'Kill The DJ' Premiere

[The Grohl]

I love this song! I only heard once it but there's no denying that it's absolutely awesome!!! I think this is wayyyy better than "Oh Love." I mean that song was good, but it was one that had to grow on you. This one has an undeniable groove that automatically gets you moving and it's catchy as all hell. I love it! This song gets me super excited for the new album!

[kelly42fox]

when will the Ultimate Box Set owners get it via email?

I sent an email to WB requesting an info update. I'll let you know when I get a response.

[Annie, get your gun]

Has anyone actually asked WB about the pre-order DL of the second single? We were told in the pre-order we would get a new DL today (Aug 14th).

It's slightly irritating that they told us one thing and haven't yet followed through with it OR sent us a notice that it had changed.

EDIT: I have sent an email asking because I'm impatient. heh.

I didn't send any email 'cause I doubt that they'll answer me. Do you have any response so far?

If the thing was to get only one single from each album, they should have been more careful and explain it better

[Bastard of 1967]

I'm going to give it a few more days to see if it grows on me, but to be honest Kill the DJ (as cut in the studio rather than what flowed from the HQ Echoplex live bootlegs) just ain't doing it for me so far. I like the basic four-on-the-floor rhythm and Mike's bass that backs it all, and the whole "disco punk" concept is something unique for Green Day and I'm certainly glad they attempted it. Also there is definitely some deeper meaning in the lyrics that I'm working on untangling still..... but it's missing the brightness that Oh Love has and the fury of the live performance that I think I was expecting. The guitar solo in the bridge is delightful, but the rest of the bridge -- the plodding "thud thud thud" of the rhythm before the solo and the guitar bashes afterwards over the repeating "someone kill the DJ - shoot the fucking DJ" is hitting me so far as about as dull as Restless Heart Syndrome's verses did when I first heard them. I eventually grew to like RHS but it was a long, slow process before I really appreciated where it fit into 21stCB and what it offered stylistically and musically. I suppose Kill the DJ will have to follow a similar course, if I ever come to really enjoy it at all.

[desertrose]

Green Day Channel Blondie, Michael Jackson On 'Kill The DJ'

Billie Joe talking about Kill the DJ

"This song is sort of a left turn, kind of going into something more of a four-on-the-floor dance groove," Armstrong said. "[bassist] Mike [Dirnt] was really like, 'Well, let's do something that's more like Blondie's "Heart of Glass," kind of [a] disco feel to it.' We've always kind of got into grooves and things like that, with like 'When I Come Around' and 'Brain Stew,' but this is the first time we went full-on dance music, but with a Green Day approach to it."

"It's really danceable," he said. "You know, it's got that whole 'Off the Wall' thing happening. It's pretty sexy and fun."

http://www.mtv.com/n...l-jackson.jhtml

VIDEO

http://www.mtv.com/v...armstrong.jhtml

[Kaddi.]

" 'Kill the DJ' is not about, you know, killing a DJ. It's not literal. It's more of a metaphor for information overload."

Now maybe I haven't spent enough time analyzing the lyrics or maybe I'm just plain stupid, but knowing this makes me see the song in another light. Sure, there are still too many repeats and fucks for my taste, but the whole songs just makes more sense now.

[Cris.]

I'm going to give it a few more days to see if it grows on me, but to be honest Kill the DJ (as cut in the studio rather than what flowed from the HQ Echoplex live bootlegs) just ain't doing it for me so far. I like the basic four-on-the-floor rhythm and Mike's bass that backs it all, and the whole "disco punk" concept is something unique for Green Day and I'm certainly glad they attempted it. Also there is definitely some deeper meaning in the lyrics that I'm working on untangling still..... but it's missing the brightness that Oh Love has and the fury of the live performance that I think I was expecting. The guitar solo in the bridge is delightful, but the rest of the bridge -- the plodding "thud thud thud" of the rhythm before the solo and the guitar bashes afterwards over the repeating "someone kill the DJ - shoot the fucking DJ" is hitting me so far as about as dull as Restless Heart Syndrome's verses did when I first heard them. I eventually grew to like RHS but it was a long, slow process before I really appreciated where it fit into 21stCB and what it offered stylistically and musically. I suppose Kill the DJ will have to follow a similar course, if I ever come to really enjoy it at all.

My sentiments exactly, even down to your comment on RHS (except that I still haven't grown to appreciate it as you have ).

And can someone please link the video of the song live? I've jsut heard many people saying the song is so much better live... and now that I've heard the studio version I guess it would no longer be a spoiler if I heard the live version.

[InsideOut]

My sentiments exactly, even down to your comment on RHS (except that I still haven't grown to appreciate it as you have ).

