View source for 39/Smooth

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{{Infobox album
| name       = 39/Smooth
| type       = studio
| artist     = [[Green Day]]
| cover      = Green Day - 39-Smooth cover.jpg
| border     = yes
| alt        = A black-and-white image of a woman standing in a graveyard with a tree behind her
| released   = April 13, 1990
| recorded   = December 29, 1989 – January 2, 1990
| studio     = Art of Ears, [[San Francisco]], California
| genre      = * [[Punk rock]]
* [[pop-punk]]
* [[skate punk]]
| length     = 31:12
| label      = [[Lookout Records|Lookout]]
| producer   = {{flatlist|
* Green Day
* [[Andy Ernst]]
}}
| prev_title = [[1,000 Hours]]
| prev_year  = 1989
| next_title = [[Slappy]]
| next_year  = 1990
| misc         = {{Extra chronology| 
| artist = [[Green Day]] studio 
| type = studio 
| prev_title = 
| prev_year = 
| title = 39/Smooth
| year = 1990
| next_title = [[Kerplunk (album)|Kerplunk]]
| next_year = 1991
}}
}}
'''''39/Smooth''''' is the debut studio album by the American [[Rock music|rock]] band [[Green Day]], released on April 13, 1990, by [[Lookout Records]]. After finalizing their line-up, the band played frequent shows at the [[924 Gilman Street]] venue, where they started attracting a following and eventually caught the attention of Lookout Records' founder [[Larry Livermore]]. Following the release of their debut [[Extended play|EP]] ''[[1,000 Hours]]'' (1989) and stints in other bands, Green Day went to Art of Ears Studio, located in [[San Francisco]], California, to record their debut studio album, which was co-produced with [[Andy Ernst]]. Sessions started at late December 1989 and ended in January 1990, costing $675. ''39/Smooth'' has been tagged as [[punk rock]], [[pop-punk]] and [[skate punk]], with comparisons made to the work of older punk bands the [[Buzzcocks]] and the [[Ramones]], as well to contemporaries [[Crimpshrine]] and [[the Lookouts]]. Written mostly by frontman and guitarist [[Billie Joe Armstrong]], [[unrequited love]] and longing for desire served as the main lyrical topics, while reminiscing on youth appeared in two of the songs.

''39/Smooth'' was met with acclaim within Green Day's contemporary community; retrospective reviews praised the songwriting and individual musicianship of each of the band members, while some critics were more negative of the album. In the lead up to the album's release, Armstrong dropped out of high school, and the members took up odd jobs while bassist [[Mike Dirnt]] and drummer [[John Kiffmeyer]] continued their education. To promote ''39/Smooth'', the band embarked on a 45-date tour of the United States, which began in June 1990. By its end, Kiffmeyer opted to enroll in college and did not tell the other members, with Armstrong learning of it through a friend.

The album, plus related EPs from the time, were included on the ''[[1,039/Smoothed Out Slappy Hours]]'' (1991) compilation album, which is often erroneously referred to as the band's debut. By 1994, ''39/Smooth'' had sold 75,000 copies, and in the following year, peaked at number five on the US ''[[Billboard (magazine)|Billboard]]'' [[Top Pop Catalog Albums]] chart. Publications have ranked the album towards the lower end of the band's discography, such as number 10 by ''[[Kerrang!]]'' and ''[[Paste (magazine)|Paste]]'' and number 11 by ''[[Spin (magazine)|Spin]]''.

==Background and recording==
{{further information|1,000 Hours#Background|1,000 Hours#Release and reception{{!}}Release and reception}}
Following a shared interest in music, and the creation of original material, guitarists [[Billie Joe Armstrong]] and [[Mike Dirnt]] formed a band.<ref>Myers 2006, pp. 24–25, 27</ref> After going through another name, they stuck with [[Green Day|Sweet Children]];<ref>Spitz 2010, p. 16</ref> Armstrong and Dirnt worked security at [[Punk rock|punk]] club [[924 Gilman Street]] in [[Berkeley, California]].<ref>Spitz 2010, p. 35</ref> [[John Kiffmeyer]], also known as "Al Sobrante", drummer of Gilman performers [[Isocracy (band)|Isocracy]], was invited to play with them.<ref>Spitz 2010, p. 43</ref> He helped refine Sweet Children's sound, and taught them a work ethic of recording music as cheaply and quickly as possible.<ref name=Myers43>Myers 2006, p. 43</ref> Sweet Children played their first Gilman show in November 1988,<ref>Gaar 2006, p. 30</ref> where they accumulated a fan base; after the departure of bassist Sean Hughes, Dirnt moved to bass.<ref>Spitz 2010, p. 49</ref> During a house party, Sweet Children were brought to the attention of [[Larry Livermore]], who operated [[Lookout Records]], which was originally planned to only release material from Livermore's band [[the Lookouts]].<ref>Spitz 2010, pp. 51, 52</ref>

