repeated listens will showcase each of the band member’s talent. The drumming is insane and understated at the same time. And we previously discussed the guitar work, but its simplicity is also a selling point here. Also, I have to admit – if used correctly “explicit” songs can be effective. And I think these songs are the perfect time to showcase F bombs. Angel Blue’s content is subtle, but it’s center stage in Let Yourself Go and honestly takes the song up a notch. And while at one point you have to discuss the adult lyrical content, you also have to address how sweet this album is, as in it could be something ripped out of the 60s. From songs about staying the night to someone always being a Sweet 16 – there’s a nostalgic “love in the air” feel to some of the tracks. Of course, that sound is accompanied by three mega rock stars. I think in the end I would have to go with a solid four stars, but to keep in mind that that could change by February, a month after the third album in this trilogy is released. If this is the first chapter, then this is going to be a hell of a read.

Mike: You're absolutely correct about people writing this album off before they really hear it. 8 years later, people are still angry about the eyeliner and the clothes, rather than focusing the chords that support them. The tragedy is that they're missing out one some of the most invigorating music of this band's career. I think you're right to point out the amount of restraint that Uno has--the higher energy tracks like Let Yourself Go propel this album forward while still allowing for experimentation on other tracks. Kill The DJ hasn't gotten the love it deserves I think, it's probably the darkest cut here, providing an interesting juxtaposition to the Beatles-shine of Sweet 16. Again, I'm harping on Rusty James, but it may be the record's most concise snapshot of the group's trajectory since 1988. Yet, I think the thing that really endears Uno is the same thing that keeps it from perfection--Its sweetness, be it in its sometimes glam-candy production and in its lyrics. Though the group is able to channel that same kind of irreverent riffing that made Nimrod so great, I think the puppy-dog love theme does make long time fans wonder why the group can't balance that with some black sarcasm like on Dookie--Especially with 5 albums worth of songwriting experience since then. I thought about giving it an extra half star, but I think I agree with you, this album feels like it's a 4/5*. What's most exciting is that this IS part 1 of 3, and this was a very strong statement to start with. I feel like a comparison to The Clash's Sandinista! is unavoidable because with 3 albums of material, no one will like everything, but like the Clash, I think Green Day have always been good at twisting traditional pop-hooks and genre mainstays in the name of earnest songwriting. That's what's really going to stick with me on Uno--Green Day's tireless dedication to turn something on its head and stay true to themselves. I think with Dos and Tre, we're going to see our generation's version of the Clash finally break free from the shadow of their Gilman St. beginnings.

(*editor's note: Mike's 4/5 rating was later changed to 4.5; hearing the music in your car can change one's appreciation)