(Courtesy of MCA)
Sublime was at the height of its success in 1996, about the time most current CU students were in elementary school. But if a student heard any of the seven singles off their final album, “Sublime,” they would recognize the band instantly, and probably even sing along.
Bradley Nowell, the lead singer of Sublime, died one month before the album was released in July 1996. The album doesn’t sound like it was written by a man with a fatal drug addiction, however. With a not-so-subtle mix of punk and reggae, Bud Gaugh (drums), Eric Wilson (bass) and Nowell lead listeners through the life of southern Californian punk rockers with too much free time and not enough money.
The “hakuna matata” mantra of “What I Got” is infectious and one can’t help but let their problems melt away when they hear Nowell dismiss all of his and reminds us that “Life is too short, so love the one you got, cause you might get run over or you might get shot.” Along with the lyrics, the song relies on a low-key guitar riff and backbeat to create its mellow vibe.
The album, which has now gone platinum five times over, has several other well known ska-style songs to help listeners chill out. With hits like “Santeria,” and “Caress Me Down,” the CD has a reputation for being good circle-sitting music.
“Jailhouse,” another hit off the album, sits well with students as Nowell and the band warn adults and authority figures that they “Can’t fight against the youth/ Cause we’re strong.” This tension is echoed in the song itself by the contrast between the mellow drum beat and the jarring guitar that makes a sporadic appearance.
Sublime is not solely a Rastafarian band though. Much of their music has intense drums, thrashing guitar, and requires one to bang their head along to Nowells’ heart-pumping mixture of screaming and singing.
In the single “Seed,” Sublime alternates between reggae and punk without warning. The song begins with a drum roll and follows with Nowell yelling and even louder use of the snare and toms. Ten seconds later the song cools down to an easy-going beat, and shortly thereafter the drums are thumping and the punk rock is back. The song continues on in this split-personality style for the rest of its duration.
If there was one song that embodies what Nowell felt and what his last message would be, it’s “April 29, 1992 (Miami).” Opening with a police radio call about riots and ending with a call for more of them, the song builds on a sinister bass line and menacing drum beat.
The lyrics make it clear Nowell sees himself as a spokesperson for disregarding authority, life in the California hoods and the ever-present challenge to party harder than he did last time. Through the infusion of reggae, punk, ska and dub styling, Sublime was able to produce an album that is and forever will be an icon for dissatisfied youth.
Contact CU independent Staff Writer Halie Noble at Halie.noble@colorado.edu.