Livermore subsequently signed Sweet Children following a show with the Lookouts.<ref name=Spitz63>Spitz 2010, p. 63</ref> The record deal made the members of Sweet Children realize that they needed a new name, ultimately choosing Green Day.<ref name=Spitz64>Spitz 2010, p. 64</ref>{{#tag:ref|[[Marc Spitz]], author of ''Nobody Likes You – Inside the Turbulent Life, Times and Music of Green Day'' (2006), wrote that the Green Day name was taken from an Armstrong-written track of the same name.<ref name=Spitz64/> Myers, who also mentioned the track, said the name originated from a comment spoken by ''[[Sesame Street]]'' character [[Ernie (Sesame Street)|Ernie]]. It subsequently became an inside joke between the members, who used it to refer to their joint smoking sessions, with Kiffmeyer even having the words displayed on the back of his jacket.<ref name=Myers53>Myers 2006, p. 53</ref> In ''Green Day – Rebels with a Cause'' (2006), author Gillian G. Gaar said it was "variously attributed" to both Ernie and as a slang term for smoking pot.<ref name=Gaar32>Gaar 2006, p. 32</ref> According to Livermore, this was done to avoid confusion with another local band, [[Sweet Baby (band)|Sweet Baby]].<ref name=Myers53>Myers 2006, p. 53</ref>|group="nb"}} They played their last show under the old moniker on April 1, 1989, at Gilman for a benefit show.<ref name=Myers52>Myers 2006, p. 52</ref> That same month, the ''[[1,000 Hours]]'' EP was released through on [[Phonograph record|seven-inch vinyl]].<ref name=Myers51>Myers 2006, p. 51</ref> Livermore commented that due to the poppy nature of the release that it would be difficult to sell to record buyers, taking around six months for the EP to start attracting attention from the public.<ref name=Gaar31>Gaar 2006, p. 31</ref> Author [[Ben Myers]] wrote in ''Green Day: American Idiots & The New Punk Explosion'' (2006) that while it did not have a unique musical direction amongst the band's peers,<ref name=Myers51/> the EP helped to place Green Day as well as Berkeley "on the map."<ref name=Myers52/> They performed for the first time since the name change supporting [[Operation Ivy (band)|Operation Ivy]] on May 28, 1989, at Gilman.<ref>Spitz 2010, p. 62</ref> During this time, Armstrong and Dirnt played in other bands, such as Blatz, Corrupted Morals and Crummy Musicians.<ref name=Gaar35>Gaar 2006, p. 35</ref>

<!-- Recording; bundle with background as there is only enough info for a single paragraph -->
Green Day recorded their debut album at Art of Ears Studio in [[San Francisco]], California,<ref name=Myers58/> around Christmas 1989 when recording time was inexpensive.<ref name=Spitz65>Spitz 2010, p. 65</ref> [[Andy Ernst]], who previously worked on the ''1,000 Hours'' EP, co-produced the sessions with members of the band.<ref>Gaar 2006, pp. 31, 35</ref> Sessions started on December 29, 1989; Armstrong and Dirnt tracked their vocals at the same time in order to save on both money and time. Myers noted that the members' influences, such as the [[Buzzcocks]], [[the Clash]] and the [[Ramones]], "all of whom recorded quickly, and it clearly showed as they applied the same sense of pared-down economy to their own blistering debut."<ref name=Myers58>Myers 2006, p. 58</ref> The majority of the album was finished the following day, preceded by guitar parts and vocal harmonies. The album was mixed and completed by January 2, 1990. The sessions cost $675 ({{Inflation|US|675|1989|fmt=eq|r=-2}}), charged to Livermore. John Golden [[Audio mastering|mastered]] the recordings at K Disc Mastering in Hollywood, California<ref name=39Ssleeve/> Prior to the album coming out, Livermore wanted to issue another single to build hype. Subsequently, the band went back to Art of Ears and recorded four songs in a few hours, which became the ''[[Slappy]]'' (1990) EP.<ref name=Myers58/>

==Composition==
{{multiple image
| direction         = vertical
| footer            = Biographer [[Ben Myers]] drew comparisons between ''39/Smooth'' and the sound of [[Buzzcocks]] (top) and [[Hüsker Dü]] (bottom).
| image1            = The Buzzcocks 1.JPG
| alt1              = Four men on a stage playing instruments and singing into microphones
| width1            = 190
| image2            = Hüsker Dü (1986 Warner Bros publicity photo).jpg
| alt2              = Three men standing
| width2            = 190
}}
<!-- overview -->
The main lyrical theme of ''39/Smooth'' revolves around [[unrequited love]] and longing for desire, which appeared in "At the Library with Waba Sé Wasca", "Disappearing Boy" and "The Judge's Daughter". While "I Was There" and "16" are about reminiscing on youth, which Gaar suggested that these were interesting declarations from the band as the members themselves were still young.<ref name="Gaar36">Gaar 2006, p. 36</ref> Musically, ''39/Smooth'' has been tagged as punk rock,<ref name="Myers60">Myers 2006, p. 60</ref><ref name="Discogseditorial" /> [[pop-punk]],<ref name="AMG" /><ref name="SGbest" /> [[skate punk]],<ref name="IGNbest" /><ref name="Spinranked" /> and [[power pop]].<ref name=TPreview/> Myers said the songs merged the band members' overt adoration of [[Pop music|pop]] [[Hook (music)|hooks]] by British acts from the 1960s, topped by the "regionalized intonation of British punk's strongest voices."<ref>Myers 2006, pp. 60–61</ref> He also highlighted the sound of the [[Buzzcocks]] and [[Hüsker Dü]] as points of comparison,<ref name=Myers60/> while ''[[Stereogum]]''{{'s}} Jay Papandreas drew comparison to labelmates [[Crimpshrine]] and the Lookouts,<ref name=SGbest/> and Eduardo Rivadavia, writing for [[Discogs]], said its [[Three-chord song|three-chord tracks]] were indebted to the work of the [[Ramones]].<ref name=Discogseditorial>{{cite web|url=https://blog.discogs.com/en/unassuming-punk-rock-primer-39-smooth/|archiveurl=https://web.archive.org/web/20200416074329/https://blog.discogs.com/en/unassuming-punk-rock-primer-39-smooth/|title=How Green Day 'Accidentally' Launched A Legendary Career With 1990's Unassuming Punk Rock Primer, 39/Smooth|publisher=[[Discogs]]|author=Rivadavia, Eduardo|date=April 13, 2020|archivedate=April 16, 2020|access-date=April 17, 2024}}</ref><!-- editorial by an established writer, not USERG -->

