Speaker 1: Pushkin. Thirty years ago, Sublime released the album that defined
Speaker 1: their career in Southern California's music scene for a generation. Now,
Speaker 1: the band is preparing to put out their fourth full length,
Speaker 1: and for the first time, Bradley Nole's son, Jacob Nole,
Speaker 1: is stepping in as lead singer. Bradley, Sublime's original frontman,
Speaker 1: died of a heroin overdose in ninety six, just a
Speaker 1: couple of months shy of that breakthrough album coming out.
Speaker 1: Jacob was still an infant then, but he grew up
Speaker 1: surrounded by the lasting influence of a band that blended ska, punk, reggae,
Speaker 1: and hip hop into a sound that dominated the nineties.
Speaker 1: In nineteen ninety seven, after Bradley's passing, bassist Eric Wilson
Speaker 1: and drummer Brad Gat launched Long Beach Dub All Stars
Speaker 1: and stayed active with different projects. In late twenty twenty three,
Speaker 1: they shared the stage with Jacob at a benefit for
Speaker 1: Bad Brand and singer Hr and the spark between them
Speaker 1: was immediate. Today's episode, I talked with Jacob, Budd and
Speaker 1: eventually Eric about how this new chapter of Sublime came together.
Speaker 1: We also revisited the band scrapy early days when they
Speaker 1: had to beg, borrow, and steal just to keep going,
Speaker 1: and we hear their memories of recording the self titled
Speaker 1: album at Willie Nelson's studio just outside of Austin, Texas.
Speaker 1: This is Broken Record, real musicians, real conversations. Here's my
Speaker 1: conversation with Bud God and Jacob Nol of Sublime, and
Speaker 1: later in the conversation, Eric Wilson joins us as well.
Speaker 1: A big thank you to inter Trend and Creative Class
Speaker 1: for allowing us to use the facilities in downtown Long
Speaker 1: Beach to record this. To watch the full video version
Speaker 1: of this episode, visit YouTube dot com slash Broken Record Podcast. Man,
Speaker 1: it's great to have you guys, third of the band.
Speaker 1: We have Eric here shortly, but Bud Jacob, thanks for
Speaker 1: doing this, y'all.
Speaker 2: Yeah, thanks for having us.
Speaker 3: Man stuck to be here, Man, Long Beach. It's I
Speaker 3: look like twenty minutes. This is super easy.
Speaker 1: I know we were talking beforehand like this is I
Speaker 1: live here as well, and it's like this is the
Speaker 1: first time though I've ever been able to record one
Speaker 1: of these episodes here.
Speaker 3: We bumped into each other the gym like a couple
Speaker 3: of weeks ago, gym super random. Yeah right, you manifested this.
Speaker 1: Moment's absolutely right, absolutely right. Long Beach is such a
Speaker 1: great place. You know. I was young though, when Sublime,
Speaker 1: like you young, you know, like in the nineties, So
Speaker 1: I was aware of Sublime, but didn't get to fully
Speaker 1: enjoy or soak in the culture of what Long Beach
Speaker 1: was like at that time. I would love to start
Speaker 1: with just with you, Bud, taking us back a bit
Speaker 1: about like what Long Beach was like when you guys
Speaker 1: were first starting out.
Speaker 2: Man, you know, Long Long Beach was crazy back then.
Speaker 2: I mean, you know, you could you could drive from
Speaker 2: one side of Long Beach to the other and hear
Speaker 2: twenty different styles of music, you know, as you're driving
Speaker 2: through the neighbor hoods. You know, it was truly a
Speaker 2: melting pot, you know, I mean, you know, different different,
Speaker 2: uh different lifestyles, you know, on on every block, you know,
Speaker 2: as you're going and and everybody all kind of you know,
Speaker 2: got along for the most part. You know, skaters, punks,
Speaker 2: you know, jocks, everybody pretty much got along. So but yeah,
Speaker 2: that was the nineties. Uh, we were it was hard
Speaker 2: for us to find shows in Hollywood, so we would
Speaker 2: play anywhere we could, and uh, you know started out
Speaker 2: in backyard parties and and uh little warehouses and stuff.
Speaker 2: You know, what were the.
Speaker 1: Places to play in Hollywood at that time? Like where
Speaker 1: were you trying to oh.
Speaker 2: Just like you know, the the Whiskey or the Marquis,
Speaker 2: some of those places.
Speaker 1: Couldn't they wouldn't let yall in there.
Speaker 2: Well, it was they didn't know where to put us.
Speaker 2: You know, the music was it was happening in Hollywood
Speaker 2: at the time was all you know, it was all
Speaker 2: right and roll. You know, it was hair metal, it
Speaker 2: was it was hard metal. You know, it was glam rock.
Speaker 2: You know, it's like you literally, if you didn't have
Speaker 2: like fifteen cans of aquin At and some some cover
Speaker 2: what do they call it foundation on your rider, then
Speaker 2: you know, we're not even to waste our times with
Speaker 2: these posers. We just you know, like where are we
Speaker 2: going to put these guys?
Speaker 1: You know, were you interested in that scene at all?
Speaker 3: Like punk sort of like a response to that almost
Speaker 3: huh yeah, yeah, it.
Speaker 2: Was like, oh yeah, you can put us with like
Speaker 2: the Chili Peppers or Fishbone or something like that.
Speaker 1: You know, did you go to like Fishbone shows.
Speaker 2: Absolutely. We used to go to Fenders Ballroom here in
Speaker 2: Long Beach and and we'd see the Chili Peppers and
Speaker 2: and suicidal tendencies and yeah, all kinds of stuff, that's right, man. Yeah,
Speaker 2: the Fenders was kind of closed by the time that
Speaker 2: that we started playing. I mean, we got a few
Speaker 2: shows in early, but it closed up early. There was
Speaker 2: other little clubs in Long BEA's like toe Jam and stuff,
Speaker 2: but it was basically just kind of like a warehouse,
Speaker 2: you know, it wasn't really a club with a good
Speaker 2: sound system.
Speaker 1: Did it feel distinct so? I mean obviously like Hot
Speaker 1: So Hollywood had like the like you said, like Motley
Speaker 1: Crue like glam thing going. Did Long Beach feel distinct
Speaker 1: from what was going on in Orange County too? What
Speaker 1: was it?
Speaker 2: It was a lot more similar to Orange County, you know.
Speaker 2: We uh, we played a couple of shows with no doubt,
Speaker 2: and we immediately found out, oh wow, you know, it's
Speaker 2: like your guys' fan base is the same as ours.
Speaker 2: You know, we're seeing Long Beach faces over here in
Speaker 2: these Orange County shows, and then when you guys are
Speaker 2: over here, you're seeing the same thing in Orange County
Speaker 2: faces at the Long Beach Show. So you know, why
Speaker 2: don't you guys call us when you have a show
Speaker 2: and we'll do the same. And so we kind of
Speaker 2: partnered up that way, and it was like, you know,
Speaker 2: whenever you know, we could, we we would, you know,
Speaker 2: work together. So kind of seemed to work out that way,
Speaker 2: and I think that was kind of like our solution
Speaker 2: you know, to HOLLYO, it is, okay, well let's let's
Speaker 2: move south. What a San Diego have to offer, you know,
Speaker 2: And then we started venturing, you know, down that way,
Speaker 2: and it was like, oh, wow, this is this is
Speaker 2: a whole different market down here, you know, this is
Speaker 2: this is great. Yeah. So we had you know, a
Speaker 2: whole a whole new uh set of schools and and
Speaker 2: and bars and and stuff to work off of and
Speaker 2: feed feed down there.
Speaker 1: So did it seem feasible going that route that you
Speaker 1: guys could like break like get signed or break into
Speaker 1: the industry.
Speaker 2: And you know, we were always just so hopeful. We were,
Speaker 2: you know, I mean, we we didn't know what we wanted,
Speaker 2: you know, we just know that we wanted to keep
Speaker 2: on playing music and what was the best way that
Speaker 2: we could do that. And so it seemed like, well,
Speaker 2: we need to get it, We need to get a
Speaker 2: record contract, you know. But then it was like, well
Speaker 2: it was impossible to do that. So we made our
Speaker 2: own recordings and sold them and touring around and so
Speaker 2: we were always trying to, you know, get to that
Speaker 2: next level. You know, it's like so hard to you know. Yeah,
Speaker 2: now we got CDs. What do we do with them?
Speaker 2: You know, we send them to k Rock. They won't
Speaker 2: play our music, you know, they think, uh Jed the
Speaker 2: Fish might have done one time, you know, way back
Speaker 2: when you know, hey, check out this song, you know, like.
Speaker 1: Job won't pay the bills like that, that that era
Speaker 1: or forty forty.
Speaker 2: Yeah, we'd sent them massive amounts of CDs back in
Speaker 2: the day. And I don't even think the ink was
Speaker 2: dry on the on the the Gasoline Alley contract, you
Speaker 2: know when we signed that and they were spinning date rape.
Speaker 2: You know, it was like I think as soon as
Speaker 2: we walked out the doors of the the office, you
Speaker 2: know there with mister Phillips, that's incredible.
