Billie Joe Armstrong, Mike Dirnt, and Tre Cool interview - Green Day [CROSSBEAT (April 2000)]
“If I were to die right now, I want my wife and sons to be proud of me. I want them to say, “Dad was a hard worker. He enjoyed life.” That’s what this record is all about.”
With the highly anticipated new album “Warning” set to be released any day now, we snagged an exclusive, lightning-fast interview with Green Day!! What have the three of them learned and how have they grown over the past three years? We take a thorough analysis at the depth of character that has clearly helped them overcome yet another hurdle!
Interview ● Chiyoko Tanaka
Photographer: William Hames
Looking back now, I realize I said something rather rude, but the three songs I was allowed to listen to from their new album “Warning” (scheduled for a Japan-exclusive release on September 20th) right before the interview were so amazing that I blurted out to Mike Dirnt, who was standing right there, “I’d almost forgotten just how incredible Green Day is.” (Mike chuckled and said, “Maybe everyone else has forgotten too. We need to remind them soon.”) The three songs I listened to were the quintessentially Green Day-esque pop song “Blood+Sex & Boos,” the folky “Hold On” featuring harmonica, and the Irish-tinged “Minority.” All three had standout melodies and were so catchy that by the second half of each song, I found myself humming along.
Later, I listened to nine songs, including the title track “Warning,” which was set to be the first single, and all of them were of equally high quality. Of course, their pop sensibility has been outstanding since their debut, and their previous album, “Nimrod”, also showed significant growth in terms of songwriting, but with this album, it’s fair to say they’ve unleashed 120% of their songwriting ability. During the interview, Billie Joe said, “We didn’t really have the pressure of trying to make our own ‘Sgt. Pepper’s’,” but in a sense, I think this album could very well become their own ‘Sgt. Pepper’s’.”
The interview took place at Ocean Way Studios in Los Angeles, where they were mixing the album. The spacious room felt less like a studio and more like an old-school rock café (though I don’t know how many people would get that reference), with Indian-style decor and a strong incense burning. Billie Joe didn’t seem to be in perfect health, but all three were in excellent spirits. With Billie Joe speaking earnestly, Tre throwing in (not-so-funny) jokes, and Mike playing along, Green Day is still going strong.
“We weren’t trying to make our own ‘Sgt. Pepper’s’ or an album like John Lennon’s, we just wanted to make something ‘good’ and something that was true to ourselves. Above all else, the goal was simply to have good songs.”
—I just listened to three songs, and they gave me goosebumps. Based on those three tracks, I got the impression that Green Day can no longer be confined to the punk genre—that you’ve moved beyond it. Do you guys still consider yourselves a punk rock band?
Billie Joe (B): 「I don’t know. That’s a really tough question to answer. I mean, punk is such a broad genre, and there are all kinds of punk bands out there. We don’t mean to represent them all, but……」
—So it’s more of a spiritual thing.
B: 「Exactly. Our hearts know where we came from. As long as that’s there, we’ll keep making records as a band.」
—Regarding this album, Tre said, “It’s more diverse than any other artist’s record and different from any Green Day album to date.” Now that you’ve finished making it, what do you think is the biggest difference?
Tre (hereinafter T): 「First of all, our photo is on the cover—that’s different, right? (laughs) Plus, there’s a lot of acoustic guitar, and Billie’s playing the saxophone.」
Mike (hereinafter M): 「I guess you could say it incorporates a sense of individuality. It feels like a cool breeze has blown in. It captures this sense that we’re feeling a bit more happiness in our souls and our lives. We’re still angry, but now we know what we’re angry about, so we’re moving forward with that in mind.」
—Does that mean you’ve grown up?
B: 「You could put it that way, but we’d rather say we’re growing.」
M: 「Thirty minutes every day, you know (laughs).」
—(laughs). “Misery” incorporates mandolins, a calliope (note: an instrument similar to a mini pipe organ), strings, and other instruments, giving it an atmosphere reminiscent of Mexican folk music or an Italian funeral band. What inspired you to create such a varied song?
