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I'm surprised I haven't seen anyone talk about the fact that they finally released the Stop, Drop & Roll music video in the doco It's been around for a few years but it was from a LQ leak the band weren't happy about. It's amazing to finally get it in full HD

Hello ladies.

I just think it sucks that this person is making thousands of dollars selling merch other people wanted at the shows but couldn't buy because it was sold out. Especially the UK patches. There were definitely only 390 of each of those but this person has multiple of them

Normies and this question I had a meeting with one of coworkers on Friday shortly after I managed to buy the tickets for Amsterdam and I was so excited I told them, and they were like "is it for another Green Day show?" I didn't have the courage after that to tell them I actually had tickets for 3 shows, not just the one

Still listening to Lowlife non-stop Green Day is the best band EVER 🫶

It’s ok, we get it. Thank god for like minded people!

Successfully brainwashed my 18 year old daughter: she’s a Swiftie with no interest in Green Day or punkrock as a whole. But after a weekend of AI stuff on repeat she complained today that Billie is now singing in her head all the time. YES!!!👍😅

Here are the lyrics to Tre's part in the Homecoming demo (because Genius is mostly wrong): I went to the warehouse I'm in love with Jimmy Boom (from the Phenomenauts) He showed me the manta ring I showed him my practice room Jason White was worrying About the rain in Danville He has a concert there That's when I heard my phone ring

On this day 2 years ago (28 October 2022), The Coverups played the Moroccan Lounge in LA. More photos: 15 years ago (28 October 2009), Green Day played a second night at the LG Arena in Birmingham, England on the 21st Century Breakdown Tour. 20 years ago (28 October 2004), Green Day played the Centrum Centre in Worcester, MA on the American Idiot Tour. More photos: 26 years ago (28 October 1998), Green Day played the Pabellón Oeste del Palacio de los Deportes in Mexico City on the Nimrod Tour. 29 years ago (28 October 1995), Green Day played the Colisée de Québec in Quebec, Canada on the Insomniac Tour. Also added Tre's tweet about the first Birmingham show to yesterday's post

Older interview, recorded shortly before Saviors came out.

I'm going a bit nutty here! I ordered the AI anniversary set through GD's webstore and it shipped on Wednesday from the Netherlands, so I really thought I'd get it on time. But stupid DHL sent it from NL to the UK because why not, I guess. And then from the UK to France so it took a while to go through customs, but since Friday afternoon it's been 20 KM from Paris, so I thought maybe I'd get it yesterday, but I didn't... so hoping for Monday now. But it's been hard to avoid spoilers.

i "think" they took credit for Stop, Drop and Roll because they "gave" that song to the Hot tubs alongside Pedestrian and Broadway (and they got Fuck Time, Stray Heart, Stay The Night and Lazy Bones in return) while the network directly "stole" from them (but in revenge green day "stole" Govenator from them)

On the second night in Birmingham Green Day mixed up the setlist. They would play Jesus of Suburbia one night and American Eulogy the next night. American Eulogy was incredible and I really wasn’t expecting that. It’s just amazing live. Then when Billie came out with his acoustic guitar he sang Macy’s Day Parade and I wasn’t expecting that either! The guy next to me was complaining that they didn’t play his favourite song (Jesus of Suburbia) and I was like “but THEY PLAYED AMERICAN EULOGY!” We were staying quite close to the venue and could see all the buses and trucks outside. When we got up the next morning it was sad to see they'd all gone somehow. They did individual t-shirts for each night which I just thought was so cool and they’re treasured possessions now.

Scalpers being scalpers. 😤 I was looking for one from Charlotte to give to a friend from whom the name carries a lot of meaning and who also loves Green Day, and I found some but at 100$ which is absolutely ridiculous (I only thought about it after the show or I would have tried to find someone on the forums to get one for me, that I would have payed for of course). Also, cannot wait to see some of those limited editions Dookie demastered items being sold for x10 or x100 their original price 🙄

i have the same conclusion , Unt sounds more as gd bside album, but its a very good record and im verry happy that they are back with new music. For me Jump Salty still remains No.1 the impact Sarah Kirch had on this record is unbeatable!

I listened to PHGP's entire discography in order the other day (hadn't listened to the band for quite a while). Made me realise I think Unt is my favourite! Love all their stuff but it's the best album. My brother did the same thing and had the opposite conclusion lol, doesn't like that it isn't quite as quirky as other CDs. I agree that it isn't but the songs are just so good Also just got to listening to these. Two really interesting interviews! The first insightful about all the guys' history with the band and the second about the album.

really wanna watch the doc

Heart like a handgrenade documentary deserves to have a director's extended cut . The whole docu is just a music video with less behind the scenes making the songs.

