1
00:00:15,476 --> 00:00:22,676
Speaker 1: Pushkin. Thirty years ago, Sublime released the album that defined

2
00:00:22,716 --> 00:00:27,356
Speaker 1: their career in Southern California's music scene for a generation. Now,

3
00:00:27,396 --> 00:00:29,756
Speaker 1: the band is preparing to put out their fourth full length,

4
00:00:29,956 --> 00:00:32,716
Speaker 1: and for the first time, Bradley Nole's son, Jacob Nole,

5
00:00:32,876 --> 00:00:36,796
Speaker 1: is stepping in as lead singer. Bradley, Sublime's original frontman,

6
00:00:36,916 --> 00:00:39,156
Speaker 1: died of a heroin overdose in ninety six, just a

7
00:00:39,196 --> 00:00:41,476
Speaker 1: couple of months shy of that breakthrough album coming out.

8
00:00:42,356 --> 00:00:44,596
Speaker 1: Jacob was still an infant then, but he grew up

9
00:00:44,596 --> 00:00:48,556
Speaker 1: surrounded by the lasting influence of a band that blended ska, punk, reggae,

10
00:00:48,636 --> 00:00:51,556
Speaker 1: and hip hop into a sound that dominated the nineties.

11
00:00:52,116 --> 00:00:55,356
Speaker 1: In nineteen ninety seven, after Bradley's passing, bassist Eric Wilson

12
00:00:55,356 --> 00:00:58,676
Speaker 1: and drummer Brad Gat launched Long Beach Dub All Stars

13
00:00:58,876 --> 00:01:01,836
Speaker 1: and stayed active with different projects. In late twenty twenty three,

14
00:01:02,036 --> 00:01:04,076
Speaker 1: they shared the stage with Jacob at a benefit for

15
00:01:04,156 --> 00:01:07,116
Speaker 1: Bad Brand and singer Hr and the spark between them

16
00:01:07,436 --> 00:01:11,636
Speaker 1: was immediate. Today's episode, I talked with Jacob, Budd and

17
00:01:11,676 --> 00:01:15,196
Speaker 1: eventually Eric about how this new chapter of Sublime came together.

18
00:01:15,436 --> 00:01:17,916
Speaker 1: We also revisited the band scrapy early days when they

19
00:01:17,956 --> 00:01:20,356
Speaker 1: had to beg, borrow, and steal just to keep going,

20
00:01:20,876 --> 00:01:23,076
Speaker 1: and we hear their memories of recording the self titled

21
00:01:23,076 --> 00:01:26,556
Speaker 1: album at Willie Nelson's studio just outside of Austin, Texas.

22
00:01:29,156 --> 00:01:38,436
Speaker 1: This is Broken Record, real musicians, real conversations. Here's my

23
00:01:38,516 --> 00:01:41,516
Speaker 1: conversation with Bud God and Jacob Nol of Sublime, and

24
00:01:41,636 --> 00:01:44,596
Speaker 1: later in the conversation, Eric Wilson joins us as well.

25
00:01:45,396 --> 00:01:47,716
Speaker 1: A big thank you to inter Trend and Creative Class

26
00:01:47,716 --> 00:01:50,196
Speaker 1: for allowing us to use the facilities in downtown Long

27
00:01:50,196 --> 00:01:52,796
Speaker 1: Beach to record this. To watch the full video version

28
00:01:52,836 --> 00:01:58,076
Speaker 1: of this episode, visit YouTube dot com slash Broken Record Podcast. Man,

29
00:01:58,116 --> 00:02:01,356
Speaker 1: it's great to have you guys, third of the band.

30
00:02:02,196 --> 00:02:06,716
Speaker 1: We have Eric here shortly, but Bud Jacob, thanks for

31
00:02:06,756 --> 00:02:07,516
Speaker 1: doing this, y'all.

32
00:02:07,756 --> 00:02:08,836
Speaker 2: Yeah, thanks for having us.

33
00:02:08,916 --> 00:02:11,756
Speaker 3: Man stuck to be here, Man, Long Beach. It's I

34
00:02:11,796 --> 00:02:13,636
Speaker 3: look like twenty minutes. This is super easy.

35
00:02:13,996 --> 00:02:16,076
Speaker 1: I know we were talking beforehand like this is I

36
00:02:16,156 --> 00:02:18,356
Speaker 1: live here as well, and it's like this is the

37
00:02:18,396 --> 00:02:20,476
Speaker 1: first time though I've ever been able to record one

38
00:02:20,516 --> 00:02:21,876
Speaker 1: of these episodes here.

39
00:02:22,156 --> 00:02:23,876
Speaker 3: We bumped into each other the gym like a couple

40
00:02:23,916 --> 00:02:29,036
Speaker 3: of weeks ago, gym super random. Yeah right, you manifested this.

41
00:02:29,076 --> 00:02:32,916
Speaker 1: Moment's absolutely right, absolutely right. Long Beach is such a

42
00:02:32,956 --> 00:02:37,756
Speaker 1: great place. You know. I was young though, when Sublime,

43
00:02:37,956 --> 00:02:41,076
Speaker 1: like you young, you know, like in the nineties, So

44
00:02:41,516 --> 00:02:44,396
Speaker 1: I was aware of Sublime, but didn't get to fully

45
00:02:44,836 --> 00:02:48,996
Speaker 1: enjoy or soak in the culture of what Long Beach

46
00:02:49,076 --> 00:02:51,236
Speaker 1: was like at that time. I would love to start

47
00:02:51,236 --> 00:02:53,676
Speaker 1: with just with you, Bud, taking us back a bit

48
00:02:53,716 --> 00:02:55,596
Speaker 1: about like what Long Beach was like when you guys

49
00:02:55,596 --> 00:02:56,476
Speaker 1: were first starting out.

50
00:02:56,516 --> 00:02:59,756
Speaker 2: Man, you know, Long Long Beach was crazy back then.

51
00:02:59,796 --> 00:03:02,156
Speaker 2: I mean, you know, you could you could drive from

52
00:03:02,196 --> 00:03:04,916
Speaker 2: one side of Long Beach to the other and hear

53
00:03:05,236 --> 00:03:08,556
Speaker 2: twenty different styles of music, you know, as you're driving

54
00:03:08,556 --> 00:03:11,436
Speaker 2: through the neighbor hoods. You know, it was truly a

55
00:03:11,476 --> 00:03:15,596
Speaker 2: melting pot, you know, I mean, you know, different different,

56
00:03:15,676 --> 00:03:20,796
Speaker 2: uh different lifestyles, you know, on on every block, you know,

57
00:03:20,876 --> 00:03:23,476
Speaker 2: as you're going and and everybody all kind of you know,

58
00:03:23,596 --> 00:03:27,116
Speaker 2: got along for the most part. You know, skaters, punks,

59
00:03:27,156 --> 00:03:31,956
Speaker 2: you know, jocks, everybody pretty much got along. So but yeah,

60
00:03:31,956 --> 00:03:36,116
Speaker 2: that was the nineties. Uh, we were it was hard

61
00:03:36,116 --> 00:03:39,436
Speaker 2: for us to find shows in Hollywood, so we would

62
00:03:39,476 --> 00:03:42,316
Speaker 2: play anywhere we could, and uh, you know started out

63
00:03:42,996 --> 00:03:47,556
Speaker 2: in backyard parties and and uh little warehouses and stuff.

64
00:03:47,596 --> 00:03:48,636
Speaker 2: You know, what were the.

65
00:03:48,556 --> 00:03:50,396
Speaker 1: Places to play in Hollywood at that time? Like where

66
00:03:50,396 --> 00:03:52,116
Speaker 1: were you trying to oh.

67
00:03:52,196 --> 00:03:57,356
Speaker 2: Just like you know, the the Whiskey or the Marquis,

68
00:03:57,636 --> 00:03:59,156
Speaker 2: some of those places.

69
00:03:58,796 --> 00:04:00,316
Speaker 1: Couldn't they wouldn't let yall in there.

70
00:04:00,556 --> 00:04:03,236
Speaker 2: Well, it was they didn't know where to put us.

71
00:04:03,276 --> 00:04:06,836
Speaker 2: You know, the music was it was happening in Hollywood

72
00:04:06,836 --> 00:04:08,876
Speaker 2: at the time was all you know, it was all

73
00:04:08,996 --> 00:04:11,516
Speaker 2: right and roll. You know, it was hair metal, it

74
00:04:11,556 --> 00:04:15,036
Speaker 2: was it was hard metal. You know, it was glam rock.

75
00:04:15,156 --> 00:04:17,716
Speaker 2: You know, it's like you literally, if you didn't have

76
00:04:18,036 --> 00:04:21,956
Speaker 2: like fifteen cans of aquin At and some some cover

77
00:04:22,276 --> 00:04:24,996
Speaker 2: what do they call it foundation on your rider, then

78
00:04:25,276 --> 00:04:27,516
Speaker 2: you know, we're not even to waste our times with

79
00:04:27,596 --> 00:04:33,076
Speaker 2: these posers. We just you know, like where are we

80
00:04:33,116 --> 00:04:34,036
Speaker 2: going to put these guys?

81
00:04:34,076 --> 00:04:36,396
Speaker 1: You know, were you interested in that scene at all?

82
00:04:36,476 --> 00:04:40,676
Speaker 3: Like punk sort of like a response to that almost

83
00:04:40,716 --> 00:04:42,156
Speaker 3: huh yeah, yeah, it.

84
00:04:42,116 --> 00:04:43,916
Speaker 2: Was like, oh yeah, you can put us with like

85
00:04:43,956 --> 00:04:46,636
Speaker 2: the Chili Peppers or Fishbone or something like that.

86
00:04:46,756 --> 00:04:50,796
Speaker 1: You know, did you go to like Fishbone shows.

87
00:04:50,836 --> 00:04:53,516
Speaker 2: Absolutely. We used to go to Fenders Ballroom here in

88
00:04:53,556 --> 00:04:57,276
Speaker 2: Long Beach and and we'd see the Chili Peppers and

89
00:04:57,276 --> 00:05:02,956
Speaker 2: and suicidal tendencies and yeah, all kinds of stuff, that's right, man. Yeah,

90
00:05:02,996 --> 00:05:05,676
Speaker 2: the Fenders was kind of closed by the time that

91
00:05:05,676 --> 00:05:07,716
Speaker 2: that we started playing. I mean, we got a few

92
00:05:07,836 --> 00:05:10,476
Speaker 2: shows in early, but it closed up early. There was

93
00:05:10,516 --> 00:05:13,636
Speaker 2: other little clubs in Long BEA's like toe Jam and stuff,

94
00:05:13,636 --> 00:05:16,636
Speaker 2: but it was basically just kind of like a warehouse,

95
00:05:16,716 --> 00:05:18,676
Speaker 2: you know, it wasn't really a club with a good

96
00:05:18,716 --> 00:05:19,356
Speaker 2: sound system.

97
00:05:19,596 --> 00:05:21,836
Speaker 1: Did it feel distinct so? I mean obviously like Hot

98
00:05:21,836 --> 00:05:24,436
Speaker 1: So Hollywood had like the like you said, like Motley

99
00:05:24,476 --> 00:05:27,636
Speaker 1: Crue like glam thing going. Did Long Beach feel distinct

100
00:05:27,636 --> 00:05:29,436
Speaker 1: from what was going on in Orange County too? What

101
00:05:29,636 --> 00:05:30,316
Speaker 1: was it?

102
00:05:29,756 --> 00:05:34,276
Speaker 2: It was a lot more similar to Orange County, you know.

103
00:05:34,396 --> 00:05:37,996
Speaker 2: We uh, we played a couple of shows with no doubt,

104
00:05:38,076 --> 00:05:40,276
Speaker 2: and we immediately found out, oh wow, you know, it's

105
00:05:40,276 --> 00:05:43,716
Speaker 2: like your guys' fan base is the same as ours.

106
00:05:43,756 --> 00:05:46,076
Speaker 2: You know, we're seeing Long Beach faces over here in

107
00:05:46,116 --> 00:05:48,116
Speaker 2: these Orange County shows, and then when you guys are

108
00:05:48,276 --> 00:05:50,276
Speaker 2: over here, you're seeing the same thing in Orange County

109
00:05:50,276 --> 00:05:53,356
Speaker 2: faces at the Long Beach Show. So you know, why

110
00:05:53,356 --> 00:05:55,636
Speaker 2: don't you guys call us when you have a show

111
00:05:55,676 --> 00:05:57,476
Speaker 2: and we'll do the same. And so we kind of

112
00:05:57,516 --> 00:05:59,316
Speaker 2: partnered up that way, and it was like, you know,

113
00:05:59,356 --> 00:06:02,316
Speaker 2: whenever you know, we could, we we would, you know,

114
00:06:02,876 --> 00:06:05,396
Speaker 2: work together. So kind of seemed to work out that way,

115
00:06:05,596 --> 00:06:08,036
Speaker 2: and I think that was kind of like our solution

116
00:06:08,316 --> 00:06:10,876
Speaker 2: you know, to HOLLYO, it is, okay, well let's let's

117
00:06:10,916 --> 00:06:13,636
Speaker 2: move south. What a San Diego have to offer, you know,

118
00:06:13,876 --> 00:06:17,236
Speaker 2: And then we started venturing, you know, down that way,

119
00:06:17,276 --> 00:06:18,796
Speaker 2: and it was like, oh, wow, this is this is

120
00:06:18,836 --> 00:06:21,636
Speaker 2: a whole different market down here, you know, this is

121
00:06:21,676 --> 00:06:23,396
Speaker 2: this is great. Yeah. So we had you know, a

122
00:06:23,396 --> 00:06:26,716
Speaker 2: whole a whole new uh set of schools and and

123
00:06:26,716 --> 00:06:29,476
Speaker 2: and bars and and stuff to work off of and

124
00:06:29,516 --> 00:06:30,596
Speaker 2: feed feed down there.

125
00:06:30,716 --> 00:06:33,436
Speaker 1: So did it seem feasible going that route that you

126
00:06:33,476 --> 00:06:36,916
Speaker 1: guys could like break like get signed or break into

127
00:06:36,916 --> 00:06:37,356
Speaker 1: the industry.

128
00:06:37,356 --> 00:06:39,876
Speaker 2: And you know, we were always just so hopeful. We were,

129
00:06:39,996 --> 00:06:42,076
Speaker 2: you know, I mean, we we didn't know what we wanted,

130
00:06:42,556 --> 00:06:44,276
Speaker 2: you know, we just know that we wanted to keep

131
00:06:44,276 --> 00:06:47,036
Speaker 2: on playing music and what was the best way that

132
00:06:47,036 --> 00:06:51,116
Speaker 2: we could do that. And so it seemed like, well,

133
00:06:51,396 --> 00:06:52,716
Speaker 2: we need to get it, We need to get a

134
00:06:52,716 --> 00:06:54,756
Speaker 2: record contract, you know. But then it was like, well

135
00:06:54,796 --> 00:06:57,836
Speaker 2: it was impossible to do that. So we made our

136
00:06:57,836 --> 00:07:01,916
Speaker 2: own recordings and sold them and touring around and so

137
00:07:01,996 --> 00:07:04,516
Speaker 2: we were always trying to, you know, get to that

138
00:07:04,596 --> 00:07:07,276
Speaker 2: next level. You know, it's like so hard to you know. Yeah,

139
00:07:07,316 --> 00:07:09,076
Speaker 2: now we got CDs. What do we do with them?

140
00:07:09,236 --> 00:07:10,756
Speaker 2: You know, we send them to k Rock. They won't

141
00:07:10,756 --> 00:07:13,156
Speaker 2: play our music, you know, they think, uh Jed the

142
00:07:13,196 --> 00:07:16,156
Speaker 2: Fish might have done one time, you know, way back

143
00:07:16,196 --> 00:07:19,236
Speaker 2: when you know, hey, check out this song, you know, like.

144
00:07:18,876 --> 00:07:21,436
Speaker 1: Job won't pay the bills like that, that that era

145
00:07:22,116 --> 00:07:22,996
Speaker 1: or forty forty.

146
00:07:23,716 --> 00:07:27,836
Speaker 2: Yeah, we'd sent them massive amounts of CDs back in

147
00:07:27,876 --> 00:07:31,636
Speaker 2: the day. And I don't even think the ink was

148
00:07:31,716 --> 00:07:36,036
Speaker 2: dry on the on the the Gasoline Alley contract, you

149
00:07:36,076 --> 00:07:38,956
Speaker 2: know when we signed that and they were spinning date rape.

150
00:07:38,956 --> 00:07:40,476
Speaker 2: You know, it was like I think as soon as

151
00:07:40,516 --> 00:07:43,236
Speaker 2: we walked out the doors of the the office, you

152
00:07:43,276 --> 00:07:46,436
Speaker 2: know there with mister Phillips, that's incredible.

153
00:07:46,516 --> 00:07:51,516
Speaker 1: Yeah, so cool man, you got that's like your whole

154
00:07:51,676 --> 00:07:54,036
Speaker 1: radio k Rocks.

155
00:07:54,196 --> 00:07:57,916
Speaker 2: I mean, they totally supported us. They they we loved

156
00:07:57,996 --> 00:07:59,956
Speaker 2: k Rock. You know, it's like we we would go

157
00:08:00,036 --> 00:08:03,756
Speaker 2: down to Loveline and and some of those shows and

158
00:08:03,796 --> 00:08:07,396
Speaker 2: stuff that was that was always a real treat, real

159
00:08:07,436 --> 00:08:08,276
Speaker 2: blast for us.

