Tag Archives: Billie Joe Armstrong

Song of the Day: “Jesus of Suburbia” – Green Day

 

Admit it: prior to the fall of 2004 the very thought of Green Day putting out a 9-minute song seemed quite ridiculous. After all, before American Idiot, these guys were mostly known for songs about smoking weed and masturbating. While “Good Riddance (Time of Your Life)” showed a hint of maturity, most people miss the scathing intent behind the sweet melody.  I read an article about Green Day’s new direction a weeks before American Idiot’s release and told a friend. His response? “Shut the fuck up, Matt. Never talk to me about this ever again.” Naturally, both of us ended up loving the song, though one of us warmed up to it quicker than the other.

Amazingly, American Idiot was not only a great rock and roll record, it summed up the turbulent mid-2000’s better than almost any record I can think of. “Jesus of Suburbia” is the album’s centerpiece: without the nine minute, 5 part suite, the rest of the record would come unhinged and fall under the weight of its own ambitions. But with the simple declaration of “I’m the son of rage and love,” at the beginning of the song, Green Day pulls you into a twisted, messed up world where everything seems to be falling apart. Heartbreak, debt, deception and a “hurricane of fucking lies” all feelings that were very in 2004 (and in 2016, horribly enough) are all contained here. If you don’t get through “Jesus of Suburbia”, there’s no point in listening to the rest of the record.

None of this would matter though, if the music wasn’t great. Each section of “Jesus of Suburbia” is a fantastic piece of music in its own right and they flow together seamlessly. The musical breakdown between the first two sections with a tour de force performance from Tre Cool still sends shivers down my spine. And the guitar solo near the end of the song? It’s a pretty much a note for note melodic rendition of Johnny Cash’s “Ring of Fire”.

“Jesus of Suburbia” and American Idiot is the type of rare rock and roll record that comes along every once in a while: the kind we didn’t know we needed at the time, but couldn’t live without.

The Ten Most Important Artists of the Last Decade: 9. Green Day

In the summer of 2004, I read an article that was previewing what would become American Idiot. It stated that Green Day were working on a rock opera about the state of the nation.  One song, the article said, was about 10 minutes long and would contain multiple sections.  At the time, it seemed quite ridiculous.  Green Day, was after all a band that sang about masturbating and smoking weed.  And who knows, maybethey sang about doing both of those activities at the same time.  Green Day were a good band, a fun band.   Billie Joe Armstrong might have borrowed Joe Strummer’s snarl (and occasionally the accent), St. Joe he was not.  During a drunken night, I told one of my friends about the alleged 10 minute song I read about in the article.  “Shut the fuck up, Matt,” He told me with a bit of disdain.  “Next, ever speak of this again.”  Afterall, who would want to listen to Green Day’s thought on the state of the nation?

As it turned out, Green Day would prove the skeptics wrong. American Idiot, would end up becoming one of the defining albums of the era in part because many of its song were protests against the War In Iraq.  While there plenty of artists making statements and complaining about the war, they seemed to be few and far between.  And it wasn’t just the Dixie Chicks who got some shit.  Dozens of fans walked on  a Pearl Jam concert in 2003 when Eddie Vedder sang the anti-Bush song, “Bushleaguer”.  If artists were speaking out against the war, they certainly weren’t doing it on the radio.  Radiohead’s Hail to the Thief didn’t receive much play, Neil Young’s Greendale only spoke to his devoted fans, and Conor Oberst was too much of a niche artist at the time to make any impact.  But when “American Idiot” came blaring on the radio in the summer of 2004, it suddenly became clear that Green Day were no longer trying to be The Clash.  They were The Clash for this generation.  When Armstrong suggested that ” Everybody do the propaganda and sing along to the age of paranoia” it was a rallying cry to wake people up.  And if the lyrics didn’t cover that ground, the sonic assault of the song was just as arresting.

While many of the songs are a protest agains the War in Iraq, making no pretense about the band’s stance, it’s also much more than that.   In a decade where everything seemed to teeter out of control from every direction.  “Hey can you hear the hysteria?” Armstrong asks. But then he takes it one step further – “The subliminal mind-fuck, America.”   Somehow Green Day managed to tap into the cultural zeitgeist – a fusion of anger and disillusionment.  It was an era where many seemed destined to “fall in love or fall in debt” .

Of course, Armstrong’s instincts and intentions would mean as much if the songs on American Idiot weren’t good.  The aforementioned 10 minute song, “Jesus of Suburbia” combined punk and elements of prog-rock.  Amazingly the 5 pieces of the songs fit together perfectly, and the result became of the band’s best songs.  “Boulevard of Broken Dreams” with that weird feed-back loop managed to be the successful song on the album.  The band managed to cover a lot of ground, without missing a step.  The lyrics may have the focal point of the album, but their content also never got in the way of a good rock song.  Which American Idiot was full off.

American Idiot brought back some of the spirit of the 60s and 70s – when music actually meant something, that it could be a catalyst for change.  If a group that previously known for being dumbass stoners ends up releasing the album that best sums up what it was like to live in the mid 2000s, I’m not sure whether Green Day deserve even more credit than they already have, or if I should point a shameful finger at others for not stepping up.

(And for those who might suggest I’m only basing this off of one album, The Sex Pistols only had one album as well.)

1994 Nostalgic Songs: Longview

Like Weezer, Green Day was big in 1994 and they’re still around.  While Weezer never made a single as good as “Undone” again, Green Day grew up ten years later and took on the state of the nation with American Idiot.  But their singles from Dookie, are still damn good pop-punk singles – ones that an entire generations of  bands have been trying to copy for years without succeeding.

For me, “Longview” is the best of these songs from Dookie-era Green Day.  Like “Undone”, “Longview” plays with the standard soft verse/loud chorus: the verses have no guitar, just drums and the now famous bass line.  “Longview” is perhaps  rock greatest ode to boredom – a feeling many teenagers could easily relate to.  Billie Joe (who would later turn into the greatest frontman of his generation) sounds convincing in his boredom.  He turns on the TV, “but nothing’s on”, yet still watches it for “an hour or two.”  So what’s he to do to cure his boredom?  Masturbate, of course.  As his sexual urges take over, the song literally takes off and explodes.  The song hasn’t been totally quiet until this point, but the production here is great – the band literally rushes out of the speakers as Billie Joe is taken “away to paradise”.

Lack of motivation never sounded as glorious as it does in the bridge.  Where has all the motivation gone? “Smoking my inspiration!” He declares.  Notice that he doesn’t suggest that he’s smoking his inspiration away. This lack of inspiration and motivation doesn’t seem to bother him.  In fact he’s going to let you know that he doesn’t give a shit what you think – “Call me pathetic call me what you will”.

“Longview” was one of the first songs I remember hearing on the radio where not just one, but several words were edited out.  At the age of 12 or 13 that made it more appealing.  As a teenager, you’re often bored and you’re don’t know why.  Other acts at the time may have viewed boredom as a sign of depression and loneliness.  “Longview” is a funny, yet true view of being bored when you have no idea what to do.  It doesn’t pretend to be about anything less or more.