And can someone please link the video of the song live? I've jsut heard many people saying the song is so much better live... and now that I've heard the studio version I guess it would no longer be a spoiler if I heard the live version.

Here you go

[Malleus]

"Unless ya someone kill the dj"

That lyric doesn't even flow.

It's not supposed to be read like that.

It's like "Unless you... Someone kill the DJ."

[justcause]

I'm going to give it a few more days to see if it grows on me, but to be honest Kill the DJ (as cut in the studio rather than what flowed from the HQ Echoplex live bootlegs) just ain't doing it for me so far. I like the basic four-on-the-floor rhythm and Mike's bass that backs it all, and the whole "disco punk" concept is something unique for Green Day and I'm certainly glad they attempted it. Also there is definitely some deeper meaning in the lyrics that I'm working on untangling still..... but it's missing the brightness that Oh Love has and the fury of the live performance that I think I was expecting. The guitar solo in the bridge is delightful, but the rest of the bridge -- the plodding "thud thud thud" of the rhythm before the solo and the guitar bashes afterwards over the repeating "someone kill the DJ - shoot the fucking DJ" is hitting me so far as about as dull as Restless Heart Syndrome's verses did when I first heard them. I eventually grew to like RHS but it was a long, slow process before I really appreciated where it fit into 21stCB and what it offered stylistically and musically. I suppose Kill the DJ will have to follow a similar course, if I ever come to really enjoy it at all.

I know that 'live' and 'studio' are always different animals, but with this one, they seem like actual alternative expressions of the same song. The live version has this skanky, murky thing going on that feels somewhere like a reggae song ; it's loose, it has its own moves that it meanders thru - like, this song knows who it is, and you just follow along with it, even at first listen. It's like Billie Joe is this prophet on the streets that he's singing about, going 'look!! look at this!! Sodom and Gomorrah!!', gathering people round him by the force of his conviction, and the back-and-forth between him and the guys on the choruses is like rallying voices coming out of the crowd.

The studio version, it's all internalized, claustrophobic - all this stuff is just going round in your head, going round in circles, driving you crazy. The choruses here have no other voice answering back, they just loop and thump and taunt. It's like you're holding your hands to your head and going 'make it stop'. When you go from the studio version to the live version, it's like someone opened a fucking window and you can breathe.

When I read that quote a few posts above about Mike wanting something like 'Heart of Glass' - lol, this is very far from 'Heart of Glass', but then again, if you present the likes of Billie Joe with a notion, he's gonna take it in a whole other direction, and probably the opposite direction. I've been hearing the Stones influence on some of the stuff from Echoplex - mostly the kind of whiff of it, like on 'Let Yourself Go' - but on this one, I feel like 'Miss You' is a really strong reference. Listen thru to the end for the lyrical nod.

[Annie, get your gun]

The more I listen to it, the more I love it And the "Uuhhhuhh" was unexpected for me, but seems like the trilogy has a few of them

[CameronM.]

Someone post a link for the explict version that is avalible on mobliee devices. My phone only plays videos on youtbe for some stupid reason.

Someone post a link for the explict version that is avalible on mobliee devices. My phone only plays videos on youtbe for some stupid reason. don't wanna wait til fucking september to hear Kill the dj.

[spark in the night]

Can everyone please stop asking for videos. THEY ARE ALL OVER THIS FUCKING THREAD.

THEY ARE ALSO ALL OVER YOUTUBE.

Just search.

[Bastard of 1967]

The studio version, it's all internalized, claustrophobic - all this stuff is just going round in your head, going round in circles, driving you crazy. The choruses here have no other voice answering back, they just loop and thump and taunt. It's like you're holding your hands to your head and going 'make it stop'.

...which, thematically, is the crux of the song -- turn off the continual media and religion-based mind-fuck, just make it all go away. I detect a light bulb starting to go off now.

Damn you, Angeline, you're forcing me to actually start LIKING this thing!!

[Lindsay]

Finally gave this song a proper listen last night. At first listen it was "meh" to me at best, but it's growing on me with every listen. Absolutely love the guitar solo, but the rest of it just seems too repetitive for my liking. Maybe that's just me. Time to give it a couple more listens to have a better judgement.

[ChelseaDagger]

Yesterday, I did not care for it at all.

What a difference a day (and replaying the song 50 times) makes!! Oh, and a good pair of speakers.

The guitar riffs are seriously catchy!!!! It's stuck in my head...and I like it

Still a little bored with the "someone kill the DJ, kill the fucking DJ, someone kill the DJ....." part, but I am loving the rest!!

[CameronM.]

Can everyone please stop asking for videos. THEY ARE ALL OVER THIS FUCKING THREAD.

THEY ARE ALSO ALL OVER YOUTUBE.

Just search.

I can't view the fucking videos in the fucking thread. And the TWO videos I found on youtube can't be viewed on fucking moble devices. Hence the reason I asked jerk.

