Dookie
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Dookie专辑介绍
90年代著名的朋克乐队Green Day的第三张专辑，带动了90年代的“朋克流行“风潮。专辑在全球范围内共售出两千万张以上，是有史以来最畅销的朋克专辑。当然，从销量也不难想见，这张专辑的曲风是很注意流行元素的，不像早期朋克那般“面目狰狞”。凭借着"When I Come Around", "Basket Case"和 "Longview"等热门单曲，专辑发行后很快就登上了Billboard当代摇滚排行榜的首位。这张专辑赢得了许多的荣誉，除入选滚石500强以外，还获得葛莱美的另类音乐专辑奖，并被加拿大MuchMoreMusic频道评为过去25年间最经典的40张专辑之一。
这张专辑在滚石杂志选出的500张历代最强专辑中排名第193位。
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.
这张专辑在滚石杂志选出的500张历代最强专辑中排名第193位。
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.