Sublime is the third studio album by American ska punk band Sublime. Produced by Paul Leary and David Kahne, the album was released on July 30, 1996, in the United States by MCA Records. It is their first release following the death of singer Bradley Nowell and is the final studio album to feature him.
By the time it came to record their major label debut, Nowell had been struggling with a heroin addiction. Sublime was recorded over a period of three months in Austin, Texas, in sessions characterized by heavy drug use and raucous partying. The album's musical style contains elements of punk rock, reggae, and ska, as well as dancehall, hip hop, and dub music, with tempos ranging wildly. Nowell's lyrical subject matter relates to relationships, prostitution, riots, and addiction. Nowell had been ejected from the recording near its completion. Nowell died due to a heroin overdose in May 1996, just two months prior to the band's major album release, which led to the band's dissolution.
Bolstered by numerous hit singles, among them "What I Got", "Santeria", and "Wrong Way", the record proved to be enormously successful, despite the band being defunct and thus not able to promote the album through touring. It sold over five million copies in the United States by the end of the decade, and it continues to be a popular catalog album. The album was released during the third wave ska peak, and etched Sublime into a permanent place among the stars of the 1990s. Critical reviews were positive, praising Nowell's songwriting ability and the album's musical variety. Sublime has since been listed as one of the most well-regarded albums of the 1990s by Spin and Rolling Stone.
Background
Sublime formed in Long Beach, California in 1988 by vocalist/guitarist Nowell, bassist Eric Wilson, and drummer Bud Gaugh. The group originated as a garage punk band, and they eventually began to infuse elements of reggae and ska over the course of their existence.[1] The group formed playing backyard parties, attracting crowds of 300–400 people.[2] The band toured heavily over the ensuing years, leading to a major following among the beach-oriented surfing/skateboarding subcultures.[1] By 1990, the band had become a mainstay along the Southern California coast scene, and Nowell dropped out of California State University Long Beach one semester shy of graduating.[3] The trio recorded their debut album, 40 Oz. to Freedom, in 1992, selling the independent release at live performances. Local radio station KROQ began spinning the single "Date Rape" two years following its release, and Sublime rose to fame.[1] By this point, the band had dropped "Date Rape" from their setlists, but the ensuing success of the single led 40 Oz. to place on Soundscan's alternative chart for 70 straight weeks.[2]
MCA signed the group shortly thereafter, releasing their second album Robbin' the Hood in 1994. The record was nevertheless carried by various independent distributors, which placed it in independent record shops, surf/skate shops, and "head shops", in a marketing effort designed to appeal to the band's fan base.[4] The band also adopted the Internet as a viable promotional tool, distributing their albums through early online music retailers.[4] Despite this, Nowell had developed an addiction to heroin; at live performances, he would often be unable to make it through sets.[2] On several occasions, he would steal the band's equipment for a night's performance to pawn for drug money, knowing band manager Michael "Miguel" Happoldt would find a way to re-acquire the equipment.[2] He used clonidine patches in an attempt to quit,[2] determined to do so both before signing to MCA and before the birth of his son the following year.[3]
Robbin' the Hood performed well on college radio, and Sublime continued to grow in popularity, largely "on the back of the California punk explosion engendered by Green Day and the Offspring."[1] Nowell's addiction worsened over the course of 1995–96; on May 25, 1996, Nowell died at age 28 in a San Francisco hotel room of a heroin overdose. According to one report, Gaugh had raided Nowell's stash and shot up while he was away; he awoke hours later beside the deceased Nowell in bed. Gaugh later told a reporter that "I thought, 'That was probably supposed to be me.'"[2]
Recording and production
Sublime was largely recorded at Willie Nelson's Pedernales Studio in Austin, Texas between February and May 1996.[3] Although he had previously attempted to stay clean, Nowell returned to using heroin, "more vigorously than ever."[3] According to Leary, on some days, the band would arrive at 9am "with margaritas in one hand and instruments in the other," ready to record; on others, "they nearly burned the place down."[3]
Nowell was so addled with the drug that he was sent home by Leary before the recording process was complete.[5] "There were times where someone had to go into the bathroom to see if Brad was still alive," he remarked.[3] According to Nowell's father, it took his son three days to recover, commenting, "It was the worst I'd ever seen him."[3]
The album was originally intended to open with a cover of Bob Marley's "Trenchtown Rock", followed by "Doin' Time" – a loose cover of "Summertime" by George Gershwin.[3] However, Sublime were initially unable to get the rights for "Summertime", so Nowell discarded "Doin' Time" as well as "Trenchtown Rock" entirely and re-sequenced the album.
