Green Day Didn't Forsake Its Punk Roots; You Just Got Old and Complacent

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Editor's Note: It's not every day that a band capable of filling arenas headlines a gig at the (comparatively) intimate Marquee Theatre. But that's exactly what's going down tonight, when the Bieber-bashing, ¡Uno-¡Dos!-¡Tre! -releasing Green Day heads to Tempe for a sold-out show. Critical consensus can be pretty mixed when it comes to Billie Joe and Co. Some are quick to dismiss the band, but Elano Pizzicarola of L.A. Weekly's West Coast Sound has a compelling argument: Green Day didn't sell out; you just got old. Stand by for our full review of the show and an accompanying slideshow tomorrow.

By Elano Pizzicarola

One of the most mainstream punk bands since the new millennium, Green Day has faced criticism for selling out ever since releasing 2004's American Idiot -- some would say as far back as after the release of 1994's Dookie.

Fuck that. They didn't sell out. In fact, songs on American Idiot and 21st Century Breakdown resonate just as deeply as those on Dookie.

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Alkaline Trio's Good Mourning: 10 Years Later, It's a Gothy Pop Punk Classic

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Vagrant Records
Alkaline Trio, circa Good Mourning
It's not uncommon for fans to have a soft spot for the first album they hear from a beloved artist. It might not be the band's defining work, but it was your entry point, your gateway. I'll always carry a torch for Alkaline Trio's fourth album, Good Mourning, and in this case, it's a significant album in the band's body of work and an important record in my personal history. Go to an Alkaline Trio show, and you'll see plenty of 20- and 30-somethings. I suspect that I'm not alone in holding on to this record as a high school touchstone.

Good Mourning is just a couple of months shy of its 10th anniversary, and looking back at the band's discography, it stands out as some of Alkaline Trio's best work. Don't get me wrong -- Goddamnit is the band's greatest album, but Good Mourning has a specific magic, featuring just the right balance of love and the macabre, and great production values to top it all off.

See also: Alkaline Trio's Dan Andriano Discusses 15 Years as a Band, Song Meanings, and Violent Femmes


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Fall Out Boy Returns to "Save Rock and Roll," But Is It Too Late?

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Burn, baby, burn, it's a "check out this literal representation of the way we're discarding out past glories" inferno.
For the excitable Generation Y character in all of us 20-somethings: Fall Out Boy has returned. With their 2005 mega-album From Under the Cork Tree, the Chicago-based four-piece put a poetically self-aware spin on the theme of pop-punk. They laced the album with ironic and lengthy song titles, true pop hooks and melodies, and it was with From Under the Cork Tree that Fall Out Boy worked its way into the collective hearts of the after-school MTV crowd by appealing to suburban angst while still being funny and self-deprecating about it.

With 2007's platinum-selling Infinity on High, the overall grandiosity of From Under the Cork Tree was elevated. When you've got Jay-Z calling you into the staccato breakdown of your album's opening track, as he did on Infinity on High's "Thriller," listeners could truly say that Fall Out Boy had hit their stride. Vocalist Patrick Stump utilized his full and impressive vocal range, even leaning toward theatrics on the piano-driven "Golden," and working with R&B producer/singer Babyface on two of the tracks.

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