Speaker 1: Yeah, so cool man, you got that's like your whole
Speaker 1: radio k Rocks.
Speaker 2: I mean, they totally supported us. They they we loved
Speaker 2: k Rock. You know, it's like we we would go
Speaker 2: down to Loveline and and some of those shows and
Speaker 2: stuff that was that was always a real treat, real
Speaker 2: blast for us.
Speaker 1: How did hip hop enter the equation too? So, like
Speaker 1: you know, there's like the punk scene, there's like the
Speaker 1: SKA thing. How did hip hop enter the equation for
Speaker 1: for Sublime.
Speaker 2: Well, you know, it was it was just it was
Speaker 2: happening at the time, and like I said, you know,
Speaker 2: as you drive across town, you know, it's like you're
Speaker 2: over here and you know you're hearing you're hearing you know,
Speaker 2: n w A or or you know, Wu Tang or whatever.
Speaker 2: And it was like man, you know, so we started
Speaker 2: searching this stuff out. We're down there at the reggae
Speaker 2: record store and they got hip hop records over here,
Speaker 2: and so we're listening to this. You know, it's like,
Speaker 2: oh wow, who's this? You know, uh BDP but you
Speaker 2: down productions, Oh wow, this is dope, you know, And
Speaker 2: it was just like instant, you know. I took a
Speaker 2: little hiatus for a while, and Marshall came in and
Speaker 2: and and started playing drums and he was DJ too,
Speaker 2: and so he brought that element of hip hop into
Speaker 2: the group at that time too as well. Although we
Speaker 2: had that influence, you know, like just Ice and so
Speaker 2: it was there from from the beginning, but it just
Speaker 2: wasn't We didn't. It was like him know it, did
Speaker 2: him know how to do it? Yeah? You know, yeah,
Speaker 2: so it it took some learning. You know.
Speaker 1: It's incredible.
Speaker 2: Man.
Speaker 1: I don't know if you feel this way, like going
Speaker 1: back and listening to the records, the original handful of
Speaker 1: records is it's there are very few groups that did
Speaker 1: like the reggae scot thing or like the mixing of
Speaker 1: rock and hip hop thing as authentically as a blind
Speaker 1: Like it didn't feel like a put on. It didn't
Speaker 1: feel like just trying to go for something that like
Speaker 1: it was just it really felt like authentic to you guys.
Speaker 1: And just hearing you've mentioned like those like you know,
Speaker 1: obviously BDP because of the Karas one, we would know that,
Speaker 1: but like just Ice and like, you guys were really
Speaker 1: plugged in to wrap into hip hop. Like you it's like,
Speaker 1: so it seems like you guys were really digging for
Speaker 1: those records.
Speaker 2: Actually yeah, yeah, I mean the nineties it was just exploding.
Speaker 2: I mean, hip hop was was amazing. I mean, it
Speaker 2: was just like this whole brand new sound, but it
Speaker 2: was so familiar to you know, R and B, you know,
Speaker 2: jazz and blues and and stuff, so it was it
Speaker 2: was familiar, yet it was all brand new, and it
Speaker 2: was just like this whole new way of making music,
Speaker 2: you know, using already created music and so like kind
Speaker 2: of fit into our kind of thing where you know,
Speaker 2: it was big borrow and steel to get that feeling,
Speaker 2: you know, we needed that that that groove, you know,
Speaker 2: and so how do we get there? Well, we're gonna
Speaker 2: We're gonna make it by you know, listening to some
Speaker 2: of our favorite musicians and you know, imitating and you know,
Speaker 2: I mean life imitates art, Art imitates life.
Speaker 1: Is that that you have to do? Doing time came about?
Speaker 1: Because that's a really weird That was a really weird
Speaker 1: thing to take a bite of it.
Speaker 3: Yeah, like who thinking to do that?
Speaker 2: Was? That was Marshall Goodman there you know, I'm going
Speaker 2: to give that where that is because that was that
Speaker 2: was Marshall. Marshall brought that that track in and and
Speaker 2: him and Brad worked on that one together like solid.
Speaker 2: So when you when you heard the idea or like
Speaker 2: I was just like, oh man, this is amazing.
Speaker 3: You're into it.
Speaker 2: I was like, oh, this is dope. I mean it
Speaker 2: was like, you know, Janis Joplin, you know, Billy fucking
Speaker 2: you know, just I mean all of them, you know,
Speaker 2: the greatest people that, you know, our greatest artists have
Speaker 2: all redone that song, you know, and homage it's it's
Speaker 2: a beautiful song. Yeah, the chord structure is pretty pretty magical.
Speaker 1: So it seems like you guys, though, brought it back.
Speaker 1: Similar way Frank Ocean has sort of brought that standard
Speaker 1: Moon River kind of back in the popular consciousness. I
Speaker 1: feel like Sablon did that with with with Summer Time.
Speaker 1: I mean, Gershwin is Gershwin, you know. But you guys
Speaker 1: really did an incredible version. It really lives on through
Speaker 1: through you guys in the Lana del Rey doing it
Speaker 1: and whatnot.
Speaker 3: But yeah, it's like a testament too. It stands to like,
Speaker 3: I don't know, the collaborative, you know, nature of that
Speaker 3: era and all the stuff you guys were doing, the
Speaker 3: fact that you know, you take that little part and
Speaker 3: then from there of all this whole totally different song
Speaker 3: that could have never existed without all the stuff that
Speaker 3: came before it, So it's like so inspiring to hear
Speaker 3: like the evolution and what you guys were getting down
Speaker 3: into and how the stuff comes about, like and I
Speaker 3: think that's what makes music like that stand the test
Speaker 3: of times. People can see that it's like genuine you know,
Speaker 3: they were just like having so much fun.
Speaker 1: Yeah, man, what was?
Speaker 3: It just blows my mind here, And I love hearing
Speaker 3: about the history.
Speaker 1: What was growing up in Long Beach Like for you man,
Speaker 1: being Bradley knowles On, that had to be kind of heavy.
Speaker 3: Yes, I was born here and then then me and
Speaker 3: my mom moved to Hawaii and so I lived there
Speaker 3: for a couple of years, and then we moved to
Speaker 3: San Diego where I'd go to school and I'd stay
Speaker 3: there until I was seventeen and I moved back up here.
Speaker 3: But from you know, six to seventeen, the summertimes, I'd
Speaker 3: spend all the summer times here in Long Beach. So
Speaker 3: I would go to like Junior Lifeguards and I'd kick
Speaker 3: at my grandparents' house.
Speaker 1: That's passage here, Yeah, man.
Speaker 3: Junior Guards was. I was great looking back on it,
Speaker 3: but at the time, like I love doing the fun
Speaker 3: stuff like jumping off the boats, and stuff. But you
Speaker 3: what they usually do is you get there at nine
Speaker 3: am and then they're like, all right, start running. You're
Speaker 3: all right somewhere around the boot Oh I got it's
Speaker 3: fucked up, dude. It's like a kid work camp.
Speaker 2: Yeah.
Speaker 1: You start see you see like like like you know,
Speaker 1: like nine year old kids running like it's like like
Speaker 1: boot camp.
Speaker 3: Or you get out at like noon and then you're
Speaker 3: just like, please, can we go get a hamburg or something.
Speaker 3: He's just so hungry.
Speaker 4: Uh.
Speaker 3: But it was good man.
Speaker 2: You know.
Speaker 3: A lot of what Bud was saying stayed true. You know,
Speaker 3: there was so much uh. But me and my friends
Speaker 3: always saw you know, a lot of different genres of
Speaker 3: music and people and just this big, cool melting pot
Speaker 3: and there was cool stuff happening. But we were like
Speaker 3: keenly aware in our like I would say, like high
Speaker 3: school age that we started to take notice like, oh man,
Speaker 3: it feels like we're on the other side of like
Speaker 3: an era, like kind of how Hunter s Thompson if
Speaker 3: you ever you know how he's talking about, like in
Speaker 3: Fear and Loathing, It's like you could see the high
Speaker 3: watermark where the wave almost broke the wall. It's like
Speaker 3: it feels like we're this whole other era now where
Speaker 3: where people consume music differently, Like people don't didn't go
Speaker 3: outside as much, you know what I mean, they weren't
Speaker 3: out having having fun like that, which is a bummer.
Speaker 3: You know, there was definitely like a period where it
Speaker 3: felt like it was maybe harder for stuff to happen.
Speaker 3: But I think we're starting to see it happen again.
Speaker 3: You know, things go in waves and in cycles and
Speaker 3: and people's attention spans. They'll get over even the things
Speaker 3: that are distracting them from going outside and having authentic experiences.
Speaker 3: So the people that I see at our shows nowadays,
Speaker 3: I mean, they're they're hungry and craving that that experience again.
Speaker 3: So it's kind of you know, we kind of came
Speaker 3: back together at like the perfect time.
Speaker 1: It feels like, yeah, right at the time when it
Speaker 1: feels like people were wanting that authenticity that you know,
Speaker 1: you guys really brought, you know, were you did you?
Speaker 1: But so I mean obviously what you're saying, in high school,
Speaker 1: a lot a lot of kids were maybe into things
Speaker 1: other than music, but you were you a music had
Speaker 1: grown up.
