Unsolicited Thoughts/Notes On GD’s Dookie Twenty Years Later
– the Green Day albums prior to Dookie are good but you listen to them and think, “Man, these guys need a budget”; this is that rare breed of punk (hyper melodic) that’s actually hindered by rawer sonic ethics
– the middle of “Burnout” rips off the middle of “Pictures of Lily” by the Who, but “Burnout” is faster, so…all forgiven?
– speaking of the Who, that rah rah ending of “Chump,” the bit that crashes into “Longview”…why were any of us surprised when Green Day became an arena band and started writing rock operas?
– the Green Day backlash (which occurred, what, between 1995-97?) was so intense I still feel residual guilt for ever owning an original cassette copy of this album (which is dumb, because you should just like what you like and love what you love and I’ve since owned far more dubious musical ventures, including a good portion of Leonard Nimoy’s discography)
– I’ve heard “Welcome to Paradise” so many times throughout my life (both voluntarily and involuntarily) that it no longer registers as anything except a sound that is occurring in the vicinity of my ears
– part of me wishes the entire album had the twangy tone of “Pulling Teeth” (seems a little richer)
– part of me wishes the only segment of “Basket Case” they had released was Billie’s vocal track
– people who accuse this album of being (too) juvenile have obviously never heard anything by the Queers or Screeching Weasel
– Dookie producer Rob Cavallo has worked on everything Green Day has done since 1994, including soundtrack stuff and live albums; that kind of job security is rare these days
– Dookie producer Rob Cavallo also worked on Kid Rock’s Rock n’ Roll Jesus, which makes me want to smash a fucking carp right into his face
– Dookie is fun and will always be the Rosetta Stone that made me decide to further investigate this punk rock stuff, but it stopped being my favorite Green Day album the second Insomniac dropped in ’96; they just sound like a stronger band on Insomniac, playing tighter, louder songs with way more frenzy and better melody…I don’t understand why people tend to dismiss that one sight out of hand (or w/e that nonsensical phrase is)
– the hidden song here is the aural equivalent of looking at Pauly Shore