160
00:08:08,396 --> 00:08:10,796
Speaker 1: How did hip hop enter the equation too? So, like

161
00:08:10,836 --> 00:08:12,916
Speaker 1: you know, there's like the punk scene, there's like the

162
00:08:12,996 --> 00:08:15,836
Speaker 1: SKA thing. How did hip hop enter the equation for

163
00:08:15,836 --> 00:08:16,956
Speaker 1: for Sublime.

164
00:08:16,916 --> 00:08:19,716
Speaker 2: Well, you know, it was it was just it was

165
00:08:19,756 --> 00:08:21,596
Speaker 2: happening at the time, and like I said, you know,

166
00:08:21,676 --> 00:08:23,956
Speaker 2: as you drive across town, you know, it's like you're

167
00:08:23,996 --> 00:08:27,156
Speaker 2: over here and you know you're hearing you're hearing you know,

168
00:08:27,316 --> 00:08:31,236
Speaker 2: n w A or or you know, Wu Tang or whatever.

169
00:08:31,316 --> 00:08:33,036
Speaker 2: And it was like man, you know, so we started

170
00:08:33,116 --> 00:08:35,396
Speaker 2: searching this stuff out. We're down there at the reggae

171
00:08:35,476 --> 00:08:37,756
Speaker 2: record store and they got hip hop records over here,

172
00:08:37,996 --> 00:08:39,836
Speaker 2: and so we're listening to this. You know, it's like,

173
00:08:40,316 --> 00:08:43,636
Speaker 2: oh wow, who's this? You know, uh BDP but you

174
00:08:43,716 --> 00:08:46,636
Speaker 2: down productions, Oh wow, this is dope, you know, And

175
00:08:46,676 --> 00:08:50,036
Speaker 2: it was just like instant, you know. I took a

176
00:08:50,036 --> 00:08:53,836
Speaker 2: little hiatus for a while, and Marshall came in and

177
00:08:53,836 --> 00:08:57,396
Speaker 2: and and started playing drums and he was DJ too,

178
00:08:57,636 --> 00:09:01,116
Speaker 2: and so he brought that element of hip hop into

179
00:09:01,356 --> 00:09:04,276
Speaker 2: the group at that time too as well. Although we

180
00:09:04,396 --> 00:09:08,356
Speaker 2: had that influence, you know, like just Ice and so

181
00:09:09,316 --> 00:09:11,756
Speaker 2: it was there from from the beginning, but it just

182
00:09:11,876 --> 00:09:15,196
Speaker 2: wasn't We didn't. It was like him know it, did

183
00:09:15,276 --> 00:09:17,316
Speaker 2: him know how to do it? Yeah? You know, yeah,

184
00:09:17,356 --> 00:09:19,876
Speaker 2: so it it took some learning. You know.

185
00:09:20,036 --> 00:09:20,796
Speaker 1: It's incredible.

186
00:09:20,796 --> 00:09:20,956
Speaker 2: Man.

187
00:09:21,036 --> 00:09:22,356
Speaker 1: I don't know if you feel this way, like going

188
00:09:22,356 --> 00:09:25,596
Speaker 1: back and listening to the records, the original handful of

189
00:09:25,636 --> 00:09:29,476
Speaker 1: records is it's there are very few groups that did

190
00:09:29,556 --> 00:09:32,116
Speaker 1: like the reggae scot thing or like the mixing of

191
00:09:32,196 --> 00:09:35,676
Speaker 1: rock and hip hop thing as authentically as a blind

192
00:09:35,756 --> 00:09:37,476
Speaker 1: Like it didn't feel like a put on. It didn't

193
00:09:37,516 --> 00:09:40,036
Speaker 1: feel like just trying to go for something that like

194
00:09:41,236 --> 00:09:43,796
Speaker 1: it was just it really felt like authentic to you guys.

195
00:09:43,836 --> 00:09:46,076
Speaker 1: And just hearing you've mentioned like those like you know,

196
00:09:46,116 --> 00:09:48,396
Speaker 1: obviously BDP because of the Karas one, we would know that,

197
00:09:48,396 --> 00:09:50,996
Speaker 1: but like just Ice and like, you guys were really

198
00:09:51,076 --> 00:09:55,316
Speaker 1: plugged in to wrap into hip hop. Like you it's like,

199
00:09:55,556 --> 00:09:58,956
Speaker 1: so it seems like you guys were really digging for

200
00:09:59,036 --> 00:09:59,796
Speaker 1: those records.

201
00:09:59,876 --> 00:10:02,916
Speaker 2: Actually yeah, yeah, I mean the nineties it was just exploding.

202
00:10:02,956 --> 00:10:05,156
Speaker 2: I mean, hip hop was was amazing. I mean, it

203
00:10:05,196 --> 00:10:08,036
Speaker 2: was just like this whole brand new sound, but it

204
00:10:08,076 --> 00:10:11,116
Speaker 2: was so familiar to you know, R and B, you know,

205
00:10:11,276 --> 00:10:14,676
Speaker 2: jazz and blues and and stuff, so it was it

206
00:10:14,716 --> 00:10:16,756
Speaker 2: was familiar, yet it was all brand new, and it

207
00:10:16,836 --> 00:10:20,756
Speaker 2: was just like this whole new way of making music,

208
00:10:20,996 --> 00:10:25,356
Speaker 2: you know, using already created music and so like kind

209
00:10:25,356 --> 00:10:27,556
Speaker 2: of fit into our kind of thing where you know,

210
00:10:27,596 --> 00:10:30,476
Speaker 2: it was big borrow and steel to get that feeling,

211
00:10:30,556 --> 00:10:33,836
Speaker 2: you know, we needed that that that groove, you know,

212
00:10:34,396 --> 00:10:36,876
Speaker 2: and so how do we get there? Well, we're gonna

213
00:10:37,156 --> 00:10:39,956
Speaker 2: We're gonna make it by you know, listening to some

214
00:10:40,036 --> 00:10:44,596
Speaker 2: of our favorite musicians and you know, imitating and you know,

215
00:10:44,676 --> 00:10:47,316
Speaker 2: I mean life imitates art, Art imitates life.

216
00:10:47,516 --> 00:10:50,596
Speaker 1: Is that that you have to do? Doing time came about?

217
00:10:51,236 --> 00:10:53,996
Speaker 1: Because that's a really weird That was a really weird

218
00:10:53,996 --> 00:10:55,196
Speaker 1: thing to take a bite of it.

219
00:10:55,436 --> 00:10:57,436
Speaker 3: Yeah, like who thinking to do that?

220
00:10:58,396 --> 00:11:01,156
Speaker 2: Was? That was Marshall Goodman there you know, I'm going

221
00:11:01,236 --> 00:11:03,436
Speaker 2: to give that where that is because that was that

222
00:11:03,516 --> 00:11:08,036
Speaker 2: was Marshall. Marshall brought that that track in and and

223
00:11:08,156 --> 00:11:10,836
Speaker 2: him and Brad worked on that one together like solid.

224
00:11:10,956 --> 00:11:13,996
Speaker 2: So when you when you heard the idea or like

225
00:11:14,076 --> 00:11:16,076
Speaker 2: I was just like, oh man, this is amazing.

226
00:11:16,236 --> 00:11:16,916
Speaker 3: You're into it.

227
00:11:18,156 --> 00:11:19,836
Speaker 2: I was like, oh, this is dope. I mean it

228
00:11:19,916 --> 00:11:23,636
Speaker 2: was like, you know, Janis Joplin, you know, Billy fucking

229
00:11:23,716 --> 00:11:25,556
Speaker 2: you know, just I mean all of them, you know,

230
00:11:25,596 --> 00:11:28,996
Speaker 2: the greatest people that, you know, our greatest artists have

231
00:11:29,076 --> 00:11:32,876
Speaker 2: all redone that song, you know, and homage it's it's

232
00:11:32,916 --> 00:11:37,316
Speaker 2: a beautiful song. Yeah, the chord structure is pretty pretty magical.

233
00:11:37,396 --> 00:11:39,276
Speaker 1: So it seems like you guys, though, brought it back.

234
00:11:39,396 --> 00:11:42,356
Speaker 1: Similar way Frank Ocean has sort of brought that standard

235
00:11:42,596 --> 00:11:44,756
Speaker 1: Moon River kind of back in the popular consciousness. I

236
00:11:44,756 --> 00:11:47,196
Speaker 1: feel like Sablon did that with with with Summer Time.

237
00:11:47,196 --> 00:11:49,956
Speaker 1: I mean, Gershwin is Gershwin, you know. But you guys

238
00:11:49,996 --> 00:11:52,676
Speaker 1: really did an incredible version. It really lives on through

239
00:11:52,876 --> 00:11:54,636
Speaker 1: through you guys in the Lana del Rey doing it

240
00:11:54,636 --> 00:11:55,116
Speaker 1: and whatnot.

241
00:11:55,196 --> 00:11:58,076
Speaker 3: But yeah, it's like a testament too. It stands to like,

242
00:11:58,756 --> 00:12:03,076
Speaker 3: I don't know, the collaborative, you know, nature of that

243
00:12:03,196 --> 00:12:04,956
Speaker 3: era and all the stuff you guys were doing, the

244
00:12:04,996 --> 00:12:07,236
Speaker 3: fact that you know, you take that little part and

245
00:12:07,276 --> 00:12:10,556
Speaker 3: then from there of all this whole totally different song

246
00:12:10,636 --> 00:12:13,356
Speaker 3: that could have never existed without all the stuff that

247
00:12:13,356 --> 00:12:16,156
Speaker 3: came before it, So it's like so inspiring to hear

248
00:12:16,316 --> 00:12:19,076
Speaker 3: like the evolution and what you guys were getting down

249
00:12:19,076 --> 00:12:21,556
Speaker 3: into and how the stuff comes about, like and I

250
00:12:21,556 --> 00:12:24,076
Speaker 3: think that's what makes music like that stand the test

251
00:12:24,076 --> 00:12:26,196
Speaker 3: of times. People can see that it's like genuine you know,

252
00:12:26,316 --> 00:12:27,796
Speaker 3: they were just like having so much fun.

253
00:12:28,196 --> 00:12:30,116
Speaker 1: Yeah, man, what was?

254
00:12:31,316 --> 00:12:33,116
Speaker 3: It just blows my mind here, And I love hearing

255
00:12:33,156 --> 00:12:33,996
Speaker 3: about the history.

256
00:12:34,836 --> 00:12:36,836
Speaker 1: What was growing up in Long Beach Like for you man,

257
00:12:36,876 --> 00:12:39,676
Speaker 1: being Bradley knowles On, that had to be kind of heavy.

258
00:12:39,876 --> 00:12:43,796
Speaker 3: Yes, I was born here and then then me and

259
00:12:43,876 --> 00:12:47,196
Speaker 3: my mom moved to Hawaii and so I lived there

260
00:12:47,196 --> 00:12:49,796
Speaker 3: for a couple of years, and then we moved to

261
00:12:49,796 --> 00:12:51,636
Speaker 3: San Diego where I'd go to school and I'd stay

262
00:12:51,636 --> 00:12:54,116
Speaker 3: there until I was seventeen and I moved back up here.

263
00:12:54,396 --> 00:12:57,796
Speaker 3: But from you know, six to seventeen, the summertimes, I'd

264
00:12:57,796 --> 00:12:59,836
Speaker 3: spend all the summer times here in Long Beach. So

265
00:12:59,836 --> 00:13:01,676
Speaker 3: I would go to like Junior Lifeguards and I'd kick

266
00:13:01,676 --> 00:13:02,756
Speaker 3: at my grandparents' house.

267
00:13:02,916 --> 00:13:05,036
Speaker 1: That's passage here, Yeah, man.

268
00:13:04,956 --> 00:13:07,476
Speaker 3: Junior Guards was. I was great looking back on it,

269
00:13:07,516 --> 00:13:09,516
Speaker 3: but at the time, like I love doing the fun

270
00:13:09,556 --> 00:13:11,516
Speaker 3: stuff like jumping off the boats, and stuff. But you

271
00:13:11,676 --> 00:13:13,196
Speaker 3: what they usually do is you get there at nine

272
00:13:13,196 --> 00:13:15,276
Speaker 3: am and then they're like, all right, start running. You're

273
00:13:16,276 --> 00:13:19,316
Speaker 3: all right somewhere around the boot Oh I got it's

274
00:13:19,396 --> 00:13:21,436
Speaker 3: fucked up, dude. It's like a kid work camp.

275
00:13:21,956 --> 00:13:22,156
Speaker 2: Yeah.

276
00:13:22,156 --> 00:13:23,716
Speaker 1: You start see you see like like like you know,

277
00:13:23,756 --> 00:13:25,756
Speaker 1: like nine year old kids running like it's like like

278
00:13:25,876 --> 00:13:26,436
Speaker 1: boot camp.

279
00:13:26,516 --> 00:13:29,036
Speaker 3: Or you get out at like noon and then you're

280
00:13:29,076 --> 00:13:31,396
Speaker 3: just like, please, can we go get a hamburg or something.

281
00:13:31,956 --> 00:13:32,956
Speaker 3: He's just so hungry.

282
00:13:33,716 --> 00:13:33,836
Speaker 4: Uh.

283
00:13:33,876 --> 00:13:35,316
Speaker 3: But it was good man.

284
00:13:35,436 --> 00:13:35,716
Speaker 2: You know.

285
00:13:37,156 --> 00:13:39,356
Speaker 3: A lot of what Bud was saying stayed true. You know,

286
00:13:39,396 --> 00:13:41,676
Speaker 3: there was so much uh. But me and my friends

287
00:13:41,676 --> 00:13:45,436
Speaker 3: always saw you know, a lot of different genres of

288
00:13:45,556 --> 00:13:48,476
Speaker 3: music and people and just this big, cool melting pot

289
00:13:48,596 --> 00:13:51,476
Speaker 3: and there was cool stuff happening. But we were like

290
00:13:51,596 --> 00:13:53,556
Speaker 3: keenly aware in our like I would say, like high

291
00:13:53,556 --> 00:13:56,356
Speaker 3: school age that we started to take notice like, oh man,

292
00:13:56,396 --> 00:13:58,636
Speaker 3: it feels like we're on the other side of like

293
00:13:58,636 --> 00:14:01,036
Speaker 3: an era, like kind of how Hunter s Thompson if

294
00:14:01,036 --> 00:14:03,156
Speaker 3: you ever you know how he's talking about, like in

295
00:14:03,436 --> 00:14:05,516
Speaker 3: Fear and Loathing, It's like you could see the high

296
00:14:05,596 --> 00:14:07,956
Speaker 3: watermark where the wave almost broke the wall. It's like

297
00:14:08,436 --> 00:14:10,116
Speaker 3: it feels like we're this whole other era now where

298
00:14:10,116 --> 00:14:12,556
Speaker 3: where people consume music differently, Like people don't didn't go

299
00:14:12,596 --> 00:14:14,236
Speaker 3: outside as much, you know what I mean, they weren't

300
00:14:14,276 --> 00:14:17,356
Speaker 3: out having having fun like that, which is a bummer.

301
00:14:17,396 --> 00:14:19,076
Speaker 3: You know, there was definitely like a period where it

302
00:14:19,076 --> 00:14:22,356
Speaker 3: felt like it was maybe harder for stuff to happen.

303
00:14:22,396 --> 00:14:25,356
Speaker 3: But I think we're starting to see it happen again.

304
00:14:25,396 --> 00:14:28,116
Speaker 3: You know, things go in waves and in cycles and

305
00:14:28,116 --> 00:14:31,636
Speaker 3: and people's attention spans. They'll get over even the things

306
00:14:31,676 --> 00:14:35,116
Speaker 3: that are distracting them from going outside and having authentic experiences.

307
00:14:35,556 --> 00:14:38,116
Speaker 3: So the people that I see at our shows nowadays,

308
00:14:38,676 --> 00:14:42,516
Speaker 3: I mean, they're they're hungry and craving that that experience again.

309
00:14:42,596 --> 00:14:44,196
Speaker 3: So it's kind of you know, we kind of came

310
00:14:44,236 --> 00:14:45,556
Speaker 3: back together at like the perfect time.

311
00:14:45,596 --> 00:14:47,436
Speaker 1: It feels like, yeah, right at the time when it

312
00:14:47,436 --> 00:14:50,196
Speaker 1: feels like people were wanting that authenticity that you know,

313
00:14:50,316 --> 00:14:54,556
Speaker 1: you guys really brought, you know, were you did you?

314
00:14:54,636 --> 00:14:56,876
Speaker 1: But so I mean obviously what you're saying, in high school,

315
00:14:57,076 --> 00:14:59,676
Speaker 1: a lot a lot of kids were maybe into things

316
00:14:59,716 --> 00:15:01,996
Speaker 1: other than music, but you were you a music had

317
00:15:02,036 --> 00:15:02,436
Speaker 1: grown up.

318
00:15:02,596 --> 00:15:04,956
Speaker 3: Yeah, yeah, for sure, And even if they were into music.

