Released:  February 1st, 1994

Recorded:  September – October 1993

Genre:  Punk Rock, Pop Punk

Record Label:  Reprise

Duration:  39:38

Producers:  Rob Cavallo, Green Day

[expand title=”Personnel” trigpos=”above” tag=”h22″](Regular band members in bold.)

• Billie Joe Armstrong – lead vocals, guitar
• Mike Drint – bass, backing vocals
• Tré Cool – drums, guitar, lead vocals (“All by Myself”)
• Green Day – producer, mixer
• Rob Cavallo – producer, mixer
• Jerry Finn – mixer
• Neill King – engineer
• Casey McCrankin – engineer
• Richie Bucher – cover artist
• Ken Schles – photography
• Pay Hynes – booklet artwork [/expand]

[expand title=”Track Listing” trigpos=”above” tag=”h22″]

1. Burnout
2. Having a Blast
3. Chump
4. Longview
5. Welcome to Paradise
6. Pulling Teeth
7. Basket Case
8. She
9. Sassafras Roots
10. When I Come Around
11. Coming Clean
12. Emenius Sleepus
13. In the End
14. F.O.D (hidden track “All by Myself” begins at 4:07) [/expand]

[expand title=”Singles” trigpos=”above” tag=”h22″]

1. Longview – February 1st, 1994
2. Welcome to Paradise – October 4th, 1994
3. Basket Case – November 29th, 1994
4. When I Come Around – January 31st, 1995
5. She – (promotional) – May 5th, 1995 [/expand]

Why Dookie is One of My Favorites

(Not a phrase I’d ever planned on typing!)

After 20 years, 4 of the 5 singles from this album can regularly be heard on alternative stations around the country, a stunning testament to the impact that Green Day’s major label debut had on the world.  Their success fluctuated in the following years, though I suppose it’s safe to say that they’ve firmly planted themselves in the annuls of rock history since their recent induction into the Rock N Roll Hall of Fame.

Dookie is often mentioned alongside the Offspring’s Smash (which I covered in Issue #7) when discussing either album in retrospect and the rise of third wave punk rock in general.  I’m not sure if I agree that the 2 should be so closely lumped together.  Dookie has a much less serious tone, and seems to draw more on alternative rock and grunge for its apathy-centered lyrics, whereas Smash has a more urgent, call-to-action tone.  Dookie is much more melodious, with simple tunes reminiscent of one of punk rock’s first influences, 5o’s rock ‘n’ roll (“Chump,” “Pulling Teeth,” “Sassafras Roots,” and “Emenius Sleepus”), and in general is a little bit slower in tempo and thus more accessible.  Smash represents more of where punk had been, and Dookie showed us where it was going.

Green Day’s self-centered lyrics would help to establish the future of punk in the mainstream, a sort of self absorption that would itself eventually morph into the equally derided and lauded “emo.”  However, back in 1994, this wasn’t really a problem, and though Green Day’s third record had a bit of a different sound to it, it addressed the same issues pertaining to a jaded, suburban youth that everyone from Weezer to Manson to Pearl Jam was singing about.  Boredom is a common theme (“Longview,” “Sassafras Roots”), as is self-deprecation (“Basket Case,” “When I Come Around,” “Having a Blast”).  Like a lot of the music in this series, this negative attitude was something to identify with for a generation numbed by leisure time and searching for a sense of purpose.  The difference in say, Nevermind and Dookie was that Green Day put a light-hearted spin on it.  These songs didn’t necessarily come from a happy place, but they weren’t dreary either.

“Burnout” probably comes the closest to an older punk ethos while still embracing the album’s apathetic core.  The chorus itself, “I’m not growin’ up / I’m just burnin’ out / And I stepped in line / To walk amongst the dead,” is Armstrong’s rejection of societal norms, i.e. getting a job, and most accurately reflects the punk culture’s refusal of “the typical life.”  It also features some of the faster guitar playing and drumming of the record along with “Having a Blast” and “She.”  “She” is probably my favorite cut from Dookie with its off-beat transitions and overall rhythm.

Most songs on the album are quite simple in terms of arrangement, generally composed of three chords.  And though the album may not branch out much musically, the guys have done an excellent job of crafting effective, I daresay poppy melodies.  In an era when many people erroneously conflate “punk” with “hardcore,” it is sometimes forgotten that original punk musicians were interested in getting back to the “roots” of “rock ‘n’ roll,” including simple, straightforward song structures and catchy, recognizable melodies.  Despite the potentially off-putting title, Dookie is full of easy to enjoy no-frills music.  It’s fun, it’s light, and it’s guitar driven, and sometimes that’s enough.

The guys in Green Day were something like 21 or 22 when they recorded this album, and it shows, but in a good way.  They’d had 2 previous albums and a handful of EPs in which to hone their style.  There’s certainly a “realness” throughout the record but it’s handled in a playful and high energy manner and the negativity isn’t taken too seriously.  It isn’t angry or sad or brooding, just a little frustrated at best, which makes it a great record to pop in for any occasion.

Written by The Cubist

Other albums from Green Day in this series:

• 1995 – Insomniac – Issue #70
• 1997 – Nimrod – Issue #84

Back to The Cubist’s 90’s Albums