Green Day – ¡Trè!
Like with ¡Dos!, ¡Trè! starts off on an unexpected note with the waltz Brutal Love. The song shows that Billie Joe as a vocalist is as convincing when he’s rocking hard like on ¡Dos! as he is on here. It sounds like it might break into a Bohemian Rhapsody-like verse after the guitar solo halfway through, staying true to Billie Joe’s claim that this album is made for the most epic songs that came out of this project.
The overall sound of ¡Trè! is more mature than the other two albums as are the album’s themes. Drama Queen is about a daughter growing up and preparing to be hurt in the real world. Even the rockers like X-Kid feel musically reflective, setting themselves from the reckless, no-cares guitars of the first two albums. This album is careful in its presentation.
¡Trè! would the strongest of the trio of albums but the strength of ¡Uno!‘s melodies keeps it ahead of the pack. ¡Trè! begins to taper off by the end of the album with Dirty Rotton Bastards, a Jesus Of Suburbia-like song that fuses multiple songs into one track, and the repetitive 99 Revolutions. Both of which would feel more ¡Dos! appropriate. However, these two are soon forgotten by the final track, The Forgotten, a classic rock-styled ballad that serves as the conclusion to the trilogy. A step away from the guitar-heavy power-rock that was the focus of these albums to a piano ballad reminiscent of a Guns N’ Roses hit.
Green Day finishes their ambitious task on a relatively strong note and even though interest in the triple-album project has likely waned, those who stuck by for the entire series are likely to be pleased. ¡Trè! is perhaps the best album of the trilogy that would work as a stand-alone record rather than something part of a bigger picture. The next step for those who hung around is to select the best from each album and form their own ¡Uno-Dos-Trè! playlist.