The band managed to gain the rights to the song before the album was released, and "Doin' Time" was added to the end of the tracklist at the 11th hour. In order to release the song using the Gershwin sample, the band had to agree to use the line "summertime" instead of "doin' time". However, the song was already recorded with the "doin' time" lyric, and lead singer Bradley Nowell had recently died of a heroin overdose. The lyric was re-recorded by Sublime's friend/producer Michael Happoldt singing "summertime". It is this version of the song that appears on the album.[6] The album's original sequence, along with the original mix of "Doin' Time", was restored for the album's 10th Anniversary reissue.[7]
Sublime also covers the Wailers' 1965 song "Jailhouse", written by Bunny Wailer, combining it with a partial cover of Tenor Saw's "Roll Call" in "Jailhouse".[14]
"The Ballad of Johnny Butt" is largely a cover of a Secret Hate song from their Vegetables Dancing + Live & More album.[15]
"Get Ready" is largely based on Frankie Paul's 1987 single of the same name.
Samples
Some of the album's original compositions also have samples:
While "April 29, 1992" is an original song, it features samples from "La Di Da Di" by Doug E. Fresh featuring MC Ricky D (a.k.a. Slick Rick), "Original Gangster of Hip-Hop" by Just-Ice, and "Shook One (Part 1)" by Mobb Deep.[16]
The heavy bass line of "Garden Grove" is based on Courtney Melody's 1988 7' single "A Ninja Mi Ninja",[17] and a synth loop in the third verse is lifted from the Ohio Players' "Funky Worm."
Part of the melody from "Seed" was taken from the Bel-Airs 1961 single "Mr. Moto" as well as "Lori Meyers" by NOFX.[19]
The guitar solo and chords in "Santeria" were a reuse of the ones in their song "Lincoln Highway Dub" featured on the previous album, Robbin' the Hood.[20]
"Burritos" is a reworked version of one of Sublime's earliest recordings called "Fighting Blindly", albeit with vastly different lyrics.
The bass line of "Caress Me Down" features the famous Sleng Tengriddim from Wayne Smith's 1985 song "Under Me Sleng Teng" and lyrics and melody are primarily from the 1980s 12-inch single "Caress Me Down" by Clement Irie.[21]
Cover art
The cover art shows frontman Bradley Nowell posing with his back turned showing off his tattoo of the band's logo. The tattoo was applied by Long Beach artist Opie Ortiz on September 29, 1995.[22] Ortiz's pop art had been featured on the band's albums before, namely their iconic "sun" logo used on 40oz to Freedom.[23]
Release
Sublime was released in the United States on July 30, 1996, with releases in Europe following that October and in Australia and Japan in December.[4] MCA drafted the band's former promotional team at Gasoline Alley (renaming the team Sublime Marketing) to promote Sublime through methods that played to the band's fan base. This marketing included posters and advance copies at independent shops, and advertisements in board-sport and alternative magazines.[4] Promoting the album proved to be challenging due to Nowell's death, with no band to provide touring support or broadcast appearances.[4]
The album soon began to expand upon the band's surf/skate fan base, appealing to consumers not associated with that community.[4] At least one retailer attributed this to Nowell's death, remarking to Billboard that "death sells," comparing a similar situation in which Roy Orbison's discography rose in sales following his passing.[4] Eric Weissbard, in a Spin column, compared Nowell's posthumous success to that of Jonathan Larson, the composer of the Broadway musical Rent, who died the day before the musical's scheduled premiere earlier in the year.[24]Billboard deemed the band's posthumous success "a tale of tragic irony."[4]
Abbey Konowitch, vice president of MCA Records, remarked to trades on the album's timing:
It's so unfortunate that Brad isn't here to see the way his music is being appreciated and accepted by the public. This is a very significant album in a significant time in music, and we're fortunate to have this music, though we're very unfortunate to not have one of the artists around that created it.[4]
Eric Wilson, the band's bassist, was "more pragmatic about the issue":
We just want the album to do well so that Brad's kid can go to a good school, and so that we can continue [to make a] living.[4]
Commercial performance
By October 1996, the disc had moved 145,000 units; its success led to renewed interest in the band's back catalog, which experienced marked growth.[4] By April 1997, the album cracked the top 20 of the Billboard 200,[3] and it eventually peaked at position 13.[25] Sixteen months following the album's release, it still sold 40,000 albums per week.[3] It eventually spent 208 weeks on the chart.[25] As of April 2024, it has sold nearly 7 million copies in the United States, according to Luminate Data.[26]