Speaker 3: Yeah, yeah, for sure, And even if they were into music.
Speaker 3: It was just sort of different, like you would go
Speaker 3: out to shows and stuff like that, but were kind
Speaker 3: of putting there in their boxes, you know what I mean, Like, uh,
Speaker 3: it almost felt like going to a show was was
Speaker 3: sort of like it wasn't just something you did. It
Speaker 3: was like this weird relic of the past kind of thing,
Speaker 3: like you know, like, oh, look, I went to a show.
Speaker 3: Like it's like yeah, and no, I don't think anyone
Speaker 3: thought about it like that, or even we did at
Speaker 3: the time. But I mean, the internet just takes up
Speaker 3: a lot of your time and energy and imagination unfortunately.
Speaker 3: Like and uh, and I think now we're seeing it
Speaker 3: to be not so much of a bad thing. There's
Speaker 3: ways to utilize that creatively. But when I was coming up,
Speaker 3: I mean, I was obviously a fan of all the
Speaker 3: music my mom showed me, which of course was all
Speaker 3: the same stuff the guys were listening to. So I
Speaker 3: ended up being influenced by those same artists and stuff,
Speaker 3: you know, like men and Men, butthole surfers and Johnny
Speaker 3: Osbourne and you know a bunch of cool hip hop
Speaker 3: stuff too.
Speaker 1: But your mom was feeding you that stuff.
Speaker 3: Yeah, yeah, but uh, and not so much like homework,
Speaker 3: sit down and listen to this that would come later,
Speaker 3: Like Miguel would tell me to do my homeworks, like
Speaker 3: you need to listen to these records, otherwise you won't
Speaker 3: understand music.
Speaker 1: I was like said, Miguel's the dude who like big
Speaker 1: part of Sublime's history. Obviously recorded your first recorded some
Speaker 1: of your first recordings.
Speaker 2: It's not very first.
Speaker 3: We still see him all the time. He's our buddy. Yeah,
Speaker 3: he's I'm really grateful for that for sure. And but
Speaker 3: at the time, I think what made me really excited
Speaker 3: was like Queens of the Stone Age, tool masted on.
Speaker 3: These were all I mean, coincidentally, I get maybe or
Speaker 3: not coincidentally, but just matter of factly, they were just
Speaker 3: bands that were releasing music. And you know, two thousand
Speaker 3: and two, two thousand and six, nine ten, you know
Speaker 3: they they had. That was what my friends liked growing up,
Speaker 3: and it's what we were enthusiastic about. And sure we
Speaker 3: go out to a show every now and again, but
Speaker 3: it didn't feel like belonging to a scene. I think,
Speaker 3: like how when we look back and view the scenes
Speaker 3: and clicks of like the nineties, you know, those the
Speaker 3: way that people were starting to consume music was changing
Speaker 3: like a little bit.
Speaker 1: See that's that's the weird that is. That's that's what
Speaker 1: I was trying to get at. Is where you put
Speaker 1: so succinctly is like the nineties, eighties nine, I mean
Speaker 1: like kind of like most of you know, the twentieth century,
Speaker 1: like music was really segmented into like and scenes were
Speaker 1: segmented as the punk kids and the rock and the
Speaker 1: Glans and the ring you know, like or whatever. And
Speaker 1: I don't know how you guys managed to like escape
Speaker 1: that trap of just being like, you know, like it's
Speaker 1: it's really wild that you guys because.
Speaker 2: We liked it all. I mean, you know, it's like
Speaker 2: sometimes I think one of the best quotes that I
Speaker 2: can take from Brad was, you know, what, what kind
Speaker 2: of music do you like? Good music? Yeah? You know,
Speaker 2: if it's good, if it makes you feel something mad, sad, glad,
Speaker 2: angry or afraid, you know, then then it's doing its job.
Speaker 2: It made you feel, you know, So yeah, you know
Speaker 2: it's good music. It's good music, doesn't matter what kind
Speaker 2: or style it is. Yeah.
Speaker 1: Yeah, when did you When did you start h ingesting
Speaker 1: the work of Bud and Eric and your dad I.
Speaker 3: Mean, you know, it was definitely always present when I
Speaker 3: was a kid. You know, my mom was always playing
Speaker 3: it and stuff and h But I think when I got.
Speaker 1: Remember the first starry But do you remember the first time,
Speaker 1: like you do you remember like the first time your
Speaker 1: Mom's like, hey, that's your.
Speaker 3: Oh no, because it was happening since I was in
Speaker 3: the cradle, you know what I mean, it was so uh,
Speaker 3: it just seeped into my life. I always had known.
Speaker 3: I couldn't even think back or point to a time
Speaker 3: like it's kind of a little bit a tear jerker.
Speaker 3: But I remember being very little, maybe like two or three,
Speaker 3: like over in Hawaii, and like my mom's saying saying
Speaker 3: that your dad is alive. He's alive in your heart,
Speaker 3: you know, And so that was kind of a cool way.
Speaker 3: I always had felt that she said he was alive
Speaker 3: in the music and stuff. So that always tied this
Speaker 3: huge emotional component to the songs and the work. But
Speaker 3: you know, like most kids, though, I mean that since
Speaker 3: it was so emotional, it kind of just was in
Speaker 3: the background. I never gave too much crazy thought to
Speaker 3: it until like my teenage years. I think everybody's teenage years.
Speaker 3: Music is such an important, such an important tool because
Speaker 3: you know who doesn't have a weird you know, teenage saga.
Speaker 3: You know that when you're that age, everything's so intense
Speaker 3: and crazy that if you if you have music that
Speaker 3: can make you feel like, oh maybe I'm not the
Speaker 3: only one who thinks this way, like or any kind
Speaker 3: of art, that's your escape, right, So I was. I
Speaker 3: was at that point like learning and interacting with all
Speaker 3: these different sounds and artists, and of course just naturally
Speaker 3: because Sublime's dope and awesome, Like I would listen to
Speaker 3: it like any other fifteen year old smoking we would
Speaker 3: do you know what I mean, And you could do it.
Speaker 1: Like objectively and just be like, yeah, this is just
Speaker 1: great to smoke weed too, Yeah, I remember.
Speaker 3: I mean I definitely listened to all the records I
Speaker 3: was taught by, like my older friends, Like if they
Speaker 3: caught you listening to because in our in our day
Speaker 3: and age was like the iTunes era and LimeWire live
Speaker 3: wire stuff, and if you listen to just singles, they
Speaker 3: would like shame you ruthlessly, like what you can't just
Speaker 3: listen to a single, You gotta listen to a whole
Speaker 3: record or the song won't make sense, dude, Like come on,
Speaker 3: like okay, okay, I'll listen, but but then you'd find
Speaker 3: your favorites and you'd put you'd make your own little
Speaker 3: playlists or whatever. And Uh, for me, I'd always listen
Speaker 3: to pawn Shop, uh Boss DJ. And I'm trying to remember.
Speaker 3: There was definitely a few more. Uh definitely All You
Speaker 3: Need That still one of my favorites. Uh, but I
Speaker 3: don't know. It just it just fit very perfect into
Speaker 3: the teenage experience, I guess, or the youthful experience. And
Speaker 3: I think that's why we see so many of our
Speaker 3: fans still to this day are all ages.
Speaker 2: Yeah.
Speaker 1: Yeah, did you? I mean over the years, I mean
Speaker 1: you kept playing music, you kept going you and Eric,
Speaker 1: did you did you recognize that like it's successive generations
Speaker 1: a teenagers kept having that same experience with your music.
Speaker 2: Yeah, it was wild. I was just like, man, this
Speaker 2: is like the gift that just keeps on giving. It's
Speaker 2: just like it's it's never ending, you know, this is
Speaker 2: this is an awesome ride that we're on here. You know,
Speaker 2: there's all these other bands that have kind of you know,
Speaker 2: taken to our sound and and it's started its own
Speaker 2: you know, kind of little sub genre of music and
Speaker 2: in a way, and it was just like it was
Speaker 2: like wow. You know, at first, I was it was
Speaker 2: kind of you know angering you know, it's like we
Speaker 2: didn't get to do that, you know, and and it's
Speaker 2: like you know, right, your own style, you know, do
Speaker 2: something ridge and you know. But then it was like wow,
Speaker 2: these people they really truly like loved our band, and
Speaker 2: you know, it's like just like what we were doing.
Speaker 2: You know, imitation is a purest form of flattery, and
Speaker 2: it was like wow, man, whoa, this is even greater
Speaker 2: awesome feeling. You know, It's like, holy cow, It's like
Speaker 2: what did we do? Wow? Yeah, it was a trip.
Speaker 1: There was a part of you that maybe initially saw
Speaker 1: other people doing a version of Sublime.
Speaker 2: Lie. You know, it's like, man, that was part of it.
Speaker 2: You know, we're on this We're on this magic carpet
Speaker 2: ride where you know, ten thousand feet in the air
Speaker 2: and then the carpet gets ripped out from underneath us.
Speaker 2: You know, we we were just on that launching pad.
Speaker 2: All this stuff that we were working for, those childhood
Speaker 2: dreams when me and Eric were in the coliseum watching
Speaker 2: you know, the clash and the who going.
