Sublime

00:00:15
Speaker 1: Pushkin. Thirty years ago, Sublime released the album that defined their career in Southern California's music scene for a generation. Now, the band is preparing to put out their fourth full length, and for the first time, Bradley Nole's son, Jacob Nole, is stepping in as lead singer. Bradley, Sublime's original frontman, died of a heroin overdose in ninety six, just a couple of months shy of that breakthrough album coming out. Jacob was still an infant then, but he grew up surrounded by the lasting influence of a band that blended ska, punk, reggae, and hip hop into a sound that dominated the nineties. In nineteen ninety seven, after Bradley's passing, bassist Eric Wilson and drummer Brad Gat launched Long Beach Dub All Stars and stayed active with different projects. In late twenty twenty three, they shared the stage with Jacob at a benefit for Bad Brand and singer Hr and the spark between them was immediate. Today's episode, I talked with Jacob, Budd and eventually Eric about how this new chapter of Sublime came together. We also revisited the band scrapy early days when they had to beg, borrow, and steal just to keep going, and we hear their memories of recording the self titled album at Willie Nelson's studio just outside of Austin, Texas. This is Broken Record, real musicians, real conversations. Here's my conversation with Bud God and Jacob Nol of Sublime, and later in the conversation, Eric Wilson joins us as well. A big thank you to inter Trend and Creative Class for allowing us to use the facilities in downtown Long Beach to record this. To watch the full video version of this episode, visit YouTube dot com slash Broken Record Podcast. Man, it's great to have you guys, third of the band. We have Eric here shortly, but Bud Jacob, thanks for doing this, y'all.

00:02:07
Speaker 2: Yeah, thanks for having us.

00:02:08
Speaker 3: Man stuck to be here, Man, Long Beach. It's I look like twenty minutes. This is super easy.

00:02:13
Speaker 1: I know we were talking beforehand like this is I live here as well, and it's like this is the first time though I've ever been able to record one of these episodes here.

00:02:22
Speaker 3: We bumped into each other the gym like a couple of weeks ago, gym super random. Yeah right, you manifested this.

00:02:29
Speaker 1: Moment's absolutely right, absolutely right. Long Beach is such a great place. You know. I was young though, when Sublime, like you young, you know, like in the nineties, So I was aware of Sublime, but didn't get to fully enjoy or soak in the culture of what Long Beach was like at that time. I would love to start with just with you, Bud, taking us back a bit about like what Long Beach was like when you guys were first starting out.

00:02:56
Speaker 2: Man, you know, Long Long Beach was crazy back then. I mean, you know, you could you could drive from one side of Long Beach to the other and hear twenty different styles of music, you know, as you're driving through the neighbor hoods. You know, it was truly a melting pot, you know, I mean, you know, different different, uh different lifestyles, you know, on on every block, you know, as you're going and and everybody all kind of you know, got along for the most part. You know, skaters, punks, you know, jocks, everybody pretty much got along. So but yeah, that was the nineties. Uh, we were it was hard for us to find shows in Hollywood, so we would play anywhere we could, and uh, you know started out in backyard parties and and uh little warehouses and stuff. You know, what were the.

00:03:48
Speaker 1: Places to play in Hollywood at that time? Like where were you trying to oh.

00:03:52
Speaker 2: Just like you know, the the Whiskey or the Marquis, some of those places.

00:03:58
Speaker 1: Couldn't they wouldn't let yall in there.

00:04:00
Speaker 2: Well, it was they didn't know where to put us. You know, the music was it was happening in Hollywood at the time was all you know, it was all right and roll. You know, it was hair metal, it was it was hard metal. You know, it was glam rock. You know, it's like you literally, if you didn't have like fifteen cans of aquin At and some some cover what do they call it foundation on your rider, then you know, we're not even to waste our times with these posers. We just you know, like where are we going to put these guys?

00:04:34
Speaker 1: You know, were you interested in that scene at all?

00:04:36
Speaker 3: Like punk sort of like a response to that almost huh yeah, yeah, it.

00:04:42
Speaker 2: Was like, oh yeah, you can put us with like the Chili Peppers or Fishbone or something like that.

00:04:46
Speaker 1: You know, did you go to like Fishbone shows.