David Fricke of Rolling Stone complimented the band's "bright, wired bounce and the shell-game shuffle of funk beats, snappy Jamaican rhythms and mosh-pit, shout-it-out choruses in Nowell's writing," deeming it "the stuff of a band with great promise and the confidence to make good on it. If only that were still possible."[29] RJ Smith of Spin praised Nowell's songwriting craft, writing, "It might seem a daring experiment if it hadn't so effortlessly sprung from a Long Beach surf scene that featured acoustic jams on the beach that naturally flowed from Wailers to Descendents classics [...] Sublime succeeds not just on vibe but on songcraft."[2] Nisid Hajari of Entertainment Weekly called the album a "respectable testament" to Nowell's memory, ultimately noting that the record "coheres more on an intellectual rather than emotional level, its sound too diffuse to be dramatic."[9]Robert Christgau of The Village Voice gave the record an A−, commenting, "Junkies who retain enough soul to create music at all are generally driven to put their brilliance and stupidity in your face. Nowell is altogether more loving, unassuming, good-humored, and down-to-earth — or so he pretends, which when you're good is all it takes."[32]
Stephen Thomas Erlewine of AllMusic reports that Nowell's death allowed the album to be "slightly overrated in some critical quarters".[27] His critical review deems the album engaging and a demonstration of their potential, but also at times meandering: "The low moments don't arrive that often — by and large, the album is quite engaging — but they happen frequently enough to make the record a demonstration of the band's blossoming ability, but not the fulfillment of their full potential."[27]
Accolades
Spin included the album on its list of the best albums of the decade, opining that it "redeemed" modern rock radio in the post-grunge era. It deems Sublime "a tragic contradiction: a confident, clearheaded work by an artist coming into his own and at the same time losing control."[5]
40oz. to Freedom is the debut studio album by American ska punk band Sublime, released on June 1, 1992, on Skunk Records. It was later reissued by MCA. 40oz. to Freedom's sound blended various forms of Jamaican music, including ska, rocksteady, roots reggae, and dub along with hardcore punk and hip hop.
Ska punk is a fusion genre that mixes ska music and punk rock music. Ska punk tends to feature brass instruments, especially horns such as trumpets, trombones and woodwind instruments like saxophones, making the genre distinct from other forms of punk rock. It is closely tied to third wave ska which reached its zenith in the mid-1990s.
Floyd I. "Bud" Gaugh IV is an American drummer who is the drummer in the band Sublime, and previously played in Long Beach Dub Allstars (1997–2002), Eyes Adrift (2002–2003), Volcano (2004), and Sublime with Rome (2009–2011), as well as Phil & the Blanx, Del Mar, and Jelly of the Month Club.
Bradley James Nowell was an American musician and the lead singer of the band Sublime.
The Long Beach Dub Allstars are an American dub/ska/reggae rock band formed in 1997 and disbanded in 2002, but reformed 10 years later.
Second-hand Smoke is a compilation album by the band Sublime. It was released in 1997 following the death of lead singer Bradley Nowell the year before. Although this is technically a compilation album, it features some unreleased material as well as recycled and remixed versions of previous tracks. Even though the surviving members of Sublime stated that the band would not make any more albums after Nowell's death, which would result in the band's breakup, MCA bound them by their contract and made the remaining members follow out their contract with the next 3 albums. Instead of recording more albums with Sublime, Wilson and Gaugh would record together in their later projects Long Beach Dub Allstars and Sublime with Rome.
Robbin' the Hood is the second studio album by American ska punk band Sublime, released on March 1, 1994, on Skunk Records. It is noted for its experimental nature, low production values, and numerous samples and interpolations of other artists. It is their final studio album released in lead singer Bradley Nowell's lifetime.
"Santeria" is a ballad by American ska punk band Sublime, released on their self-titled third album (1996). The song was released as a single on January 7, 1997. Although the song was released after the death of lead singer Bradley Nowell, "Santeria" along with "What I Got" are often regarded as the band's signature songs.
"What I Got" is a song from American band Sublime's self-titled third album (1996). The song's chorus is a lift from "Loving" by reggae artist Half Pint, who is credited as a co-writer. The melody and pacing of the verses is identical to the Beatles' "Lady Madonna".
