Green Day ‎– Dookie - 1994 RSD Alt Rock Pop Punk - Audiophile AcousTech - Pallas - Black Vinyl - Sealed LP

Green Day ‎– Dookie

Label: Reprise Records – 468284-1

Style: Alternative Rock, Power Pop, Punk

Tracklist

A1 Burnout 2:07
A2 Having A Blast 2:45
A3 Chump 2:54
A4 Longview 3:59
A5 Welcome To Paradise 3:45
A6 Pulling Teeth 2:31
A7 Basket Case 3:01

B1 She 2:14
B2 Sassafras 2:38
B3 When I Come Around 2:58
B4 Coming Clean 1:35
B5 Emenius Sleepus 1:44
B6 In The End 1:46
B7.1 F.O.D. 2:49
B7.2 (silence) 1:20
B7.3 All By Myself 1:38

Companies, etc.

Record Company – Warner Music Group
Copyright (c) – Reprise Records
Phonographic Copyright (p) – Reprise Records
Copyright (c) – WEA International Inc.
Phonographic Copyright (p) – WEA International Inc.
Lacquer Cut At – AcousTech Mastering
Mastered At – AcousTech Mastering
Pressed By – Optimal Media Production – B 969993
Published By – Wb Music Corp.
Published By – Green Daze Music

Credits

Engineer – Neil King
Engineer [Additional] – Casey McCrankin'
Illustration [Cover] – Richie Bucher
Lacquer Cut By, Mastered By – KG
Management – Pat Magnarella, PMC
Mixed By – "Huckle" Jerry Finn*, Rob
Photography – Ken Schles
Producer – Rob Cavallo
Producer, Mixed By, Music By – Green Day
Words By – Billie Joe* (tracks: A1 to B4, B6 to B7.3), Mike Dirnt (tracks: B5)

Notes

Tracks B7.2 and B7.3 are unlisted

© ℗ 2008, 1994 Reprise Records for the U.S. and WEA International Inc. for the world outside of the U.S.

''What set Dookie apart from the grunge rock bellowers of its day was Armstrong’s voice, foggy and vaguely unplaceable. “I’m an American guy faking an English accent faking an American accent,” he teased at the time. Though Armstrong’s tone was bratty, his phrasing had that lackadaisical quality that left room for listeners to fill in their own interpretations. On Dookie, Armstrong channeled a lifetime of songcraft obsession into buzzing, hook-crammed tracks that acted like they didn’t give a shit—fashionably then, but also appealingly for the 12-year-old spirit within us all. Maybe they worked so well because, on a compositional and emotional level, they were actually gravely serious. Sometimes singing about the serious stuff in your life—desire, anxiety, identity—feels a lot more weightless done against the backdrop of a dogshit-bombarded illustration of your hometown by East Bay punk fixture Richie Bucher.

“Longview,” Dookie’s outstanding first single, smacks of the most extreme disengagement: a title taken from Longview, Washington, where it happened to be played live for the first time; a loping bass line supposedly concocted while Dirnt was tripping on acid; and a theme of shrugging boredom that placed it in the ne’er-do-well pantheon next to “Slack Motherfucker” to “Loser.” Adolescent interest may always be piqued by lyrical references to drugs and jerking off, the way a 5-year-old mainly laughs at the Calvin and Hobbes panels where Calvin is naked or calling Hobbes an “idiot.” But as beer-raising alt-rock goes, this is also exceptionally bleak, with the narrator’s couch-locked wank session transforming into a self-imposed prison where Armstrong semi-decipherably sings, per the liner notes, “You’re fucking breaking.” No motivation? For a high-school dropout hoping to succeed in music, that mental hell sounds like plenty of motivation.'' (Pitchfork)