Sublime, the band hailing from Long Beach, California, remains an iconic name in the 90s music scene. Their unique blend of ska, punk, reggae, and rock created a sound that was both distinctly Californian and universally appealing. Among their impressive catalog of Sublime Sublime Songs, “Santeria” stands out as a sun-soaked anthem that perfectly encapsulates their laid-back yet deeply resonant style. Let’s dive into the world of Sublime, exploring their journey and the enduring legacy of their music.
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Before their self-titled album catapulted them to mainstream fame in 1996, shortly after the tragic passing of frontman Bradley Nowell, Sublime existed in a realm of burgeoning underground popularity. Listening to their early tracks, one can sense the raw energy and unbridled creativity of a band on the cusp of something big, yet still unaware of the magnitude of their impending success. Their debut album, 40oz. to Freedom, released in 1992, laid the foundation for their signature sound. Featuring Marshall Goodman, also known as Ras M.G., on drums alongside Bud Gaugh, this album, though not an overnight sensation, steadily gained traction, eventually achieving double-platinum status in the US. However, this success wasn’t immediate enough to alter the course of Bradley Nowell’s personal struggles.
“Badfish,” a standout track from 40oz. to Freedom, exemplifies Sublime’s ability to blend infectious melodies with poignant undertones. Often interpreted as a reflection of Nowell’s battle with addiction, the song possesses a duality that is characteristic of much of their work. It evokes a carefree vibe reminiscent of Jimmy Buffett’s beachside anthems, yet beneath the surface lies a soulful depth and introspective grace. Like Buffett, Sublime crafted songs that could be enjoyed on a surface level for their upbeat rhythms, but also rewarded deeper listening with their lyrical shrewdness and emotional complexity. The line, “Ain’t got no quarrels with God,” as highlighted by many, showcases this lyrical depth. Coupled with the stark reality of “Ain’t got no time to grow old,” the song reveals a poignant awareness of life’s fragility beneath its seemingly carefree exterior.
Despite not yet achieving widespread fame with 40oz. to Freedom, the album already carried the hallmarks of a greatest hits collection. Tracks like “Badfish,” “Ball and Chain,” “Let’s Go Get Stoned,” and “Don’t Push” became instant fan favorites. Their eclectic musical taste was also evident in their covers, ranging from The Descendents’ “Hope” to the Grateful Dead’s “Scarlet Begonias,” a unique pairing that underscored their diverse influences. “Smoke Two Joints,” another cover, became a quintessential Sublime anthem, with Nowell’s delivery lending an air of authenticity to the lyrics.
Another gem from 40oz. to Freedom is “KRS-One,” a testament to Nowell’s wide-ranging musical appreciation. This track, arguably the best rock song dedicated to a rapper, is a sweet and earnest homage to the hip-hop icon. Nowell’s admiration for KRS-One shines through as he enthusiastically shares the knowledge gained from listening to the rapper’s music. His genuine passion and even the incorporation of Jamaican patois further enhance the song’s charm and authenticity.
While 40oz. to Freedom established Sublime’s unique sound and garnered a dedicated following, it didn’t propel them to mainstream superstardom immediately. Their subsequent album, Robbin’ the Hood (1994), took a more experimental and lo-fi approach. Recorded on four-track, it showcased a raw, beat-tape aesthetic, featuring samples and interludes, including a memorable appearance by Gwen Stefani and spoken word segments by a gentleman named Raleigh. Tracks like “Lincoln Highway Dub” hinted at the band’s evolving sonic landscape.
The breakthrough moment for Sublime arrived unexpectedly when DJ Tazy Phyllipz at Los Angeles rock station KROQ began playing “Date Rape” from Robbin’ the Hood. The song’s popularity exploded, leading to national radio play and introducing Sublime to a much wider audience. This pivotal moment, driven by a single DJ’s intuition, catapulted Sublime from underground favorites to a band on the verge of major success.
Signed to MCA subsidiary Gasoline Alley, Sublime began working on their self-titled album. Recording sessions took place in Redondo Beach and at Willie Nelson’s Pedernales Studios in Austin, with collaborations with producers David Kahne and Paul Leary. These sessions yielded their biggest hits – “Santeria,” “Wrong Way,” “Doin’ Time,” and “What I Got” – songs that would become synonymous with the sublime sublime songs of the 90s. However, this period was also marked by turmoil and tragedy, culminating in Bradley Nowell’s untimely death shortly before the album’s release in July 1996. The self-titled album became a posthumous testament to Nowell’s talent and the band’s enduring appeal. Sublime’s music, infused with the spirit of Long Beach and the laid-back energy of Southern California, continues to resonate with listeners, cementing their place as architects of sublime sublime songs that define an era.
Rob HarvillaRob Harvilla is a senior staff writer at The Ringer and the host/author of ‘60 Songs That Explain the ’90s,’ though the podcast is now called ‘60 Songs That Explain the ’90s: The 2000s,’ a name everyone loves. He lives with his family in Columbus, Ohio, by choice.