<!-- songs -->
With album opener "At the Library with Waba Sé Wasca", Allyson Johnson of The Young Folks said the band presented the [[Punk rock in California|Southern Californian sound]] that managed to "both fit them in the scene while allowing them to stand out ..." She added that it displayed the formula for which they would continue to use throughout their career: "The gritty and buzzsaw sounding guitars only make for a more immediate, satisfying star."<ref name=TYFyears>{{cite web|url=https://www.theyoungfolks.com/music/159262/celebrating-30-years-with-green-day/|title=Celebrating 30 years with Green Day|publisher=The Young Folks|author1=Johnson, Allyson|author2=Holly, Jack|date=October 13, 2021|access-date=April 15, 2024|archive-date=March 17, 2024|archive-url=https://web.archive.org/web/20240317154300/https://www.theyoungfolks.com/music/159262/celebrating-30-years-with-green-day/|url-status=live}}</ref> Armstrong said "Don't Leave Me" was about an occasion in the [[seventh grade]] where a girl had broken up with him.<ref name=Gaar39>Gaar 2006, p. 39</ref> "I Was There" has lyrics written by Kiffmeyer;<ref name=Gaar36/> Gaar said it was a broad retrospective view of "one's past — torn between wanting it to last, but ultimately choosing to look ahead toward tomorrow."<ref name=Gaar44>Gaar 2006, p. 44</ref> Jack Holly of The Young Folks said Armstrong can be heard recounting locations him and his bandmates had visited and individuals they have encountered in their brief run as a band.<ref name=TYFyears/>{{#tag:ref|Spitz compared the introspective nature of "I Was There" to that of "[[In My Life]]" (1965) by [[the Beatles]], which Green Day leaned into for later songs in their career, such as "[[Good Riddance (Time of Your Life)]]" (1997), "[[Waiting (Green Day song)|Waiting]]" (2001) and "[[Wake Me Up When September Ends]]" (2004) to help them stand out from their contemporaries.<ref name=Spitz65/>|group="nb"}} "Green Day", which starts with the sound of a [[Bong|bong hit]],<ref name=PMreview/> discusses being inebriated while dreaming about a girl and staring directing at the ceiling.<ref name=Gaar36/> On "Going to Pasalacqua", Holly wrote that Armstrong was adamant about trying to get the attention of girl that he would visit a [[funeral home]], Pasalacqua, located in [[Benicia, California]], to achieve this.<ref name=TYFyears/> Johnson spotlighted "16" as a highlight, touching on the song's sense of heightened youthfulness, and noted that it was more restrained compared to the rest of the tracks.<ref name=TYFyears/> "Road to Acceptance", which was influenced by racism, talks about a person who lambasts their own reputation as an outsider.<ref name=Gaar36/> Preceded by the slower song "Rest",<ref name=Gaar36/> "The Judge's Daughter" concluded ''39/Smooth''; Armstrong said it was about a girl from [[Pinole Valley High School]].<ref>Gaar 2006, pp. 38, 39</ref>

==Release==
===Promotion and packaging===
In February 1990, Armstrong dropped out of high school shortly prior to the release of their debut album,<ref name=Gaar37/> in order to focus exclusively on Green Day.<ref>Spitz 2010, p. 46</ref> Around this time, as Dirnt and Kiffmeyer focused on working and education, a tour for the band spanning 45 dates across the US was scheduled.{{#tag:ref|Myers said the 1990 US tour was booked by Armstrong,<ref name=Myers63/> while Spitz said it was done by Kiffmeyer,<ref name=Spitz67/> and Gaar simply said it was self-booked.<ref name=Gaar39/>|group="nb"}} To raise money for the trek, the members took up odd jobs.<ref name=Myers63/> Lookout Records released ''39/Smooth'' on April 13, 1990,<ref name=NMEcelebrate>{{cite web|url=https://www.nme.com/news/music/green-day-celebrate-39-smooth-anniversary-with-never-before-seen-video-from-1990-3432183|title=Green Day celebrate '39/Smooth' anniversary with never-before-seen video from 1990|work=[[NME]]|author=Duran, Anagricel|date=April 19, 2023|access-date=April 15, 2024|archive-date=March 17, 2024|archive-url=https://web.archive.org/web/20240317154249/https://www.nme.com/news/music/green-day-celebrate-39-smooth-anniversary-with-never-before-seen-video-from-1990-3432183|url-status=live}}</ref> issued on the vinyl and cassette formats.<ref name=Myers60/> It was released around the time of albums by the likes of their contemporaries [[Bad Religion]], [[NOFX]], [[the Offspring]] and [[Pennywise (band)|Pennywise]], all of whom were frequently playing shows, though were ignored by major publications and record labels. Attitudes towards [[alternative music]] were slowly shifting, as Myers remarked, "but not ''that'' quickly. Green Day and the punks' true time was yet to come, and for now they existed in a vacuum unaffected by traditional rock 'n' roll conceits. ... [''39/Smooth''] was released and life carried on."<ref>Myers 2006, p. 62</ref> As Lookout Records did not have enough funds for promotion, [[word of mouth]] about ''39/Smooth'' spread from the small amount of reviews it earned in zines.<ref name=Gaar40>Gaar 2006, p. 40</ref>