Speaker 3: We're gonna be up there someday.
Speaker 2: You know, when we're this big. It was like all
Speaker 2: that stuff was like, yeah, we're finally yeah, yeah, damn,
Speaker 2: you know. And it wasn't a soft landing. You know,
Speaker 2: a lot of drugs and alcohol came into play and
Speaker 2: and uh, you know, pushing the feelings away, and there
Speaker 2: was a lot of emotional damage, you know, internally to
Speaker 2: you know, ourselves and others around us. And typically the
Speaker 2: ones we love the most to seem to catch a
Speaker 2: lot of the flat because they're right there hugging you
Speaker 2: went your bomb explodes, you know. Yeah, So it's yeah, man,
Speaker 2: been a lot of uh, a lot of uh, you know,
Speaker 2: reparations along the way, you know.
Speaker 1: Son, It's one of the heaviest stories because like you
Speaker 1: could point to some people in music history that you know,
Speaker 1: like maybe like Otis Redding, you know, maybe a Randy
Speaker 1: Roads just thinking about Ozzie's just passed Randy Roads, who
Speaker 1: was just like you know, they kind of you know,
Speaker 1: gone too soon. But it's like the riots really like
Speaker 1: it's never happened, and the way that it uniquely happened
Speaker 1: to you guys, losing it.
Speaker 3: Is totally unique story completely from start to finish, from
Speaker 3: from high school to present day. You know, from eighty
Speaker 3: nine to twenty five, there's nothing quite exactly like the
Speaker 3: story of Sublime, and it's it's stayed pretty like underground
Speaker 3: in a cool way, you know what I mean. It's big,
Speaker 3: obviously bigger than anybody ever thought it'd be.
Speaker 1: But it's obviously very big, but it's it's a countercultural thing.
Speaker 3: It's almost like its own subgenre. Not subgenre you trying
Speaker 3: to say, is that I.
Speaker 1: Was going to figure out too. It's like a subgenre
Speaker 1: that gets just a culture. Maybe it's a subculture that
Speaker 1: gets adopted kind of everywhere around everyone has their own
Speaker 1: little personal experience. I mean, like it's just it was
Speaker 1: so funny to hear you explain your teenage years with it,
Speaker 1: because it was like the same thing with my teenage
Speaker 1: years of like people smoking joints and listening to like,
Speaker 1: you know, ruka or like what you know. It's like
Speaker 1: that was like what we did, and then that's how
Speaker 1: and then going back and then finding like Barrington Levy
Speaker 1: or find you know, like just like how hip hop
Speaker 1: helped me go back and find new records, like you know,
Speaker 1: sublime help me go back and really rediscover what was
Speaker 1: going on in Jamaica and the islands. And then it's
Speaker 1: covering people like Gershwin and you're like it's a whole
Speaker 1: musical education. And then like you know, digging deeper into
Speaker 1: caras One, you know, like it's like that was what
Speaker 1: what you guys did. But yeah, but it's just it's
Speaker 1: just unfathomable that you guys were right there with this
Speaker 1: album with the self title Low and it just sounds
Speaker 1: like as perfect as any album that's ever classic record.
Speaker 2: That was like the sound that we were attempting to
Speaker 2: achieve from the beginning. You know when when we when
Speaker 2: we had the rough tracks done in in uh at
Speaker 2: Willie's place there and they had the rough at it,
Speaker 2: it was like, that's it. This is the sound that
Speaker 2: we had been trying to make this entire time, you know,
Speaker 2: from John Won't Pay the Bills all the way through.
Speaker 1: You know what were you guys going for on Robin
Speaker 1: the Hood?
Speaker 2: So that sounds like a funny story there. Well, we
Speaker 2: were talking with Brett Gurwitz, uh, mister Brett from from
Speaker 2: Bad Religion and and uh yeah he had had uh
Speaker 2: expressed some interests and signing us to Epitaph Records, and
Speaker 2: so he said, well, come on down to the studio.
Speaker 2: Donelle is going to record you guys and just just uh,
Speaker 2: you know, have some fun, you know, do what you
Speaker 2: guys do. And so we go down to the studio
Speaker 2: expecting to see mister Brett there and everything, and he's like, oh,
Speaker 2: well he's he's in Uh, he's in New York. He's
Speaker 2: signing a deal with Atlantic for Bad Religion right now,
Speaker 2: so he's not going to be able to be here.
Speaker 2: So we stayed there, we knocked out a bunch of tracks,
Speaker 2: and the engineer went to go get some food pick up,
Speaker 2: food delivery or something like that, and so we hit
Speaker 2: rewind on the tape machine, boxed up the two inch
Speaker 2: tape and took it with us left to nose. Have
Speaker 2: mister Brett call us when he returns. And uh, you know,
Speaker 2: Brett was pretty upset, you know, he'd just given us
Speaker 2: all this time. And I was like, well, Brett, this
Speaker 2: is our this is our intellectual property. You know, we
Speaker 2: owe you for the tape. Okay, you said you were
Speaker 2: giving us the recording time, but we owe you the
Speaker 2: two hundred fifty bucks for the for the tape. You
Speaker 2: want to sign us, we can go see it all
Speaker 2: This later's got lost in the shuffle, and so now
Speaker 2: here we got this. We have half a record, well,
Speaker 2: probably a full record if we looked at it like
Speaker 2: a regular band, but we like to fill up all
Speaker 2: the plastic on the CD. So we had half a
Speaker 2: record in material. What are we going to do with it? Well,
Speaker 2: we have to make another record. So it was demo
Speaker 2: days and we had some friends that had found this
Speaker 2: community down in South County that had some homes that
Speaker 2: were damaged and and so you know, it was it
Speaker 2: was free, free studio time. We set up our equipment
Speaker 2: and in the abandoned homes and squatted away living rooms across. Yeah,
Speaker 2: you know, Kathy Cornwall's living room was part part of it. Yeah,
Speaker 2: there was a couple of other people who donated the
Speaker 2: their rooms and and but yeah, a lot, a lot
Speaker 2: of uh, a lot of debauchery went into that album.
Speaker 2: That's why it's called Robin the Hood because we were
Speaker 2: stealing time.
Speaker 1: That's insane. We'll be back with more from Jacob and
Speaker 1: Bud of Sublime after the break. So you had the
Speaker 1: I mean the stolen but not really stolen because to
Speaker 1: your point, was your actual property those dates. It was
Speaker 1: from epitaph.
Speaker 2: It was, yeah, eccentrically borrowed.
Speaker 3: Yeah, repurposed and recommandeered.
Speaker 1: Have you heard that? Have you heard the story before?
Speaker 3: You were bits and pieces, but hearing it all together
Speaker 3: is just like, blow my mind every time.
Speaker 1: That's so crazy.
Speaker 3: You just don't hear like stories like that anymore.
Speaker 1: Man, it's not too late. You guys can steal. You
Speaker 1: guys have from tapes, you can steal from these sessions.
Speaker 3: You guys, let's go right.
Speaker 2: Now, let's.
Speaker 3: Let's go to John Joseph.
Speaker 1: So when you guys put that together, I mean just
Speaker 1: to get back and obviously well we'll start talking about
Speaker 1: Sonatas and the new stuff, but it's just it's we
Speaker 1: got both two generations of the band going here. So
Speaker 1: it's just it's it's like an embarrassment of riches. But
Speaker 1: you know, the self title album and it's like this
Speaker 1: perfect sound and even you said it's the sound you
Speaker 1: heard Robin Hood was definitely the exact opposite of that.
Speaker 1: But you guys knew that putting it out.
Speaker 2: You just wanted to experimental album, you know, at the time,
Speaker 2: you know, you had albums like Paul's Boutique coming out.
Speaker 2: You know, I was gonna mention all of this, you know,
Speaker 2: really great wild stuff, and so you know, we're we're
Speaker 2: pushing the limits with the hip hop and you know
Speaker 2: element and in our music and really trying to find
Speaker 2: that next sound, you know. And and so, like I said,
Speaker 2: we had we had this half of an album that
Speaker 2: was you know, it was professionally recorded, and then the
Speaker 2: other half was not so professionally recorded. And then we
Speaker 2: all put it together and produced it on our own.
Speaker 2: You know. That was Miguel and Brad and you know
Speaker 2: mine and Eric's two cents in there when needed. So
Speaker 2: you know, it was, uh, that's how we put that
Speaker 2: album together. And it was like all right, now we
Speaker 2: got something new, let's get it out there, you know.
Speaker 2: And it was we always looked at at our records
Speaker 2: like a finished product, a piece of art, but it
Speaker 2: was also a business card. You know, this is what
Speaker 2: we're going to hand people. This is going to get
Speaker 2: their attention, you know. And so it was like we
Speaker 2: got something new to pass out, we have something new
Speaker 2: to sell. Well, it was just putting gas in the
Speaker 2: vand so we can get to the next show.
Speaker 1: What was the reception when you're passing that around fifty
Speaker 1: to fifty people?
