parodies by nacrowe
maybe its the generation im from or growing up in suburban SOUTHERN CALIFORNIA in the early 1990s without MTV and only access to the radio and 106.7FM KROQ on constantly, but so much of what i understood to be modern music from an early age was produced by BUTCH VIG.
i remember being at a SHAKEY'S PIZZA in ORANGE COUNTY after what had to be a youth soccer game during my early elementary school years (maybe 1892?) and hearing "SMELLS LIKE TEEN SPIRIT" for the first time as someone played it from the jukebox. had no clue who NIRVANA was or anything about INDIE ROCK, PUNK ROCK or the SEATTLE ALTERNATIVE ROCK scene at the time. i just knew that whatever that was, it sounded how i felt and i connected with it on first listen. i can only think of a rare few other times thats happened with bands like GLASSJAW and THE GET UP KIDS among others. i dont believe i even had a copy of NEVERMIND (DGC, 1991) or the STEVE ALBINI-produced follow-up IN UTERO (DGC, 1993) until christmas of 1993. i was just too young.
and NIRVANA is just the beginning. as i grew older and discovered more bands it was always a pleasure to learn this new discovery (to me) inevitably led back to BUTCH VIG, as was the case with L7, SONIC YOUTH, HELMET, THE SMASHING PUMPKINS and much later GARBAGE. whats compelling to me about his output is how eclectic his production catalogue has been, as AFI sound nothing like AGAINST ME! and sonically and aesthetically sit on a different planet from KILLDOZER, yet they all bear his fingerprint. the man does not pigeonhole himself, even within the greater ROCK N ROLL milieu. the versatility likely comes from his production chops and work ethic that kept the doors of his MADISON, WISCONSIN-based SMART STUDIOS open to all newcomers, but i also feel it comes from the lack of pretense that comes with his midwestern upbringing. with culture caught up with him he didnt seem to become fazed by the attention, instead maintaining a distance while taking advantage of the ability to be selective with upcoming exciting new projects. even his decision to initiate GARBAGE does not feel like an inevitability, but a genuine artistic choice to push the limits of technology and marry it with the songwriting prowess and sardonic yet earnest ethos of ALTERNATIVE ROCK. when i first heard "STUPID GIRL" on MTV at a relatives house, i had no idea BUTCH VIG was involved. which is likely the highest compliment i can offer.
the dude is a chameleon and he is always someone whose latest project i look forward to consuming, just to see what latest madness he's help midwife into the world.
below is a pandemic episode of DEER GOD RADIO from june of 2020 dedicated to the production work of BUTCH VIG. enjoy!
first time i remember hearing the landmark POP PUNK album DOOKIE (REPRISE, 1994) by GREEN DAY was at a cub scout meeting at a friend's house in SOUTHERN CALIFORNIA in late 1994. i was in fourth grade at the time and before the meeting someone brought over this compact disc he'd gotten for his birthday. my first impression was its INTENSITY, SPEED and UNDENIABLE CATCHINESS. given my naïveté at the time, most of the themes surrounding drug culture and relationships went well above my head at the time, but the out-front melodic lines of MIKE DIRNT that transformed his bass into a lead instrument (a la PETER HOOK of JOY DIVISION / NEW ORDER or POUTINE from SCREECHING WEASEL), the rolling kinetic propulsion of TRE COOL's drum fills and BILLIE JOE ARMSTRONG's apparent faux BRITISH singing accent made quite the impression on my young ears (and musical consciousness).
in retrospect the music industry doesnt not like a vacuum, and its to GREEN DAY's credit/misfortune that they stepped into the limelight not too long after the untimely demise of another powerhouse trio, NIRVANA. the two fairly or unfairly are inextricably linked in that regard even though they come from different ends of the PUNK ROCK universe. NIRVANA was more artier and introspective and took inspiration from both the INDIE ROCK (i.e. R.E.M., DINOSAUR JR, MEAT PUPPETS and SONIC YOUTH) and HARDCORE (i.e. BLACK FLAG, THE GERMS, FLIPPER, BIG BLACK) scenes of the 1980s while GREEN DAY was firmly within the MELODIC HARDCORE (i.e. BAD RELIGION, DESCENDENTS, DAG NASTY, HUSKER DU) end of the spectrum with more than a passing indebtedness to the CATCHIER, LESS ANGRY end of the PUNK ROCK spectrum (i.e. THE BUZZCOCKS and THE RAMONES). personally i dont think its fair to compare the two bands as BILLIE JOE ARMSTRONG and KURT COBAIN are very different people with very different SONGWRITING SENSIBILITIES. but i would be remiss to not at least mention that such discussion is an inevitability given the success of both bands, who in tandem lifted PUNK ROCK from an underground commercial nonentity to an entirely mainstream concern that changed the cultural landscape of ROCK AND ROLL to date in its wake.
