GREEN DAY 39/Smooth LP LOOKOUT 1990 US 2nd press+insert LOOKOUT 22
£
36
$
48
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U.K. BUYERS PLEASE IGNORE THE SHIPPING COSTS MARKED ON EBAY BECAUSE WE ARE ITALIAN SELLERS
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GREEN DAYOut 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
"39/SMOOTH"
1990 LP LOOKOUT RECORDS LOOKOUT #22
PRINTED IN U.S.A. 2ND PRESSING
[Repress with the Berkeley address on the back cover. Earlier copies list the Laytonville address on rear]
SINGLE SLEEVE + LYRICS INSERT
HEAVY CARDBOARD COVER
Barcode and Other Identifiers
Barcode: none
LABEL: LOOKOUT - B/W PHOTO LABEL - BLACK TEXT
Catalog on cover: (spine) No. 22 (rear) LOOKOUT! RECORDS #22
Catalog on labels: LOOKOUT - No 22 -
Matrix / Runout (Side A, Etched): LOOKOUT 22-A BILL, MIKE, JOHN : LOYAL FILTH GROUPIES L-34891 WE ? JAKE
Matrix / Runout (Side B, Etched): LOOKOUT·22-B CALL BACK TOMORROW, IT'S A SCHOOL NIGHT L-34891X
On labels: Artist+Title+Tracklist
On Spine (from left to right):
GREEN DAY - 39/SMOOTH JAMES PUT DOWN THAT SKINHEAD! LOOKOUT RECORDS No.22
On Back Cover: Recorded in twenty two hours from 4:30 PM, Dec. 29th, 1989
to midnight, Jan. 2nd, 1990 at Art Of Ears in San Francisco
Lookout Records P.O. Box 11374 Berkeley Calif. 94701
from my records collection
tracklisting
Side A: AT THE LIBRARY WITH WABA SE WASCA
DON'T LEAVE ME - I WAS THERE - DISAPPEARING BOY - GREEN DAY
Side B: GOING TO PASALACQUA - 16 - ROAD TO ACCEPTANCE
REST - THE JUDGES DAUGHTER
grading
RECORD NEAR MINT but (please, read above description)
SLEEVE NEAR EX but (please, see pictures and read above description)
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...(AllMusic)
price rating