Speaker 2: Some people loved it, some people hated it. You know,
Speaker 2: I couldn't understand, Raleigh, what the fuck did you put
Speaker 2: that guy on the album for? It's like, you don't
Speaker 2: get it, Okay.
Speaker 3: This one doesn't get it?
Speaker 1: Fifty fifty description of that record, Like it's it's pretty abrasive.
Speaker 1: It's like, you know, it's definitely you know, like if
Speaker 1: you hear that, you're gonna get it, or you're just.
Speaker 2: Like, yeah, you know, it's for the seasoned listener.
Speaker 3: Odds are good, but the goods are odd so good.
Speaker 1: So then once you finally get out to Willie's place
Speaker 1: and outside of Willie Nelson, outside of Austin, just outside
Speaker 1: of Austin, Texas, and you guys are recording and self titled,
Speaker 1: did you just like, was it an accident that you
Speaker 1: got that sound?
Speaker 2: Like?
Speaker 1: Did it just I mean, I'd assume not, but like.
Speaker 2: You know, it was just the years and years of
Speaker 2: working together, you know, playing playing shows out on the road,
Speaker 2: you know, I mean there there's times when you know,
Speaker 2: Eric and I were lockstep from from a Jump, and
Speaker 2: I think that's partly because you know, being trained by
Speaker 2: his father and stuff, both of us.
Speaker 1: So so father was a drummer, right, His.
Speaker 2: Father was a drummer and also played piano and vibes
Speaker 2: and stuff too. But but you know, being playing shows
Speaker 2: out on the road, you know, for for as long
Speaker 2: as we did, we developed like this kind of third
Speaker 2: eye between us. You know, we all knew what we
Speaker 2: were going to do. When you know, it's like all
Speaker 2: it took was just like Brad turning around and looking
Speaker 2: at me and going like watch this hold on, you know,
Speaker 2: and I was like I knew a change was coming,
Speaker 2: and I was like, I know what he's gonna do.
Speaker 2: I remember the music we were listening to on the way here,
Speaker 2: you know. Yeah, and so so you know, things would
Speaker 2: change up and we had improvised it, and you know,
Speaker 2: it was it was just developing that that musicianship you know,
Speaker 2: really played into the recording. And you know a lot
Speaker 2: of times we were you know, the other recordings, we
Speaker 2: were pressed for time and money, you know, because it
Speaker 2: costs money to be in the studio, and we didn't
Speaker 2: go into the studio without a purpose. You know, there
Speaker 2: was we had ten or fifteen songs and we're going
Speaker 2: to bust out as many as we can. And we
Speaker 2: went in there bing bang bing bang bing bang boom,
Speaker 2: you know, because it was costing us money and we
Speaker 2: were broke. So we're going out to Willie's place and
Speaker 2: the record company's paying for it. And I remember flying
Speaker 2: out there asking Eric what the fuck are we gonna do?
Speaker 2: We got maybe two or three songs, you know, I mean,
Speaker 2: and he's like, I don't know, but we're figuring out
Speaker 2: when we get there.
Speaker 3: You know.
Speaker 2: So uh, you know, every day it was just something new,
Speaker 2: and it was part of that that jam, that improv
Speaker 2: kind of feel, you know, and it was just it
Speaker 2: was just wild, you know, and just things came to
Speaker 2: us every day, and some days nothing came to us.
Speaker 2: We'd sit there and try as hard as we could,
Speaker 2: and Paul would be like, why don't you guys go
Speaker 2: play golf or something.
Speaker 3: They actually had that set up there.
Speaker 2: There was a little golf Willie's studio was a it
Speaker 2: was on a golf course. It was a it was
Speaker 2: an old golf club. It was a country club, and
Speaker 2: the country club for the golf course was the actual studio,
Speaker 2: and there was homes around the golf course. And I
Speaker 2: think that like all of the touring families lived out there,
Speaker 2: you know, so all of his roadies and such, you know,
Speaker 2: they all kind of add their their community out there.
Speaker 2: It was Willie World, you know, it was pretty really
Speaker 2: cool thing, you.
Speaker 1: Know, was any of Willie's Like, like, so Willie's some
Speaker 1: of Willie's entourage must have been around to see, right, Yeah,
Speaker 1: yeah you meet you got to meet him.
Speaker 2: You didn't get to meet Willie. He was out on
Speaker 2: the road at the time, okay, yeah, yeah, yeah.
Speaker 1: So a lot of that was jamming. You guys got
Speaker 1: in hit record, see what happens, and then you would
Speaker 1: just shape it from there, like yeah, listen back to
Speaker 1: the tay here something.
Speaker 3: Okay.
Speaker 2: So, for instance, caress me down. I had an electronic
Speaker 2: drum kit. I think it was a Rolling TD seven
Speaker 2: and there was this one pre programmed drum kit on
Speaker 2: there that had like reverse cymbals and drums, and I'm
Speaker 2: just messing around with it. I got like the headphones on,
Speaker 2: you know, and and I'm just playing around on this thing.
Speaker 2: And then and I didn't realize that it was in
Speaker 2: the monitors too, and Brad was like, wait, wait, wait,
Speaker 2: play that again, play that again, you know, And that
Speaker 2: was like the first part for Caress Me Down, and
Speaker 2: that's how that and he was like I got something,
Speaker 2: I got something, and he just grabbed a microphone. Paul
Speaker 2: hit play and record and it was the drums and
Speaker 2: Brad and Brad was like kind of directing me as
Speaker 2: he's singing lyrics, you know, And so the scratch lyrics
Speaker 2: on there, I'm sure he'd be like, no, bring it down,
Speaker 2: bring it down, okay, you know. So it's it was
Speaker 2: pretty cool, like wild, like on the spot, like live creation.
Speaker 1: You do that, and then he might he might be scratching,
Speaker 1: he might redo it, read it. Yeah, that's pretty insane though, Yeah,
Speaker 1: that's pretty nuts. How much of that I mean? You
Speaker 1: can't like obviously, like the sound of en Sonata, which
Speaker 1: is like the first fully original song that you guys
Speaker 1: have done with with with Jacob, it sounds like a
Speaker 1: bit like logically what you would think comes next after
Speaker 1: that album, But you can't recreate the magic that might
Speaker 1: have happened at Willie's studio, no, totally. So how do
Speaker 1: you guys think about going in the studio once you
Speaker 1: decide to do this together?
Speaker 3: Like basically everything Bud said, I kind of wanted that
Speaker 3: to be the case too, and so yeah, it's kind
Speaker 3: of exactly the vibe. I mean, there was some basic
Speaker 3: ideas here and there from various sources, and then we
Speaker 3: just go in there and jam it out. And that's
Speaker 3: exactly what you're hearing on this recording and Sonata and
Speaker 3: all the recordings of the record, like and same thing
Speaker 3: we had, like the mike and me and John would
Speaker 3: be us into the drum doing the or Bud doing
Speaker 3: the drum takes and uh, Eric on bass are on
Speaker 3: the keys and uh, I mean that's just like how
Speaker 3: good music is made, you know. And we're smiling the
Speaker 3: whole time. And then we break for lunch and go
Speaker 3: take a little walk sunny Sampedro and it was just
Speaker 3: like such a cool experience there for a couple of weeks,
Speaker 3: I think, and they're like, yeah, how.
Speaker 1: Many songs do you guys recorded in Pedro for the
Speaker 1: for the news shoot?
Speaker 2: It was like sixteen or something.
Speaker 3: I think about sixteen we did, and we did even
Speaker 3: more if you count the jams, because sometimes he just
Speaker 3: turned it on to be like all right, start jamming.
Speaker 1: You guys must say like what did you guys. First jam.
Speaker 3: Honestly, the very very first time was it was it
Speaker 3: Doug's birthday party.
Speaker 2: That's right. Yeah, we have a common employer. We both
Speaker 2: worked at Billings Hardware growing up in Long Beach.
Speaker 1: Right down the street from here on Second Street.
Speaker 3: Shoutout Doug.
Speaker 2: Doug had his fiftieth birthday party and he had invited me.
Speaker 2: Doug got me into jeeping. He's he's really big and
Speaker 2: driving jeeps off roading. Yeah, yeah, cool enough, you're good.
Speaker 2: And uh so he was like, yeah, We're having a
Speaker 2: little party out of my house in the desert and
Speaker 2: I have a bunch of jeeps out there, and you know, like, oh,
Speaker 2: cave in and cave exploring. Because he's a spilunker. He's actually
Speaker 2: an underground cartographer.
Speaker 3: Dude. I don't know how he does that. That stuff
Speaker 3: gives me nightmares, Like I brave.
Speaker 2: He like maps, like underground cave systems for foreign governments
Speaker 2: and stuff too. It's on the side what.
Speaker 3: Yeah, draining cartography. It's nuts, dude, and it's dangerous if
Speaker 3: you have you're the first dude in the cave mapping
Speaker 3: it out.
Speaker 1: It was one thing to be like adventures, like I'm
Speaker 1: going to just go for it and try it out,
Speaker 1: and like that's like a hobby. But to do that
Speaker 1: for form got.
Speaker 2: Like carry's canary in his pocket, see that sweety bird. Yeah.
Speaker 2: So it went out to his fiftieth birthday and he
Speaker 2: said there was going to be a band out there.
