Anti-Flag - 1998 - Their System Doesn't Work For You

2000's Their System Doesn't Work for You resurrects the nine tracks from 1998's limited-edition EP, North America Sucks, and adds ten previously-unreleased, later-vintage tracks for good measure. The songs from the EP are prime Anti-Flag, political punk that never loses its sense of humor even when making its most important points. "Indie Sux, Hardline Sux, Emo Sux, You Suck!" decries the Balkanization of the D.I.Y. scene in the '90s to the album's catchiest chorus, while the title track and "Anti-Violent" take aim at the usual suspects. Unfortunately, with only a couple of exceptions, the later tracks sound like half-baked filler; indeed, the beyond-lo-fi sound suggests that they might be rough demos not originally intended to be heard outside the band, a supposition backed up by the lazy, sluggish performances, and meandering song structures. There are a few promising tracks among the dross, particularly "Betty Sue Is Dead," which makes incredibly effective use of an old-school punk-reggae middle section in the style of the Ruts, but overall, the second half of Their System Doesn't Work for You doesn't work for anybody.

1 I Can't Stand Being With You 2:05
2 Their System Doesn't Work for You 2:31
3 We've Got His Gun 2:25
4 Born to Die 2:05
5 The Truth 2:40
6 You'll Scream Tonight 5:15
7 Indie Sux, Hardline Sux, EmoSux, You Suck! 2:05
8 Anti-Violent 3:05
9 20 Years of Hell 2:32
10 I'm Having a Good Day 2:41
11 I Don't Want to Be Like You 3:30
12 Too Late 2:50
13 I Don't Need Anybody 3:49
14 Betty Sue Is Dead 3:14
15 If Not for You 3:16
16 Meet Your Master 3:57
17 We Won't Take No 2:34
18 Save Me 3:00
19 I'm Feeling Slightly Violent 3:29

¡Aquí!

A - 2002 - Hi-Fi Serious

Great pop-punk records are actually a fairly rare creature in the overall picture of alternative rock. Despite the high volume of releases, whole years go by without a significant or exciting album being made in the genre. That is why the blissfully sweet Hi-Fi Serious is such a wonderful surprise. Whereas in the past A always showed potential, on this record they took that step forward that so many of their contemporaries are afraid to take. And what a step forward it is; gorgeous hooks, excellent production, and anthemic choruses that border on hair metal at times all add up to an irresistible sound that should appeal to any fan of the genre. By cutting away the snotty Green Day worship that makes so many of these groups obnoxiously coy, the group can explore other genres without any concern over sounding too ironic or goofy. They have definitely moved in a more commercial direction on this record, adding elements like synthesizers and heavily processed backup vocals that might damage their credibility, but make their music just that much better. The booty-shaking title track may be the best pop song the group has ever crafted, moving from the tense and driving verses to a swaggering chorus with such ease that it's a wonder they never displayed this sort of songwriting talent before. The fantastic "Nothing" feels like it could burst apart at any moment, but instead it holds together with a chorus that burns its way into your brain and refuses to leave. "Took It Away" feels like it's breaking apart toward the middle, then it makes a dramatic turn into a breezy Southern California section that brings the song to the next level. "Starbucks" is almost too catchy to be likable, but they manage to turn the song into a cutesy-but-endearing pop nugget by the end. And "The Distance" is either a pleasantly unique punk-pop anthem or the best hair metal song written since Poison's "Ride the Wind," and that is really the only way to describe it. Any fan of this genre who isn't afraid of a little experimentation should find themselves highly rewarded by giving this a shot. In a genre that is hideously oversaturated, it is a genuine relief to hear albums like this. It reminds the listener of how good this genre has the potential to be when in the hands of musicians that aren't afraid to be poppy first and punk second.

1 Nothing A , Perry 3:42
2 Something's Going On A , Perry 2:58
3 6 O'Clock on a Tube Stop A , Perry 3:14
4 Going Down A , Perry 4:09
5 Took It Away A , Perry 3:29
6 Starbucks A , Perry 3:18
7 The Springs A , Perry 4:28
8 Shut Yer Face A , Perry 3:43
9 Pacific Ocean Blue A , Perry 3:27
10 The Distance A , Perry 3:37
11 W.D.Y.C.A.I. A , Perry 3:27
12 Hi-Fi Serious A , Perry 5:55
13 Champions of Endings A , Perry 7:17
14 Nothing [CD-ROM Video] A , Perry 9:56

¡Aquí!