When the members of Green Day were wrapping up the production of the album, the word "smooth" was in frequent rotation, and they wanted to use it in the title. It was during this time that Alen, Armstrong's oldest sibling, had turned 39, which they jokingly wanted to use it in the name as well as they were unsure if they would get the chance to make another album. The album was eventually titled ''39/Smooth''.<ref name="Myers60" /> The cover of ''39/Smooth'', which was designed by [[Jesse Michaels]] of Operation Ivy, depicts a black-and-white image of a woman in a cemetery.<ref name=Gaar36/> Michael Roffman of ''[[Consequence of Sound]]'' said the cover was "a little eerie" which he attributed to the shining tree branches seen in the image.<ref>{{cite web|url=https://consequenceofsound.net/2016/10/ranking-every-green-day-album-from-worst-to-best/full-post/|title=Ranking: Every Green Day Album from Worst to Best|website=[[Consequence of Sound]]|author=Roffman, Michael|date=October 7, 2016|access-date=April 18, 2024|url-status=dead|archive-url=https://web.archive.org/web/20161012000726/https://consequenceofsound.net/2016/10/ranking-every-green-day-album-from-worst-to-best/full-post/|archive-date=October 12, 2016}}</ref> Out of all of the band's albums, Myers remarked that its [[monochrome]] and somber nature made it stand out as the "least Green Day-''looking''" cover. [[Aaron Cometbus]], editor of the ''[[Cometbus]]'' [[zine]], created some additional artwork for the sleeve; Myers said his "recognizable {{notatypo|cartoony}} pen-and-ink style came to define the band's early works and nicely complemented the content within."<ref name=Myers64>Myers 2006, p. 61</ref> The back of the sleeve featured three photographs, shot by Murray Bowles, of Green Day performing at Gilman. Accompanying the images were cartoon illustrations, done by Michaels, which included keys, [[safety pin]]s, a [[matchbox]] and faces of monsters. A martini glass can also be seen, which Gaar said was a comment on the no-alcohol policy enforced at Gilman. The lyric sheet included in the sleeve included an alleged letter from [[major label]] [[I.R.S. Records]], who claimed to have an interest in the band, saying they were best act from the [[San Francisco Bay Area|Bay Area]] since the emergence of the [[Dead Kennedys]]. In addition to this was two response letters, one from Kiffmeyer and other from Livermore; Gaar said the I.R.S. letter was forged as the result of Kiffmeyer having located some stationery belonging to the label from a trash receptacle. Around two years after the album's release, Livermore received threatening letters from I.R.S. for the incident, and apologized to them.<ref name=Gaar36/>

===US tour and related events===
[[File:John Kiffmeyer 1990.png|thumb|[[John Kiffmeyer]] performing with Green Day at [[Pinole Valley High School]] in 1990]]
To assist the release of ''39/Smooth'', Green Day appeared at several Gilman gigs, some that served as benefit shows for Lookout or fanzines in the area, namely ''Cometbus''.<ref name=Spitz67/> One show also included a May 1990 performance at Pinole Valley High School, who were hosting local acts for [[List of food days|Foreign Food Day]].<ref name=Gaar38>Gaar 2006, p. 38</ref> The day after Dirnt graduated from that high school, the band embarked on the aforementioned 45-date US tour.<ref name=Myers63/> They used a van that was bought from Armstrong's brother, and was refurbished as to have more space to sleep and store their equipment. They were accompanied by Hughes, who served as their roadie.<ref name=Spitz67/>{{#tag:ref|<!-- the person, not the publication -->Cometbus also joined Green Day for the US trek as their roadie, documenting the journey in an issue of ''Cometbus''.<ref name=Gaar39/> Gaar said there was a map of the country, with markers denoting eventful instances of the tour, such as when Armstrong was stung by [[poison ivy]] and required medical attention or when Dirnt had broken his instrument in half thanks to a split [[guitar strap]].<ref>Gaar 2006, pp. 39–40</ref>|group="nb"}} It started on June 19, 1990, on the West Coast, going up to Canada, before returning to the US, from where they journeyed to the East Coast, travelling to Florida, moving to the Midwest and ending in California.<ref name=Gaar39/>{{#tag:ref|While playing a gig in Minnesota, Armstrong bonded with attendee Adrienne Nesser. She would later move to California and marry Armstrong. Alongside this, Green Day were invited to record songs for [[Skene! Records]], who were based in [[Saint Paul, Minnesota]].<ref name=Gaar40/> They recorded at a local studio in the area;<ref name=Myers66/> in lieu of newer tracks, the band opted to tackle Sweet Children-era material. Dirnt explained that they preferred to be recording and as they were "still playing those songs ... it was like, 'Hey, we've got studio time — let's record 'em!{{single double}}<ref name=Gaar40/> As the songs were released as the ''[[Sweet Children (EP)|Sweet Children]]'' (1990) EP, fans mistakenly thought it was the band's first release,<ref name=Gaar40/> which Livermore attributed to the poor sound quality.<ref name=Myers66>Myers 2006, p. 66</ref>|group="nb"}}