Speaker 2: He's like, oh yeah, probably a Z man will probably
Speaker 2: be out here or something like that. He was, And
Speaker 2: I show up and Jake was out there with his band,
Speaker 2: like a right.
Speaker 3: We were playing some punk tunes or whatever. It was
Speaker 3: very early in my in my musical learning. I think
Speaker 3: I was like eighteen, what year like maybe? Oh man,
Speaker 3: if I was eighteen, no, no, this would have been
Speaker 3: more like twenty fifteen maybe.
Speaker 2: Yeah, all right, right fourteen maybe yeah, right around there.
Speaker 1: So you saw Jacob out there with his band.
Speaker 2: Yeah, he just jumped up on the drums and played
Speaker 2: a couple of songs.
Speaker 3: Yeah, just kicked it. It was fun.
Speaker 2: Yeah.
Speaker 3: And then the next day we did some caving and uh,
Speaker 3: very very light because you know, because Doug's a real deal.
Speaker 3: And then I totally blew it. I'm taking I had
Speaker 3: think I had a Forerunner at No, it wasn't a
Speaker 3: four runner. It was an FJ Cruiser. And I got
Speaker 3: it caught in the dirt, and then Bud and Doug
Speaker 3: came in and winched it out of the out of
Speaker 3: the sand.
Speaker 2: Got him unstuck. Oh yeah, oh, put.
Speaker 3: A bunch of brush underneath the tire and stuff and
Speaker 3: got unstuck.
Speaker 1: I was about to ask, was Eric there that day?
Speaker 1: He washed it?
Speaker 2: Was not there that day. But he's from Doug too.
Speaker 2: Eric's Eric's good friends.
Speaker 1: With Dun from from as On Billions.
Speaker 2: Talking about Doug Billions.
Speaker 3: Yeah, yeah, Doug Buildings.
Speaker 1: Set you up here with the great to meet you man.
Speaker 4: How's you going?
Speaker 3: When Eric still lived down here when I started working there,
Speaker 3: he would still come into the shop all the time.
Speaker 1: Yeah, when did you guys? When did you guys first jam?
Speaker 1: Then with Eric?
Speaker 3: Yeah, all three of us together kind of same thing.
Speaker 3: So me and Bud, you know, we see each other's show,
Speaker 3: jam a little bit. Me and Eric, we saw each
Speaker 3: other the show would hop up, jam a little bit
Speaker 3: that happened like with his band, spray aling and stuff.
Speaker 3: And then the three of us jam for the very
Speaker 3: first time to prepare for the hr benefit show, to
Speaker 3: see if we dug it and it made sense? H yeah,
Speaker 3: and uh, the terogram tetragram ballroom.
Speaker 1: Yeah yeah, and like what was uh, how did it
Speaker 1: feel like to do like actual, dude, it was cool
Speaker 1: show these songs.
Speaker 2: Yeah, I definitely felt right. There was a lot of
Speaker 2: healing going on in the room that night all definitely. Yeah, yeah,
Speaker 2: yeah it was. It was a pretty magical moment.
Speaker 3: My favorite is when I pick like some old obscure
Speaker 3: favorite that I love, and they'll look at each other like, man,
Speaker 3: I don't think I've played that for like twenty five years.
Speaker 3: They wrote it, so they remember it perfectly. At least
Speaker 3: to me, it sounds perfect.
Speaker 1: Yeah you are you? What's the process of learning the songs?
Speaker 1: Like are you do? I mean I imagine you can
Speaker 1: get most of them, but then to do occasionally have
Speaker 1: to ask them like.
Speaker 3: Yeah, well, you know, I've been invited to be uh,
Speaker 3: I've been invited to projects before to sing or to
Speaker 3: fill in and stuff for pre established materials. So I
Speaker 3: just go in and just try to listen all the material,
Speaker 3: watch a bunch of live sets the best of my ability,
Speaker 3: And then there have been some parts when I'm like, wait,
Speaker 3: it does it here on this recording? But is that
Speaker 3: how you guys? Did it live? So you know, there's
Speaker 3: sometimes there's differences about how we want to portray things,
Speaker 3: or sometimes just just cuz we'll switch things up a
Speaker 3: little bit.
Speaker 2: Yeah.
Speaker 1: Yeah, has your voice always sounded similar to your dads,
Speaker 1: like that close to your dads when you sing, or.
Speaker 3: I mean in the same way that like sometimes kids
Speaker 3: look like their parents and stuff like that. I think
Speaker 3: there's definitely like similarities, and people definitely tell me they
Speaker 3: hear it. I hear it more more times than others.
Speaker 3: But I mean, you can't, you know, you can't go
Speaker 3: and try to emulate something you're not all the time,
Speaker 3: Like I would try to get it as close as
Speaker 3: I can. Yeah, I'm never trying to insert my own
Speaker 3: interpretation of the material because that doesn't seem like if anything,
Speaker 3: I'm trying to be like, Okay, let's see how this
Speaker 3: type of singer my dad would would approach things and
Speaker 3: how he would deliver things and when to use vibroad
Speaker 3: and when not to. And I was much worse at it.
Speaker 3: I think a year ago when we started, I think
Speaker 3: it was still, you know, fun show for people to
Speaker 3: co see. But all the time I'm trying to improve,
Speaker 3: And so recently I actually started listening to the iso vocals.
Speaker 3: There's people up there who put it on YouTube where
Speaker 3: they isolate you know, drums based vocals, and so that
Speaker 3: helps a lot for me to hear hear the inflections
Speaker 3: and where things are supposed to go. But ultimately, you know,
Speaker 3: no plans to survive contact with the enemy. You know,
Speaker 3: when we're up there playing, it's all about just having
Speaker 3: fun and chaos. Yeah, that's all just to prepare.
Speaker 1: Well, Na's break and we'll be back with Sublime. But
Speaker 1: the studying has got to be a trip because like
Speaker 1: Bradley made some really weird choices. Like see, I don't
Speaker 1: know if there were conscious choices. It might have just
Speaker 1: been who he was and just come naturally.
Speaker 2: But like this is so cool, man, Like it's so cool.
Speaker 3: There's some parts where like musically, I'm like what were
Speaker 3: they thinking? Like no, who comes up with it? It's
Speaker 3: so rad just certain progressions or like, I don't know,
Speaker 3: it just it had the vibe of like kind of
Speaker 3: like budd was. We were talking earlier about like a
Speaker 3: self titled record and you guys just like nailing that
Speaker 3: sound you've been working up towards for so many years.
Speaker 3: And I think a big part of that component correct
Speaker 3: me I from wrong. But it's just like you know,
Speaker 3: just that that jam element and just almost turning your
Speaker 3: brain off, you know.
Speaker 1: Yeah.
Speaker 3: Yeah, so that's helped a lot for sure.
Speaker 1: Yeah, for you, Like the healing part of it, was
Speaker 1: that expected or did that feel? Was that a surprise?
Speaker 1: Just how right it felt? And so the weight of it,
Speaker 1: the gravity of it, the healing of it.
Speaker 3: Yeah, I guess no one expects something intense to happen,
Speaker 3: but uh, yeah, it felt right and it continues to.
Speaker 3: Yeah for sure.
Speaker 1: Was there a part of you that felt before green
Speaker 1: to do it, before doing it, that felt like maybe
Speaker 1: like maybe it's just too much, maybe it's too for me?
Speaker 3: Yeah, because I didn't want to like you know, it's
Speaker 3: it's it's tricky because I think especially fans, you know,
Speaker 3: they they get attached to what the fuck the band is?
Speaker 2: You know?
Speaker 3: That was that was real? So that's it, you know
Speaker 3: what I mean. I'm no surrogate or replacement or whatever.
Speaker 3: I think it's fun for people to see and we
Speaker 3: love jamming and writing music and continue that's what the
Speaker 3: three of us know how to do and work like families,
Speaker 3: so it makes sense for us. Can you to do it.
Speaker 3: But for a while, like understandably, I was like, well,
Speaker 3: I don't want to feel like I'm you know, replacing
Speaker 3: or stepping out of line or whatever or misutilizing uh
Speaker 3: you know, legs up or any any of that stuff.
Speaker 3: So all that factored in for sure, and still does.
Speaker 3: But at the end of the day, it's like, you know,
Speaker 3: we're not fucking caring cancer here, We're making rock music.
Speaker 3: We're having fun.
Speaker 2: Yeah, But I think I think that it's the way
Speaker 2: that we approached it. You know. It was like we
Speaker 2: did this, you know, for for you know, a friend.
Speaker 2: It was a benefit show, and yeah, that's that's where
Speaker 2: where it was. It wasn't like we're going to put
Speaker 2: this together. We're going to go do this, We're going
Speaker 2: on tour and we're going to make a record. Okay,
Speaker 2: get ready.
Speaker 3: Yeah, there was no plan.