Green Day

Biography

by Stephen Thomas Erlewine

Out of all the post-Nirvana alternative bands to break into the pop mainstream, Green Day were second only to Pearl Jam in terms of influence. At their core, Green Day were simply punk revivalists who recharged the energy of speedy, catchy three-chord punk-pop songs. Though their music wasn't particularly innovative, they brought the sound of late-'70s punk to a new, younger generation with Dookie, their 1994 major-label debut. Dookie sold over ten million copies, paving the way for a string of multi-platinum releases that opened the doors for a flood of American neo-punk, punk metal, and third wave ska revivalists. More than a decade later, as many of their former contemporaries settled into retirement, Green Day remained at the forefront of popular music with albums like the Grammy-winning American Idiot. Green Day arose from the Northern California underground punk scene. Childhood friends Billie Joe Armstrong (guitar, vocals) and Mike Dirnt (bass; born Mike Pritchard) formed their first band, Sweet Children, in Rodeo, CA, when they were 14 years old. By 1989, the group had added drummer Al Sobrante and changed its name to Green Day. That same year, the band independently released its first EP, 1000 Hours, which was well received in the California hardcore punk scene. Soon, the group had signed a contract with the local independent label Lookout. Green Day's first full album, 1,039/Smoothed Out Slappy Hour, was released later that year. Shortly after its release, the band replaced Sobrante with Tre Cool (born Frank Edwin Wright III), who became the band's permanent drummer. Throughout the early '90s, Green Day continued to cultivate a cult following, which only gained strength with the release of their second album, 1992's Kerplunk. The underground success of Kerplunk led to a wave of interest from major record labels, and the band eventually decided to sign with Reprise. Dookie, Green Day's major-label debut, was released in the spring of 1994. Thanks to MTV support for the initial single, "Longview," Dookie became a major hit. The album continued to gain momentum throughout the summer, with the second single, "Basket Case," spending five weeks on the top of the American modern rock charts. At the end of the summer, the band stole the show at Woodstock '94, which helped the sales of Dookie increase. By the time the fourth single, "When I Come Around," began its seven-week stay at number one on the modern rock charts in early 1995, Dookie had sold over five million copies in the U.S. alone; it would eventually top ten million in America, selling over 15 million copies internationally. Dookie also won the 1994 Grammy for Best Alternative Music Performance. Green Day quickly followed Dookie with Insomniac in the fall of 1995; during the summer, they hit number one again on the modern rock charts with "J.A.R.," their contribution to the Angus soundtrack. Insomniac performed well initially, entering the U.S. charts at number two and selling over two million copies by the spring of 1996, yet none of its singles -- including the radio favorite "Brain Stew/Jaded" -- were as popular as those from Dookie. In the spring of 1996, Green Day abruptly canceled a European tour, claiming exhaustion. Following the cancellation, the band spent the rest of the year resting and writing new material before issuing Nimrod in late 1997. Three years later, their long-awaited follow-up, a refreshingly poppy record titled Warning, was released. Another long wait preceded 2004's American Idiot, an aggressive rock opera that became a surprise success -- a chart-topper around the world, a multi-platinum Grammy winner, and easily the best reviewed album of their career. Green Day reveled in the album's success, hitting numerous award shows and performing as part of Live 8 in July 2005. That fall brought the release of Bullet in a Bible, a concert album that documented the trio's expansive Idiot live show. With their popularity and commercial viability restored, Green Day took on several small projects before returning to the studio. They contributed a cover of John Lennon's "Working Class Hero" to the charity album Instant Karma, appeared in The Simpsons Movie, and recorded an entire album of '60s-styled rock & roll under the alias of Foxboro Hot Tubs. While presenting an award at the Grammys in early 2009, the band announced the impending release of Green Day's eighth album, 21st Century Breakdown, which had been recorded with veteran producer Butch Vig.

1994 - Dookie

Green Day - 1994 - Dookie

Green Day couldn't have had a blockbuster without Nirvana, but Dookie wound up being nearly as revolutionary as Nevermind, sending a wave of imitators up the charts and setting the tone for the mainstream rock of the mid-'90s. Like Nevermind, this was accidental success, the sound of a promising underground group suddenly hitting its stride just as they got their first professional, big-budget, big-label production. Really, that's where the similarities end, since if Nirvana were indebted to the weirdness of indie rock, Green Day were straight-ahead punk revivalists through and through. They were products of the underground pop scene kept alive by such protagonists as All, yet what they really loved was the original punk, particularly such British punkers as the Jam and Buzzcocks. On their first couple records, they showed promise, but with Dookie, they delivered a record that found Billie Joe Armstrong bursting into full flower as a songwriter, spitting out melodic ravers that could have comfortable sat alongside Singles Going Steady, but infused with an ironic self-loathing popularized by Nirvana, whose clean sound on Nevermind is also emulated here. Where Nirvana had weight, Green Day are deliberately adolescent here, treating nearly everything as joke and having as much fun as snotty punkers should. They demonstrate a bit of depth with "When I Come Around," but that just varies the pace slightly, since the key to this is their flippant, infectious attitude — something they maintain throughout the record, making Dookie a stellar piece of modern punk that many tried to emulate but nobody bettered.