[justcause]

...which, thematically, is the crux of the song -- turn off the continual media and religion-based mind-fuck, just make it all go away. I detect a light bulb starting to go off now.

Damn you, Angeline, you're forcing me to actually start LIKING this thing!!

Also - the way it ends, not-with-a-bang-but-a-whimper ; it kind of just deflates, defeated. It ends with no kind of answer, open, like it just walks away from all of this, and at the same time - because of the 'open' - you feel the lead-in to the next song, the next place. This song is part of a landscape.

[Bastard of 1967]

Also - the way it ends, not-with-a-bang-but-a-whimper ; it kind of just deflates, defeated. It ends with no kind of answer, open, like it just walks away from all of this, and at the same time - because of the 'open' - you feel the lead-in to the next song, the next place. This song is part of a landscape.

Yep, I noticed that, and I agree with your observation about the open-endedness of this beast. If it's a transition song, it's going to sit between Let Yourself Go (which we know pretty well at this point) and Fell For You (which we haven't heard yet).....so how Kill the DJ connects up with these two gets fuzzy now. I'm kinda reaching at straws to see how it fits into even the loose "before the bender" concept that Uno is supposed to be setting up for us. Perhaps the observation that the media stimulation and saturation we're always actively seeking out is going to be the end of us ("the bullet that you asked for is killing us to death").....and this realization pushes our narrator further towards a "the future is hopeless so just live for the moment" escape. I do think the gist of Let Yourself Go is inward, introspective; that is, the "you" in "you're talking to much and I don't give a fuck anyway" is self-reflective, the narrator is the kvetching, bitching, annoying one, and he's calling himself on the carpet for it and thinking "I gotta lighten up and do something about this!" If Fell For You turns out to be outward expression toward someone else, a love or lust interest perhaps (akin to JoS falling for Whatsername in American Idiot), then maybe Kill the DJ fits between them as the appeal to turn off all the goddamn noise that's driving me insane, and, now seeing more "clearly", the narrator's groin lights up and he gets a glimpse of where his future thrills lie. The plot thickens...........!!

[Todd]

I can't view the fucking videos in the fucking thread. And the TWO videos I found on youtube can't be viewed on fucking moble devices. Hence the reason I asked jerk.

I couldnt find any mobile youtube versions of this last night, so you'll have to wait I guess :-(

[CameronM.]

Shit...

[justcause]

Yep, I noticed that, and I agree with your observation about the open-endedness of this beast. If it's a transition song, it's going to sit between Let Yourself Go (which we know pretty well at this point) and Fell For You (which we haven't heard yet).....so how Kill the DJ connects up with these two gets fuzzy now. I'm kinda reaching at straws to see how it fits into even the loose "before the bender" concept that Uno is supposed to be setting up for us. Perhaps the observation that the media stimulation and saturation we're always actively seeking out is going to be the end of us ("the bullet that you asked for is killing us to death").....and this realization pushes our narrator further towards a "the future is hopeless so just live for the moment" escape. I do think the gist of Let Yourself Go is inward, introspective; that is, the "you" in "you're talking to much and I don't give a fuck anyway" is self-reflective, the narrator is the kvetching, bitching, annoying one, and he's calling himself on the carpet for it and thinking "I gotta lighten up and do something about this!" If Fell For You turns out to be outward expression toward someone else, a love or lust interest perhaps (akin to JoS falling for Whatsername in American Idiot), then maybe Kill the DJ fits between them as the appeal to turn off all the goddamn noise that's driving me insane, and, now seeing more "clearly", the narrator's groin lights up and he gets a glimpse of where his future thrills lie. The plot thickens...........!!

I think - don't think too much about it, just let the songs come. I love how they're coming, like, live stuff, studio stuff, songs from all over the trilogy - lol, I hardly have a clue which song is from which album, and really, they're all from a center anyway. I love how chaotic this is, how the songs just hit you, how they each are their own place, and I feel like the 'order' is loose - I feel like probably it's gonna be like you could take any one song and switch it from any of the albums to another, playlist it, and it would just work. I think none of this is in a straight line.

[dirnt286]

This riff sounds very very similar to The Clash's "This is Radio Clash". Listen to the beginning and verses.

[Heather.]

...which, thematically, is the crux of the song -- turn off the continual media and religion-based mind-fuck, just make it all go away. I detect a light bulb starting to go off now.

Damn you, Angeline, you're forcing me to actually start LIKING this thing!!

I knew you'd ultimately intellectualize this thing long enough to like it

[Clayish]

It's not supposed to be read like that.

It's like "Unless you... Someone kill the DJ."

That's debatable, and it still doesn't sound right at all.

A bad lyric from Billie. shits rare.