319
00:15:04,996 --> 00:15:06,716
Speaker 3: It was just sort of different, like you would go

320
00:15:06,796 --> 00:15:09,596
Speaker 3: out to shows and stuff like that, but were kind

321
00:15:09,596 --> 00:15:12,716
Speaker 3: of putting there in their boxes, you know what I mean, Like, uh,

322
00:15:12,756 --> 00:15:15,676
Speaker 3: it almost felt like going to a show was was

323
00:15:15,716 --> 00:15:17,356
Speaker 3: sort of like it wasn't just something you did. It

324
00:15:17,396 --> 00:15:19,396
Speaker 3: was like this weird relic of the past kind of thing,

325
00:15:19,516 --> 00:15:21,236
Speaker 3: like you know, like, oh, look, I went to a show.

326
00:15:21,316 --> 00:15:23,596
Speaker 3: Like it's like yeah, and no, I don't think anyone

327
00:15:23,636 --> 00:15:25,156
Speaker 3: thought about it like that, or even we did at

328
00:15:25,156 --> 00:15:29,476
Speaker 3: the time. But I mean, the internet just takes up

329
00:15:29,516 --> 00:15:33,036
Speaker 3: a lot of your time and energy and imagination unfortunately.

330
00:15:33,236 --> 00:15:36,916
Speaker 3: Like and uh, and I think now we're seeing it

331
00:15:36,956 --> 00:15:38,876
Speaker 3: to be not so much of a bad thing. There's

332
00:15:38,916 --> 00:15:41,796
Speaker 3: ways to utilize that creatively. But when I was coming up,

333
00:15:41,796 --> 00:15:44,076
Speaker 3: I mean, I was obviously a fan of all the

334
00:15:44,156 --> 00:15:46,156
Speaker 3: music my mom showed me, which of course was all

335
00:15:46,196 --> 00:15:48,476
Speaker 3: the same stuff the guys were listening to. So I

336
00:15:48,596 --> 00:15:50,836
Speaker 3: ended up being influenced by those same artists and stuff,

337
00:15:50,956 --> 00:15:53,596
Speaker 3: you know, like men and Men, butthole surfers and Johnny

338
00:15:53,596 --> 00:15:56,156
Speaker 3: Osbourne and you know a bunch of cool hip hop

339
00:15:56,156 --> 00:15:56,636
Speaker 3: stuff too.

340
00:15:57,276 --> 00:15:59,116
Speaker 1: But your mom was feeding you that stuff.

341
00:15:59,196 --> 00:16:01,596
Speaker 3: Yeah, yeah, but uh, and not so much like homework,

342
00:16:01,676 --> 00:16:03,396
Speaker 3: sit down and listen to this that would come later,

343
00:16:03,436 --> 00:16:05,116
Speaker 3: Like Miguel would tell me to do my homeworks, like

344
00:16:05,156 --> 00:16:06,916
Speaker 3: you need to listen to these records, otherwise you won't

345
00:16:06,996 --> 00:16:07,796
Speaker 3: understand music.

346
00:16:08,636 --> 00:16:11,516
Speaker 1: I was like said, Miguel's the dude who like big

347
00:16:11,556 --> 00:16:14,596
Speaker 1: part of Sublime's history. Obviously recorded your first recorded some

348
00:16:14,676 --> 00:16:15,396
Speaker 1: of your first recordings.

349
00:16:15,436 --> 00:16:16,236
Speaker 2: It's not very first.

350
00:16:16,276 --> 00:16:18,036
Speaker 3: We still see him all the time. He's our buddy. Yeah,

351
00:16:18,036 --> 00:16:22,236
Speaker 3: he's I'm really grateful for that for sure. And but

352
00:16:22,276 --> 00:16:24,396
Speaker 3: at the time, I think what made me really excited

353
00:16:24,836 --> 00:16:30,556
Speaker 3: was like Queens of the Stone Age, tool masted on.

354
00:16:30,676 --> 00:16:34,076
Speaker 3: These were all I mean, coincidentally, I get maybe or

355
00:16:34,196 --> 00:16:36,716
Speaker 3: not coincidentally, but just matter of factly, they were just

356
00:16:36,756 --> 00:16:39,916
Speaker 3: bands that were releasing music. And you know, two thousand

357
00:16:39,956 --> 00:16:42,356
Speaker 3: and two, two thousand and six, nine ten, you know

358
00:16:42,396 --> 00:16:45,756
Speaker 3: they they had. That was what my friends liked growing up,

359
00:16:45,796 --> 00:16:48,916
Speaker 3: and it's what we were enthusiastic about. And sure we

360
00:16:48,996 --> 00:16:50,276
Speaker 3: go out to a show every now and again, but

361
00:16:50,276 --> 00:16:53,076
Speaker 3: it didn't feel like belonging to a scene. I think,

362
00:16:53,196 --> 00:16:55,916
Speaker 3: like how when we look back and view the scenes

363
00:16:55,916 --> 00:16:58,196
Speaker 3: and clicks of like the nineties, you know, those the

364
00:16:58,236 --> 00:17:00,996
Speaker 3: way that people were starting to consume music was changing

365
00:17:01,036 --> 00:17:01,596
Speaker 3: like a little bit.

366
00:17:01,636 --> 00:17:03,716
Speaker 1: See that's that's the weird that is. That's that's what

367
00:17:03,756 --> 00:17:05,396
Speaker 1: I was trying to get at. Is where you put

368
00:17:05,396 --> 00:17:09,316
Speaker 1: so succinctly is like the nineties, eighties nine, I mean

369
00:17:09,356 --> 00:17:13,356
Speaker 1: like kind of like most of you know, the twentieth century,

370
00:17:13,476 --> 00:17:16,756
Speaker 1: like music was really segmented into like and scenes were

371
00:17:16,756 --> 00:17:18,876
Speaker 1: segmented as the punk kids and the rock and the

372
00:17:18,916 --> 00:17:22,276
Speaker 1: Glans and the ring you know, like or whatever. And

373
00:17:23,396 --> 00:17:25,796
Speaker 1: I don't know how you guys managed to like escape

374
00:17:25,836 --> 00:17:28,756
Speaker 1: that trap of just being like, you know, like it's

375
00:17:28,796 --> 00:17:30,476
Speaker 1: it's really wild that you guys because.

376
00:17:30,236 --> 00:17:31,676
Speaker 2: We liked it all. I mean, you know, it's like

377
00:17:31,756 --> 00:17:35,076
Speaker 2: sometimes I think one of the best quotes that I

378
00:17:35,076 --> 00:17:37,676
Speaker 2: can take from Brad was, you know, what, what kind

379
00:17:37,676 --> 00:17:41,796
Speaker 2: of music do you like? Good music? Yeah? You know,

380
00:17:41,836 --> 00:17:45,036
Speaker 2: if it's good, if it makes you feel something mad, sad, glad,

381
00:17:45,076 --> 00:17:48,036
Speaker 2: angry or afraid, you know, then then it's doing its job.

382
00:17:48,156 --> 00:17:50,276
Speaker 2: It made you feel, you know, So yeah, you know

383
00:17:50,316 --> 00:17:52,836
Speaker 2: it's good music. It's good music, doesn't matter what kind

384
00:17:52,916 --> 00:17:54,956
Speaker 2: or style it is. Yeah.

385
00:17:55,036 --> 00:17:58,676
Speaker 1: Yeah, when did you When did you start h ingesting

386
00:17:59,796 --> 00:18:02,316
Speaker 1: the work of Bud and Eric and your dad I.

387
00:18:02,316 --> 00:18:04,076
Speaker 3: Mean, you know, it was definitely always present when I

388
00:18:04,156 --> 00:18:06,356
Speaker 3: was a kid. You know, my mom was always playing

389
00:18:06,396 --> 00:18:09,236
Speaker 3: it and stuff and h But I think when I got.

390
00:18:09,156 --> 00:18:10,756
Speaker 1: Remember the first starry But do you remember the first time,

391
00:18:10,796 --> 00:18:12,156
Speaker 1: like you do you remember like the first time your

392
00:18:12,196 --> 00:18:13,276
Speaker 1: Mom's like, hey, that's your.

393
00:18:13,876 --> 00:18:15,796
Speaker 3: Oh no, because it was happening since I was in

394
00:18:15,836 --> 00:18:18,756
Speaker 3: the cradle, you know what I mean, it was so uh,

395
00:18:18,836 --> 00:18:20,836
Speaker 3: it just seeped into my life. I always had known.

396
00:18:20,876 --> 00:18:23,076
Speaker 3: I couldn't even think back or point to a time

397
00:18:23,756 --> 00:18:25,316
Speaker 3: like it's kind of a little bit a tear jerker.

398
00:18:25,316 --> 00:18:27,596
Speaker 3: But I remember being very little, maybe like two or three,

399
00:18:27,636 --> 00:18:30,116
Speaker 3: like over in Hawaii, and like my mom's saying saying

400
00:18:30,116 --> 00:18:31,996
Speaker 3: that your dad is alive. He's alive in your heart,

401
00:18:32,156 --> 00:18:34,476
Speaker 3: you know, And so that was kind of a cool way.

402
00:18:34,516 --> 00:18:36,716
Speaker 3: I always had felt that she said he was alive

403
00:18:36,756 --> 00:18:39,316
Speaker 3: in the music and stuff. So that always tied this

404
00:18:39,556 --> 00:18:42,516
Speaker 3: huge emotional component to the songs and the work. But

405
00:18:43,356 --> 00:18:45,116
Speaker 3: you know, like most kids, though, I mean that since

406
00:18:45,156 --> 00:18:46,676
Speaker 3: it was so emotional, it kind of just was in

407
00:18:46,716 --> 00:18:49,676
Speaker 3: the background. I never gave too much crazy thought to

408
00:18:49,716 --> 00:18:52,636
Speaker 3: it until like my teenage years. I think everybody's teenage years.

409
00:18:52,956 --> 00:18:56,516
Speaker 3: Music is such an important, such an important tool because

410
00:18:56,596 --> 00:19:00,476
Speaker 3: you know who doesn't have a weird you know, teenage saga.

411
00:19:00,556 --> 00:19:02,796
Speaker 3: You know that when you're that age, everything's so intense

412
00:19:02,836 --> 00:19:05,436
Speaker 3: and crazy that if you if you have music that

413
00:19:05,476 --> 00:19:06,956
Speaker 3: can make you feel like, oh maybe I'm not the

414
00:19:06,996 --> 00:19:09,036
Speaker 3: only one who thinks this way, like or any kind

415
00:19:09,036 --> 00:19:11,756
Speaker 3: of art, that's your escape, right, So I was. I

416
00:19:11,796 --> 00:19:15,396
Speaker 3: was at that point like learning and interacting with all

417
00:19:15,396 --> 00:19:18,876
Speaker 3: these different sounds and artists, and of course just naturally

418
00:19:18,916 --> 00:19:21,516
Speaker 3: because Sublime's dope and awesome, Like I would listen to

419
00:19:21,556 --> 00:19:23,836
Speaker 3: it like any other fifteen year old smoking we would

420
00:19:23,876 --> 00:19:26,076
Speaker 3: do you know what I mean, And you could do it.

421
00:19:26,036 --> 00:19:27,596
Speaker 1: Like objectively and just be like, yeah, this is just

422
00:19:27,676 --> 00:19:29,676
Speaker 1: great to smoke weed too, Yeah, I remember.

423
00:19:29,716 --> 00:19:31,556
Speaker 3: I mean I definitely listened to all the records I

424
00:19:31,636 --> 00:19:34,036
Speaker 3: was taught by, like my older friends, Like if they

425
00:19:34,076 --> 00:19:36,236
Speaker 3: caught you listening to because in our in our day

426
00:19:36,276 --> 00:19:38,436
Speaker 3: and age was like the iTunes era and LimeWire live

427
00:19:38,436 --> 00:19:40,956
Speaker 3: wire stuff, and if you listen to just singles, they

428
00:19:40,956 --> 00:19:43,276
Speaker 3: would like shame you ruthlessly, like what you can't just

429
00:19:43,276 --> 00:19:44,756
Speaker 3: listen to a single, You gotta listen to a whole

430
00:19:44,756 --> 00:19:46,996
Speaker 3: record or the song won't make sense, dude, Like come on,

431
00:19:47,156 --> 00:19:49,716
Speaker 3: like okay, okay, I'll listen, but but then you'd find

432
00:19:49,716 --> 00:19:51,516
Speaker 3: your favorites and you'd put you'd make your own little

433
00:19:51,516 --> 00:19:54,796
Speaker 3: playlists or whatever. And Uh, for me, I'd always listen

434
00:19:54,876 --> 00:20:00,236
Speaker 3: to pawn Shop, uh Boss DJ. And I'm trying to remember.

435
00:20:00,676 --> 00:20:03,036
Speaker 3: There was definitely a few more. Uh definitely All You

436
00:20:03,076 --> 00:20:06,676
Speaker 3: Need That still one of my favorites. Uh, but I

437
00:20:06,716 --> 00:20:09,716
Speaker 3: don't know. It just it just fit very perfect into

438
00:20:10,516 --> 00:20:13,996
Speaker 3: the teenage experience, I guess, or the youthful experience. And

439
00:20:14,036 --> 00:20:15,876
Speaker 3: I think that's why we see so many of our

440
00:20:15,916 --> 00:20:18,476
Speaker 3: fans still to this day are all ages.

441
00:20:18,796 --> 00:20:19,116
Speaker 2: Yeah.

442
00:20:19,236 --> 00:20:22,036
Speaker 1: Yeah, did you? I mean over the years, I mean

443
00:20:22,076 --> 00:20:24,796
Speaker 1: you kept playing music, you kept going you and Eric,

444
00:20:25,516 --> 00:20:29,716
Speaker 1: did you did you recognize that like it's successive generations

445
00:20:29,716 --> 00:20:32,636
Speaker 1: a teenagers kept having that same experience with your music.

446
00:20:33,036 --> 00:20:35,316
Speaker 2: Yeah, it was wild. I was just like, man, this

447
00:20:35,436 --> 00:20:37,356
Speaker 2: is like the gift that just keeps on giving. It's

448
00:20:37,396 --> 00:20:40,436
Speaker 2: just like it's it's never ending, you know, this is

449
00:20:40,476 --> 00:20:43,556
Speaker 2: this is an awesome ride that we're on here. You know,

450
00:20:43,716 --> 00:20:46,956
Speaker 2: there's all these other bands that have kind of you know,

451
00:20:47,076 --> 00:20:51,356
Speaker 2: taken to our sound and and it's started its own

452
00:20:51,516 --> 00:20:55,756
Speaker 2: you know, kind of little sub genre of music and

453
00:20:55,756 --> 00:20:57,476
Speaker 2: in a way, and it was just like it was

454
00:20:57,516 --> 00:21:00,036
Speaker 2: like wow. You know, at first, I was it was

455
00:21:00,116 --> 00:21:03,076
Speaker 2: kind of you know angering you know, it's like we

456
00:21:03,116 --> 00:21:06,036
Speaker 2: didn't get to do that, you know, and and it's

457
00:21:06,036 --> 00:21:09,076
Speaker 2: like you know, right, your own style, you know, do

458
00:21:09,196 --> 00:21:12,876
Speaker 2: something ridge and you know. But then it was like wow,

459
00:21:12,956 --> 00:21:16,196
Speaker 2: these people they really truly like loved our band, and

460
00:21:16,436 --> 00:21:18,556
Speaker 2: you know, it's like just like what we were doing.

461
00:21:18,956 --> 00:21:21,876
Speaker 2: You know, imitation is a purest form of flattery, and

462
00:21:21,916 --> 00:21:26,876
Speaker 2: it was like wow, man, whoa, this is even greater

463
00:21:27,036 --> 00:21:30,076
Speaker 2: awesome feeling. You know, It's like, holy cow, It's like

464
00:21:30,116 --> 00:21:33,676
Speaker 2: what did we do? Wow? Yeah, it was a trip.

465
00:21:33,836 --> 00:21:36,556
Speaker 1: There was a part of you that maybe initially saw

466
00:21:36,596 --> 00:21:40,316
Speaker 1: other people doing a version of Sublime.

467
00:21:41,396 --> 00:21:42,996
Speaker 2: Lie. You know, it's like, man, that was part of it.

468
00:21:43,036 --> 00:21:45,076
Speaker 2: You know, we're on this We're on this magic carpet

469
00:21:45,156 --> 00:21:48,636
Speaker 2: ride where you know, ten thousand feet in the air

470
00:21:48,676 --> 00:21:50,836
Speaker 2: and then the carpet gets ripped out from underneath us.

471
00:21:50,836 --> 00:21:53,076
Speaker 2: You know, we we were just on that launching pad.

472
00:21:53,116 --> 00:21:55,476
Speaker 2: All this stuff that we were working for, those childhood

473
00:21:55,556 --> 00:21:58,836
Speaker 2: dreams when me and Eric were in the coliseum watching

474
00:21:58,996 --> 00:22:01,076
Speaker 2: you know, the clash and the who going.

475
00:22:01,556 --> 00:22:03,556
Speaker 3: We're gonna be up there someday.