T: 「I have absolutely no idea how we managed to cram all that into a single song (laughs).」
M: 「The song just made us do it. It was a natural progression.」
B: 「Yeah, there was so much space in the song that we could incorporate all kinds of instruments, moods, and cultures. It was fun.」
T: 「Plus, that song really sparks the imagination. When we were rehearsing, we were only using three instruments. But in each of our heads, we were playing different instruments and imagining different music. So, during rehearsal, everyone had different ideas, and even though it was just one song, it was packed with an unbelievable number of ideas. So we just tried incorporating whatever ideas fit.」
—Were there any new challenges you tried this time?
B: 「We consider every new song we write to be a challenge. But the only thing we consciously set out to do with this record was to take as much time as it took to be satisfied with the result and to give it our absolute all. Before trying to do something different, we wanted to make something “good.” That was the most important thing. Above all else, it was important to have good songs. That was our only goal. We weren’t trying to do anything special, or create our own ‘Sgt. Pepper’s,’ or make an album like John Lennon’s. We just wanted to make something “good” and something that felt like us. In the end, we took our time and gained the freedom to create exactly what we wanted.」
—David Campbell, Beck’s father, who’s been with you since the last album, and Benmont Tench, a renowned session musician, are also on the album. What did you learn from these veteran musicians?
T: 「Probably that there’s no way we could ever play as many instruments as they do (laughs). But I’m sure they couldn’t write anything as simple as we do.」
—Why did you decide to bring in outside musicians instead of doing it all yourselves?
T: 「We tried to do the string parts ourselves, but we were way off-key. The violin is tough (laughs).」
M: 「We do play other instruments, though. I play a little keyboard, Billie plays sax and harmonica, and Tre plays the accordion.」
—I heard that by the time the last “Nimrod Tour” wrapped up, you already had ideas for a few songs, like “Warning” and “Deadbeat Holiday.” Did you have a general vision for the album even back then?
B: 「No, I didn’t have any ideas or a vision at all. Like I said earlier, I just wanted to write good songs, that’s all. With “Nimrod”, I was looking for a change. I wanted to break out of my shell. I think everyone could feel that. And in the record, it…… (searching for words)」
T: 「I think it blossomed.」
B: 「Yeah, and it was a challenge. I think everyone understood that we were challenging ourselves. But this time, we just got together and had fun, took the pressure off, did what we had to do, and approached it with the attitude that whatever level we ended up at, that finished product would be who we are.」
T: 「We approached it with the mindset that each song was its own album. In other words, we poured all our nerves, all our energy, and all our ideas into every single track. That’s why I think each one feels alive.」
—You mentioned earlier that you were seeking change during the “Nimrod” era,
M: 「I think there’s change in every album, but with the last one, we really started to change. That’s because “Insomniac” was a reaction to having stopped changing for a while. We decided to write songs as a reaction to our lives over the past two years. After “Insomniac,” it naturally became easier for us to just be ourselves, and I think we’ve started evolving and growing from there.」
—There’s been an almost three-year gap since your last album. This is the longest gap for you guys since moving to a major label.
T: 「We wanted to make sure our album was Y2K-compliant (laughs). So we had to wait a while. I mean, it wouldn’t be fair to the kids if we made it but it didn’t make any sound (laughs).」
B: 「We wanted to take our time, and rather than making music the center of our lives, we wanted music to pass through us and our lives. I think this record reflects who we are as people and how we live our lives even more than, say, “Insomniac” did.」
—I hear you didn’t take a single day off for nearly a year while preparing for this album, practicing and writing songs five days a week.
M: 「It’s been pretty much like that for every album, not just this one. But this time, we tried changing our approach a bit. We’d go into the studio and play a song. If that particular song wasn’t coming together well, we wouldn’t cling to it, but we’d just set it aside for two or three days and come back to it later. We only started working on each song once we were truly inspired.」
—But if you were working at a pace like going into the studio five days a week, wouldn’t that start to feel like a “job”?
