27 YEARS AGO: SUBLIME RELEASE SELF-TITLED ALBUM

On a fateful day in July 1996, Sublime experienced a mix of triumph and sorrow with the release of their self-titled album. This momentous occasion should have been a celebration of their success, but it was marred by the tragic loss of their frontman, Bradley Nowell, just two months prior to the album’s launch. Despite the heartache, their final musical offering resonated deeply with fans, surpassing the impact of their previous works and indicating their potential for significant acclaim.

The recording of the Sublime album took place primarily at Willie Nelson’s Pedernales Studio in Austin, Texas, from February to May 1996. Paul Leary, renowned for his work with Butthole Surfers, served as the album’s producer. Reflecting on the studio sessions, Leary described the band as a delightful group of guys, but chaos and concern arose due to Nowell’s escalating heroin addiction. At times, they worried about his well-being, and things took a serious turn when Nowell had to be sent home before the recording was complete. It took him days to recover, and it was apparent that his addiction had reached its worst state.

Despite the turmoil, Sublime’s musical vision remained clear. Blending punk, reggae, ska, dancehall, hip-hop, and dub elements with deeply personal lyrics, Nowell, along with his bandmates Bud Gaugh and Eric Wilson, created a unique and captivating sound that resonated with millions of fans and received widespread critical acclaim.

The album’s success unfolded gradually, sparked by the breakout single “What I Got.” This upbeat track embraced a positive outlook on life amidst adversity, and its sunny disposition struck a chord with listeners. “What I Got” soared to No. 1 on the Modern Rock Chart, reached No. 11 on the Mainstream Rock Chart, and even cracked the Billboard Hot 100 at No. 29. Nowell’s life was interwoven into the song’s fabric, as evidenced by the heartfelt line about his dog running away. His widow, Troy Dendekker, shared the poignant story of Lou Dog’s disappearance, during which Nowell spent days in anguish until the beloved pet returned. This experience led Nowell to cover Camper Van Beethoven’s “The Day That Lassie Went to the Moon,” altering the lyrics to pay homage to Lou Dog.

The “What I Got” music video, produced after Nowell’s passing, faced promotional challenges. However, a collage of archived footage, photographs of Nowell, and glimpses of his familiar surroundings created a fitting tribute to the late singer, complementing the song’s success.

With early 1997 came the album’s second single, “Santeria,” which borrowed elements from the band’s previous song “Lincoln Highway Dub.” The track’s tale of revenge over a stolen girlfriend struck a chord with audiences and climbed the charts, reaching No. 3 on the Modern Rock chart and No. 43 on the Billboard Hot 100. “Santeria” gained immense popularity and was featured in various films, further solidifying its status as one of Sublime’s most beloved tracks. The accompanying music video included Nowell as a ghostly figure, seamlessly integrated through stock footage.

In May 1997, Sublime unveiled the third single, “Wrong Way,” which delved into the heart-wrenching story of a young girl forced into prostitution by her own family. The song’s powerful message resonated with alt-rock radio listeners, propelling it to No. 3 on the Modern Rock chart. Notably, John Blondell’s trombone solo featured an interpolation of George Gershwin’s “Rhapsody in Blue,” while the track also drew inspiration from The Specials’ “It’s Up to You.” The music video starred actress Bijou Phillips and featured a guest appearance by the talented bassist Mike Watt.

Later in 1997, the album’s final single, “Doin’ Time,” hit the airwaves. The track prominently sampled jazz flautist Herbie Mann’s cover of “Summertime,” necessitating a change in one line to include the reference, as Nowell had passed away before its release. The song depicted a man feeling trapped by his unfaithful girlfriend’s mistreatment and garnered radio success, peaking at No. 28 on the Modern Rock chart.

In addition to the singles, two other album tracks received significant airplay over the years. “Caress Me Down,” with its bass-heavy groove, drew from Wayne Smith’s Sleng Teng riddim and incorporated lyrics and melody from Clement Irie’s ’80s single of the same name. Meanwhile, “April 29, 1992,” written in the aftermath of the 1992 Los Angeles riots, offered a pointed commentary on the tumultuous events that followed the acquittal of four police officers accused of beating Rodney King. The song featured a sample of an actual Long Beach Police Department radio communication, adding a powerful layer of authenticity.

Sublime’s self-titled album remains an enduring testament to the band’s musical prowess and Nowell’s raw talent. Despite the challenges they faced during its creation, the album captured the hearts of millions, leaving an indelible mark on the music world and securing Sublime’s place as a revered and influential band.

When all was said and done, the Sublime album proved to be an enduring success, spending an impressive 122 weeks on the charts and eventually peaking at No. 13, attaining a remarkable five times platinum status. Notably, it secured its place on numerous “Best of” lists not only for the year 1996 but for the entire ’90s decade. Despite the album’s triumphs, it was a bittersweet victory as Bradley Nowell, the band’s frontman, was tragically absent to witness its soaring achievements.

Reflecting on those challenging times, Bud Gaugh, Nowell’s bandmate, candidly recalled, “I felt like kicking his ass. I mean, I’d been there and was still struggling with it. So I was all things that I could be to him during that time. I tried to be his conscience; I tried to be his nurse. I even tried to be his drug buddy; I mean, we got loaded together a couple of times.”

Nowell’s widow eloquently summed up his life and aspirations, emphasizing that despite his untimely passing, he had accomplished much of what he had hoped for. “He always wanted to have a baby: ‘We gotta have a kid,’ he said. He wanted to get his family back, ’cause he had hurt them so bad with his drug use. And he did. He wanted to get this album written, and he wanted it to be the best one he ever wrote. And he did. He wanted his band to have glory. And they did.”

She also expressed her longing for Nowell’s presence, acknowledging the close bond they shared. “I’m not saying that it’s OK that Brad died, because it’s not OK. So many things have happened that I wish he could see – Sublime being nominated for awards and their videos being on MTV all the time and their songs played on the radio. Or things will happen with me, and Brad’s the first person I want to tell, ’cause we were best friends. I want to see his reaction to all this. What’s OK is [that] there’s no more struggle, no more war. That struggle took up a lot of our energy and our time, and it was horrible. He’s at peace now.”

Though Nowell’s physical presence may be absent, his legacy lives on through the music that touched the hearts of millions and continues to resonate with fans across generations. The Sublime album remains a powerful testament to his talent and the enduring impact of his artistry.