Green Day
Dookie

Reprise    9 45529-2  (1994)

Rock/Pop
CD, 14   Tracks, 39:39  Length
01 Burnout Billy Joe Armstrong; Mike Dirnt; Tré Cool 02:07
02 Having A Blast Billy Joe Armstrong; Mike Dirnt; Tré Cool 02:44
03 Chump Billy Joe Armstrong; Mike Dirnt; Tré Cool 02:54
04 Longview Billy Joe Armstrong; Mike Dirnt; Tré Cool 03:59
05 Welcome To Paradise Billy Joe Armstrong; Mike Dirnt; Tré Cool 03:44
06 Pulling Teeth Billy Joe Armstrong; Mike Dirnt; Tré Cool 02:30
07 Basket Case Billy Joe Armstrong; Mike Dirnt; Tré Cool 03:03
08 She Billy Joe Armstrong; Mike Dirnt; Tré Cool 02:14
09 Sassafras Roots Billy Joe Armstrong; Mike Dirnt; Tré Cool 02:37
10 When I Come Around Billy Joe Armstrong; Mike Dirnt; Tré Cool 02:58
11 Coming Clean Billy Joe Armstrong; Mike Dirnt; Tré Cool 01:34
12 Emenius Sleepus Billy Joe Armstrong; Mike Dirnt; Tré Cool 01:43
13 In The End Billy Joe Armstrong; Mike Dirnt; Tré Cool 01:46
14 F. O. D. Billy Joe Armstrong; Mike Dirnt; Tré Cool 05:46
Music Details
Product Details
Packaging Jewel Case
Spars DDD
Sound Stereo
Musicians  &  Credits
Guitar Billy Joe Armstrong
Bass Mike Dirnt
Drums Tré Cool
Musician Green Day
Producer Green Day; Rob Cavallo
Engineer Neil King
Cover by Richie Bucher
Personal Details
Index # 1345
Owner Dave
Tags Punk
User Defined
Purchased New
Notes
Green Day couldn't have had a blockbuster without Nirvana, but Dookie wound up being nearly as revolutionary as Nevermind, sending a wave of imitators up the charts and setting the tone for the mainstream rock of the mid-'90s. Like Nevermind, this was accidental success, the sound of a promising underground group suddenly hitting its stride just as they got their first professional, big-budget, big-label production. Really, that's where the similarities end, since if Nirvana were indebted to the weirdness of indie rock, Green Day were straight-ahead punk revivalists through and through. They were products of the underground pop scene kept alive by such protagonists as All, yet what they really loved was the original punk, particularly such British punkers as the Jam and Buzzcocks. On their first couple records, they showed promise, but with Dookie, they delivered a record that found Billie Joe Armstrong bursting into full flower as a songwriter, spitting out melodic ravers that could have comfortably sat alongside Singles Going Steady, but infused with an ironic self-loathing popularized by Nirvana, whose clean sound on Nevermind is also emulated here. Where Nirvana had weight, Green Day are deliberately adolescent here, treating nearly everything as joke and having as much fun as snotty punkers should. They demonstrate a bit of depth with "When I Come Around," but that just varies the pace slightly, since the key to this is their flippant, infectious attitude -- something they maintain throughout the record, making Dookie a stellar piece of modern punk that many tried to emulate but nobody bettered. -- Stephen Thomas Erlewine (allmusic.com)