21st Century Breakdown [PA]

Performer: Green Day
Engineer: Chris Dugan; Brad Kobylczak; Andrew Schubert; Brad Townsend; Joe McGrath; Chris Dugan; Brad Kobylczak; Wesley Seidman; Nik Karpen; Brad Townsend; Andrew Schubert; Joe McGrath; Keith Armstrong
Producer: Butch Vig; Green Day; Butch Vig
Distributor: WEA (Distributor)

Notes: Green Day: Billie Joe Armstrong (vocals, guitar, piano); Mike Dirnt (vocals, bass guitar); Tre Cool (drums, percussion). Additional personnel: Jason Freese (piano). Audio Mixer: Chris Lord-Alge. Audio Remasterer: Ted Jensen. Recording information: Costa Mesa Studio, Costa Mesa, CA; Jel Studios, Newport Beach, CA; Ocean Way Recording, Hollywood, CA; Studio 890, Oakland, CA. Photographers: Chris Bilheimer; Marina Chavez. Arranger: Tom Kitt. Still enamored of the concept of the concept album more than four years after AMERICAN IDIOT, Green Day unveiled its rock-opera sequel, 21ST CENTURY BREAKDOWN, in 2009. Like its predecessor, BREAKDOWN wholeheartedly embraces the iconic punk-pop act's shift to a stadium-filling sound, while also remaining loyal to the San Francisco-based trio's progressive sociopolitical outlook. Even with a president in the White House that outspoken frontman Billie Joe Armstrong supports, he still finds plenty to rail against, with much of BREAKDOWN alluding to the earlier Bush years of the new millennium, particularly the surging, Queen-like title track. Aiding Armstrong and his comrades in their sonic attack against conservative authority is renowned producer (and Garbage member) Butch Vig, best known for helming Nirvana's NEVERMIND. Completely in sync with Green Day's grand vision, Vig helps to create the huge spaces for the band to construct their anthems, as best heard on the resonant anti-war tune "21 Guns." Unabashedly unsubtle and lifted by passionate restlessness, BREAKDOWN succeeds as AMERICAN IDIOT Mark II, proving that Green Day has no intention of scaling back its intriguingly ambitious approach. American Idiot was a rarity of the 21st century: a bona fide four-quadrant hit, earning critical and commercial respect, roping in new fans young and old alike. It was so big it turned Green Day into something it had never been before -- respected, serious rockers, something they were never considered during their first flight of success with Dookie. Back then, they were clearly (and proudly) slacker rebels with a natural gift for a pop hook, but American Idiot was a big album with big ideas, a political rock opera in an era devoid of both protest rock and wild ambition, so its success was a surprise. It also ratcheted up high expectations for its successor, and Green Day consciously plays toward those expectations on 2009's 21st Century Breakdown, another political rock opera that isn't an explicit sequel but could easily be mistaken for one, especially as its narrative follows a young couple through the wilderness of modern urban America. Heady stuff, but like the best rock operas, the concept doesn't get in the way of the music, which is a bit of an accomplishment because 21st Century Breakdown leaves behind the punchy '60s Who fascination for Queen and '70s Who, giving this more than its share of pomp and circumstance. Then again, puffed-up protest is kind of the point of 21st Century Breakdown: it's meant to be taken seriously, so it's not entirely surprising that Green Day fall into many of the same pompous tarpits as their heroes, ratcheting up the stately pianos, vocal harmonies, repeated musical motifs, doubled and tripled guitars, and synthesized effects that substitute for strings, then adding some orchestras for good measure. It would all sound cluttered, even turgid, if it weren't for Green Day's unerring knack for writing muscular pop and natural inclination to run clean and lean, letting only one song run over five minutes and never letting the arrangements overshadow the song. Although Green Day's other natural gift, that for impish irreverent humor, is missed -- they left it all behind on their 2008 garage rock side project Foxboro Hot Tubs -- the band manages to have 21st Century Breakdown work on a grand scale without losing either their punk or pop roots, which makes the album not only a sequel to American Idiot, but its equal. ~ Stephen Thomas Erlewine

Spin (p.85) - "There's some stretching stylistically: Two different songs called 'Viva La Gloria!' open with piano, while the lush, mid-tempo 'Last Night on Earth' and 'Restless Heart Syndrome' ape mid-period Beatles..." Entertainment Weekly (p.56) - "Give credit where thrashing, three-chord credit is due....No matter how arrested their style and subject matter, Green Day remain remarkably good at high-blast anthems that burrow directly into the pogo-ing, lizard-brain id." -- Grade: B Billboard (p.34) - "The album is a call to arms for the digital age, and 20 years into its career, Green Day's ambition continues to dazzle." Q (Magazine) (p.114) - 4 stars out of 5 -- "Bold, ambitious and revelling in the chaos of our age, 21ST CENTURY BREAKDOWN is another perfect document of our times." Record Collector (magazine) (p.132) - "Billie Joe Armstrong isn't afraid to spit out exactly what he's feeling, now matter how nihilistic..."

Coming out of the grass-roots Gilman St. punk scene of the early-1990s Bay Area, Green Day exploded into the mainstream with their third album, 1994's DOOKIE. The trio's punk energy and pop hooks, influenced by first-generation punks like the Buzzcocks, in turn inspired a huge legion of punk-pop followers. Their energy level flagged a bit following the smash success of DOOKIE, but the band's enormously successful 2004 Grammy-winning political concept album, AMERICAN IDIOT, proved they were mature artists and far from a one-trick pony.

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