"Wrong Way" is a song by American band Sublime, released on May 25, 1997 as the third single from their third album Sublime. The song fits squarely within the punk rock-inspired third wave ska movement of the 1990s. The song reached number 47 on the Billboard Hot 100 Airplay chart and it spent 26 weeks and peaked at number three on Billboard's Alternative Songs chart.
"Doin' Time" is a song by American band Sublime, appearing as the closing track on their self-titled third album. The lyrics tell of a cheating girlfriend, whose infidelities and poor treatment of her lover make him feel like he is in prison. It was released as a single on November 25, 1997; the disc contained alternate versions of the song by Wyclef Jean and the Pharcyde. Additional versions appeared on the post-Bradley Nowell compilation album Second-hand Smoke and several bootlegs, including one with Snoop Dogg.
Eric John Wilson is an American musician who is best known as the bassist for Sublime. He was also bassist for Long Beach Dub Allstars (1997–2002), and Long Beach Shortbus, which was composed of several members of Long Beach Dub Allstars and Sublime. From 2009-2024 Wilson was the bassist for Sublime with Rome, a musical collaboration between Wilson and singer and guitarist Rome Ramirez.
Everything Under the Sun is a 2006 box set of rarities from the band Sublime. It is composed in large part of tracks that can be found on previously released bootleg albums. The collection features material from throughout the band's career, from their earliest demos to other rare recordings, mostly live performances, which never saw release. A DVD is also included and features videos of the band's most well-known songs as well as unreleased tracks. The box set peaked at number 97 on the Billboard 200 albums chart in December 2006.
This is the discography of Sublime, an American ska punk band formed in Long Beach, California that consisted of Bradley Nowell, Bud Gaugh (drums) and Eric Wilson. Over the band's eight-year career, they released three studio albums, as well as a live album, five compilation albums, three EPs, one box set, five official singles and four tribute albums. In total, the band sold 14.9 million albums in the United States. The band disbanded after singer Bradley Nowell's death in 1996, but subsequently reformed in 2023 with Jakob Nowell performing the lead vocal role alongside original band members Eric Wilson and Bud Gaugh.
Sublime is an American band from Long Beach, California that plays a mix of ska, punk, and reggae. Formed in 1988, the band's original lineup consisted of Bradley Nowell, Eric Wilson (bass), and Bud Gaugh (drums). Lou Dog, Nowell's dalmatian, was the mascot of the band. Nowell died of a heroin overdose in 1996, resulting in the band's breakup. In 1997, songs such as "What I Got", "Santeria", "Wrong Way", "Doin' Time", and "April 29, 1992 (Miami)" were released to U.S. radio.
"April 29, 1992 (Miami)" is a song written by American rock band Sublime in 1996 from their eponymous album Sublime. The song title refers to the date of the beginning of the 1992 Los Angeles riots, of which news spread throughout the United States following the acquittal of four police officers accused in the videotaped beating of Rodney King.
"Badfish" is a song by American ska-punk band Sublime, released as part of their 1992 debut album, 40oz. to Freedom. The single was released in 1993, and again in 1997. The song was written by Bradley Nowell and originally recorded in 1989, reportedly influenced by The Ziggens song "All the fun that we missed" and Nowell's love of reggae. First released on the band's 1991 demo tape, Jah Won't Pay the Bills, "Badfish" appeared again on most of the band's compilation albums. An extended play (EP) was released in 1995 named after the track.
Sublime with Rome is a band that began as a musical collaboration between former Sublime members Eric Wilson and Bud Gaugh, and singer and guitarist Rome Ramirez. The group's name was not only a reference to the singer's first name, but to the fact that they chiefly performed songs by the original Sublime, which was fronted by Bradley Nowell until his death in 1996.
Yours Truly is the debut studio album by American rock group Sublime with Rome, released on July 12, 2011 by Fueled by Ramen. It is the first album since the original Sublime disbanded in 1996 following lead singer and guitarist Bradley Nowell's death. According to the liner notes, the album is dedicated to him.
Jakob James Markus Nowell is an American musician based in Southern California. He was a founding member of the band LAW, and was their vocalist until his departure in 2021. Nowell went on to form the band Jakobs Castle. In 2023, Nowell was brought on as the frontman of Sublime, a role previously held by his father Bradley Nowell.
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