@Montclare, you beat me to it! Not surprised to find this being discussed here. So much beauty and I love how Mike and Tre are both looking at Billie’s butt (wouldn’t we all). Some great moments in the doc but this is a gem 😍😍😍

This is a month or so old but I don't remember seeing it posted before (maybe I missed it in another thread) Jason White on the radio this afternoon from 1234Go Records https://www.instagram.com/reel/DBpweZep_QK/?igsh=MWs4YnMxMnpjaWwwMQ== and here from the radio station https://www.instagram.com/stories/kxsfradio/3488386763846968037?utm_source=ig_story_item_share&igsh=ZTgzdWxmaXo1Mnpv

I believe that’s only noticeable on the hd remasters. I remember listening to homecoming on hd tracks years ago and hearing that part with the radio interference thinking it was really cool. I’m glad it’s on Spotify now.

I listened to the entire Irving plaza cd and realized the minority solo is different from the one included on the holiday single. They must’ve punched in a solo recorded after the show because they thought the live one was shit haha. Cool they left it in now though. Going to watch Heart Like A Handgrenade now because I don’t remember it at all. update: wtf is with the random dancers during JOS lmao. Also why the recorded track when he filmed them playing it live damn. And he spent 9 months with them in the studio, why use 10 minutes on one song? And it looks like they ran out of dancing footage by the end of the song hahaha. Still cool to have this movie overall though so I’ll try not to hate much more.

Brain Stew playing before going to intermission at SNF

The Birmingham show was my first Green Day show too. At the time I’d been made redundant and was doing temporary work. Every time I took on a new job I had to say “I need this week off in October, it’s very important, I have to take this week off.” One guy said to me “why do you need to see them four times?!” But I’m so glad I did. It was the first time I’d ever tried to buy tickets online (you used to queue up to get them at the box office!) and I’d got three other people at work trying too. One of them had worked for Gigs and Tours so she was the “ticket buying expert.” She said a Nottingham show was pencilled in but they went for Sheffield instead because there are no 5 star hotels in Nottingham. Anyway reading this almost brought me to tears! That was a special time. It was like we were in this magical bubble and the stage was in a magical mist. We were actually there watching Green Day. And Give Me Novacaine… oh my God. I was drenched in sweat and I rubbed my feet raw dancing! I actually ripped my toenails off, my toes were bleeding and I had a huge blister on the back of my foot. Billie did that thing he used to do when he went “one thousand! Two thousand! Three thousand! Four thousand! Five thousand! Six thousand!” up to 16,000 (the capacity of the venue). I remember Tre standing up at the drums in Minority while Billie did the introductions. Every show on that tour just made you want to go back. You’d see them and you were just thirsty for some more. You just wanted to see it again and again and again because it was just so good. The band were just perfectly tight and in sync like they were tied together by string. It was wild.