T: 「No, it’s the opposite. We don’t work on songs we’re not feeling. We practice songs that inspire us, so we get motivated. Back in the day, I’d have to keep writing, thinking, “OK, I need to write more songs,” and worry the whole time, “What should I do with this song? What can I do with it?” But this time, if I didn’t feel any inspiration for a particular song that day, I could just say, “OK, let’s try this one instead.”」
M: 「In a way, there was even a part where we had to force ourselves to think, “Practice is work.” Because for us, playing every day is actually something we really look forward to. Ah, it’s totally different from thinking, “Ugh, I have to do this again today—I’d rather be washing dishes.” Of course, that’s an important job too. Actually, I used to wash dishes, and honestly, it’s harder work than what I’m doing now. If I liked washing dishes, I’d still be doing it. But I love playing music, so that’s why I’m doing music instead of something else.」
—The title of your new album is “Warning,” right? It seems to have some kind of suggestive meaning, but what exactly is the warning about?
B: 「There’s a song with the same title, and that song is on the record…… (trying to explain) Hmm, I don’t know, I just thought it was a catchy title. And it’s punk (laughs). It’s just that everyone liked it……」
T: 「Plus, you see “WARNING” stickers plastered everywhere. Normally, it’s a huge hassle for a band to go around sticking their own stickers all over the place, but these stickers are already on everyone’s cars, behind their TVs—everywhere. They’re all over the house, so we don’t need to make any more stickers (laughs).」
—Does this title have a “rebellious” meaning?
B: 「Yeah, the song itself is about signs or labels that say “Warning,” or when people say, “You shouldn’t do this”…… America is always talking about “freedom” and “pride,” but deep down, it’s saying, “No, you’re not free. You can’t cross this line. Don’t intrude on my territory.” For me, laws are there so you can rebel—at least to a healthy degree. Rules are meant to be broken. That’s what this song is about. I’m not telling everyone what to think; I’m telling them to think for themselves.」
—Would it be fair to say this title symbolizes the concept of the entire album?
B: 「I think you could say that. This album is a challenge for me personally. Like writing lyrics. For example, when I look at my old lyrics, I see that I was in a really tough place. Now, I want to improve my life and channel my anger in a positive direction. Instead of just moping around, turning to drugs or alcohol, and feeling miserable. I’m taking a positive attitude for my own sake. In the song “Minority,” I sing about being myself and standing up for myself. People tend to lean on others, though. As you get older, you lose friends or stop keeping in touch, and eventually you’re down to just two or three friends, and in the end, you’re on your own. You have to be true to yourself.」
—Speaking of which, I hear that “family” and “fatherhood” hold significant meaning on this album.
B: 「If my wife and sons…… if I were to die right now, I want them to be proud of me. This is what my dad did. He was a hard worker. He enjoyed life, and tried to make the most of the parts he didn’t enjoy. That’s what this record is saying. Yeah, subconsciously, I’m talking to my sons and other kids.」
—How do you think that sense of fatherhood has influenced you personally and your approach to music?
B: 「I think it’s influenced me a lot. Like I just said, I want to be a good person in my own way, and I’m not living for myself—I’m living for my kids. I think very seriously about what they’ll see as they go through life…… I don’t really know.」
“We’re brutally honest. We’ve stayed true to ourselves. This band doesn’t use turntables, and we have no intention of chasing the latest trends. I think that’s why we’ve continued to be successful.”
—They say you don’t truly appreciate your parents until you become a parent yourself. How about you?
B: 「No, I don’t want to be like my own parents. In my case, when I became a parent, it made me reflect on how I was raised, and it really drove home that I didn’t want to be like them. I wanted to be a better parent.」
—I see. By the way, Scott Litt was originally your producer, but you parted ways partway through. Why didn’t you stick with him until the end?
B: 「It’s because we knew what we wanted. We already had a plan in place. Scott is the kind of guy who’ll help an artist out whenever they need it, but in this case, we both agreed that we weren’t the right fit for each other. Scott’s a really cool guy, and I like him—I respect the work he’s done so far. It just so happened that we weren’t a good match for this album, but I’d like to work with him again someday.」
—But I’m pretty sure you said on Green Day’s official website that you thought he was “the perfect fit for this job.”