for me the standout tracks off DOOKIE (and there are quite a few of them) are not just the iconic anthemic singles "WHEN I COME AROUND," "LONGVIEW," "BASKET CASE" and "WELCOME TO PARADISE" but also lesser celebrated tracks like "SHE," "BURNOUT," "PULLING TEETH" and my long-time personal favorite "F.O.D." which is short for "fuck off and die." lovely. i think that much as DOOKIE set the sonic template for what POP PUNK became over the next decade (i.e. concise, no frills song construction with impassioned melodic vocals) with bands like BLINK-182, SUM 41, NEW FOUND GLORY, FALL OUT BOY and GOOD CHARLOTTE among others, what is less celebrated are how influential ARMSTRONG's lyrical perspective has been. and for this i am again using COBAIN as an acknowledged unfair counterpoint. COBAIN was firmly confessional but in an oblique, frustrated and ultimately self-destructive manner. that sense of exposing one's brutal, unadulterated self-eviscerations is part of his legacy that less steadier hands and much less gifted musicians have mined with ever diminishing results (i.e. SEETHER, CREED, STAIND, BUSH, NICKELBACK and PUDDLE OF MUDD). ARMSTRONG on the other-hand seemed to coat his societal observations and self-evaluations within a context that seemed a bit more neutral. i dont believe the narrator in "LONGVIEW" is speaking about its subject (a listless, masturbatory stoner with no ambition) with any sense of enmity or pity. it just is what it is. i can't help but connect that song to later tracks like BLINK-182's "WHAT'S MY AGE AGAIN?" (about outmoded juvenile hijinks done well into someone's 20s) and FALL OUT BOY's "SUGAR, WE'RE GOIN DOWN" (about the lengths fought for a seemingly doomed relationship), which all seem to have a neutral storyteller at the heart not passing authorial judgement on the players in the narrative. personally i just dont see COBAIN having time for that technique of hiding behind a character. his work was more of a guided missile ultimately aimed at himself.
whats interesting for me about GREEN DAY is how ARMSTRONG's songwriting seems over time to trend more towards COBAIN. case in point is the other most celebrated album in GREEN DAY's catalogue, AMERICAN IDIOT (REPRISE, 2004), which seems to marry the two perspectives. but i'll save that discussion for another day.
DOOKIE is required listening for anyone interested in ROCK AND ROLL, end stop.
parodies by nacrowe
check out HERE this recent streaming video episode of DEER GOD RADIO celebrating EAST BAY POP PUNK icons GREEN DAY!
past episodes of DEER GOD RADIO are available here at the DEER GOD website as well as in the MAKERPARKRADIO.NYC archives.
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i believe it is fair to say that WARNING (REPRISE, 2000) is the forgotten GREEN DAY album. some critics over the years have disparaging claimed it to be a product of frontman BILLIE JOE ARMSTRONG's self-indulgent "fat ELVIS" period. no doubt it has the misfortune of being the lead-in record to what many consider their best record, AMERICAN IDIOT (although some claim DOOKIE), and the overall renaissance of their cultural status as POP PUNK icons.
i dont see it that way.
when i listen back to tracks off WARNING like "MINORITY," "WAITING," "MACY'S DAY PARADE," "MISERY" and "WARNING," what some hear as a lack of energy and bombast i hear as a detour into the song-craft and subtle thoughtfully crafted sonic dynamics at play with BRITISH INVASION bands like THE KINKS and THE WHO. there is a storytelling quality and a solid penchant for CHARACTER STUDIES that come into play on this record that would bear fruit with the follow-up and its multi-song NARRATIVE ARC. such a detour into essentially creating modern FOLK NARRATIVES puts ARMSTRONG in keeping with a decidedly BRITISH tradition exemplified by the likes RAY DAVIES and PETE TOWNSEND. i think ARMSTRONG's fascination with the earlier work of those two songwriters helps make the connection between WARNING and AMERICAN IDIOT, as the later record is definitely in keeping with THE KINKS PRESENT A SOAP OPERA (RCA, 1975) or TOMMY (DECCA, 1969). basically i see the two as a pair, in essence two efforts at translating disparate elements like POWER POP and BRITISH INVASION-era song-craft into a modern POP PUNK format.