They played in a variety of punk clubs, house parties and bars,<ref name=Spitz67>Spitz 2010, p. 67</ref> with crowd sizes varying from 50 people to 500.<ref name=Myers63>Myers 2006, p. 63</ref> Venues that scheduled the band received contracts from them with two requests – that nourishment and accommodation was prioritized over money, and did ask for a minimum of $100 if there was enough to spare, though stipulated this was not a requirement. The band stated on the contracts the places "do not have to give us any of these things, of course we don't have to tune before we play either."<ref name=Gaar39/> Funds that Green Day made from the performances ended up going to paying for food and buying gas.<ref>Myers 2006, p. 65</ref> To aid their income, they bought inexpensive shirts from local business, which were then [[Printing|printed]] with their band logo and promptly put on sale at the gigs. They also gave a discount to attendees to bring their own shirts to the shows for printing.<ref name=Gaar40>Gaar 2006, p. 40</ref>

Though the tour was seen as a success by the band, Kiffmeyer did not want to go through the hassle of such an endeavor again and instead enrolled in [[California State Polytechnic University, Humboldt|Humboldt State College]] in [[Arcata, California]] later in the year. He did not outright tell them that he was departing.<ref>Spitz 2010, p. 70</ref> Armstrong was surprised by this as he only found out through <!-- the person, not the publication -->Cometbus. Afterwards, Armstrong was unsure if he wanted to continue the band.<ref name=Gaar43>Gaar 2006, p. 43</ref> Dave EC of [[Filth (band)|Filth]] and [[the Wynona Riders]] joined Green Day, though left after a few weeks.<ref>Myers 2006, p. 68</ref> Armstrong remembered [[Tré Cool]] and learned that he was free.<ref>Spitz 2010, pp. 70–71</ref> Cool had been playing with the Lookouts since he was 12.<ref name=Spitz52>Spitz 2010, p. 52</ref> At age 16, Cool was a regular of the Gilman scene, going to parties and playing with various acts.<ref>Spitz 2010, pp. 55–56</ref> Through this, he became familiar with Armstrong and Dirnt.<ref>Spitz 2010, p. 56</ref> Cool ultimately joined Green Day in late 1990.<ref>Myers 2006, pp. 67, 68</ref>

The later CD release of ''39/Smooth'' featured tracks from the two prior EPs, in addition to I Want to Be Alone, which was previously released on a ''Flipside'' magazine various artist compilation in 1990.<ref>Gaar 2006, pp. 36–37</ref> This version was retitled ''[[1,039/Smoothed Out Slappy Hours]]'', which omitted the letters from Kiffmeyer, Livermore and I.R.S.,<ref name=Gaar37>Gaar 2006, p. 37</ref> and included the ''1,000 Hours'' and ''Slappy'' EPs.<ref name=1039comp>{{cite AV media notes|title=1,039/Smoothed Out Slappy Hours|author=Green Day|year=1991|type=sleeve|publisher=[[Lookout Records]]|id=Lookout 22CD}}</ref> In late 2005, citing a royalty dispute, the band took control of their Lookout Records-era releases, including ''1,039/Smoothed Out Slappy Hours'', second studio album ''[[Kerplunk (album)|Kerplunk]]'' (1991), and the ''1,000 Hours'' and ''Slappy'' EPs.<ref>Spitz 2010, p. 180</ref> "Going to Pasalacqua" was pressed on a [[Phonograph record|seven-inch vinyl record]], with "Road to Acceptance" and "Disappearing Boy" as the B-sides, as part of the ''Ultimate Collectors 7" Vinyl Singles Box Set'' (2009) collection.<ref>{{cite AV media notes|title=Ultimate Collectors 7" Vinyl Singles Box Set|author=Green Day|year=2009|type=sleeve|publisher=[[Reprise Records]]|id=517676-7}}</ref> In the lead up to the ''[[Green Day: Rock Band]]'' (2010) video game, Cool said that while the [[Master recordings|master tapes]] for ''39/Smooth'' still exist, the process to digitize them would [[Sticky-shed syndrome|destroy the tape]] given their age.<ref>{{cite magazine|url=https://gameinformer.com/b/news/archive/2010/05/06/green-day-s-tre-cool-talks-about-green-day-rock-band-future-dlc.aspx|title=Green Day's Tre Cool Talks About Green Day: Rock Band, Future DLC|magazine=[[Game Informer]]|author=Helgeson, Matt|date=May 6, 2010|access-date=May 6, 2024|archive-date=May 8, 2010|archive-url=https://web.archive.org/web/20100508235333/http://gameinformer.com/b/news/archive/2010/05/06/green-day-s-tre-cool-talks-about-green-day-rock-band-future-dlc.aspx|url-status=live}}</ref>