		1		Burnout	Armstrong, Green Day	2:07
		2		Having a Blast	Armstrong, Green Day	2:44
		3		Chump	Armstrong, Green Day	2:54
		4		Longview	Armstrong, Green Day	3:59
		5		Welcome to Paradise	Armstrong, Green Day	3:44
		6		Pulling Teeth	Armstrong, Green Day	2:30
		7		Basket Case	Armstrong, Green Day	3:03
		8		She	Armstrong, Green Day	2:14
		9		Sassafras Roots	Armstrong, Green Day	2:37
		10		When I Come Around	Armstrong, Green Day	2:58
		11		Coming Clean	Armstrong, Green Day	1:34
		12		Emenius Sleepus	Dirnt	1:43
		13		In the End	Armstrong, Green Day	1:46
		14		F.O.D./All By Myself	Armstrong, Green Day	5:46

¡Aquí!

Hives

Eight years into their career, the Hives rose from garage rock stalwarts to one of the trendiest bands of the early 2000s, along with the Strokes and the White Stripes. Mixing arty contrivances such as a strict black-and-white dress code and the guidance of a (possibly imaginary) Svengali named Randy Fitzsimmons with Stooges-inspired rock, the Hives -- Nicholaus Arson, Chris Dangerous, Dr. Matt Destruction, Vigilante Carlstroem, and Howlin' Pelle Almqvist -- formed in 1993 in Fagersta, Sweden, while they were still in their teens. After signing with a subsidiary of the Burning Heart label in 1995, they released their debut EP, Oh Lord! When? How?, the following year. The group switched to Burning Heart for their first full-length, Barely Legal, in 1997; that year they also embarked on their first U.S. tour. After the release of 1998's A.K.A. I-D-I-O-T EP, changes in the band's management put things on hold for a time. However, the Hives returned in 2000 with their second full-length album, Veni Vidi Vicious, which featured the singles "Hate to Say I Told You So" and "Main Offender." The album, along with tours with the like-minded International Noise Conspiracy and the Hellacopters, generated serious buzz around the group, leading to praise from stars as diverse as Noel Gallagher and Courtney Love and a deal with Alan McGee's Poptones label in 2001. Stateside, Gearhead Records reissued Barely Legal, A.K.A. I-D-I-O-T, and Hate to Say I Told You So. More touring and the re-release of their singles in the U.K. culminated with the Top Ten debut of Your New Favourite Band, a compilation of songs from their two previous albums and EPs, upon its release in spring 2002. That summer, the Hives returned to the U.S. for another round of live dates before playing the Reading and Leeds festivals, among others. The band spent most of 2003 in the studio and out of the limelight, but they returned with a vengeance in 2004: Your New Favourite Band was reissued in the States by Sire Records; Interscope released the Walk Idiot Walk single and the Hives' third full-length, Tyrannosaurus Hives. Late in 2007, The Black and White Album, which featured production work from the Neptunes, arrived.

1997 - Barely Legal

Hives - 1997 - Barely Legal

The Hives launched the first salvo in their global assault on all that is lame in our culture with their debut album, 1997's Barely Legal, and there is little arguing that these guys had the right idea out of the gate. Emerging from Fagersta, Sweden (which, at least in 1997, was the rock equivalent of Absolutely Nowhere), the Hives set a high standard with their hot-wired fusion of garage rock tunes and punk rock speed and energy, and they hit the sweet spot just right, sounding tight enough to connect with unified force while still letting the frenzy of their forward momentum give the performances a bit of dizzy sway that indicates true rock & roll. If Barely Legal lacks an obvious "breakout hit" tune like "Main Offender" or "Hate to Say I Told You So," the rapid-fire assault of these songs is impressive indeed, and this disc plays like a brick of firecrackers that refuses to stop exploding until "Closed for the Season" crosses the finish line. And while the Hives rock like nobody's business here (especially the Siamese twin guitars of Vigilante Carlstroem and Nicholaus Arson), the real secret weapon is Howlin' Pelle Almqvist, whose cocky swagger actually communicates on tape, and is the perfect vehicle for his "We are cool, you are nothing" lyrical outlook. Veni Vidi Vicious was the album that let the world know who the Hives were and what they were all about, but Barely Legal let a clued-in few know about their monumental coolness three years ahead of the game, and for sheer rock action, it's as good as anything they've put to tape.

		1		Well, Well, Well	Fitzsimmonds	1:02
		2		A.K.A. I-D-I-O-T	Fitzsimmonds	2:12
		3		Here We Go Again	Fitzsimmons	2:12
		4		I'm a Wicked One	Fitzsimmonds	1:45
		5		Automatic Schmuck	Fitzsimmons	2:17
		6		King of Asskissing	Fitzsimmonds	1:46
		7		Hail Hail Spit N'Drool	Fitzsimmons	1:27
		8		Black Jack	Chandler, Mariconda, Tchang	2:45
		9		What's That Spell?... Go to Hell!	Fitzsimmonds	1:41
		10		Theme From...	Fitzsimmonds	2:49
		11		Uptempo Venomous Poison	Fitzsimmonds	1:13
		12		Oh Lord! When? How?	Fitzsimmonds	1:42
		13		The Stomp	Fitzsimmonds	1:54
		14		Closed for the Season	Fitzsimmonds	2:34

¡Aquí!