In the 1990s, the BBC's support for Green Day seemed to be taken for granted. The three of course included a lot of British punk music in their source materials and influences, and the Bay Area snot brand of the band is familiar to us in this land. It provides us with sex pistols, damn, Buzzcocks, etc. Wait.

In this way, Billie Joe Armstrong, Mike Dirnt and Tre Cool crossed the pond for live broadcast, and 16 performances in the legendary Maida Vale Studios of the BBC from 1994 to 2001 were preserved in the BBC Sessions. Like many other BBC recordings, they are a bit strange. Without an audience, these songs sound more like original rehearsals, lacking the energy of mutual communication that is vital to the Green Day concert. But there is also an unmistakable immediacy, a dry sound, which makes people feel like a band is playing in the room, whether it impresses the audience or not. In other words, this is an intimate way to blow up your face.

BBC Sessions began on June 8, 1994, when Dookie put Green Day on the global music map. The team looked through the rigorous interpretations of "She", "When I Come Around", "Basket Case" and "2000 Light Years"-if "Longview" seems to be a strange exclusion, please rest assured that Armstrong did drop one The F-type bomb entered the "good guys to complete the final" in a return visit four years later.

Other highlights include "Brain Stew" and "Jaded" in 1996, the vibrant "Hitchin' a Ride" in 1998 and the emergency "Castaway" in 2001, which captured some loose studio jokes among the band members. The latter part-also including "Sunday's Church", "Minority" and "Waiting"-showed the expanded Green Day live lineup, and the speakers added some additional dynamic performance.

BBC Sessions is unlikely to replace Bullet in a Bible or Awesome as Fuck as your preferred Green Day live album in your collection, but it is a popular auxiliary tool, and it has been studied that the group is consistently powerful and inspiring when dealing with The excitement of its voice has undergone a subtle and dramatic change. "Is this all right?" Armstrong asked after the album ended with "waiting". The answer is absolutely yes.