==Reception==
{{Music ratings
| rev1 = [[AllMusic]]
| rev1Score = {{Rating|3|5}}<ref name="AMG">{{cite web|url=https://www.allmusic.com/album/39-smooth-mw0002824578|title=39/Smooth - Green Day / Album|publisher=[[AllMusic]]|author=Raggett, Ned|access-date=29 April 2011|archive-date=December 8, 2021|archive-url=https://web.archive.org/web/20211208223209/https://www.allmusic.com/album/39-smooth-mw0002824578|url-status=live}}</ref>
| rev2 = ''[[Encyclopedia of Popular Music]]''
| rev2score = {{Rating|3|5}}<ref>{{cite book |title=The Encyclopedia of Popular Music|title-link=Encyclopedia of Popular Music|publisher=[[Omnibus Press]] |edition=5th concise |year=2011 |last=Larkin |first=Colin |author-link=Colin Larkin (writer) |isbn=978-0-85712-595-8}}</ref>
| rev3 = ''[[NME]]''
| rev3score = 7/10<ref>Williams 1991, p. 29</ref>
}}
''39/Smooth'' was met with acclaim within the local community and on a national level due to Lookout Records' outreach.<ref>Spitz 2010, p. 66</ref>

Some critics praised the songwriting found on ''39/Smooth''. Spitz and Gaar said the writing had positively evolved from ''1,000 Hours'', with the former praising the lyrics,<ref name=Spitz65/> and the latter impressed with the progression in such a short time frame.<ref name=Gaar35/> Myers said the band were able to mould a sonic direction "bubbling with energy, melodies and lyrical themes that struck a chord."<ref name=Myers60/> Al Shipley of ''[[Spin (magazine)|Spin]]'' saw the album as a "revealing listen", as it "sounds shockingly close to the skate punk sound which with the band would conquer the world four years later."<ref name=Spinranked/>  [[Metal Hammer|Louder]] writer Alistair Lawrence wrote that the album had the "hint of something special, ... ''39/Smooth'' takes the raw ingredients that make Green Day unique and starts them simmering."<ref name=Louderbest>{{cite web|url=https://www.loudersound.com/features/green-day-albums-ranked|title=Every single Green Day album ranked from worst to best|publisher=[[Metal Hammer|Louder]]|author=Lawrence, Alistair|date=February 2, 2024|access-date=April 14, 2024|archive-date=March 17, 2024|archive-url=https://web.archive.org/web/20240317154244/https://www.loudersound.com/features/green-day-albums-ranked|url-status=live}}</ref>

A few reviews focused on the individual aspects of the band members. Robbins and Neugebauer complimented Armstrong for his "well-mannered lyrics - hopeful, uncertain, self-conscious", which "manage only mild psychic discomfort ... and romantic tension rather than any rebellious insurgence."<ref name=TPreview/> Raggett said his vocal "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.<ref name="AMG"/> Reed Strength of ''[[Paste (magazine)|Paste]]'' said Armstrong's voice was the album's biggest weakness, referring to it as "ear-grating, brow-furrowing singing."<ref name=PasteRanking>{{cite web|url=https://www.pastemagazine.com/music/green-day/ranking-every-green-day-album|title=Ranking Green Day's 12 Albums|work=[[Paste (magazine)|Paste]]|author=Strength, Reed|date=October 28, 2016|access-date=April 17, 2024|archive-date=December 1, 2023|archive-url=https://web.archive.org/web/20231201032437/https://www.pastemagazine.com/music/green-day/ranking-every-green-day-album|url-status=live}}</ref> Raggett remarked that Dirnt was "no slouch himself, providing good backing vocals when needed for harmony ..."<ref name="AMG"/> Robbins and Neugebauer said Dirnt and Kiffmeyer push "the songs along, and Billie Joe sings them earnestly, without the contrived English accent he would later affect. A very tentative start."<ref name=TPreview>{{cite web|url=https://trouserpress.com/reviews/green-day/|title=Green Day|work=[[Trouser Press]]|author1=Robbins, Ira|author2=Neugebauer, Delvin|access-date=April 14, 2024|archive-date=February 27, 2023|archive-url=https://web.archive.org/web/20230227055754/https://trouserpress.com/reviews/green-day/|url-status=live}}</ref> Raggett highlighted Kiffmeyer for the "most prominent performance throughout" the album,<ref name="AMG"/> while Shipley thought he was not "quite a force of nature like Tre Cool, but he has similar instincts on how to keep the tempos brisk and the drum fills splashy."<ref name=Spinranked>{{cite web|url=https://www.spin.com/2024/01/best-green-day-albums/|title=Every Green Day Album, Ranked|work=[[Spin (magazine)|Spin]]|author=Shipley, Al|date=January 17, 2024|access-date=April 14, 2024|archive-date=March 17, 2024|archive-url=https://web.archive.org/web/20240317154244/https://www.spin.com/2024/01/best-green-day-albums/|url-status=live}}</ref>