B: 「Hmm, well, we realized that wasn’t the case (chuckles).」
—I see (laughs). But didn’t he contribute a lot and bring out a lot in you guys? Is any of that reflected in this album?
T: 「We only worked with him for one day. We talked with him, but after trying it out for a day, we realized this wasn’t an album we should be doing with him. We decided it would be better if we produced it ourselves. We know best what we want. I mean, why would we need an interpreter when we understand what we’re saying?」
B: 「We wanted to produce it 100% ourselves. Just the three of us. It’s an album by punks, for punks.」
—So, how was the experience of self-producing? Was it harder than you expected?
M: 「Unfortunately, it wasn’t just harder than I expected, it was just as hard as I expected (laughs). We had to handle multiple roles each. But no one tells us what we know or what we want. We can communicate it to others, but ultimately, what other people do is what they already know. It’s kind of like knowing the recipe, but having to explain the seasoning of your favorite dish to someone else and have them make it for you.」
—But Green Day is different from other bands; the internal structure is very democratic, and all three of you seem to be given equal power. Doesn’t that make you prone to falling into the so-called “too many boatmen will run the ship up a mountain” pattern? (Note: In English, the Japanese idiom “too many boatmen…” translates to “too many cooks spoil the broth.”)
M: 「No, not at all. It’s more like Billie handles the meat and potatoes, Tre is the vegetable specialist, and I take care of the spices in general. And Billie wears the hat (laughs).」
T: 「Actually, I think we saved a lot of time by self-producing. You know that game where you pass a message from one person to the next? By the time it gets to the end, it’s usually a completely different story. It’s the same thing—usually, you explain what you want to a producer, the producer thinks about it for a while, and then passes it on to the engineer. I think I saved at least four days and 33 minutes (laughs).」
—On the website we mentioned earlier, Billie wrote, “The lyrics have an even more positive meaning. It’s not about relying on antidepressants, but more about surviving, living, and taking on new challenges.” I felt an unprecedented strength in those words, but what prompted you to start looking at things in a “more positive” way?
B: 「A lot of personal things happened. I don’t really want to talk about them, though……」
M: 「We were really exhausted from the last tour. We did 238 shows in total. As the tour went on, we realized, “We have to stop this. We need to take a break and go home. We need to live like normal people.” We wanted to be able to enjoy what we were doing again before we started to hate it. After taking some time off, we were able to enjoy what we were doing again. We don’t have to tour right now, but we are. That’s because we want to be on tour right now.」
—The “Warped Tour” has just started. What are your thoughts on being back on the road after so long?
B: 「It’s great. I’d say Warped is the perfect place for us. We’re touring with bands we love, the vibe is great, everyone’s nice, it’s laid-back, we drink beer, barbecue, sing together, we’re really having a lot of fun.」
—How long is your set?
T: 「Thirty minutes. It’s a bit short, though.」
M: 「In a way, that’s actually good. It makes us eager to get out on our own tour as soon as possible.」
—So it’s like a warm-up, then.
T: 「Yeah. As soon as we step off the stage, we’re already thinking about the next show.」
M: 「Yeah, it’s like eating one of the candies from a jar full of them.」
—While many bands from the ’90s broke up, you guys survived that era. And now that a new era has begun, do you have any thoughts on that?
B: 「I think the only thing we have to do is just keep writing good songs. That’s all we can do. I have no intention of jumping on any trends. This band isn’t going to use turntables either. We have no intention of chasing after the latest trends. I think that’s why we’ve continued to be successful. Because we’ve stayed true to ourselves. We’re brutally honest. But if people didn’t know we were honest, that’s fine too. Because I don’t do the same things everyone else does. We just write songs and make music, that’s all.」
—Finally, could you share your thoughts on performing in Japan again after such a long time?
B: 「We’re really looking forward to this.」
M: 「Everyone knows we love Japan. We can’t wait to get back and go to Kiddyland (laughs). It was a real shame we couldn’t play at Fuji Rock last time, so it’s great that we’ll be able to make up for it.」
Translator's Note: It's been a while since I've last translated or posted scans related to Green Day. I decided to get myself to do it again before I forget.
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