Speaker 2: It wasn't it wasn't like that, and you know, and
Speaker 2: so it was like, you know, there for me, there
Speaker 2: was thoughts, you know, because you know, I mean, you know,
Speaker 2: we tried to do this before with Rome, you know,
Speaker 2: and and uh, you know, at the time, it seemed
Speaker 2: like the right thing to do, but then after I
Speaker 2: got into it, a couple of years later, it just
Speaker 2: it wasn't right for me. It didn't feel right for me,
Speaker 2: and so I had to step back. And then so
Speaker 2: when we were approached, you know, to do this thing,
Speaker 2: you know, it was like, well, okay, it's just a
Speaker 2: one off kind of thing, you know, and so it
Speaker 2: was like, you know, talk about it, you know with
Speaker 2: other friends, were like, you know, you guys could probably
Speaker 2: really do this, and it's like, well, you know, like
Speaker 2: Eric said, let's see if we can even jam together.
Speaker 2: You know, yeah, they start there, yeah, you know, and
Speaker 2: then so once it once it kind of happened, you know,
Speaker 2: at that show, it was just like the feeling, you know,
Speaker 2: it was so incredibly real and felt so right that
Speaker 2: it was like, yeah, this is this is what needs
Speaker 2: to happen.
Speaker 3: And it did kind of snowball naturally, like it was
Speaker 3: just that show and we jammed out and practiced for that.
Speaker 3: And then it's like our buddy Joe's friend with Paul Toillette,
Speaker 3: and he's just a big you know, skopunk fan, you know,
Speaker 3: in that year, he had like no doubt and stuff.
Speaker 3: So he's like, oh, why do you guys do this?
Speaker 1: Coello Paul who puts on Coachello. Yeah, he started out
Speaker 1: as like a just a punk promoter.
Speaker 3: So it's just one thing after another kind of led
Speaker 3: lead fell in together, and I remember it was so
Speaker 3: like not thought. Like one time we were jamming and
Speaker 3: I was like, you know, I'll be honest, like I'm
Speaker 3: not I don't see myself as much a guitar player
Speaker 3: like my dad shredded, like Jimmy Hendrix is just not
Speaker 3: My fourte can be serviceable here and there, but I'm like,
Speaker 3: who should we get to is like a Shredder? And
Speaker 3: then Eric's like, I think he's just like called Trey
Speaker 3: and he was like, hey, Trey, Derek, do you want
Speaker 3: to come play with them? It's just like so natural,
Speaker 3: And I was like we got some tracks and DJ stuff.
Speaker 3: And then I just called Dougie because I see him
Speaker 3: all the time at Ho Dads. When I go down
Speaker 3: to San Diego, which he still works at that Who Dads,
Speaker 3: he still curls up burgers really yeah, because he's just
Speaker 3: that's his Dougie man. He rocks and the five of
Speaker 3: us all go up there and play. And then you know,
Speaker 3: I got a bunch of friends who were young musicians,
Speaker 3: and I'm always trying to hook up and stuff. So
Speaker 3: my buddies A and O, who's just an insanely gifted
Speaker 3: guitar player, I'm always like, dude, you play the song,
Speaker 3: I hand him my guitar is my guitar tech. And
Speaker 3: it's just or if our buddy Gobbo's in town, he's
Speaker 3: you know, fluent Spanish speaker, I'm like, they'll probably rather
Speaker 3: listen to you do that part, you know what I mean. Like,
Speaker 3: and so it's just that's like the fun of it, dude.
Speaker 3: Like I grew up actually listened to a lot of
Speaker 3: the og Long Beach Dub stuff too. My mom it's
Speaker 3: always said it's like our favorite band. So like to me,
Speaker 3: it was just this fun collaborative like I don't know,
Speaker 3: everyone's just just adding in their part and stuff like that.
Speaker 3: So that's always been an element that's made these this
Speaker 3: last year really exciting and fun to me.
Speaker 1: Yeah, that that that spirit comes through because like you know,
Speaker 1: when the song got sent to me and I put
Speaker 1: it on, I was like, before I put it on,
Speaker 1: I was little like you alow like, oh man, like
Speaker 1: its gonna be you just hope it's good because you're like,
Speaker 1: oh man, like it's like otherwise it might be a
Speaker 1: little awkward. It's like and you put on you like
Speaker 1: not and it's like not just that, it's good, it's
Speaker 1: like the spirit the original, Like I saying like that.
Speaker 1: The there's just a vibe to it that feels very
Speaker 1: authentic and natural and it feels quite frankly, it feels
Speaker 1: like a lot like Long Beach too.
Speaker 3: You know, we actually switched. The first few songs were
Speaker 3: glam metal. We were gonna make a huge shift and
Speaker 3: see we got this great foundation hook up with this
Speaker 3: makeup company.
Speaker 2: Metal with show tunes, with.
Speaker 3: Show tunes combined.
Speaker 2: Is that's what we did with the rock and reggae.
Speaker 1: But it's you know, it's show tunes and and butt rock.
Speaker 3: But yeah, and we're just gonna merge these two genres.
Speaker 1: I would have love I would have loved to I
Speaker 1: would like to hear those I'd like to hear those tapes.
Speaker 3: But I know, I know the feeling to talk about you,
Speaker 3: you're never sure when people you know beloved bands from
Speaker 3: another era, it's like, oh, here's some more music. It's
Speaker 3: always kind of a coin toss. But so far, the
Speaker 3: reaction from all our fans and from new fans too.
Speaker 3: We're getting new fans now from It's just it's been
Speaker 3: so cool, dude.
Speaker 1: Yeah, how many how many songs are on the new
Speaker 1: the new album?
Speaker 3: Well, we're still piecing it all together. But like but said,
Speaker 3: I think we did like sixteen tracks and then maybe
Speaker 3: we'll do some interludes in there and then some jams
Speaker 3: and stuff. It'll probably like probably like an eighteen track record.
Speaker 1: And is Travis Barker and volved.
Speaker 3: No, me, me and my buddy did some writing sessions
Speaker 3: with him. But the songs that we did, which are
Speaker 3: really cool, they're just they were made separately from what
Speaker 3: we did over in Sam Pedro. So I think in
Speaker 3: the future be cool to get all three of us
Speaker 3: over there. At first, it was just like write and
Speaker 3: get some ideas. So if the three of us went in,
Speaker 3: I think that's what makes it like actual sublime. You know,
Speaker 3: we would have to all do it together. But Travl's cool, man,
Speaker 3: I mean, it was this a epitaph situation.
Speaker 2: You just went to try.
Speaker 3: No, actually, I think took some stuff up and just
Speaker 3: friends of friends who were just like, yeah, they want
Speaker 3: to do this, they want to link up and so,
Speaker 3: but it was very informal you know, it's not like
Speaker 3: there's a contract sign. It was mainly just hanging out. Yeah, yeah, no.
Speaker 1: And it feels it feels I mean, it's just like
Speaker 1: two from like the outsider perspective, the fan perspective, the
Speaker 1: thing that seems so cool about it too, and then
Speaker 1: why I'm so happy also that it works and that
Speaker 1: it all came together so organically. It's like, you know,
Speaker 1: like to a point earlier, like getting the rug pulled
Speaker 1: out from under you guys, the way that you did,
Speaker 1: and then and then for you too, man, like you know,
Speaker 1: like just you know, kind of in a more profound way,
Speaker 1: you know, losing your pop.
Speaker 3: So no, yeah, we were talking earlier about how this
Speaker 3: whole history of Sublime is is so unique and truly
Speaker 3: what we're doing right now is is interesting because you
Speaker 3: have this perspective from multiple generations about how music is
Speaker 3: involved in people's lives. I feel like, sort of like
Speaker 3: the little thesis statement for this whole discussion here, you
Speaker 3: know what I mean, or just some some stuff for
Speaker 3: people to chew on out there, I guess, is how
Speaker 3: we you know, how we absorb music, how we consume it,
Speaker 3: and then how we use it to affect other people's
Speaker 3: lives and stuff like that, And like we've been saying too,
Speaker 3: when you come out to the shows, all generations are
Speaker 3: present in attendance and smiling and having fun and creating
Speaker 3: those new memories. So yeah, I think the unique perspectives
Speaker 3: that we all bring to the table is super present
Speaker 3: in the record and in our performances.
Speaker 1: Yeah, do you guys, do you guys think about Bradley
Speaker 1: much when you're playing with Jacob?
Speaker 2: Like, yeah, yeah, it's a feeling.
Speaker 3: Yeah, for sure. It's good evidence because I was always
Speaker 3: thought my dad was like the Maleman because my beard's red.
Speaker 1: It's definitive proof.
Speaker 3: Told my grandpa the other day, He's like, well, I
Speaker 3: guess we finally got proof.
Speaker 1: How is your family? Is your family happy you're doing it?
Speaker 1: Are they?
Speaker 2: Are they?
Speaker 1: Is it totally dude?
Speaker 3: Yeah, No, they're so happy. Like it's you know, they
Speaker 3: all grew up cruising over to my grandparents. It's just
Speaker 3: like like you said, it's like healing.
Speaker 2: You know.
Speaker 3: They're my grandpa, doesn't you know. He's he's very very
Speaker 3: old now, so he just kind of chills on his
Speaker 3: patio these days, and he's just very mellow and chilled
Speaker 3: out and stuff, but he hears about it, and then
Speaker 3: my grandma sees like all our faces in the newspaper
Speaker 3: and stuff, and they just see us doing good and thriving.