Others were more negative of ''39/Smooth'', with some only highlighting a single track. AllMusic reviewer Ned Raggett said it "isn't a truly great album in the first place. It's not bad, by any means ... It's just little more than a fun punk-pop album with some entertaining metallic flash here and there," akin to a multitude of albums created in the late 1980s and early 1990s.<ref name="AMG"/> Finn White for ''[[IGN]]'' found it to be lackluster, lamenting that the tracks were dissimilar from one another, though clarified that as it shows the band at their "least refined, ... therein lies its charm and primary appeal."<ref name=IGNbest>{{cite web|url=https://www.ign.com/articles/2009/05/12/green-day-worst-to-best|title=Green Day: Worst to Best|work=[[IGN]]|author=White, Finn|date=May 12, 2009|access-date=April 14, 2024|archive-date=May 21, 2022|archive-url=https://web.archive.org/web/20220521015152/https://www.ign.com/articles/2009/05/12/green-day-worst-to-best|url-status=live}}</ref> For ''[[Kerrang!]]'', writer Ian Winwood said upon hearing the album in the present day, it comes across as a "collection rich in promise but lacking in real-time impact."<ref name=KerrangInside>{{cite web|url=https://www.kerrang.com/features/green-day-the-inside-story-of-their-debut-album-39-smooth/|archiveurl=https://web.archive.org/web/20190219234023/https://www.kerrang.com/features/green-day-the-inside-story-of-their-debut-album-39-smooth/|title=Green Day: The Inside Story Of Their Debut Album, 39/Smooth|work=[[Kerrang!]]|author=Winwood, Ian|archivedate=February 19, 2019|access-date=April 15, 2024}}</ref> Ira Robbins and Delvin Neugebauer of ''[[Trouser Press]]'' said the album was a "relatively tame power-pop affair. Although plucky and brash, the music is too timid to even flirt with punk intensity levels."<ref name=TPreview/> Papandreas said that the album was evidently the creation of a "924 Gilman band" that was not "anything to write home about. ... The record itself is middling, disposable pop-punk until you get to 'Going To Pasalacqua,' which gives the best glimpse of what Green Day had to come."<ref name=SGbest>{{cite web|url=https://www.stereogum.com/2247936/green-day-albums-worst-to-best/lists/counting-down/|title=Green Day Albums Worst To Best|work=[[Stereogum]]|author=Papandreas, Jay|date=January 18, 2024|access-date=April 14, 2024|archive-date=March 10, 2024|archive-url=https://web.archive.org/web/20240310172336/https://www.stereogum.com/2247936/green-day-albums-worst-to-best/lists/counting-down/|url-status=live}}</ref> Winwood, reviewing for [[BBC Music]], also highlighted "Going to Pasalacqua",<ref name=BBCreview>{{cite web|url=https://www.bbc.co.uk/music/reviews/b9hf/|title=Green Day 39/Smooth; Kerplunk Review|publisher=[[BBC Music]]|author=Winwood, Ian|date=2011|access-date=April 14, 2024|archive-date=March 17, 2024|archive-url=https://web.archive.org/web/20240317154306/http://www.bbc.co.uk/music/reviews/b9hf/|url-status=live}}</ref> Marc Hogan of ''[[PopMatters]]'' singled out "I Was There" as a songwriting achievement.<ref name=PMreview>{{cite web|url=http://popmatters.com/music/reviews/g/greenday-1039.shtml|archiveurl=https://web.archive.org/web/20040409121817/http://popmatters.com/music/reviews/g/greenday-1039.shtml|title=Green Day 1,039/Smoothed Out Slappy Hours|work=[[PopMatters]]|author=Hogan, Marc|date=March 11, 2004|archivedate=April 9, 2004|access-date=April 15, 2024}}</ref>

Prior to the release of Green Day's major label debut, ''[[Dookie (album)|Dookie]]'' (1994), ''39/Smooth'' had sold 75,000 copies. Lookout Records' [[operations director]] [[Chris Appelgren]] said the joint efforts of ''39/Smooth'' and ''Kerplunk'' boosted sales of other albums in the label's catalog.<ref>Morris 1994, p. 119</ref> In 1995, ''39/Smooth'' peaked at number five on the US ''[[Billboard (magazine)|Billboard]]'' [[Top Pop Catalog Albums]] chart; ''Kerplunk'' appeared in the same listing, topping the chart.<ref name=BillCat/> Publications have ranked the album towards the lower end of the band's discography: number six by ''IGN'' and ''Stereogum'';<ref name=IGNbest/><ref name=SGbest/> number seven by Louder;<ref name=Louderbest/> number 10 by ''Kerrang!'' and ''Paste'';<ref name=PasteRanking/><ref>{{cite web|url=https://www.kerrang.com/green-day-every-album-ranked-from-worst-to-best|archiveurl=https://web.archive.org/web/20220220221430/https://www.kerrang.com/green-day-every-album-ranked-from-worst-to-best|title=Green Day: Every album ranked from worst to best|work=Kerrang!|author=Carter, Emily|date=July 22, 2020|archivedate=February 20, 2022|access-date=April 18, 2024}}</ref> and number 11 by ''Spin''.<ref name=Spinranked/> The [[tribute album]] ''A Different Shade of Green: A Green Day Tribute'', issued in 2003, included covers of "Going to Pasalacqua" and "Rest".<ref>{{cite AV media notes|title=A Different Shade of Green: A Green Day Tribute|author=Various artists|year=2003|type=booklet|publisher=Skunk-Ape Records|id=SAR-011}}</ref>  [[Jaret Reddick]] of [[Bowling for Soup]],<ref name=NMEcelebrate/> and [[Brett Gurewitz]] of Bad Religion, expressed admiration for the album, with the latter saying that whenever bands came to his studio, they also hyped up the release.<ref>Spitz 2010, pp. 66–67</ref>