476
00:22:03,396 --> 00:22:05,436
Speaker 2: You know, when we're this big. It was like all

477
00:22:05,516 --> 00:22:12,516
Speaker 2: that stuff was like, yeah, we're finally yeah, yeah, damn,

478
00:22:12,636 --> 00:22:14,716
Speaker 2: you know. And it wasn't a soft landing. You know,

479
00:22:14,756 --> 00:22:18,076
Speaker 2: a lot of drugs and alcohol came into play and

480
00:22:18,076 --> 00:22:21,476
Speaker 2: and uh, you know, pushing the feelings away, and there

481
00:22:21,556 --> 00:22:25,396
Speaker 2: was a lot of emotional damage, you know, internally to

482
00:22:25,956 --> 00:22:30,516
Speaker 2: you know, ourselves and others around us. And typically the

483
00:22:30,556 --> 00:22:33,196
Speaker 2: ones we love the most to seem to catch a

484
00:22:33,236 --> 00:22:35,196
Speaker 2: lot of the flat because they're right there hugging you

485
00:22:35,236 --> 00:22:38,916
Speaker 2: went your bomb explodes, you know. Yeah, So it's yeah, man,

486
00:22:39,476 --> 00:22:43,356
Speaker 2: been a lot of uh, a lot of uh, you know,

487
00:22:43,556 --> 00:22:45,716
Speaker 2: reparations along the way, you know.

488
00:22:45,876 --> 00:22:48,556
Speaker 1: Son, It's one of the heaviest stories because like you

489
00:22:48,556 --> 00:22:53,236
Speaker 1: could point to some people in music history that you know,

490
00:22:55,516 --> 00:22:58,836
Speaker 1: like maybe like Otis Redding, you know, maybe a Randy

491
00:22:58,876 --> 00:23:00,916
Speaker 1: Roads just thinking about Ozzie's just passed Randy Roads, who

492
00:23:00,956 --> 00:23:04,396
Speaker 1: was just like you know, they kind of you know,

493
00:23:04,596 --> 00:23:07,916
Speaker 1: gone too soon. But it's like the riots really like

494
00:23:09,356 --> 00:23:12,116
Speaker 1: it's never happened, and the way that it uniquely happened

495
00:23:12,116 --> 00:23:13,316
Speaker 1: to you guys, losing it.

496
00:23:13,236 --> 00:23:17,036
Speaker 3: Is totally unique story completely from start to finish, from

497
00:23:17,076 --> 00:23:20,436
Speaker 3: from high school to present day. You know, from eighty

498
00:23:20,516 --> 00:23:23,836
Speaker 3: nine to twenty five, there's nothing quite exactly like the

499
00:23:23,916 --> 00:23:27,676
Speaker 3: story of Sublime, and it's it's stayed pretty like underground

500
00:23:27,676 --> 00:23:29,276
Speaker 3: in a cool way, you know what I mean. It's big,

501
00:23:29,356 --> 00:23:31,116
Speaker 3: obviously bigger than anybody ever thought it'd be.

502
00:23:31,156 --> 00:23:34,876
Speaker 1: But it's obviously very big, but it's it's a countercultural thing.

503
00:23:35,076 --> 00:23:38,476
Speaker 3: It's almost like its own subgenre. Not subgenre you trying

504
00:23:38,476 --> 00:23:39,396
Speaker 3: to say, is that I.

505
00:23:39,396 --> 00:23:40,956
Speaker 1: Was going to figure out too. It's like a subgenre

506
00:23:41,076 --> 00:23:43,196
Speaker 1: that gets just a culture. Maybe it's a subculture that

507
00:23:43,276 --> 00:23:46,836
Speaker 1: gets adopted kind of everywhere around everyone has their own

508
00:23:46,836 --> 00:23:48,756
Speaker 1: little personal experience. I mean, like it's just it was

509
00:23:48,796 --> 00:23:50,956
Speaker 1: so funny to hear you explain your teenage years with it,

510
00:23:50,956 --> 00:23:52,716
Speaker 1: because it was like the same thing with my teenage

511
00:23:52,796 --> 00:23:55,396
Speaker 1: years of like people smoking joints and listening to like,

512
00:23:55,436 --> 00:23:57,236
Speaker 1: you know, ruka or like what you know. It's like

513
00:23:57,276 --> 00:23:59,996
Speaker 1: that was like what we did, and then that's how

514
00:24:00,036 --> 00:24:02,516
Speaker 1: and then going back and then finding like Barrington Levy

515
00:24:02,596 --> 00:24:04,956
Speaker 1: or find you know, like just like how hip hop

516
00:24:05,036 --> 00:24:07,676
Speaker 1: helped me go back and find new records, like you know,

517
00:24:07,756 --> 00:24:10,396
Speaker 1: sublime help me go back and really rediscover what was

518
00:24:10,436 --> 00:24:13,636
Speaker 1: going on in Jamaica and the islands. And then it's

519
00:24:13,676 --> 00:24:16,036
Speaker 1: covering people like Gershwin and you're like it's a whole

520
00:24:16,116 --> 00:24:19,396
Speaker 1: musical education. And then like you know, digging deeper into

521
00:24:19,436 --> 00:24:22,996
Speaker 1: caras One, you know, like it's like that was what

522
00:24:22,996 --> 00:24:26,196
Speaker 1: what you guys did. But yeah, but it's just it's

523
00:24:26,236 --> 00:24:30,476
Speaker 1: just unfathomable that you guys were right there with this

524
00:24:30,676 --> 00:24:32,836
Speaker 1: album with the self title Low and it just sounds

525
00:24:32,916 --> 00:24:38,236
Speaker 1: like as perfect as any album that's ever classic record.

526
00:24:38,556 --> 00:24:42,436
Speaker 2: That was like the sound that we were attempting to

527
00:24:42,516 --> 00:24:47,436
Speaker 2: achieve from the beginning. You know when when we when

528
00:24:47,516 --> 00:24:54,556
Speaker 2: we had the rough tracks done in in uh at

529
00:24:54,556 --> 00:24:58,516
Speaker 2: Willie's place there and they had the rough at it,

530
00:24:58,516 --> 00:25:01,956
Speaker 2: it was like, that's it. This is the sound that

531
00:25:01,996 --> 00:25:04,756
Speaker 2: we had been trying to make this entire time, you know,

532
00:25:05,516 --> 00:25:07,956
Speaker 2: from John Won't Pay the Bills all the way through.

533
00:25:08,116 --> 00:25:10,396
Speaker 1: You know what were you guys going for on Robin

534
00:25:10,476 --> 00:25:10,796
Speaker 1: the Hood?

535
00:25:13,116 --> 00:25:16,196
Speaker 2: So that sounds like a funny story there. Well, we

536
00:25:16,196 --> 00:25:19,756
Speaker 2: were talking with Brett Gurwitz, uh, mister Brett from from

537
00:25:19,836 --> 00:25:25,076
Speaker 2: Bad Religion and and uh yeah he had had uh

538
00:25:25,596 --> 00:25:29,036
Speaker 2: expressed some interests and signing us to Epitaph Records, and

539
00:25:29,116 --> 00:25:32,876
Speaker 2: so he said, well, come on down to the studio.

540
00:25:33,076 --> 00:25:37,156
Speaker 2: Donelle is going to record you guys and just just uh,

541
00:25:37,276 --> 00:25:39,916
Speaker 2: you know, have some fun, you know, do what you

542
00:25:39,956 --> 00:25:43,236
Speaker 2: guys do. And so we go down to the studio

543
00:25:43,676 --> 00:25:47,036
Speaker 2: expecting to see mister Brett there and everything, and he's like, oh,

544
00:25:47,076 --> 00:25:49,356
Speaker 2: well he's he's in Uh, he's in New York. He's

545
00:25:49,356 --> 00:25:52,356
Speaker 2: signing a deal with Atlantic for Bad Religion right now,

546
00:25:52,436 --> 00:25:54,196
Speaker 2: so he's not going to be able to be here.

547
00:25:54,236 --> 00:25:56,796
Speaker 2: So we stayed there, we knocked out a bunch of tracks,

548
00:25:57,236 --> 00:26:01,436
Speaker 2: and the engineer went to go get some food pick up,

549
00:26:01,436 --> 00:26:04,676
Speaker 2: food delivery or something like that, and so we hit

550
00:26:04,796 --> 00:26:07,716
Speaker 2: rewind on the tape machine, boxed up the two inch

551
00:26:07,796 --> 00:26:10,236
Speaker 2: tape and took it with us left to nose. Have

552
00:26:10,316 --> 00:26:14,556
Speaker 2: mister Brett call us when he returns. And uh, you know,

553
00:26:14,636 --> 00:26:18,276
Speaker 2: Brett was pretty upset, you know, he'd just given us

554
00:26:18,316 --> 00:26:20,436
Speaker 2: all this time. And I was like, well, Brett, this

555
00:26:20,516 --> 00:26:23,916
Speaker 2: is our this is our intellectual property. You know, we

556
00:26:24,236 --> 00:26:26,316
Speaker 2: owe you for the tape. Okay, you said you were

557
00:26:26,316 --> 00:26:28,596
Speaker 2: giving us the recording time, but we owe you the

558
00:26:28,596 --> 00:26:32,796
Speaker 2: two hundred fifty bucks for the for the tape. You

559
00:26:32,836 --> 00:26:34,636
Speaker 2: want to sign us, we can go see it all

560
00:26:34,676 --> 00:26:40,196
Speaker 2: This later's got lost in the shuffle, and so now

561
00:26:40,236 --> 00:26:42,636
Speaker 2: here we got this. We have half a record, well,

562
00:26:43,036 --> 00:26:45,236
Speaker 2: probably a full record if we looked at it like

563
00:26:45,236 --> 00:26:47,396
Speaker 2: a regular band, but we like to fill up all

564
00:26:47,436 --> 00:26:51,316
Speaker 2: the plastic on the CD. So we had half a

565
00:26:51,356 --> 00:26:54,156
Speaker 2: record in material. What are we going to do with it? Well,

566
00:26:54,196 --> 00:26:58,596
Speaker 2: we have to make another record. So it was demo

567
00:26:58,716 --> 00:27:03,116
Speaker 2: days and we had some friends that had found this

568
00:27:03,276 --> 00:27:06,836
Speaker 2: community down in South County that had some homes that

569
00:27:06,876 --> 00:27:11,436
Speaker 2: were damaged and and so you know, it was it

570
00:27:11,516 --> 00:27:15,636
Speaker 2: was free, free studio time. We set up our equipment

571
00:27:15,676 --> 00:27:24,556
Speaker 2: and in the abandoned homes and squatted away living rooms across. Yeah,

572
00:27:24,636 --> 00:27:28,716
Speaker 2: you know, Kathy Cornwall's living room was part part of it. Yeah,

573
00:27:28,756 --> 00:27:31,236
Speaker 2: there was a couple of other people who donated the

574
00:27:31,236 --> 00:27:33,876
Speaker 2: their rooms and and but yeah, a lot, a lot

575
00:27:33,876 --> 00:27:37,156
Speaker 2: of uh, a lot of debauchery went into that album.

576
00:27:37,236 --> 00:27:39,476
Speaker 2: That's why it's called Robin the Hood because we were

577
00:27:39,756 --> 00:27:40,596
Speaker 2: stealing time.

578
00:27:44,476 --> 00:27:48,316
Speaker 1: That's insane. We'll be back with more from Jacob and

579
00:27:48,356 --> 00:27:55,076
Speaker 1: Bud of Sublime after the break. So you had the

580
00:27:55,356 --> 00:27:57,556
Speaker 1: I mean the stolen but not really stolen because to

581
00:27:57,596 --> 00:28:00,636
Speaker 1: your point, was your actual property those dates. It was

582
00:28:00,676 --> 00:28:01,436
Speaker 1: from epitaph.

583
00:28:01,476 --> 00:28:04,476
Speaker 2: It was, yeah, eccentrically borrowed.

584
00:28:06,036 --> 00:28:09,036
Speaker 3: Yeah, repurposed and recommandeered.

585
00:28:10,916 --> 00:28:12,516
Speaker 1: Have you heard that? Have you heard the story before?

586
00:28:12,516 --> 00:28:14,356
Speaker 3: You were bits and pieces, but hearing it all together

587
00:28:14,516 --> 00:28:16,276
Speaker 3: is just like, blow my mind every time.

588
00:28:16,916 --> 00:28:18,436
Speaker 1: That's so crazy.

589
00:28:18,756 --> 00:28:21,476
Speaker 3: You just don't hear like stories like that anymore.

590
00:28:21,476 --> 00:28:23,716
Speaker 1: Man, it's not too late. You guys can steal. You

591
00:28:23,716 --> 00:28:25,996
Speaker 1: guys have from tapes, you can steal from these sessions.

592
00:28:25,996 --> 00:28:28,676
Speaker 3: You guys, let's go right.

593
00:28:28,556 --> 00:28:29,156
Speaker 2: Now, let's.

594
00:28:31,116 --> 00:28:33,676
Speaker 3: Let's go to John Joseph.

595
00:28:34,076 --> 00:28:35,436
Speaker 1: So when you guys put that together, I mean just

596
00:28:35,476 --> 00:28:37,996
Speaker 1: to get back and obviously well we'll start talking about

597
00:28:38,676 --> 00:28:40,996
Speaker 1: Sonatas and the new stuff, but it's just it's we

598
00:28:41,116 --> 00:28:43,636
Speaker 1: got both two generations of the band going here. So

599
00:28:43,676 --> 00:28:47,556
Speaker 1: it's just it's it's like an embarrassment of riches. But

600
00:28:47,636 --> 00:28:49,596
Speaker 1: you know, the self title album and it's like this

601
00:28:49,676 --> 00:28:51,996
Speaker 1: perfect sound and even you said it's the sound you

602
00:28:52,076 --> 00:28:56,916
Speaker 1: heard Robin Hood was definitely the exact opposite of that.

603
00:28:57,076 --> 00:28:58,476
Speaker 1: But you guys knew that putting it out.

604
00:28:58,516 --> 00:29:02,396
Speaker 2: You just wanted to experimental album, you know, at the time,

605
00:29:02,716 --> 00:29:05,076
Speaker 2: you know, you had albums like Paul's Boutique coming out.

606
00:29:05,156 --> 00:29:07,596
Speaker 2: You know, I was gonna mention all of this, you know,

607
00:29:07,716 --> 00:29:10,836
Speaker 2: really great wild stuff, and so you know, we're we're

608
00:29:10,876 --> 00:29:13,956
Speaker 2: pushing the limits with the hip hop and you know

609
00:29:14,436 --> 00:29:19,236
Speaker 2: element and in our music and really trying to find

610
00:29:19,276 --> 00:29:22,636
Speaker 2: that next sound, you know. And and so, like I said,

611
00:29:22,676 --> 00:29:25,076
Speaker 2: we had we had this half of an album that

612
00:29:25,236 --> 00:29:28,836
Speaker 2: was you know, it was professionally recorded, and then the

613
00:29:28,916 --> 00:29:33,156
Speaker 2: other half was not so professionally recorded. And then we

614
00:29:33,196 --> 00:29:35,476
Speaker 2: all put it together and produced it on our own.

615
00:29:35,716 --> 00:29:38,636
Speaker 2: You know. That was Miguel and Brad and you know

616
00:29:38,876 --> 00:29:41,556
Speaker 2: mine and Eric's two cents in there when needed. So

617
00:29:41,956 --> 00:29:44,116
Speaker 2: you know, it was, uh, that's how we put that

618
00:29:44,156 --> 00:29:45,756
Speaker 2: album together. And it was like all right, now we

619
00:29:45,836 --> 00:29:47,596
Speaker 2: got something new, let's get it out there, you know.

620
00:29:47,636 --> 00:29:50,636
Speaker 2: And it was we always looked at at our records

621
00:29:50,676 --> 00:29:53,396
Speaker 2: like a finished product, a piece of art, but it

622
00:29:53,516 --> 00:29:56,116
Speaker 2: was also a business card. You know, this is what

623
00:29:56,196 --> 00:29:58,076
Speaker 2: we're going to hand people. This is going to get

624
00:29:58,076 --> 00:30:00,716
Speaker 2: their attention, you know. And so it was like we

625
00:30:00,796 --> 00:30:02,756
Speaker 2: got something new to pass out, we have something new

626
00:30:02,756 --> 00:30:04,876
Speaker 2: to sell. Well, it was just putting gas in the

627
00:30:04,916 --> 00:30:06,596
Speaker 2: vand so we can get to the next show.

628
00:30:07,716 --> 00:30:10,516
Speaker 1: What was the reception when you're passing that around fifty

629
00:30:10,516 --> 00:30:12,076
Speaker 1: to fifty people?

630
00:30:12,396 --> 00:30:15,236
Speaker 2: Some people loved it, some people hated it. You know,

631
00:30:15,916 --> 00:30:18,436
Speaker 2: I couldn't understand, Raleigh, what the fuck did you put

632
00:30:18,436 --> 00:30:20,916
Speaker 2: that guy on the album for? It's like, you don't

633
00:30:20,956 --> 00:30:23,516
Speaker 2: get it, Okay.

634
00:30:22,956 --> 00:30:26,436
Speaker 3: This one doesn't get it?

635
00:30:26,556 --> 00:30:33,236
Speaker 1: Fifty fifty description of that record, Like it's it's pretty abrasive.

636
00:30:33,276 --> 00:30:36,476
Speaker 1: It's like, you know, it's definitely you know, like if

637
00:30:36,476 --> 00:30:38,116
Speaker 1: you hear that, you're gonna get it, or you're just.

638
00:30:38,316 --> 00:30:41,556
Speaker 2: Like, yeah, you know, it's for the seasoned listener.

639
00:30:42,636 --> 00:30:52,996
Speaker 3: Odds are good, but the goods are odd so good.