and to an extent it worked. it is just in comparison to the explosive bombast of AMERICAN IDIOT and its astute political conceit at a time when bands, PUNK or not, were largely cowering in the age of GEORGE W BUSH and the paranoia of a post-9/11 AMERICA. WARNING is very much a product of a band searching for a means of maturing into ADULTHOOD, and represents one attempt at such. ultimately they double-down on the more anthemic elements of their sound, but this more laid-back, self-assessing, INTROSPECTIVE record should not be discounted. its definitely worth revisiting and checking out agin.
along with THE OFFSPRING and NO DOUBT, GREEN DAY was the soundtrack to my post-NIRVANA youth, especially once my family moved to NIGERIA from SOUTHERN CALIFORNIA in the mid 1990s. obviously DOOKIE (REPRISE, 1994) was a landmark record not just for popularizing POP PUNK (and defanging the self-destructive aspects of SEATTLE-based ALTERNATIVE ROCK), but also for just being a great pop record.
in a sense, the follow-up INSOMNIAC (REPRISE, 1995) proved that such success was not a fluke and proved the genre itself viable for all that would follow suit (i.e. BLINK-182, FALL OUT BOY, NEW FOUND GLORY, SUM 41, PARAMORE, A DAY TO REMEMBER). technically not a sophomore album, as the band had made several records for indie label LOOKOUT! RECORDS, INSOMNIAC was a major label follow-up that basically double-down on the formula of simplified riffage, rolling kinetic drumming and memorable bass-lines that made GREEN DAY such a powerful power trio to begin with. in many ways i always associated the band sonically more with POWER POP and BRITISH INVASION bands than PUNK ROCK in general. GREEN DAY in my mind was always a GARAGE band with really great songs, with the PUNK thing being more of an aesthetic based on their EAST BAY roots. in fact the feverishly independent GILMAN STREET scene out of BERKELEY was surprisingly open-minded in terms of musical styles supported (this despite their reputation for having ideological opposition to anything and all things corporate), which included SKA hybrid bands like OPERATION IVY and proto-ART METAL like NEUROSIS in the mix.
this predilection for simplified yet effective songwriting would flourish on WARNING (REPRISE, 2000) years later, but i see it in an embryonic stage on INSOMNIAC in songs like "GEEK STINK BREATH," "BRAIN STEW/JADED" and my favorite song off the record, "WALKING CONTRADICTION." other standout tracks like "86," "ARMATAGE SHANKS" and "STUCK WITH ME" are raging, start-stop, barn-burners that come off like vintage GREEN DAY. today i feel that BILLIE JOE ARMSTRONG could write songs like this in his sleep, but here they are in full display. perhaps to get it out of his system or maybe not to risk alienating DOOKIE fans. im glad they transitioned out of this phase and took the real risks tha today they are known for.
who knew a rock opera was in their future. or a giant middle finger to the government when others cowered and shrank. now that is PUNK.
photo manipulation by nacrowe
its funny that one of the worst sounding rooms in live television (STUDIO 8H) is also arguably one of its most enduringly iconic stages. one of those truly odd paradoxes.
i often wonder what affect on the culture a SATURDAY NIGHT LIVE appearance has in modern culture, similar to that of a ROLLING STONE cover. maybe it is just an anachronism of a cultural moment that has long since passed us by when we have a never ending feed of audio-visual content available on command from devices in our pockets.
not to sound too nostalgic, but i do remember a time during the 1990s and early 2000s when there was a sense of a shared experience each week when you stayed up to watch SATURDAY NIGHT LIVE and see who was hosting and playing that night. it was exciting.
nowadays not so much. why is that?
artwork by nicholas crowe
tune into DEER GOD RADIO tonight at 8PM on MAKERPARKRADIO.NYC where we will be risking all credibility ;) and playing nothing but POP PUNK from the past three decades. yes, we are all that old. thing is the genre is probably even older, which will be part of our discussion.
past episodes of DEER GOD RADIO as well as other MAKERPARKRADIO.NYC shows like MAKE HER SPACE, NOWHERE FAST, and THE SYNTHESIZER SHOW are available here at the DEER GOD website.