This is my review of Sublime's self-titled album. It was released in 1996, just days after frontman Brad Nowell died of a heroin overdose. In a bittersweet twist, this album was the most successful, memorable, and probably the greatest of Sublime's short career. It's eclectic mix of so many different music styles (chief among them are rock, punk, dub, reggae, hip-hop, and probably more!). The narratives in the lyrics take the listener on a journey through the LBC, and it's quite a ride. Nowell's considerable guitar skills and the skills of his bandmates create catchy, groovy, and awesome music to complement the lyrics. A song-by-song review explains these tracks in more depth.
1. Garden Grove (4:21): The first song starts off with a kind of acoustic/reggae rock sound, with some turntable scratches here and there. It's pretty neat, but I have a hard time thinking of it as "memorable." 4/5
2. What I Got (2:51): Signature song alert! It's a great song, with a jumpy, hip-hop drum beat in the beginning and some great acoustic work by Brad. More of his semi-rapping/ reggae vocals and turntable scratches are found here. A widely-played song that deserves it. 4.5/5
3. Wrong Way (2:16): Another famous song by them, with an almost-ska feel, especially with the trombone in the bridge. Great bass line that's always fun to play, and good lyrics make this a solid song. 4.5/5
4. Same in the End (2:36): If you've ever caught yourself or someone else singing "Wrong Way," and you or they immediately end the song on a pause, and then start singing "Down in Mississippi where the sun beats down from the sky," then I'm sure one of you have heard this song before. It's really fast-paced and awesome, with some great riffs. 5/5
5. April 29, 1992 (3:53): I usually skip this song because it's more of a gangsta rap/ reggae song than what you might expect from the last few tracks. I used to not like it very much, but I've become hooked on the bassline and the smooth-yet-angry style of the song. This one has definitely grown on me, and I'll give it a better rating from now on. 4.5/5
6. Santeria (3:03): One more radio single for this album, and it's a great ballad-type deal. Probably the second-best guitar work on the album, after a rather-overlooked track to be discussed later. Don't forget that bass! All in all, a beautiful tune with lyrics that become rather threatening. I think of it as a tropical island with storm clouds in the distance: a little unnerving, but easily ignored and benign. 5/5
7. Seed (2:10): This song is on the playlist for the "Tony Hawk's Underground" video game, and I had almost forgotten how great of a song it is. It alternates between fast-paced punkness and a little bit of reggae stylings, and a really neat solo too. Don't miss this one. 4/5
8. Jailhouse (4:53): This is a really mellow song, but like "Santeria" it has some really uncharacteristic lyrical content about sodomy and whatnot. Kind of creepy, and I don't listen to it a lot. Probably because it seems pretty long without any major style changes like the other songs. But hey, at least there was that little guitar solo in there. 3/5
9. Pawn Shop (6:06): This is the longest song on the album, and I don't usually listen to it, but let me say this: It's definitely a unique song. An abrasive guitar riff in the beginning that turns into a sort of distorted solo, with a groovy bass line and a reggae-style keyboard riff. I actually kind of like it, but I guess it's usually too long to sit through. Foolish me, this guitar stuff is so neat! It's not exactly the best guitar on the album like I told you I would discuss back in "Santeria," but I guess I should have listened to it first anyway. Awesome song, as it turns out. 5/5
10. Paddle Out (1:15): A short, fast song about surfing. I am not familiar with surfing at all, but its a pretty good description anyway. This song review will be short in honor of the song's length. 3/5
11. The Ballad of Johnny Butt (2:11): A short reggae-style song that's nothing really special. At least "Paddle Out" had solos! Move along, there's more to come and this track is skippable! 2.5/5
12. Burritos (3:55): I never understood why this wasn't a single, perhaps the pro-laziness content is just too much for Clear Channel? No, but it's still a great song with plenty of mainstream appeal. A ska-style number that celebrates not wanting to get out of bed, and has solos too! 4/5
13. Under My Voodoo (3:25): All right, here is the real reason I did this review. I feel that this song is seriously underrated, and of course the first review of this album represented that in my mind. THIS is the best guitar work on the album, and probably my favorite song too. The verse is practically one long extended solo of the lyrical melody, with Brad singing and playing each note simultaneously. There's an actual solo, then it goes out on a reggae beat. Don't skip this one, you fools! It's too awesome. 5/5
14. Get Ready (4:50): This is a song about killing cops and narcs. That's about all there is to it, and of course there's a reggae beat to accompany it. Oh well Brad, at least there's one drug that didn't lead to your death! Enjoy the song, which isn't that bad. Just a little long. 3.5/5
15. Caress Me Down (3:31): A very graphic, sexy song, that ends up being sung in Spanish toward the end. Which I happen to know a little of, except for the naughty words. The drum beat sounds like one of those synthesized drum machines, which it may be. In fact, there aren't many non-synth instruments audible in this song, but what the hey. 4/5
16. What I Got (Reprise) (3:01): No, this is the same song. I think they use this one on the radio more than the other version, but it's not really that different. Just be done, cursed album! Rating: whatever I gave the first one.
17. Doin' Time (4:12): This is also a popular radio tune sometimes, but it's too hip-hoppy for my liking. It's also from another song that was sampled here, but I'm not that interested in it. 2.5/5
All in all, a great album that anyone can get into, due to all the styles. It may be a bit presumptuous for me to say it, but I think Brad Nowell's death was a greater loss to the music world than Kurt Cobain. I just preferred his style that more fervently, and there's no question as to who the more skilled guitar player was. But even if you're a huge fan of Nirvana (or Ice Cube, or Less Than Jake, or NOFX, etc.), this album will still appeal to you. It's just perfect in my mind. 5/5