640
00:30:53,076 --> 00:30:55,916
Speaker 1: So then once you finally get out to Willie's place

641
00:30:56,636 --> 00:31:00,036
Speaker 1: and outside of Willie Nelson, outside of Austin, just outside

642
00:31:00,036 --> 00:31:02,356
Speaker 1: of Austin, Texas, and you guys are recording and self titled,

643
00:31:03,436 --> 00:31:05,156
Speaker 1: did you just like, was it an accident that you

644
00:31:05,196 --> 00:31:05,876
Speaker 1: got that sound?

645
00:31:05,916 --> 00:31:05,996
Speaker 2: Like?

646
00:31:06,036 --> 00:31:08,796
Speaker 1: Did it just I mean, I'd assume not, but like.

647
00:31:09,196 --> 00:31:11,516
Speaker 2: You know, it was just the years and years of

648
00:31:11,956 --> 00:31:16,796
Speaker 2: working together, you know, playing playing shows out on the road,

649
00:31:17,316 --> 00:31:21,396
Speaker 2: you know, I mean there there's times when you know,

650
00:31:21,756 --> 00:31:23,836
Speaker 2: Eric and I were lockstep from from a Jump, and

651
00:31:23,876 --> 00:31:26,796
Speaker 2: I think that's partly because you know, being trained by

652
00:31:26,836 --> 00:31:29,116
Speaker 2: his father and stuff, both of us.

653
00:31:29,156 --> 00:31:31,276
Speaker 1: So so father was a drummer, right, His.

654
00:31:31,516 --> 00:31:35,236
Speaker 2: Father was a drummer and also played piano and vibes

655
00:31:35,236 --> 00:31:40,796
Speaker 2: and stuff too. But but you know, being playing shows

656
00:31:40,836 --> 00:31:44,116
Speaker 2: out on the road, you know, for for as long

657
00:31:44,156 --> 00:31:47,516
Speaker 2: as we did, we developed like this kind of third

658
00:31:47,556 --> 00:31:50,836
Speaker 2: eye between us. You know, we all knew what we

659
00:31:50,836 --> 00:31:53,276
Speaker 2: were going to do. When you know, it's like all

660
00:31:53,276 --> 00:31:55,756
Speaker 2: it took was just like Brad turning around and looking

661
00:31:55,796 --> 00:31:58,916
Speaker 2: at me and going like watch this hold on, you know,

662
00:31:58,956 --> 00:32:00,476
Speaker 2: and I was like I knew a change was coming,

663
00:32:00,516 --> 00:32:02,276
Speaker 2: and I was like, I know what he's gonna do.

664
00:32:02,716 --> 00:32:05,596
Speaker 2: I remember the music we were listening to on the way here,

665
00:32:05,996 --> 00:32:09,116
Speaker 2: you know. Yeah, and so so you know, things would

666
00:32:09,236 --> 00:32:11,676
Speaker 2: change up and we had improvised it, and you know,

667
00:32:11,796 --> 00:32:15,436
Speaker 2: it was it was just developing that that musicianship you know,

668
00:32:15,916 --> 00:32:19,916
Speaker 2: really played into the recording. And you know a lot

669
00:32:19,956 --> 00:32:23,276
Speaker 2: of times we were you know, the other recordings, we

670
00:32:23,276 --> 00:32:25,756
Speaker 2: were pressed for time and money, you know, because it

671
00:32:25,796 --> 00:32:28,396
Speaker 2: costs money to be in the studio, and we didn't

672
00:32:28,436 --> 00:32:32,196
Speaker 2: go into the studio without a purpose. You know, there

673
00:32:32,276 --> 00:32:35,036
Speaker 2: was we had ten or fifteen songs and we're going

674
00:32:35,116 --> 00:32:37,036
Speaker 2: to bust out as many as we can. And we

675
00:32:37,116 --> 00:32:39,236
Speaker 2: went in there bing bang bing bang bing bang boom,

676
00:32:39,516 --> 00:32:41,676
Speaker 2: you know, because it was costing us money and we

677
00:32:41,676 --> 00:32:44,596
Speaker 2: were broke. So we're going out to Willie's place and

678
00:32:44,636 --> 00:32:47,156
Speaker 2: the record company's paying for it. And I remember flying

679
00:32:47,196 --> 00:32:49,836
Speaker 2: out there asking Eric what the fuck are we gonna do?

680
00:32:50,196 --> 00:32:53,556
Speaker 2: We got maybe two or three songs, you know, I mean,

681
00:32:53,956 --> 00:32:56,436
Speaker 2: and he's like, I don't know, but we're figuring out

682
00:32:56,476 --> 00:32:57,636
Speaker 2: when we get there.

683
00:32:57,516 --> 00:32:57,756
Speaker 3: You know.

684
00:32:59,156 --> 00:33:02,196
Speaker 2: So uh, you know, every day it was just something new,

685
00:33:02,516 --> 00:33:06,756
Speaker 2: and it was part of that that jam, that improv

686
00:33:07,396 --> 00:33:10,156
Speaker 2: kind of feel, you know, and it was just it

687
00:33:10,276 --> 00:33:12,116
Speaker 2: was just wild, you know, and just things came to

688
00:33:12,196 --> 00:33:15,156
Speaker 2: us every day, and some days nothing came to us.

689
00:33:15,396 --> 00:33:17,396
Speaker 2: We'd sit there and try as hard as we could,

690
00:33:17,596 --> 00:33:19,276
Speaker 2: and Paul would be like, why don't you guys go

691
00:33:19,356 --> 00:33:20,516
Speaker 2: play golf or something.

692
00:33:22,596 --> 00:33:23,996
Speaker 3: They actually had that set up there.

693
00:33:24,356 --> 00:33:27,476
Speaker 2: There was a little golf Willie's studio was a it

694
00:33:27,556 --> 00:33:29,716
Speaker 2: was on a golf course. It was a it was

695
00:33:29,756 --> 00:33:33,676
Speaker 2: an old golf club. It was a country club, and

696
00:33:33,916 --> 00:33:36,476
Speaker 2: the country club for the golf course was the actual studio,

697
00:33:36,836 --> 00:33:39,396
Speaker 2: and there was homes around the golf course. And I

698
00:33:39,396 --> 00:33:43,196
Speaker 2: think that like all of the touring families lived out there,

699
00:33:43,276 --> 00:33:45,196
Speaker 2: you know, so all of his roadies and such, you know,

700
00:33:45,196 --> 00:33:47,476
Speaker 2: they all kind of add their their community out there.

701
00:33:47,516 --> 00:33:50,156
Speaker 2: It was Willie World, you know, it was pretty really

702
00:33:50,156 --> 00:33:50,796
Speaker 2: cool thing, you.

703
00:33:50,716 --> 00:33:53,356
Speaker 1: Know, was any of Willie's Like, like, so Willie's some

704
00:33:53,396 --> 00:33:56,676
Speaker 1: of Willie's entourage must have been around to see, right, Yeah,

705
00:33:56,796 --> 00:33:58,596
Speaker 1: yeah you meet you got to meet him.

706
00:33:58,596 --> 00:33:59,996
Speaker 2: You didn't get to meet Willie. He was out on

707
00:34:00,036 --> 00:34:02,636
Speaker 2: the road at the time, okay, yeah, yeah, yeah.

708
00:34:02,676 --> 00:34:04,556
Speaker 1: So a lot of that was jamming. You guys got

709
00:34:04,596 --> 00:34:08,916
Speaker 1: in hit record, see what happens, and then you would

710
00:34:08,916 --> 00:34:11,196
Speaker 1: just shape it from there, like yeah, listen back to

711
00:34:11,236 --> 00:34:12,236
Speaker 1: the tay here something.

712
00:34:12,276 --> 00:34:12,556
Speaker 3: Okay.

713
00:34:12,596 --> 00:34:16,676
Speaker 2: So, for instance, caress me down. I had an electronic

714
00:34:16,756 --> 00:34:18,916
Speaker 2: drum kit. I think it was a Rolling TD seven

715
00:34:19,476 --> 00:34:23,076
Speaker 2: and there was this one pre programmed drum kit on

716
00:34:23,116 --> 00:34:26,636
Speaker 2: there that had like reverse cymbals and drums, and I'm

717
00:34:26,676 --> 00:34:28,836
Speaker 2: just messing around with it. I got like the headphones on,

718
00:34:28,916 --> 00:34:31,556
Speaker 2: you know, and and I'm just playing around on this thing.

719
00:34:31,596 --> 00:34:33,436
Speaker 2: And then and I didn't realize that it was in

720
00:34:33,476 --> 00:34:35,596
Speaker 2: the monitors too, and Brad was like, wait, wait, wait,

721
00:34:35,716 --> 00:34:38,196
Speaker 2: play that again, play that again, you know, And that

722
00:34:38,396 --> 00:34:42,116
Speaker 2: was like the first part for Caress Me Down, and

723
00:34:42,156 --> 00:34:43,836
Speaker 2: that's how that and he was like I got something,

724
00:34:43,876 --> 00:34:46,556
Speaker 2: I got something, and he just grabbed a microphone. Paul

725
00:34:46,636 --> 00:34:49,756
Speaker 2: hit play and record and it was the drums and

726
00:34:49,796 --> 00:34:52,436
Speaker 2: Brad and Brad was like kind of directing me as

727
00:34:52,476 --> 00:34:55,716
Speaker 2: he's singing lyrics, you know, And so the scratch lyrics

728
00:34:55,756 --> 00:34:57,676
Speaker 2: on there, I'm sure he'd be like, no, bring it down,

729
00:34:57,676 --> 00:35:01,196
Speaker 2: bring it down, okay, you know. So it's it was

730
00:35:01,236 --> 00:35:04,636
Speaker 2: pretty cool, like wild, like on the spot, like live creation.

731
00:35:05,156 --> 00:35:07,276
Speaker 1: You do that, and then he might he might be scratching,

732
00:35:07,996 --> 00:35:12,036
Speaker 1: he might redo it, read it. Yeah, that's pretty insane though, Yeah,

733
00:35:12,196 --> 00:35:14,436
Speaker 1: that's pretty nuts. How much of that I mean? You

734
00:35:14,476 --> 00:35:17,796
Speaker 1: can't like obviously, like the sound of en Sonata, which

735
00:35:17,836 --> 00:35:20,516
Speaker 1: is like the first fully original song that you guys

736
00:35:20,556 --> 00:35:24,756
Speaker 1: have done with with with Jacob, it sounds like a

737
00:35:24,796 --> 00:35:28,116
Speaker 1: bit like logically what you would think comes next after

738
00:35:28,156 --> 00:35:32,756
Speaker 1: that album, But you can't recreate the magic that might

739
00:35:32,756 --> 00:35:35,196
Speaker 1: have happened at Willie's studio, no, totally. So how do

740
00:35:35,196 --> 00:35:36,836
Speaker 1: you guys think about going in the studio once you

741
00:35:36,876 --> 00:35:38,316
Speaker 1: decide to do this together?

742
00:35:38,396 --> 00:35:40,756
Speaker 3: Like basically everything Bud said, I kind of wanted that

743
00:35:40,916 --> 00:35:43,196
Speaker 3: to be the case too, and so yeah, it's kind

744
00:35:43,196 --> 00:35:45,956
Speaker 3: of exactly the vibe. I mean, there was some basic

745
00:35:46,036 --> 00:35:48,516
Speaker 3: ideas here and there from various sources, and then we

746
00:35:48,716 --> 00:35:50,356
Speaker 3: just go in there and jam it out. And that's

747
00:35:50,436 --> 00:35:53,396
Speaker 3: exactly what you're hearing on this recording and Sonata and

748
00:35:53,396 --> 00:35:55,676
Speaker 3: all the recordings of the record, like and same thing

749
00:35:55,716 --> 00:35:57,316
Speaker 3: we had, like the mike and me and John would

750
00:35:57,316 --> 00:35:59,276
Speaker 3: be us into the drum doing the or Bud doing

751
00:35:59,276 --> 00:36:01,876
Speaker 3: the drum takes and uh, Eric on bass are on

752
00:36:01,956 --> 00:36:05,276
Speaker 3: the keys and uh, I mean that's just like how

753
00:36:05,436 --> 00:36:07,436
Speaker 3: good music is made, you know. And we're smiling the

754
00:36:07,476 --> 00:36:09,916
Speaker 3: whole time. And then we break for lunch and go

755
00:36:09,956 --> 00:36:12,596
Speaker 3: take a little walk sunny Sampedro and it was just

756
00:36:12,636 --> 00:36:15,076
Speaker 3: like such a cool experience there for a couple of weeks,

757
00:36:15,116 --> 00:36:16,996
Speaker 3: I think, and they're like, yeah, how.

758
00:36:16,836 --> 00:36:19,276
Speaker 1: Many songs do you guys recorded in Pedro for the

759
00:36:19,356 --> 00:36:20,196
Speaker 1: for the news shoot?

760
00:36:20,876 --> 00:36:23,156
Speaker 2: It was like sixteen or something.

761
00:36:23,356 --> 00:36:26,516
Speaker 3: I think about sixteen we did, and we did even

762
00:36:26,556 --> 00:36:28,716
Speaker 3: more if you count the jams, because sometimes he just

763
00:36:28,756 --> 00:36:30,236
Speaker 3: turned it on to be like all right, start jamming.

764
00:36:31,796 --> 00:36:33,796
Speaker 1: You guys must say like what did you guys. First jam.

765
00:36:35,556 --> 00:36:37,836
Speaker 3: Honestly, the very very first time was it was it

766
00:36:37,956 --> 00:36:39,116
Speaker 3: Doug's birthday party.

767
00:36:39,116 --> 00:36:44,676
Speaker 2: That's right. Yeah, we have a common employer. We both

768
00:36:44,676 --> 00:36:46,996
Speaker 2: worked at Billings Hardware growing up in Long Beach.

769
00:36:46,876 --> 00:36:48,516
Speaker 1: Right down the street from here on Second Street.

770
00:36:51,276 --> 00:36:51,996
Speaker 3: Shoutout Doug.

771
00:36:52,036 --> 00:36:55,596
Speaker 2: Doug had his fiftieth birthday party and he had invited me.

772
00:36:56,236 --> 00:36:59,756
Speaker 2: Doug got me into jeeping. He's he's really big and

773
00:37:01,236 --> 00:37:05,236
Speaker 2: driving jeeps off roading. Yeah, yeah, cool enough, you're good.

774
00:37:06,196 --> 00:37:08,076
Speaker 2: And uh so he was like, yeah, We're having a

775
00:37:08,116 --> 00:37:10,116
Speaker 2: little party out of my house in the desert and

776
00:37:10,156 --> 00:37:12,676
Speaker 2: I have a bunch of jeeps out there, and you know, like, oh,

777
00:37:13,156 --> 00:37:16,796
Speaker 2: cave in and cave exploring. Because he's a spilunker. He's actually

778
00:37:16,836 --> 00:37:18,556
Speaker 2: an underground cartographer.

779
00:37:18,716 --> 00:37:20,116
Speaker 3: Dude. I don't know how he does that. That stuff

780
00:37:20,156 --> 00:37:21,956
Speaker 3: gives me nightmares, Like I brave.

781
00:37:22,236 --> 00:37:26,436
Speaker 2: He like maps, like underground cave systems for foreign governments

782
00:37:26,476 --> 00:37:28,476
Speaker 2: and stuff too. It's on the side what.

783
00:37:28,756 --> 00:37:34,396
Speaker 3: Yeah, draining cartography. It's nuts, dude, and it's dangerous if

784
00:37:34,436 --> 00:37:36,196
Speaker 3: you have you're the first dude in the cave mapping

785
00:37:36,236 --> 00:37:36,476
Speaker 3: it out.

786
00:37:36,836 --> 00:37:38,436
Speaker 1: It was one thing to be like adventures, like I'm

787
00:37:38,436 --> 00:37:39,956
Speaker 1: going to just go for it and try it out,

788
00:37:39,956 --> 00:37:41,596
Speaker 1: and like that's like a hobby. But to do that

789
00:37:41,636 --> 00:37:42,396
Speaker 1: for form got.

790
00:37:42,316 --> 00:37:49,756
Speaker 2: Like carry's canary in his pocket, see that sweety bird. Yeah.

791
00:37:49,796 --> 00:37:52,476
Speaker 2: So it went out to his fiftieth birthday and he

792
00:37:52,476 --> 00:37:53,796
Speaker 2: said there was going to be a band out there.

793
00:37:53,796 --> 00:37:56,476
Speaker 2: He's like, oh yeah, probably a Z man will probably

794
00:37:56,476 --> 00:37:58,636
Speaker 2: be out here or something like that. He was, And

795
00:37:59,556 --> 00:38:02,236
Speaker 2: I show up and Jake was out there with his band,

796
00:38:02,556 --> 00:38:03,476
Speaker 2: like a right.

797
00:38:03,556 --> 00:38:05,516
Speaker 3: We were playing some punk tunes or whatever. It was

798
00:38:05,636 --> 00:38:08,796
Speaker 3: very early in my in my musical learning. I think

799
00:38:08,796 --> 00:38:12,196
Speaker 3: I was like eighteen, what year like maybe? Oh man,

800
00:38:12,276 --> 00:38:15,556
Speaker 3: if I was eighteen, no, no, this would have been

801
00:38:15,556 --> 00:38:18,196
Speaker 3: more like twenty fifteen maybe.

802
00:38:18,276 --> 00:38:21,596
Speaker 2: Yeah, all right, right fourteen maybe yeah, right around there.