On this day 13 years ago (27 October 2011), Green Day played Webster Hall in NYC. More photos: 15 years ago (27 October 2009), Green Day played the LG Arena in Birmingham, England on the 21st Century Breakdown Tour. The official live video of Murder City is from this show. This was my first Green Day show. There are parts I still remember well, like going crazy when they started At the Library, but my clearest memory is the pure happiness and excitement I felt before, throughout and after the show. My recap is long, but 14 year-old me would be angry if I didn't share the whole thing, so here it is: "As the drunk bunny stumbled around to YMCA, it was sinking in that all the live videos I’d watched of a show that seemed so far out of my reach… I was about to experience that for myself. The bunny was gone. The Ramones’ 'Do You Remember Rock ‘n' Roll Radio?' played. Then the crackling static that introduced Song of the Century echoed through the arena. The crowd of 16,000 sang along in unison. My heart was pounding with the first chords of 21st Century Breakdown. Tré Cool ran onstage. The Big Three. Mike Dirnt. Then, finally, Billie Joe Armstrong. With flicks of his wrists he drew roars from the crowd. My voice was another scream in the tumultous applause. The crowd clapped along with Tré’s hits of the bass drum. With exploding pyros the show began. I was screaming my favourite lyrics, the words that gave me hope, back at my favourite band. Billie Joe commanded us all to stand up. We already were, clapping as if our lives depended on it. Green Day’s ferocious energy reached from the front row to the highest tiers. In my seat that looked down on them as specks, I felt as much like a part of the show, the mass of bodies obeying Billie’s every command, as I ever have on the floor since. It was a sense of belonging. A sense of acceptance. I felt understood. I knew that I, like the other 15,999 people in that room, mattered. The first fan was pulled onstage in Know Your Enemy. He staged dived to the pyros. Their sound was all enveloping, like a pounding warmth that attacked every cell. Everyone, on the floor, in the seats, was dancing. We repeated Billie’s ‘whoa-oh-oh-oh-oh!’ to East Jesus Nowhere religiously. In the bridge he announced he was going to ‘save’ someone from the crowd. He stubbornly made his way up into the seats, heading for a young girl called Catherine. There was a long exchange before he returned. Unsuccessful in recruiting Catherine, he called up his own 11 year-old son, Jakob, who obediently waved his arms before allowing himself to be ‘saved.’ The crowd chanted his name while Billie sang ‘the sirens of decay will infiltrate Jakob!’ and he fell to the floor. Once the song ended, he tried to make a quick escape. Billie announced ‘hey, where are you going, Jakob, you little shit? Come here for a second!’ and promptly planted a kiss on his forehead. ‘Alright, see you later. That’s Jakob – Danger – Armstrong! Danger is his middle name.’ Then Billie yelled ‘do you wanna start a fucking war?’ and the show resumed with Holiday. Watching Bullet in a Bible, it was hard to imagine how chanting ‘hey! Hey! Hey! Hey! Hey!’ back at Billie in the bridge really felt. It was like a reeling high. As we screamed along to ‘the static aaaaa-aaaaaa-age!’ I just couldn’t believe I was there. The sweltering heat and my hoarse voice were reminders it was real. Back then, we weren’t looking at setlists. My mum had no idea they were about to play one of her all-time favourite songs – Give Me Novacaine. I can still see the disbelief on her face. After all those years, working so hard she could barely wake up, she was free. Billie even announced that he was now one of us: 'We’re still alive, Birmingham! It’s been a long fucking time, goddamn I’m so fucking happy to be back in England, you have no idea. Goddammit I’m fucking moving here, fuck this shit, I’m fucking moving. Packing my bags, I’m gonna get on a big old fucking aeroplane, I’m gonna take all my shit across the pond, and I am officially fucking English as of now! I’m bringing it back home!’ Another fan came up for Are We The Waiting. With a disco ball reflecting skulls around the room, it was like being in the starry nights, city lights coming down over me. It was anthemic. That dirty town might as well have been burning down in my dreams, because nothing mattered but singing at the top of our lungs. The world outside was irrelevant. Billie darted around the stage to St. Jimmy. It was more ferocious, more passionate than I could have imagined watching videos. The crowd was deafening through Boulevard of Broken Dreams. Then they burst into Murder City, a performance that was recorded for GreenDay.com. I didn’t expect that and I was thrilled. I was even more thrilled when, two songs later, they played At the Library. People were confused, wondering if this was a new song. We were the only ones in our block screaming every word. Now I wasn’t just seeing Green Day. They even went and played At the Library and Murder City. When I Come Around’s old-school charm wasn’t lost in the dazzling show. Dancing to Brain Stew and Jaded, I didn’t feel I’d missed a thing by hearing them live 14 years after their release. Green Day were every bit the band they were in the 90s, except even more energetic. Everyone around us, young or old, was jumping. As Knowledge came to a close, Billie announced that a band of fans would finish the song. Basket Case and She followed. The hits were every bit as invigorating as the rarities. The extended King for a Day, with all its goofiness, floor-humping and cover snippets, was a fun and amusing break in the intense set. Could anything top At the Library? Probably not. Or so I thought, until King for a Day’s silliness faded to 21 Guns. I already loved this song. The music video was my all-time favourite. But I could never have imagined its rawness live. I was moved beyond words as I watched the fire rain down to ‘as a liar looking for forgiveness from a stone!’ and Billie’s added ‘whoa-ohs’ that seemed to come from the depths of his heart. Following that was emotional piano absent on the studio version. The band were silhouetted against the music video playing on the screen behind them. I might have been crying. I don’t remember. Billie described 21 Guns as not being written for two people, but 20,000. He was absolutely right. Then the show was uplifted again with Minority. Billie thanks every crowd countless times after the solo, but each word remained sincere. Blue and white confetti burst from the stage, sprinkling the crowd as the song closed. Finally, with American Idiot and Jesus of Suburbia, the show was coming to an end. The crowd, drenched in sweat from the pit to the seats as if at the end of a journey with the band, watched the inimate Last Night on Earth, still and in awe. Billie began with an acoustic guitar. We didn’t yet know that with lights flooding the darkened stage, the full band would return. An emotional Wake Me Up When September Ends followed. Good Riddance (Time of Your Life) ended the set. The band bowed and waved. It was over. We charged down the steps to scoop up confetti from the floor, filling two tissue packets before security chased us off. Green Day played hundreds of shows every tour. Yet this, my first show that to anyone else was just another city on a list of tour dates, was still so special. That – how every show is a precious memory to be treasured forever – is why I keep going to see Green Day." I didn't take many photos and they're all awful because I was so high up, but you can vaguely tell what's going on in this one. More (decent) photos: By the way, there was none of this manufactured drama about Billie saying he was going to move to England back then. People just understood that he was saying it to rile up the crowd. Edit: How could I forget Tre's tweet? 18 years ago, the music video for The Saints Are Coming was released. It includes some footage of both bands recording the song and performing it live. 29 years ago (27 October 1995), Green Day played the Forum in Montreal, Canada on the Insomniac Tour. "I was a moderately early support of Green Day and remember when I first heard Dookie (which I only discovered afterwards, wasn't their first album). I was the Music Director at CFLI, the Loyola Campus college radio station at Concordia University so I got a copy of an early release of the album. As a music director I had to listen to and evaluate all the music that came into the station and decide if it was something that we should shelve or put on heavy, medium or light rotation. About 10 seconds into Burnout I decided this was a heavy rotation album. Green Day clearly had found that alt-radio pop-punk balance that made Dookie exciting and energetic but also tuneful. When Green Day rolled into Montreal to support their next release, Insomniac, I thought it would be a lot of fun to see them live, even if it was at a major venue. I don’t remember who I went to the show with or much about it except that I enjoyed it and thought they were a pretty solid live band. Thanks to setlist.fm I was able to dig up the songs played at the show. Funny enough, years later, I still quite like Green Day. While they are inconsistent album to album, American Idiot is a classic that deserves all the praise that it received. My only criticism of Green Day is something that isn't their fault really, but I hate most of the pop-punk acts that they spawned. Thanks for a great show!" — Warren Wilansky 33 years ago (27 October 1991), Green Day played Störtebeker in Hamburg, Germany. They opened for So Much Hate.

