1,039/Smoothed Out Slappy Hours [Remaster]

Performer: Green Day
Engineer: Andy Ernst; Andro
Producer: Green Day; Andy Ernst; Andro
Distributor: WEA (Distributor)

Notes: Full title: 1039/Smooothed Out Slappy Hours. This is an Enhanced CD which contains both regular audio tracks and multimedia computer files. Green Day: Billy Joe (vocals, guitar); Mike (vocals, bass); John (drums). Recorded at Art Of Ears Studio, San Francisco, California. The limited-edition version of this release includes a t-shirt and sticker pack. This is an Enhanced CD which contains both regular audio tracks and multimedia computer files. Green Day: Billy Joe (guitar, vocals); Mike (bass, vocals); John (drums). Recorded at Art Of Ears Studio, San Francisco, California. This is an Enhanced CD, which contains both regular audio tracks and multimedia computer files. Green Day: Billie Joe (vocals, guitar); Mike (vocals, bass guitar); John (drums). Audio Remasterer: John Golden . When Green Day's first album appeared, anyone predicting that fame, MTV, top-selling albums, and more would be on the horizon in the near future would have been happily patted on the head and then sent to the insane asylum. It helps to remember that Nirvana's breakthrough was still a year away, for one thing, and, for another, 1,039/Smoothed Out Slappy Hour isn't a truly great album in the first place. It's not bad, by any means, and quite arguably just about everything on it could be transposed with a slight aural tweak here and there to Dookie or Insomniac without anyone batting an eye. It's just little more than a fun punk-pop album with some entertaining metallic flash here and there, one of many such records that the late '80s and early '90s produced in the indie rock world. After a great start with "At the Library," it's quickly clear that the rest of the record is going to continue in the same vein. What's fun is realizing how much the band already had to work with, pursuing obvious love of three-chord forebears like the Dickies and the Ramones to energetic if not revelatory ends. Billie Joe Armstrong's balance of disaffection and nervous, goofy passion is well in place, while he's already showing his effective, no-frills approach to chewy feedback melody. Songs like "I Was There" and "Road to Acceptance," not to mention the implicitly weed-celebrating "Green Day" itself, are great calling cards for later breakouts on both levels. Mike Dirnt's no slouch himself, providing good backing vocals when needed for harmony, but oddly enough the most prominent performance throughout comes from original drummer John Kiftmeyer, who wouldn't last through to the next album. Call it a quirk of recording, but there it is. ~ Ned Raggett

CMJ (2/2/04, p.4) - "[T]his disc truly was the shape of punk to come."

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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