803
00:38:23,036 --> 00:38:25,276
Speaker 1: So you saw Jacob out there with his band.

804
00:38:25,436 --> 00:38:27,676
Speaker 2: Yeah, he just jumped up on the drums and played

805
00:38:27,716 --> 00:38:28,316
Speaker 2: a couple of songs.

806
00:38:28,556 --> 00:38:30,036
Speaker 3: Yeah, just kicked it. It was fun.

807
00:38:30,116 --> 00:38:30,676
Speaker 2: Yeah.

808
00:38:30,716 --> 00:38:33,636
Speaker 3: And then the next day we did some caving and uh,

809
00:38:34,116 --> 00:38:37,716
Speaker 3: very very light because you know, because Doug's a real deal.

810
00:38:37,996 --> 00:38:39,876
Speaker 3: And then I totally blew it. I'm taking I had

811
00:38:39,876 --> 00:38:42,196
Speaker 3: think I had a Forerunner at No, it wasn't a

812
00:38:42,196 --> 00:38:44,236
Speaker 3: four runner. It was an FJ Cruiser. And I got

813
00:38:44,236 --> 00:38:48,516
Speaker 3: it caught in the dirt, and then Bud and Doug

814
00:38:48,596 --> 00:38:50,236
Speaker 3: came in and winched it out of the out of

815
00:38:50,276 --> 00:38:50,956
Speaker 3: the sand.

816
00:38:51,436 --> 00:38:53,636
Speaker 2: Got him unstuck. Oh yeah, oh, put.

817
00:38:53,516 --> 00:38:56,516
Speaker 3: A bunch of brush underneath the tire and stuff and

818
00:38:56,716 --> 00:38:57,436
Speaker 3: got unstuck.

819
00:38:57,916 --> 00:39:00,636
Speaker 1: I was about to ask, was Eric there that day?

820
00:39:00,556 --> 00:39:01,076
Speaker 1: He washed it?

821
00:39:01,236 --> 00:39:04,676
Speaker 2: Was not there that day. But he's from Doug too.

822
00:39:06,596 --> 00:39:07,836
Speaker 2: Eric's Eric's good friends.

823
00:39:07,636 --> 00:39:10,396
Speaker 1: With Dun from from as On Billions.

824
00:39:11,676 --> 00:39:12,716
Speaker 2: Talking about Doug Billions.

825
00:39:12,956 --> 00:39:15,156
Speaker 3: Yeah, yeah, Doug Buildings.

826
00:39:15,476 --> 00:39:19,916
Speaker 1: Set you up here with the great to meet you man.

827
00:39:19,956 --> 00:39:20,436
Speaker 4: How's you going?

828
00:39:21,996 --> 00:39:25,356
Speaker 3: When Eric still lived down here when I started working there,

829
00:39:25,356 --> 00:39:27,036
Speaker 3: he would still come into the shop all the time.

830
00:39:27,516 --> 00:39:31,076
Speaker 1: Yeah, when did you guys? When did you guys first jam?

831
00:39:31,156 --> 00:39:31,876
Speaker 1: Then with Eric?

832
00:39:32,556 --> 00:39:34,836
Speaker 3: Yeah, all three of us together kind of same thing.

833
00:39:35,076 --> 00:39:36,836
Speaker 3: So me and Bud, you know, we see each other's show,

834
00:39:36,916 --> 00:39:39,356
Speaker 3: jam a little bit. Me and Eric, we saw each

835
00:39:39,356 --> 00:39:41,036
Speaker 3: other the show would hop up, jam a little bit

836
00:39:41,076 --> 00:39:42,996
Speaker 3: that happened like with his band, spray aling and stuff.

837
00:39:43,356 --> 00:39:45,276
Speaker 3: And then the three of us jam for the very

838
00:39:45,356 --> 00:39:48,676
Speaker 3: first time to prepare for the hr benefit show, to

839
00:39:48,716 --> 00:39:52,596
Speaker 3: see if we dug it and it made sense? H yeah,

840
00:39:53,116 --> 00:39:56,876
Speaker 3: and uh, the terogram tetragram ballroom.

841
00:39:57,956 --> 00:40:01,596
Speaker 1: Yeah yeah, and like what was uh, how did it

842
00:40:01,636 --> 00:40:04,996
Speaker 1: feel like to do like actual, dude, it was cool

843
00:40:05,676 --> 00:40:07,436
Speaker 1: show these songs.

844
00:40:09,236 --> 00:40:11,676
Speaker 2: Yeah, I definitely felt right. There was a lot of

845
00:40:11,676 --> 00:40:16,356
Speaker 2: healing going on in the room that night all definitely. Yeah, yeah,

846
00:40:16,436 --> 00:40:18,556
Speaker 2: yeah it was. It was a pretty magical moment.

847
00:40:19,716 --> 00:40:21,756
Speaker 3: My favorite is when I pick like some old obscure

848
00:40:21,756 --> 00:40:23,596
Speaker 3: favorite that I love, and they'll look at each other like, man,

849
00:40:23,596 --> 00:40:25,516
Speaker 3: I don't think I've played that for like twenty five years.

850
00:40:28,356 --> 00:40:31,276
Speaker 3: They wrote it, so they remember it perfectly. At least

851
00:40:31,276 --> 00:40:32,196
Speaker 3: to me, it sounds perfect.

852
00:40:32,316 --> 00:40:34,476
Speaker 1: Yeah you are you? What's the process of learning the songs?

853
00:40:34,476 --> 00:40:35,876
Speaker 1: Like are you do? I mean I imagine you can

854
00:40:35,916 --> 00:40:37,556
Speaker 1: get most of them, but then to do occasionally have

855
00:40:37,596 --> 00:40:38,396
Speaker 1: to ask them like.

856
00:40:38,476 --> 00:40:40,396
Speaker 3: Yeah, well, you know, I've been invited to be uh,

857
00:40:40,556 --> 00:40:42,916
Speaker 3: I've been invited to projects before to sing or to

858
00:40:42,916 --> 00:40:45,556
Speaker 3: fill in and stuff for pre established materials. So I

859
00:40:45,596 --> 00:40:47,396
Speaker 3: just go in and just try to listen all the material,

860
00:40:48,116 --> 00:40:50,276
Speaker 3: watch a bunch of live sets the best of my ability,

861
00:40:50,316 --> 00:40:53,316
Speaker 3: And then there have been some parts when I'm like, wait,

862
00:40:53,396 --> 00:40:55,276
Speaker 3: it does it here on this recording? But is that

863
00:40:55,316 --> 00:40:56,876
Speaker 3: how you guys? Did it live? So you know, there's

864
00:40:56,956 --> 00:40:59,556
Speaker 3: sometimes there's differences about how we want to portray things,

865
00:40:59,716 --> 00:41:02,276
Speaker 3: or sometimes just just cuz we'll switch things up a

866
00:41:02,316 --> 00:41:02,716
Speaker 3: little bit.

867
00:41:03,076 --> 00:41:03,276
Speaker 2: Yeah.

868
00:41:03,396 --> 00:41:07,076
Speaker 1: Yeah, has your voice always sounded similar to your dads,

869
00:41:07,076 --> 00:41:09,236
Speaker 1: like that close to your dads when you sing, or.

870
00:41:09,436 --> 00:41:11,356
Speaker 3: I mean in the same way that like sometimes kids

871
00:41:11,396 --> 00:41:12,876
Speaker 3: look like their parents and stuff like that. I think

872
00:41:12,916 --> 00:41:15,716
Speaker 3: there's definitely like similarities, and people definitely tell me they

873
00:41:15,716 --> 00:41:18,516
Speaker 3: hear it. I hear it more more times than others.

874
00:41:18,556 --> 00:41:22,316
Speaker 3: But I mean, you can't, you know, you can't go

875
00:41:22,396 --> 00:41:24,556
Speaker 3: and try to emulate something you're not all the time,

876
00:41:24,636 --> 00:41:26,396
Speaker 3: Like I would try to get it as close as

877
00:41:26,396 --> 00:41:29,116
Speaker 3: I can. Yeah, I'm never trying to insert my own

878
00:41:29,196 --> 00:41:32,756
Speaker 3: interpretation of the material because that doesn't seem like if anything,

879
00:41:32,796 --> 00:41:34,796
Speaker 3: I'm trying to be like, Okay, let's see how this

880
00:41:34,876 --> 00:41:38,356
Speaker 3: type of singer my dad would would approach things and

881
00:41:38,396 --> 00:41:40,276
Speaker 3: how he would deliver things and when to use vibroad

882
00:41:40,316 --> 00:41:42,836
Speaker 3: and when not to. And I was much worse at it.

883
00:41:42,836 --> 00:41:44,356
Speaker 3: I think a year ago when we started, I think

884
00:41:44,356 --> 00:41:46,276
Speaker 3: it was still, you know, fun show for people to

885
00:41:46,276 --> 00:41:49,236
Speaker 3: co see. But all the time I'm trying to improve,

886
00:41:49,596 --> 00:41:52,596
Speaker 3: And so recently I actually started listening to the iso vocals.

887
00:41:52,756 --> 00:41:55,196
Speaker 3: There's people up there who put it on YouTube where

888
00:41:55,196 --> 00:41:59,076
Speaker 3: they isolate you know, drums based vocals, and so that

889
00:41:59,156 --> 00:42:02,836
Speaker 3: helps a lot for me to hear hear the inflections

890
00:42:02,836 --> 00:42:05,316
Speaker 3: and where things are supposed to go. But ultimately, you know,

891
00:42:05,356 --> 00:42:07,276
Speaker 3: no plans to survive contact with the enemy. You know,

892
00:42:07,356 --> 00:42:09,796
Speaker 3: when we're up there playing, it's all about just having

893
00:42:09,796 --> 00:42:11,596
Speaker 3: fun and chaos. Yeah, that's all just to prepare.

894
00:42:13,116 --> 00:42:19,676
Speaker 1: Well, Na's break and we'll be back with Sublime. But

895
00:42:19,716 --> 00:42:21,476
Speaker 1: the studying has got to be a trip because like

896
00:42:21,596 --> 00:42:24,436
Speaker 1: Bradley made some really weird choices. Like see, I don't

897
00:42:24,436 --> 00:42:26,196
Speaker 1: know if there were conscious choices. It might have just

898
00:42:26,236 --> 00:42:28,116
Speaker 1: been who he was and just come naturally.

899
00:42:28,156 --> 00:42:31,396
Speaker 2: But like this is so cool, man, Like it's so cool.

900
00:42:31,596 --> 00:42:34,036
Speaker 3: There's some parts where like musically, I'm like what were

901
00:42:34,076 --> 00:42:36,556
Speaker 3: they thinking? Like no, who comes up with it? It's

902
00:42:36,596 --> 00:42:41,036
Speaker 3: so rad just certain progressions or like, I don't know,

903
00:42:41,116 --> 00:42:42,596
Speaker 3: it just it had the vibe of like kind of

904
00:42:42,596 --> 00:42:44,436
Speaker 3: like budd was. We were talking earlier about like a

905
00:42:44,476 --> 00:42:47,076
Speaker 3: self titled record and you guys just like nailing that

906
00:42:47,196 --> 00:42:50,276
Speaker 3: sound you've been working up towards for so many years.

907
00:42:50,996 --> 00:42:53,156
Speaker 3: And I think a big part of that component correct

908
00:42:53,156 --> 00:42:54,436
Speaker 3: me I from wrong. But it's just like you know,

909
00:42:55,076 --> 00:42:57,956
Speaker 3: just that that jam element and just almost turning your

910
00:42:57,996 --> 00:42:58,676
Speaker 3: brain off, you know.

911
00:42:58,956 --> 00:42:59,436
Speaker 1: Yeah.

912
00:42:59,516 --> 00:43:01,236
Speaker 3: Yeah, so that's helped a lot for sure.

913
00:43:01,356 --> 00:43:05,236
Speaker 1: Yeah, for you, Like the healing part of it, was

914
00:43:04,996 --> 00:43:07,876
Speaker 1: that expected or did that feel? Was that a surprise?

915
00:43:08,156 --> 00:43:13,276
Speaker 1: Just how right it felt? And so the weight of it,

916
00:43:13,316 --> 00:43:14,916
Speaker 1: the gravity of it, the healing of it.

917
00:43:16,676 --> 00:43:19,356
Speaker 3: Yeah, I guess no one expects something intense to happen,

918
00:43:21,116 --> 00:43:23,636
Speaker 3: but uh, yeah, it felt right and it continues to.

919
00:43:24,476 --> 00:43:25,716
Speaker 3: Yeah for sure.

920
00:43:26,756 --> 00:43:30,196
Speaker 1: Was there a part of you that felt before green

921
00:43:30,276 --> 00:43:32,236
Speaker 1: to do it, before doing it, that felt like maybe

922
00:43:32,276 --> 00:43:34,796
Speaker 1: like maybe it's just too much, maybe it's too for me?

923
00:43:34,876 --> 00:43:37,756
Speaker 3: Yeah, because I didn't want to like you know, it's

924
00:43:37,156 --> 00:43:40,356
Speaker 3: it's it's tricky because I think especially fans, you know,

925
00:43:40,396 --> 00:43:44,356
Speaker 3: they they get attached to what the fuck the band is?

926
00:43:44,396 --> 00:43:44,556
Speaker 2: You know?

927
00:43:44,636 --> 00:43:47,436
Speaker 3: That was that was real? So that's it, you know

928
00:43:47,476 --> 00:43:50,156
Speaker 3: what I mean. I'm no surrogate or replacement or whatever.

929
00:43:50,196 --> 00:43:52,596
Speaker 3: I think it's fun for people to see and we

930
00:43:52,636 --> 00:43:55,036
Speaker 3: love jamming and writing music and continue that's what the

931
00:43:55,036 --> 00:43:57,916
Speaker 3: three of us know how to do and work like families,

932
00:43:57,916 --> 00:43:59,476
Speaker 3: so it makes sense for us. Can you to do it.

933
00:43:59,516 --> 00:44:01,956
Speaker 3: But for a while, like understandably, I was like, well,

934
00:44:01,956 --> 00:44:04,516
Speaker 3: I don't want to feel like I'm you know, replacing

935
00:44:04,676 --> 00:44:08,476
Speaker 3: or stepping out of line or whatever or misutilizing uh

936
00:44:08,596 --> 00:44:11,676
Speaker 3: you know, legs up or any any of that stuff.

937
00:44:11,676 --> 00:44:14,036
Speaker 3: So all that factored in for sure, and still does.

938
00:44:14,276 --> 00:44:15,996
Speaker 3: But at the end of the day, it's like, you know,

939
00:44:16,116 --> 00:44:18,356
Speaker 3: we're not fucking caring cancer here, We're making rock music.

940
00:44:18,356 --> 00:44:19,276
Speaker 3: We're having fun.

941
00:44:19,396 --> 00:44:20,996
Speaker 2: Yeah, But I think I think that it's the way

942
00:44:20,996 --> 00:44:22,716
Speaker 2: that we approached it. You know. It was like we

943
00:44:23,116 --> 00:44:26,556
Speaker 2: did this, you know, for for you know, a friend.

944
00:44:26,596 --> 00:44:30,276
Speaker 2: It was a benefit show, and yeah, that's that's where

945
00:44:30,316 --> 00:44:32,356
Speaker 2: where it was. It wasn't like we're going to put

946
00:44:32,396 --> 00:44:34,876
Speaker 2: this together. We're going to go do this, We're going

947
00:44:34,956 --> 00:44:37,516
Speaker 2: on tour and we're going to make a record. Okay,

948
00:44:37,636 --> 00:44:38,156
Speaker 2: get ready.

949
00:44:38,236 --> 00:44:39,116
Speaker 3: Yeah, there was no plan.

950
00:44:39,156 --> 00:44:41,076
Speaker 2: It wasn't it wasn't like that, and you know, and

951
00:44:41,116 --> 00:44:43,556
Speaker 2: so it was like, you know, there for me, there

952
00:44:43,636 --> 00:44:46,396
Speaker 2: was thoughts, you know, because you know, I mean, you know,

953
00:44:46,436 --> 00:44:49,556
Speaker 2: we tried to do this before with Rome, you know,

954
00:44:49,876 --> 00:44:52,916
Speaker 2: and and uh, you know, at the time, it seemed

955
00:44:52,956 --> 00:44:54,756
Speaker 2: like the right thing to do, but then after I

956
00:44:54,796 --> 00:44:57,356
Speaker 2: got into it, a couple of years later, it just

957
00:44:57,516 --> 00:44:59,796
Speaker 2: it wasn't right for me. It didn't feel right for me,

958
00:44:59,916 --> 00:45:02,956
Speaker 2: and so I had to step back. And then so

959
00:45:03,076 --> 00:45:06,996
Speaker 2: when we were approached, you know, to do this thing,

960
00:45:07,276 --> 00:45:11,356
Speaker 2: you know, it was like, well, okay, it's just a

961
00:45:11,756 --> 00:45:14,876
Speaker 2: one off kind of thing, you know, and so it

962
00:45:14,916 --> 00:45:17,996
Speaker 2: was like, you know, talk about it, you know with

963
00:45:18,076 --> 00:45:19,996
Speaker 2: other friends, were like, you know, you guys could probably

964
00:45:20,036 --> 00:45:22,996
Speaker 2: really do this, and it's like, well, you know, like

965
00:45:23,156 --> 00:45:25,276
Speaker 2: Eric said, let's see if we can even jam together.