I haven't had a proper moment to sit down with this and listen straight through, but I've been listening to it on the go when I can, especially the "new" stuff, and it's really mind-blowing. I can't believe I was expecting to be disappointed! I didn't even realize there was going to be an alternative AI so I was very shocked when that started playing on Spotify while I was driving, ha. It's amazing to me that they were at such peak performance during this era that they could shelve and chop up a song like Lowlife. I love it. You compare it to the stuff that made it onto the trilogy and FOAM it's like it's not even the same band! It's also hilarious that I was so hyped to hear Homecoming this tour. Now normal Homecoming just sounds boring. It feels so weird to hear all this now after hearing the finished product and seeing how beloved it became. Man, we could be living in a very strange alternate reality right now if they didn't go back to the drawing board. Now I'm really curious how the band feels listening to all this old stuff too!

Green Day try to take credit for Stop, Drop and Roll on the blue ray. No mention of The Network though. At least they didn't try to take credit for Money Money as well.

Found the whole video and it is one of the hottest things I have ever seen. Also, where can I watch this whole documentary, becuase I need to see this? https://www.instagram.com/p/DBo8UhUNSuS/

I don't know about other US shows, but for Chicago we had to order them online and there was no limit whatsoever to the amount you could get. I don't remember there being a limit on the city exclusive poster either.

I have hinted about this for Xmas, so I haven't brought a copy yet. I still find myself sometimes reading about it, and I should really wait but.. 😆

I was just going to say I don’t remember hearing it on the original CD. I wonder why they always had it buried in the mix

Sounds like you've both been a bad/good influence on each other then!😉 Yeah, that's exactly why the Friday seems logical to me too.

The 2002-2003 era was definitely a strange era for the band, it's obvious that they were throwing stuff at the wall to see what sticks. The material that has been released from that era is all over the place. Plus, didn't they record a Christmas album and a hip-hop album during that time (not as a serious project but as a joke)? Also if you look at most of the credits for the AI B-sides, Rob Cavallo's name is nowhere to be seen (except Favorite Son) and some songs were worked on by a member of the Rock Mafia production team. How much were the Rock Mafia involved during this era and were they involved in the production of C&V? Unless more material gets released from this era there is only so much we'll ever know. For whatever reason, the band has chosen to keep everything else in the vault. There is so much material in the vault from this era it's likely the band has harvested a lot of it for new material so they probably feel there's no point anyway. I'd be happy with the C&V title track getting released since there is no reason it shouldn't given we have a live version.

Thank you for all the background information. I really appreciate your posts and explanations because they make me consider things from a different perspective.

Let's all write in votes to get Fink as President. With the caveat that his face never be revealed because...ya know, Batman and stuff.