Speaker 3: So I think for them it's a it's a special
Speaker 3: experience for sure.
Speaker 1: Yeah, yeah, what was for you guys? I was always
Speaker 1: used what was like when the album came out and
Speaker 1: with such a success the Sublime album, we kind of
Speaker 1: had to go sell the record still, which is kind
Speaker 1: of crazy and deal with the label and you now.
Speaker 4: It was like a bittersweet because you know, yeah, there's
Speaker 4: a wold bunch of albums, but we just lost our
Speaker 4: just friendly business partner alone.
Speaker 1: Yeah.
Speaker 2: I remember we uh turned down a interview on the
Speaker 2: Howard Stern Show right after, So there was there was
Speaker 2: a lot of press, you know, and stuff like you said,
Speaker 2: you know, I have to sell the record and and
Speaker 2: so interviews and and things like that, but we had
Speaker 2: to kind of be selective. At first, it was like, oh, yeah,
Speaker 2: we're going to talk about this, this stuff is real,
Speaker 2: But then we started realizing that certain people were just
Speaker 2: using our our emotional torment to better their personal situation.
Speaker 2: So it was like, all right, well, we definitely don't
Speaker 2: want to go on the Stren Show. I hit below
Speaker 2: the Belt, he might get hit back home. Arn. So yeah,
Speaker 2: we uh but yeah it was you know, it was wild,
Speaker 2: but we you know, we took our We took our time.
Speaker 2: You know. The record label wanted us to to find
Speaker 2: a fill in, you know, and immediately it was just
Speaker 2: shut down. And it's along came the Long Beast of
Speaker 2: All Stars, which was a group of our friends. You know.
Speaker 2: It was Opie, our artists that Drew the Sun, and
Speaker 2: Marshall Goodman, Miguel you know, and other other neighborhood friends.
Speaker 2: Jack Manus, He's sang Rivers of Babylon, you know, he
Speaker 2: was always around. I went to school with them to
Speaker 2: so you know, it was just a group of neighborhood friends.
Speaker 2: Once again, just keeping true to our roots and sticking,
Speaker 2: you know, to our recipe.
Speaker 1: You know.
Speaker 2: But we uh, we realized that that the record label
Speaker 2: had the rights of first refusal to our next project.
Speaker 1: That's what I was wondering.
Speaker 2: Yeah, so Eric and I all of a sudden we
Speaker 2: weren't seeing it. Well. We found we had an attorney
Speaker 2: look into the contract and found that the record label
Speaker 2: had to provide a recording. They had to pay for
Speaker 2: the recording for us, and so all of a, Sudd
Speaker 2: and Eric and I were no longer seeing eye to
Speaker 2: eye creatively. So we had two different projects that we
Speaker 2: were going to present to them because they had to
Speaker 2: provide each one of us individually with a recording. So
Speaker 2: we recorded our first punk rock band, Juice Bros. And
Speaker 2: put out a vinyl record on that, because we knew
Speaker 2: they weren't going to accept that.
Speaker 1: Yeah yeah, yeah, no one.
Speaker 2: So we're just trying to get out of our contract.
Speaker 2: So we basically handed them two shoe boxes full of
Speaker 2: dog shit and said, and uh, but we got we
Speaker 2: got two solid recordings out of that, or two of
Speaker 2: our side projects that we had worked on, and then
Speaker 2: we were free to do the longbie stub All Stars.
Speaker 2: And that turned out to be a real treat as well,
Speaker 2: because now here after, you know, the record comes out
Speaker 2: and we're now having to share publishing with all these
Speaker 2: great Jamaican artists, you know, like Half Pint, Barrington, Lee Vy,
Speaker 2: you know, and amongst others. The way we approached paying
Speaker 2: that that debt back was by recording songs for them.
Speaker 2: So we got to go into the studio and record
Speaker 2: with pipes and bread from Whaling Souls with Barrington with
Speaker 2: Half Pint, you know, they came out on tour with us,
Speaker 2: so you know, it was just it was it was
Speaker 2: amazing gift being able to play with our mentors, you know,
Speaker 2: and record with them. So it was just you know,
Speaker 2: and once again an amazing experience. I don't I don't
Speaker 2: know any other band that they has shared those kinds
Speaker 2: of experiences on the way that we have.
Speaker 1: Yeah, they had to be surreal to get to play
Speaker 1: with like the Actually, I mean I was asking it too,
Speaker 1: like to be able to share a stage with those guys.
Speaker 2: Right, you know what I mean, turn back to clocks.
Speaker 2: It could have been Bob Marley, you know, like holy.
Speaker 1: Yeah, yeah, yeah, you know, like you know, I guess
Speaker 1: maybe the closest would be like the Stones, you know,
Speaker 1: getting to play like Muddy Waters or something, you know,
Speaker 1: like bearn to be like a Half Pint. It's like
Speaker 1: your guys is you know, yeah, Howling Wolf and Waters
Speaker 1: or whatever, you know, and uh and Long Beach of
Speaker 1: All Stars had such a great run. You guys had
Speaker 1: an incredible run. You know, people loved going out and
Speaker 1: it was such a cool. It was just it was
Speaker 1: it was you know, getting to you know, bringing the
Speaker 1: whole sublime sort of the larger family together was Ah.
Speaker 1: It seemed like that was kept people fans going for
Speaker 1: for a long time. You know.
Speaker 2: It was a good way for us to heal too
Speaker 2: at the same time.
Speaker 1: Yeah, so you guys are doing warped tow tomorrow.
Speaker 3: Yeah, warped to her bright and early. We're excited. Six am,
Speaker 3: six am set, six am set, yep, yep. Because you
Speaker 3: know once Kevin, you know Limon, he still likes to
Speaker 3: mess with the set times on the board. So the
Speaker 3: rumor is he's gonna put us right at six am
Speaker 3: before doors open. It's like Hendricks, that would stock you
Speaker 3: guys just gonna should probably just start staying up now,
Speaker 3: you know, drop acid now you time Actually, if you
Speaker 3: time it, that's perfect. You'll be plateauing by their first.
Speaker 1: Yeah, but he got to open with you go now
Speaker 1: you gotta think about that because you got a whole
Speaker 1: whole crowd of people. Plats on. Man, Well, it's so
Speaker 1: great to meet you guys, and it's like a great
Speaker 1: talk dude.
Speaker 3: This is fun as hell.
Speaker 2: Man.
Speaker 3: Yeah, it's stoked. I'm stoke. We're all here in LBC.
Speaker 1: And it's a real honor man, you know, because it's
Speaker 1: like you guys are, like I said, we like you
Speaker 1: mentioned the top. We work at the same gym. I
Speaker 1: go outside.
Speaker 3: How low cool is this?
Speaker 1: It's so cool to see a blind wall. I see,
Speaker 1: I see you guys up there with Bradley and lou
Speaker 1: Dog and Dude.
Speaker 3: I was parked out in front of their earlier day
Speaker 3: because I had to do this this phone interview or whatever.
Speaker 3: I'm on the camera and he was talking about He's like, oh, yeah,
Speaker 3: I really like this one picture of you and your dad.
Speaker 3: I'm like, oh you do. And I just like drove home,
Speaker 3: like hear it is it's my Floyd's barber shop. Yeah yeah,
Speaker 3: And he's like, no way, it's so cool. Yeah, it's
Speaker 3: everywhere you look here. Man, it feels nice. It's home.
Speaker 1: Are you gonna keep your other band because you have
Speaker 1: other you guys, you know, other projects going. Are you gonna, Oh.
Speaker 3: Yeah, we all got time to do the various projects
Speaker 3: that we do in the side and stuff like that.
Speaker 2: Yeah.
Speaker 3: Yeah, we're still active. And I think it's very much
Speaker 3: adjacent to and inspired by, uh, that amazing era in
Speaker 3: the nineties Sublime and all the contemporaries and just the
Speaker 3: spirit of musicians that like to mix together genres that
Speaker 3: seem like they don't mix. Yeah, you know, maybe not
Speaker 3: glam metal and show tunes, but you never know it.
Speaker 1: You're a man out there.
Speaker 3: That's mixing those genres. And you got a cool demo.
Speaker 3: Send it, bro, We want to hear it.
Speaker 1: Release the glam metal, show tunes tapes and the Juice Boys. Yes, yes,
Speaker 1: the contract. That's what the people want. Man. Yeah, well, great, great, great,
Speaker 1: talk to you guys man, Good luck tomorrow, and you
Speaker 1: can't wait to listen to the rest album.
Speaker 3: I Care time to be cool Man.
Speaker 1: In the episode description, you'll find a link to a
Speaker 1: playlist of our favorite Sublime tracks. Be sure to check
Speaker 1: out YouTube dot com flash Broken Record podcast to see
Speaker 1: all of our video interviews, and be sure to follow
Speaker 1: us on Instagram at the Broken Record pot. You can
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Speaker 1: produced and edited by Leah Rose with the marketing help
Speaker 1: from Eric Sandler and Jordan McMillan. Our engineer is Ben Holiday.
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Speaker 1: by Kenny Beats. I'm justin Richmond.