Green Day's Father of All... plays like a copy of a copy
. The world is on fire and the veteran punk band is shimmying on the ashes, making what can be described as the group’s first dance record. If the Clash had: 10 punchy tunes made to groove and brood in these terrifying times. The tracks bustle with the pulse of ’60s soul, Motown, British Invasion, glam, new wave, and even a little hip-hop. In theory, it’s a perfect and perfectly contemporary idea.
For starters, Green Day have an incredibly narrow vision of what makes rhythm-centric “party” music. Tunes “Fire, Ready, Aim” and “Meet Me on the Roof” burst with handclaps and rock and roll piano vamping. “Take the Money and Crawl” opens with simulated vinyl crackle. Most notably, leader Billie Joe Armstrong swaps his trademark fake Brit sneer for a fake Curtis Mayfield falsetto, “wah-hah”-ing and “ooh-ooh”-ing all over the place.
Annoyingly, Green Day often get to their desired destination by tribute that leans too close to Xerox. “Oh Yeah!” borrows the pre-chorus gang vocals of Joan Jett and the Blackhearts’ 1982 hit “Do You Wanna Touch Me ,” itself a cover of the 1973’s glam anthem by convicted pedophile Gary Glitter. It’s less like an iconic riff handed down between generations and more like a wedding band doing a mash-up.
It’s a shame that Green Day don’t find their groove, as Armstrong’s lyrics are conceptually strong. On paper,had the potential to be Robyn’s “Dancing on My Own” for America, a late-night turn-up tantrum with lines like “I got paranoia, baby,” “Burning books in a bulletproof backpack,” and “I got blood on my hands in my pockets/That’s what you get turning bullets into rockets.
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