I lose respect for people who support fascists, that's just me tho ¯\_(ツ)_/¯

I'm not really into this huge desire to talk about/get C&V but I will add what Rob Cavallo writes in the AI 20 booklet. "So, I got together with the band and they tole me they had written an entire album's worth of material. Wow! Awesome! But there was a problem. The guys were sounding, for whatever reason, just a little bit rusty. The music was good but was it really their best? I took it to my boss (the prescient Tom Whaley . He agreed with me. He said "let's meet with the band". A few days later in the Warner Bros executive conference room, Tom says to me and the guys " we appreciate what you guys have gone through and appreciate this new album. And while we are prepared to release it, we are not prepared to give it the big push (meaning marketing $) because we don't believe this is the best work you are capable of". BOOM! He was so brutally direct! I think I was sweating profusely. Billie looked directly at me and asked "is that what you think too?" "Yes I said, nodding my affirmation. Billie said "ok, let me think about this and process it, and we'll get back to you." Two days later, we were all back in the same conference room. Billie starts "So I';ve been thinking about what you guys said last time....and I think you're right. We want to make out best record and we want you guys to like it and to give it the big push. And we are willing to do what it takes to make that happen. The question is: Tom, are you willing to do it also?" Tom said "sure, what do you need?" The rest is about Rob going to work with them Monday to Friday in Berkeley.

Just listened to the demo disk: the alternate version of American Idiot was a revelation. Obviously the final version with the "proper" lyrics is more impactful but it's so singular and iconic in my head the idea of it being anything other than what it just is is incredible to hear. The original version of Homecoming was so cool. For some reason it didn't cross my mind that we'd get to hear Mike's snippets that kicked the whole project off so it was a joy when it came up. So creative in the use of different instruments: the piano bits, the synth, the period ringtone, aces. And I love the part where they're really leaning in to the A Quick One homage. It's interesting to hear how much of the final song is there divorced from the American Idiot storyline (ditto that with Cluster Bomb). I adore Everybody's Breaking Down as a full song, so swingy, so groovy, what a bop. "Run for cover and hit the lights" Billie's vocal delivery made me melt. Like others have mentioned, it sounds like it could've come right off Warning. Lowlife is so interesting, it feels like hearing an alternate universe version of JoS mixed with Strange Days Are Here To Stay. It's really refreshing hearing such a familiar album in a new context! Can't wait to delve into the live stuff.

I just talked to a friend from Vienna who has been at the venue before and she told me there's no division inside the venue. The "Nord" and "Süd" separation seems to be only relevant for the entry situation. I got Nord for both Vienna dates.

I don't remember 100% but IIRC the band was ready to record 21CBD and Rob either turned them down because he was very in-demand at that time as a producer and was working with other artists or wouldn't accommodate them into his schedule between the other artists he was producing. I could be wrong though.

Omg the alt version of AI is sooooo Warning-esque, very cool. Pulling out Everyone’s Breaking Down from the rest of Homecoming really highlighted for me how much that part sounds like Warning, too. I feel silly for never really noticing that before. Really loved this version of the song. Lowlife is SO COOL? Wow, I love it. I’m hearing a lot of 21CB in it, so interesting. Chorus is also a lot like Strange Days. Love the “I just wanna be alright” line. Homecoming is hilarious. Love some of the weird instrumentation in it and the continued lines about who is in the studio cracked me up.

Where is it available? I want to see it and was just about to ask about this! Me neither! I love how the original one centered around centered around Billie, Mike, and Tre as individuals LOL. Cool to think about how it got reimagined to fit the album story. Also cool to hear Everybody's Breaking Down, which obviously got merged with Homecoming for the final version. Really fascinating stuff here.

Did anyone watch the new documentary? Is it any good?

They recorded the album twice, one at 880 with Chris Dugan and reto Peter and then again at ocean way with rob, but Rob was providing creative guidance and “producing” that whole time

Homecoming (Nobody Likes You) is definitely the highlight of the set. Everyone is comparing it to A Quick One, While He's Away by The Who, which makes sense. However, one influence that people may be missing is that Billie's "I was away from the studio" section (0:44 – 1:40) is based on The Who's song Happy Jack. Seriously, go check it out on YouTube.

It had a direction, what it didn’t have was a rock opera to go with it. On its own, it’s still a cute story of everyone split up and waiting to reunite at the studio. Not nearly it’s potential though! A little too much and they knew it. They took those elements out to make the song more their own. Still a tribute, but not a pastiche.

The song Jason performed solo last year was "Here Goes the Neighborhood"

This is not a criticism but sometimes I wonder if we are all listening to the same record.