966
00:45:25,636 --> 00:45:28,076
Speaker 2: You know, yeah, they start there, yeah, you know, and

967
00:45:28,116 --> 00:45:31,436
Speaker 2: then so once it once it kind of happened, you know,

968
00:45:31,556 --> 00:45:35,236
Speaker 2: at that show, it was just like the feeling, you know,

969
00:45:35,276 --> 00:45:39,716
Speaker 2: it was so incredibly real and felt so right that

970
00:45:39,796 --> 00:45:43,556
Speaker 2: it was like, yeah, this is this is what needs

971
00:45:43,596 --> 00:45:44,036
Speaker 2: to happen.

972
00:45:44,556 --> 00:45:46,796
Speaker 3: And it did kind of snowball naturally, like it was

973
00:45:46,876 --> 00:45:49,356
Speaker 3: just that show and we jammed out and practiced for that.

974
00:45:49,396 --> 00:45:52,036
Speaker 3: And then it's like our buddy Joe's friend with Paul Toillette,

975
00:45:52,036 --> 00:45:54,236
Speaker 3: and he's just a big you know, skopunk fan, you know,

976
00:45:54,436 --> 00:45:56,436
Speaker 3: in that year, he had like no doubt and stuff.

977
00:45:56,476 --> 00:45:58,036
Speaker 3: So he's like, oh, why do you guys do this?

978
00:45:58,076 --> 00:46:00,356
Speaker 1: Coello Paul who puts on Coachello. Yeah, he started out

979
00:46:00,356 --> 00:46:01,516
Speaker 1: as like a just a punk promoter.

980
00:46:02,676 --> 00:46:05,196
Speaker 3: So it's just one thing after another kind of led

981
00:46:05,676 --> 00:46:08,196
Speaker 3: lead fell in together, and I remember it was so

982
00:46:08,476 --> 00:46:10,156
Speaker 3: like not thought. Like one time we were jamming and

983
00:46:10,196 --> 00:46:11,436
Speaker 3: I was like, you know, I'll be honest, like I'm

984
00:46:11,436 --> 00:46:13,556
Speaker 3: not I don't see myself as much a guitar player

985
00:46:13,596 --> 00:46:15,636
Speaker 3: like my dad shredded, like Jimmy Hendrix is just not

986
00:46:15,676 --> 00:46:18,516
Speaker 3: My fourte can be serviceable here and there, but I'm like,

987
00:46:18,796 --> 00:46:20,356
Speaker 3: who should we get to is like a Shredder? And

988
00:46:20,356 --> 00:46:22,556
Speaker 3: then Eric's like, I think he's just like called Trey

989
00:46:22,596 --> 00:46:24,436
Speaker 3: and he was like, hey, Trey, Derek, do you want

990
00:46:24,436 --> 00:46:28,036
Speaker 3: to come play with them? It's just like so natural,

991
00:46:28,076 --> 00:46:30,836
Speaker 3: And I was like we got some tracks and DJ stuff.

992
00:46:30,836 --> 00:46:32,516
Speaker 3: And then I just called Dougie because I see him

993
00:46:32,516 --> 00:46:34,076
Speaker 3: all the time at Ho Dads. When I go down

994
00:46:34,116 --> 00:46:36,916
Speaker 3: to San Diego, which he still works at that Who Dads,

995
00:46:38,076 --> 00:46:40,596
Speaker 3: he still curls up burgers really yeah, because he's just

996
00:46:40,596 --> 00:46:43,436
Speaker 3: that's his Dougie man. He rocks and the five of

997
00:46:43,516 --> 00:46:45,916
Speaker 3: us all go up there and play. And then you know,

998
00:46:45,956 --> 00:46:47,596
Speaker 3: I got a bunch of friends who were young musicians,

999
00:46:47,596 --> 00:46:49,076
Speaker 3: and I'm always trying to hook up and stuff. So

1000
00:46:49,156 --> 00:46:51,396
Speaker 3: my buddies A and O, who's just an insanely gifted

1001
00:46:51,436 --> 00:46:53,356
Speaker 3: guitar player, I'm always like, dude, you play the song,

1002
00:46:53,476 --> 00:46:55,236
Speaker 3: I hand him my guitar is my guitar tech. And

1003
00:46:55,276 --> 00:46:57,796
Speaker 3: it's just or if our buddy Gobbo's in town, he's

1004
00:46:57,836 --> 00:47:00,476
Speaker 3: you know, fluent Spanish speaker, I'm like, they'll probably rather

1005
00:47:00,556 --> 00:47:02,796
Speaker 3: listen to you do that part, you know what I mean. Like,

1006
00:47:03,676 --> 00:47:06,036
Speaker 3: and so it's just that's like the fun of it, dude.

1007
00:47:06,076 --> 00:47:08,396
Speaker 3: Like I grew up actually listened to a lot of

1008
00:47:08,476 --> 00:47:11,236
Speaker 3: the og Long Beach Dub stuff too. My mom it's

1009
00:47:11,276 --> 00:47:13,756
Speaker 3: always said it's like our favorite band. So like to me,

1010
00:47:13,796 --> 00:47:16,236
Speaker 3: it was just this fun collaborative like I don't know,

1011
00:47:16,276 --> 00:47:19,236
Speaker 3: everyone's just just adding in their part and stuff like that.

1012
00:47:19,276 --> 00:47:21,716
Speaker 3: So that's always been an element that's made these this

1013
00:47:21,796 --> 00:47:23,356
Speaker 3: last year really exciting and fun to me.

1014
00:47:23,916 --> 00:47:26,316
Speaker 1: Yeah, that that that spirit comes through because like you know,

1015
00:47:26,356 --> 00:47:28,356
Speaker 1: when the song got sent to me and I put

1016
00:47:28,356 --> 00:47:30,396
Speaker 1: it on, I was like, before I put it on,

1017
00:47:30,476 --> 00:47:32,676
Speaker 1: I was little like you alow like, oh man, like

1018
00:47:32,756 --> 00:47:34,596
Speaker 1: its gonna be you just hope it's good because you're like,

1019
00:47:34,636 --> 00:47:36,236
Speaker 1: oh man, like it's like otherwise it might be a

1020
00:47:36,276 --> 00:47:39,396
Speaker 1: little awkward. It's like and you put on you like

1021
00:47:39,476 --> 00:47:41,036
Speaker 1: not and it's like not just that, it's good, it's

1022
00:47:41,036 --> 00:47:43,596
Speaker 1: like the spirit the original, Like I saying like that.

1023
00:47:43,636 --> 00:47:47,276
Speaker 1: The there's just a vibe to it that feels very

1024
00:47:47,276 --> 00:47:50,756
Speaker 1: authentic and natural and it feels quite frankly, it feels

1025
00:47:50,756 --> 00:47:51,876
Speaker 1: like a lot like Long Beach too.

1026
00:47:51,916 --> 00:47:53,996
Speaker 3: You know, we actually switched. The first few songs were

1027
00:47:54,036 --> 00:47:56,956
Speaker 3: glam metal. We were gonna make a huge shift and

1028
00:47:57,156 --> 00:47:59,836
Speaker 3: see we got this great foundation hook up with this

1029
00:47:59,956 --> 00:48:00,676
Speaker 3: makeup company.

1030
00:48:01,236 --> 00:48:03,676
Speaker 2: Metal with show tunes, with.

1031
00:48:03,756 --> 00:48:04,876
Speaker 3: Show tunes combined.

1032
00:48:05,116 --> 00:48:07,676
Speaker 2: Is that's what we did with the rock and reggae.

1033
00:48:07,716 --> 00:48:11,316
Speaker 1: But it's you know, it's show tunes and and butt rock.

1034
00:48:11,556 --> 00:48:14,636
Speaker 3: But yeah, and we're just gonna merge these two genres.

1035
00:48:15,156 --> 00:48:16,516
Speaker 1: I would have love I would have loved to I

1036
00:48:16,556 --> 00:48:20,676
Speaker 1: would like to hear those I'd like to hear those tapes.

1037
00:48:21,916 --> 00:48:23,676
Speaker 3: But I know, I know the feeling to talk about you,

1038
00:48:23,676 --> 00:48:26,516
Speaker 3: you're never sure when people you know beloved bands from

1039
00:48:26,556 --> 00:48:28,916
Speaker 3: another era, it's like, oh, here's some more music. It's

1040
00:48:29,116 --> 00:48:31,836
Speaker 3: always kind of a coin toss. But so far, the

1041
00:48:31,956 --> 00:48:34,596
Speaker 3: reaction from all our fans and from new fans too.

1042
00:48:34,596 --> 00:48:36,676
Speaker 3: We're getting new fans now from It's just it's been

1043
00:48:36,716 --> 00:48:37,316
Speaker 3: so cool, dude.

1044
00:48:37,396 --> 00:48:41,716
Speaker 1: Yeah, how many how many songs are on the new

1045
00:48:42,036 --> 00:48:42,596
Speaker 1: the new album?

1046
00:48:42,596 --> 00:48:44,756
Speaker 3: Well, we're still piecing it all together. But like but said,

1047
00:48:44,756 --> 00:48:47,436
Speaker 3: I think we did like sixteen tracks and then maybe

1048
00:48:47,436 --> 00:48:50,396
Speaker 3: we'll do some interludes in there and then some jams

1049
00:48:50,436 --> 00:48:52,756
Speaker 3: and stuff. It'll probably like probably like an eighteen track record.

1050
00:48:52,956 --> 00:48:54,636
Speaker 1: And is Travis Barker and volved.

1051
00:48:55,196 --> 00:48:57,676
Speaker 3: No, me, me and my buddy did some writing sessions

1052
00:48:57,676 --> 00:49:00,556
Speaker 3: with him. But the songs that we did, which are

1053
00:49:00,556 --> 00:49:03,516
Speaker 3: really cool, they're just they were made separately from what

1054
00:49:03,556 --> 00:49:06,436
Speaker 3: we did over in Sam Pedro. So I think in

1055
00:49:06,476 --> 00:49:07,956
Speaker 3: the future be cool to get all three of us

1056
00:49:07,996 --> 00:49:09,716
Speaker 3: over there. At first, it was just like write and

1057
00:49:09,716 --> 00:49:12,476
Speaker 3: get some ideas. So if the three of us went in,

1058
00:49:12,556 --> 00:49:15,076
Speaker 3: I think that's what makes it like actual sublime. You know,

1059
00:49:15,116 --> 00:49:18,276
Speaker 3: we would have to all do it together. But Travl's cool, man,

1060
00:49:18,596 --> 00:49:20,036
Speaker 3: I mean, it was this a epitaph situation.

1061
00:49:20,156 --> 00:49:20,796
Speaker 2: You just went to try.

1062
00:49:21,116 --> 00:49:23,556
Speaker 3: No, actually, I think took some stuff up and just

1063
00:49:23,596 --> 00:49:26,196
Speaker 3: friends of friends who were just like, yeah, they want

1064
00:49:26,196 --> 00:49:27,676
Speaker 3: to do this, they want to link up and so,

1065
00:49:28,116 --> 00:49:29,716
Speaker 3: but it was very informal you know, it's not like

1066
00:49:29,756 --> 00:49:33,716
Speaker 3: there's a contract sign. It was mainly just hanging out. Yeah, yeah, no.

1067
00:49:33,676 --> 00:49:35,436
Speaker 1: And it feels it feels I mean, it's just like

1068
00:49:35,476 --> 00:49:39,596
Speaker 1: two from like the outsider perspective, the fan perspective, the

1069
00:49:39,636 --> 00:49:41,596
Speaker 1: thing that seems so cool about it too, and then

1070
00:49:41,596 --> 00:49:44,476
Speaker 1: why I'm so happy also that it works and that

1071
00:49:44,516 --> 00:49:46,316
Speaker 1: it all came together so organically. It's like, you know,

1072
00:49:46,476 --> 00:49:49,156
Speaker 1: like to a point earlier, like getting the rug pulled

1073
00:49:49,156 --> 00:49:51,316
Speaker 1: out from under you guys, the way that you did,

1074
00:49:51,876 --> 00:49:53,556
Speaker 1: and then and then for you too, man, like you know,

1075
00:49:53,676 --> 00:49:57,596
Speaker 1: like just you know, kind of in a more profound way,

1076
00:49:57,636 --> 00:49:58,996
Speaker 1: you know, losing your pop.

1077
00:49:58,996 --> 00:50:01,316
Speaker 3: So no, yeah, we were talking earlier about how this

1078
00:50:01,476 --> 00:50:05,196
Speaker 3: whole history of Sublime is is so unique and truly

1079
00:50:05,196 --> 00:50:07,596
Speaker 3: what we're doing right now is is interesting because you

1080
00:50:07,756 --> 00:50:13,396
Speaker 3: have this perspective from multiple generations about how music is

1081
00:50:13,436 --> 00:50:15,476
Speaker 3: involved in people's lives. I feel like, sort of like

1082
00:50:15,516 --> 00:50:18,156
Speaker 3: the little thesis statement for this whole discussion here, you

1083
00:50:18,156 --> 00:50:19,516
Speaker 3: know what I mean, or just some some stuff for

1084
00:50:19,516 --> 00:50:21,236
Speaker 3: people to chew on out there, I guess, is how

1085
00:50:21,276 --> 00:50:25,956
Speaker 3: we you know, how we absorb music, how we consume it,

1086
00:50:25,996 --> 00:50:28,636
Speaker 3: and then how we use it to affect other people's

1087
00:50:28,636 --> 00:50:30,956
Speaker 3: lives and stuff like that, And like we've been saying too,

1088
00:50:30,996 --> 00:50:33,916
Speaker 3: when you come out to the shows, all generations are

1089
00:50:34,236 --> 00:50:38,276
Speaker 3: present in attendance and smiling and having fun and creating

1090
00:50:38,276 --> 00:50:42,156
Speaker 3: those new memories. So yeah, I think the unique perspectives

1091
00:50:42,196 --> 00:50:44,796
Speaker 3: that we all bring to the table is super present

1092
00:50:44,836 --> 00:50:46,716
Speaker 3: in the record and in our performances.

1093
00:50:46,876 --> 00:50:49,636
Speaker 1: Yeah, do you guys, do you guys think about Bradley

1094
00:50:49,716 --> 00:50:51,276
Speaker 1: much when you're playing with Jacob?

1095
00:50:51,396 --> 00:50:58,676
Speaker 2: Like, yeah, yeah, it's a feeling.

1096
00:50:59,356 --> 00:51:03,436
Speaker 3: Yeah, for sure. It's good evidence because I was always

1097
00:51:03,436 --> 00:51:05,516
Speaker 3: thought my dad was like the Maleman because my beard's red.

1098
00:51:09,156 --> 00:51:10,196
Speaker 1: It's definitive proof.

1099
00:51:10,276 --> 00:51:11,636
Speaker 3: Told my grandpa the other day, He's like, well, I

1100
00:51:11,636 --> 00:51:12,676
Speaker 3: guess we finally got proof.

1101
00:51:15,596 --> 00:51:17,596
Speaker 1: How is your family? Is your family happy you're doing it?

1102
00:51:17,596 --> 00:51:17,876
Speaker 1: Are they?

1103
00:51:18,036 --> 00:51:18,316
Speaker 2: Are they?

1104
00:51:18,396 --> 00:51:19,556
Speaker 1: Is it totally dude?

1105
00:51:19,636 --> 00:51:22,876
Speaker 3: Yeah, No, they're so happy. Like it's you know, they

1106
00:51:22,916 --> 00:51:25,476
Speaker 3: all grew up cruising over to my grandparents. It's just

1107
00:51:25,516 --> 00:51:26,836
Speaker 3: like like you said, it's like healing.

1108
00:51:26,876 --> 00:51:27,036
Speaker 2: You know.

1109
00:51:27,036 --> 00:51:29,836
Speaker 3: They're my grandpa, doesn't you know. He's he's very very

1110
00:51:29,836 --> 00:51:32,036
Speaker 3: old now, so he just kind of chills on his

1111
00:51:32,116 --> 00:51:34,676
Speaker 3: patio these days, and he's just very mellow and chilled

1112
00:51:34,676 --> 00:51:37,236
Speaker 3: out and stuff, but he hears about it, and then

1113
00:51:37,236 --> 00:51:40,156
Speaker 3: my grandma sees like all our faces in the newspaper

1114
00:51:40,196 --> 00:51:43,156
Speaker 3: and stuff, and they just see us doing good and thriving.

1115
00:51:43,236 --> 00:51:45,236
Speaker 3: So I think for them it's a it's a special

1116
00:51:45,276 --> 00:51:46,116
Speaker 3: experience for sure.

1117
00:51:46,356 --> 00:51:49,796
Speaker 1: Yeah, yeah, what was for you guys? I was always

1118
00:51:49,876 --> 00:51:52,396
Speaker 1: used what was like when the album came out and

1119
00:51:52,436 --> 00:51:54,756
Speaker 1: with such a success the Sublime album, we kind of

1120
00:51:54,796 --> 00:51:57,876
Speaker 1: had to go sell the record still, which is kind

1121
00:51:57,876 --> 00:52:01,196
Speaker 1: of crazy and deal with the label and you now.

1122
00:52:01,276 --> 00:52:04,036
Speaker 4: It was like a bittersweet because you know, yeah, there's

1123
00:52:04,036 --> 00:52:07,796
Speaker 4: a wold bunch of albums, but we just lost our

1124
00:52:08,556 --> 00:52:11,276
Speaker 4: just friendly business partner alone.