==Track listing==
{{track listing
| headline = ''39/Smooth'' track listing
| all_lyrics = [[Billie Joe Armstrong]], except "I Was There" by [[John Kiffmeyer]]<ref name=1039comp/>
| all_music = [[Green Day]]
| title1 = At the Library with Waba Sé Wasca 
| note1 ={{#tag:ref|On the original release of ''39/Smooth'', the opening song is listed as "At the Library with Waba Sé Wasca";<ref name=39Ssleeve/> on subsequent releases featuring the track, the title is shortened to "At the Library".<ref name=1039comp/>|group="nb"}}
| length1 = 2:28
| title2 = Don't Leave Me
| length2 = 2:39
| title3 = I Was There
| length3 = 3:36
| title4 = Disappearing Boy
| length4 = 2:52
| title5 = Green Day
| length5 = 3:29
| title6 = Going to Pasalacqua
| length6 = 3:30
| title7 = 16
| length7 = 3:24
| title8 = Road to Acceptance
| length8 = 3:35
| title9 = Rest
| length9 = 3:05
| title10 = The Judge's Daughter
| length10 = 2:34
| total_length = 31:12
}}

==Personnel==
Personnel per sleeve.<ref name=39Ssleeve>{{cite AV media notes|title=39/Smooth|author=Green Day|year=1990|type=sleeve|publisher=Lookout Records|id=#22/Lookout No. 22}}</ref>

'''Green Day'''
* [[Billie Joe Armstrong]]&nbsp;– lead vocals, guitar
* [[Mike Dirnt]]&nbsp;– bass, backing vocals
* [[John Kiffmeyer]]&nbsp;– drums

'''Production'''
* Green Day&nbsp;– producer
* [[Andy Ernst]]&nbsp;– engineer, producer
* John Golden&nbsp;– [[Audio mastering|mastering]]

'''Artwork'''
* Susie Grant&nbsp;– front cover photo
* Murray Bowles&nbsp;– back cover photos
* [[Jesse Michaels]]&nbsp;– design, art

==Charts==
{| class="wikitable sortable plainrowheaders" style="text-align:center"
|+Chart performance for ''39/Smooth''
! scope="col"| Chart (1995)
! scope="col"| Peak<br />position
|-
!scope="row"|US [[Top Pop Catalog Albums]] (''[[Billboard (magazine)|Billboard]]'')<ref name=BillCat>White ed. 1995, p. 57</ref>
|align="center"|5
|}

==See also==
* ''[[Making Things with Light]]'' – the 1990 album by labelmates and contemporaries the Mr. T Experience
* ''[[Unfun]]'' – the 1990 debut album by contemporaries Jawbreaker, who had broken up after their own extensive US tour

==Notes==
{{reflist|group="nb"}}

==References==
'''Citations'''
{{Reflist}}

'''Sources'''
{{refbegin}}
* {{cite book|last=Gaar|first=Gillian G.|title=Green Day – Rebels with a Cause|date=2006|publisher=[[Omnibus Press]]|location=London|isbn=978-1-84609-761-4}}
* {{cite magazine|last=Morris|first=Chris|title=Indie Catalogs Reap Benefits Of Albums' New Hits|magazine=[[Billboard (magazine)|Billboard]]|volume=106|issue=45|date=November 5, 1994|issn=0006-2510|url=https://books.google.com/books?id=YwgEAAAAMBAJ&pg=PA119|access-date=April 17, 2024|archive-date=March 17, 2024|archive-url=https://web.archive.org/web/20240317154245/https://books.google.co.uk/books?id=YwgEAAAAMBAJ&lpg=PA119&pg=PA119|url-status=live}}
* {{cite book|last=Myers|first=Ben|author-link=Ben Myers|title=Green Day: American Idiots & The New Punk Explosion|edition=updated and revised|date=2006|publisher=[[Disinformation (company)|Disinformation]]|location=New York City|isbn=978-1932857-32-0}}
* {{cite book|last=Spitz|first=Marc|author-link=Marc Spitz|title=Nobody Likes You – Inside the Turbulent Life, Times and Music of Green Day|edition=paperback|date=2010|orig-year=2006|publisher=[[Sphere Books|Sphere]]|location=London|isbn=978-0-7515-3865-6}}
* {{cite magazine|editor-last=White|editor-first=Timothy|title=Top Pop Catalog Albums|magazine=Billboard|volume=107|issue=10|date=March 11, 1995|issn=0006-2510|url=https://books.google.com/books?id=3QsEAAAAMBAJ&pg=PT56}}
* {{cite magazine|last=Williams|first=Simon|author-link=Fierce Panda Records|date=December 7, 1991|title=Long Play|magazine=NME|issn=0028-6362}}
{{refend}}

==External links==
<!-- This is a licensed stream for the album, which is allowed under Wikipedia polices -->
* [https://www.youtube.com/playlist?list=OLAK5uy_m5GiSJ16Ke6aj4o-hARnK-nGLhkgesrsk Official stream as part of ''1,039/Smoothed Out Slappy Hours'' (tracks 1–10)] at [[YouTube]] (streamed copy where licensed)
*{{Discogs master}}
*{{MBrgID}}

{{Green Day}}
{{Authority control}}

[[Category:Green Day albums]]
[[Category:1990 debut albums]]
[[Category:Lookout! Records albums]]
[[Category:Albums produced by Andy Ernst]]
[[Category:Skate punk albums]]