1125
00:52:12,396 --> 00:52:12,596
Speaker 1: Yeah.

1126
00:52:12,676 --> 00:52:17,156
Speaker 2: I remember we uh turned down a interview on the

1127
00:52:17,196 --> 00:52:20,396
Speaker 2: Howard Stern Show right after, So there was there was

1128
00:52:20,396 --> 00:52:23,276
Speaker 2: a lot of press, you know, and stuff like you said,

1129
00:52:23,356 --> 00:52:26,116
Speaker 2: you know, I have to sell the record and and

1130
00:52:26,156 --> 00:52:29,316
Speaker 2: so interviews and and things like that, but we had

1131
00:52:29,316 --> 00:52:31,836
Speaker 2: to kind of be selective. At first, it was like, oh, yeah,

1132
00:52:31,876 --> 00:52:33,876
Speaker 2: we're going to talk about this, this stuff is real,

1133
00:52:33,916 --> 00:52:37,276
Speaker 2: But then we started realizing that certain people were just

1134
00:52:39,156 --> 00:52:44,236
Speaker 2: using our our emotional torment to better their personal situation.

1135
00:52:44,876 --> 00:52:47,236
Speaker 2: So it was like, all right, well, we definitely don't

1136
00:52:47,276 --> 00:52:51,436
Speaker 2: want to go on the Stren Show. I hit below

1137
00:52:51,556 --> 00:53:01,556
Speaker 2: the Belt, he might get hit back home. Arn. So yeah,

1138
00:53:01,796 --> 00:53:04,796
Speaker 2: we uh but yeah it was you know, it was wild,

1139
00:53:04,836 --> 00:53:06,836
Speaker 2: but we you know, we took our We took our time.

1140
00:53:06,916 --> 00:53:09,716
Speaker 2: You know. The record label wanted us to to find

1141
00:53:10,036 --> 00:53:12,916
Speaker 2: a fill in, you know, and immediately it was just

1142
00:53:13,116 --> 00:53:19,636
Speaker 2: shut down. And it's along came the Long Beast of

1143
00:53:19,756 --> 00:53:22,756
Speaker 2: All Stars, which was a group of our friends. You know.

1144
00:53:22,836 --> 00:53:26,796
Speaker 2: It was Opie, our artists that Drew the Sun, and

1145
00:53:26,956 --> 00:53:31,716
Speaker 2: Marshall Goodman, Miguel you know, and other other neighborhood friends.

1146
00:53:31,796 --> 00:53:34,556
Speaker 2: Jack Manus, He's sang Rivers of Babylon, you know, he

1147
00:53:34,676 --> 00:53:36,556
Speaker 2: was always around. I went to school with them to

1148
00:53:36,836 --> 00:53:39,196
Speaker 2: so you know, it was just a group of neighborhood friends.

1149
00:53:39,196 --> 00:53:41,876
Speaker 2: Once again, just keeping true to our roots and sticking,

1150
00:53:42,076 --> 00:53:43,436
Speaker 2: you know, to our recipe.

1151
00:53:43,476 --> 00:53:43,636
Speaker 1: You know.

1152
00:53:43,876 --> 00:53:47,156
Speaker 2: But we uh, we realized that that the record label

1153
00:53:47,236 --> 00:53:50,756
Speaker 2: had the rights of first refusal to our next project.

1154
00:53:50,796 --> 00:53:51,636
Speaker 1: That's what I was wondering.

1155
00:53:51,716 --> 00:53:54,956
Speaker 2: Yeah, so Eric and I all of a sudden we

1156
00:53:54,956 --> 00:53:58,916
Speaker 2: weren't seeing it. Well. We found we had an attorney

1157
00:53:58,996 --> 00:54:02,396
Speaker 2: look into the contract and found that the record label

1158
00:54:02,476 --> 00:54:05,876
Speaker 2: had to provide a recording. They had to pay for

1159
00:54:05,916 --> 00:54:09,116
Speaker 2: the recording for us, and so all of a, Sudd

1160
00:54:09,156 --> 00:54:11,356
Speaker 2: and Eric and I were no longer seeing eye to

1161
00:54:11,436 --> 00:54:14,396
Speaker 2: eye creatively. So we had two different projects that we

1162
00:54:14,396 --> 00:54:16,356
Speaker 2: were going to present to them because they had to

1163
00:54:16,396 --> 00:54:19,796
Speaker 2: provide each one of us individually with a recording. So

1164
00:54:19,876 --> 00:54:23,796
Speaker 2: we recorded our first punk rock band, Juice Bros. And

1165
00:54:23,876 --> 00:54:26,796
Speaker 2: put out a vinyl record on that, because we knew

1166
00:54:26,796 --> 00:54:28,036
Speaker 2: they weren't going to accept that.

1167
00:54:28,756 --> 00:54:29,956
Speaker 1: Yeah yeah, yeah, no one.

1168
00:54:31,076 --> 00:54:33,076
Speaker 2: So we're just trying to get out of our contract.

1169
00:54:33,156 --> 00:54:35,956
Speaker 2: So we basically handed them two shoe boxes full of

1170
00:54:35,996 --> 00:54:41,196
Speaker 2: dog shit and said, and uh, but we got we

1171
00:54:41,236 --> 00:54:43,756
Speaker 2: got two solid recordings out of that, or two of

1172
00:54:43,756 --> 00:54:46,836
Speaker 2: our side projects that we had worked on, and then

1173
00:54:46,876 --> 00:54:49,596
Speaker 2: we were free to do the longbie stub All Stars.

1174
00:54:49,636 --> 00:54:52,596
Speaker 2: And that turned out to be a real treat as well,

1175
00:54:52,636 --> 00:54:56,716
Speaker 2: because now here after, you know, the record comes out

1176
00:54:56,796 --> 00:54:59,956
Speaker 2: and we're now having to share publishing with all these

1177
00:54:59,956 --> 00:55:03,276
Speaker 2: great Jamaican artists, you know, like Half Pint, Barrington, Lee Vy,

1178
00:55:03,836 --> 00:55:10,436
Speaker 2: you know, and amongst others. The way we approached paying

1179
00:55:10,476 --> 00:55:13,596
Speaker 2: that that debt back was by recording songs for them.

1180
00:55:13,716 --> 00:55:16,036
Speaker 2: So we got to go into the studio and record

1181
00:55:16,116 --> 00:55:20,036
Speaker 2: with pipes and bread from Whaling Souls with Barrington with

1182
00:55:20,316 --> 00:55:23,436
Speaker 2: Half Pint, you know, they came out on tour with us,

1183
00:55:23,796 --> 00:55:27,916
Speaker 2: so you know, it was just it was it was

1184
00:55:27,996 --> 00:55:32,316
Speaker 2: amazing gift being able to play with our mentors, you know,

1185
00:55:32,836 --> 00:55:36,396
Speaker 2: and record with them. So it was just you know,

1186
00:55:36,516 --> 00:55:39,036
Speaker 2: and once again an amazing experience. I don't I don't

1187
00:55:39,036 --> 00:55:42,556
Speaker 2: know any other band that they has shared those kinds

1188
00:55:42,556 --> 00:55:45,676
Speaker 2: of experiences on the way that we have.

1189
00:55:45,876 --> 00:55:47,556
Speaker 1: Yeah, they had to be surreal to get to play

1190
00:55:47,596 --> 00:55:49,476
Speaker 1: with like the Actually, I mean I was asking it too,

1191
00:55:49,516 --> 00:55:52,156
Speaker 1: like to be able to share a stage with those guys.

1192
00:55:51,916 --> 00:55:53,596
Speaker 2: Right, you know what I mean, turn back to clocks.

1193
00:55:53,596 --> 00:55:56,036
Speaker 2: It could have been Bob Marley, you know, like holy.

1194
00:55:56,396 --> 00:55:59,476
Speaker 1: Yeah, yeah, yeah, you know, like you know, I guess

1195
00:55:59,476 --> 00:56:01,796
Speaker 1: maybe the closest would be like the Stones, you know,

1196
00:56:01,796 --> 00:56:03,796
Speaker 1: getting to play like Muddy Waters or something, you know,

1197
00:56:03,916 --> 00:56:05,676
Speaker 1: like bearn to be like a Half Pint. It's like

1198
00:56:05,716 --> 00:56:09,676
Speaker 1: your guys is you know, yeah, Howling Wolf and Waters

1199
00:56:09,756 --> 00:56:11,956
Speaker 1: or whatever, you know, and uh and Long Beach of

1200
00:56:11,956 --> 00:56:14,556
Speaker 1: All Stars had such a great run. You guys had

1201
00:56:14,596 --> 00:56:16,836
Speaker 1: an incredible run. You know, people loved going out and

1202
00:56:16,836 --> 00:56:18,796
Speaker 1: it was such a cool. It was just it was

1203
00:56:18,916 --> 00:56:22,996
Speaker 1: it was you know, getting to you know, bringing the

1204
00:56:22,996 --> 00:56:27,316
Speaker 1: whole sublime sort of the larger family together was Ah.

1205
00:56:27,876 --> 00:56:32,316
Speaker 1: It seemed like that was kept people fans going for

1206
00:56:32,316 --> 00:56:33,636
Speaker 1: for a long time. You know.

1207
00:56:34,196 --> 00:56:37,036
Speaker 2: It was a good way for us to heal too

1208
00:56:37,196 --> 00:56:38,036
Speaker 2: at the same time.

1209
00:56:38,436 --> 00:56:41,596
Speaker 1: Yeah, so you guys are doing warped tow tomorrow.

1210
00:56:41,916 --> 00:56:46,236
Speaker 3: Yeah, warped to her bright and early. We're excited. Six am,

1211
00:56:46,636 --> 00:56:49,796
Speaker 3: six am set, six am set, yep, yep. Because you

1212
00:56:49,876 --> 00:56:52,476
Speaker 3: know once Kevin, you know Limon, he still likes to

1213
00:56:52,516 --> 00:56:54,796
Speaker 3: mess with the set times on the board. So the

1214
00:56:54,876 --> 00:56:56,716
Speaker 3: rumor is he's gonna put us right at six am

1215
00:56:56,716 --> 00:56:58,796
Speaker 3: before doors open. It's like Hendricks, that would stock you

1216
00:56:58,796 --> 00:57:02,276
Speaker 3: guys just gonna should probably just start staying up now,

1217
00:57:02,356 --> 00:57:06,196
Speaker 3: you know, drop acid now you time Actually, if you

1218
00:57:06,276 --> 00:57:09,156
Speaker 3: time it, that's perfect. You'll be plateauing by their first.

1219
00:57:09,356 --> 00:57:10,836
Speaker 1: Yeah, but he got to open with you go now

1220
00:57:10,836 --> 00:57:12,196
Speaker 1: you gotta think about that because you got a whole

1221
00:57:12,636 --> 00:57:17,716
Speaker 1: whole crowd of people. Plats on. Man, Well, it's so

1222
00:57:17,756 --> 00:57:20,436
Speaker 1: great to meet you guys, and it's like a great

1223
00:57:20,436 --> 00:57:20,876
Speaker 1: talk dude.

1224
00:57:20,916 --> 00:57:21,716
Speaker 3: This is fun as hell.

1225
00:57:21,756 --> 00:57:21,916
Speaker 2: Man.

1226
00:57:22,196 --> 00:57:24,996
Speaker 3: Yeah, it's stoked. I'm stoke. We're all here in LBC.

1227
00:57:24,916 --> 00:57:27,116
Speaker 1: And it's a real honor man, you know, because it's

1228
00:57:27,116 --> 00:57:28,516
Speaker 1: like you guys are, like I said, we like you

1229
00:57:28,556 --> 00:57:30,236
Speaker 1: mentioned the top. We work at the same gym. I

1230
00:57:30,276 --> 00:57:30,996
Speaker 1: go outside.

1231
00:57:31,116 --> 00:57:31,796
Speaker 3: How low cool is this?

1232
00:57:31,876 --> 00:57:33,836
Speaker 1: It's so cool to see a blind wall. I see,

1233
00:57:33,956 --> 00:57:36,116
Speaker 1: I see you guys up there with Bradley and lou

1234
00:57:36,196 --> 00:57:36,796
Speaker 1: Dog and Dude.

1235
00:57:36,796 --> 00:57:38,396
Speaker 3: I was parked out in front of their earlier day

1236
00:57:38,396 --> 00:57:40,956
Speaker 3: because I had to do this this phone interview or whatever.

1237
00:57:41,676 --> 00:57:44,996
Speaker 3: I'm on the camera and he was talking about He's like, oh, yeah,

1238
00:57:44,996 --> 00:57:46,516
Speaker 3: I really like this one picture of you and your dad.

1239
00:57:46,556 --> 00:57:48,116
Speaker 3: I'm like, oh you do. And I just like drove home,

1240
00:57:48,316 --> 00:57:51,996
Speaker 3: like hear it is it's my Floyd's barber shop. Yeah yeah,

1241
00:57:52,036 --> 00:57:53,716
Speaker 3: And he's like, no way, it's so cool. Yeah, it's

1242
00:57:53,716 --> 00:57:56,116
Speaker 3: everywhere you look here. Man, it feels nice. It's home.

1243
00:57:56,276 --> 00:57:57,876
Speaker 1: Are you gonna keep your other band because you have

1244
00:57:57,916 --> 00:58:00,316
Speaker 1: other you guys, you know, other projects going. Are you gonna, Oh.

1245
00:58:00,316 --> 00:58:02,796
Speaker 3: Yeah, we all got time to do the various projects

1246
00:58:02,836 --> 00:58:04,916
Speaker 3: that we do in the side and stuff like that.

1247
00:58:05,836 --> 00:58:06,116
Speaker 2: Yeah.

1248
00:58:06,196 --> 00:58:09,356
Speaker 3: Yeah, we're still active. And I think it's very much

1249
00:58:09,356 --> 00:58:13,076
Speaker 3: adjacent to and inspired by, uh, that amazing era in

1250
00:58:13,116 --> 00:58:15,596
Speaker 3: the nineties Sublime and all the contemporaries and just the

1251
00:58:15,636 --> 00:58:17,996
Speaker 3: spirit of musicians that like to mix together genres that

1252
00:58:18,036 --> 00:58:20,516
Speaker 3: seem like they don't mix. Yeah, you know, maybe not

1253
00:58:20,596 --> 00:58:22,516
Speaker 3: glam metal and show tunes, but you never know it.

1254
00:58:22,996 --> 00:58:24,196
Speaker 1: You're a man out there.

1255
00:58:24,116 --> 00:58:26,196
Speaker 3: That's mixing those genres. And you got a cool demo.

1256
00:58:26,316 --> 00:58:27,636
Speaker 3: Send it, bro, We want to hear it.

1257
00:58:27,796 --> 00:58:32,156
Speaker 1: Release the glam metal, show tunes tapes and the Juice Boys. Yes, yes,

1258
00:58:32,756 --> 00:58:37,036
Speaker 1: the contract. That's what the people want. Man. Yeah, well, great, great, great,

1259
00:58:37,036 --> 00:58:38,556
Speaker 1: talk to you guys man, Good luck tomorrow, and you

1260
00:58:38,596 --> 00:58:39,836
Speaker 1: can't wait to listen to the rest album.

1261
00:58:39,956 --> 00:58:41,516
Speaker 3: I Care time to be cool Man.

1262
00:58:46,036 --> 00:58:47,996
Speaker 1: In the episode description, you'll find a link to a

1263
00:58:48,076 --> 00:58:50,476
Speaker 1: playlist of our favorite Sublime tracks. Be sure to check

1264
00:58:50,516 --> 00:58:53,276
Speaker 1: out YouTube dot com flash Broken Record podcast to see

1265
00:58:53,316 --> 00:58:56,116
Speaker 1: all of our video interviews, and be sure to follow

1266
00:58:56,196 --> 00:58:58,836
Speaker 1: us on Instagram at the Broken Record pot. You can

1267
00:58:58,836 --> 00:59:01,876
Speaker 1: follow us on Twitter at broken Record. Broken Record is

1268
00:59:01,876 --> 00:59:04,116
Speaker 1: produced and edited by Leah Rose with the marketing help

1269
00:59:04,116 --> 00:59:07,636
Speaker 1: from Eric Sandler and Jordan McMillan. Our engineer is Ben Holiday.

1270
00:59:08,396 --> 00:59:11,356
Speaker 1: Broken Record is production of Pushkin Industries. If you love

1271
00:59:11,396 --> 00:59:14,876
Speaker 1: this show and others from Pushkin, consider subscribing to Pushkin Plus.

1272
00:59:15,196 --> 00:59:18,236
Speaker 1: Pushkin Plus is a podcast subscription that offers bonus content

1273
00:59:18,316 --> 00:59:20,676
Speaker 1: and ad free listening for four ninety nine a month.

1274
00:59:20,836 --> 00:59:24,276
Speaker 1: Look for Pushkin Plus on Apple podcast subscriptions, and if

1275
00:59:24,276 --> 00:59:26,356
Speaker 1: you like this show, please remember to share, rate, and

1276
00:59:26,396 --> 00:59:28,796
Speaker 1: review us on your podcast app. Our theme music exp

1277
00:59:28,796 --> 00:59:30,676
Speaker 1: by Kenny Beats. I'm justin Richmond.