00:04:50
Speaker 2: Absolutely. We used to go to Fenders Ballroom here in Long Beach and and we'd see the Chili Peppers and and suicidal tendencies and yeah, all kinds of stuff, that's right, man. Yeah, the Fenders was kind of closed by the time that that we started playing. I mean, we got a few shows in early, but it closed up early. There was other little clubs in Long BEA's like toe Jam and stuff, but it was basically just kind of like a warehouse, you know, it wasn't really a club with a good sound system.

00:05:19
Speaker 1: Did it feel distinct so? I mean obviously like Hot So Hollywood had like the like you said, like Motley Crue like glam thing going. Did Long Beach feel distinct from what was going on in Orange County too? What was it?

00:05:29
Speaker 2: It was a lot more similar to Orange County, you know. We uh, we played a couple of shows with no doubt, and we immediately found out, oh wow, you know, it's like your guys' fan base is the same as ours. You know, we're seeing Long Beach faces over here in these Orange County shows, and then when you guys are over here, you're seeing the same thing in Orange County faces at the Long Beach Show. So you know, why don't you guys call us when you have a show and we'll do the same. And so we kind of partnered up that way, and it was like, you know, whenever you know, we could, we we would, you know, work together. So kind of seemed to work out that way, and I think that was kind of like our solution you know, to HOLLYO, it is, okay, well let's let's move south. What a San Diego have to offer, you know, And then we started venturing, you know, down that way, and it was like, oh, wow, this is this is a whole different market down here, you know, this is this is great. Yeah. So we had you know, a whole a whole new uh set of schools and and and bars and and stuff to work off of and feed feed down there.

00:06:30
Speaker 1: So did it seem feasible going that route that you guys could like break like get signed or break into the industry.

00:06:37
Speaker 2: And you know, we were always just so hopeful. We were, you know, I mean, we we didn't know what we wanted, you know, we just know that we wanted to keep on playing music and what was the best way that we could do that. And so it seemed like, well, we need to get it, We need to get a record contract, you know. But then it was like, well it was impossible to do that. So we made our own recordings and sold them and touring around and so we were always trying to, you know, get to that next level. You know, it's like so hard to you know. Yeah, now we got CDs. What do we do with them? You know, we send them to k Rock. They won't play our music, you know, they think, uh Jed the Fish might have done one time, you know, way back when you know, hey, check out this song, you know, like.

00:07:18
Speaker 1: Job won't pay the bills like that, that that era or forty forty.

00:07:23
Speaker 2: Yeah, we'd sent them massive amounts of CDs back in the day. And I don't even think the ink was dry on the on the the Gasoline Alley contract, you know when we signed that and they were spinning date rape. You know, it was like I think as soon as we walked out the doors of the the office, you know there with mister Phillips, that's incredible.

00:07:46
Speaker 1: Yeah, so cool man, you got that's like your whole radio k Rocks.

00:07:54
Speaker 2: I mean, they totally supported us. They they we loved k Rock. You know, it's like we we would go down to Loveline and and some of those shows and stuff that was that was always a real treat, real blast for us.

00:08:08
Speaker 1: How did hip hop enter the equation too? So, like you know, there's like the punk scene, there's like the SKA thing. How did hip hop enter the equation for for Sublime.

00:08:16
Speaker 2: Well, you know, it was it was just it was happening at the time, and like I said, you know, as you drive across town, you know, it's like you're over here and you know you're hearing you're hearing you know, n w A or or you know, Wu Tang or whatever. And it was like man, you know, so we started searching this stuff out. We're down there at the reggae record store and they got hip hop records over here, and so we're listening to this. You know, it's like, oh wow, who's this? You know, uh BDP but you down productions, Oh wow, this is dope, you know, And it was just like instant, you know. I took a little hiatus for a while, and Marshall came in and and and started playing drums and he was DJ too, and so he brought that element of hip hop into the group at that time too as well. Although we had that influence, you know, like just Ice and so it was there from from the beginning, but it just wasn't We didn't. It was like him know it, did him know how to do it? Yeah? You know, yeah, so it it took some learning. You know.

00:09:20
Speaker 1: It's incredible.

00:09:20
Speaker 2: Man.

00:09:21
Speaker 1: I don't know if you feel this way, like going back and listening to the records, the original handful of records is it's there are very few groups that did like the reggae scot thing or like the mixing of rock and hip hop thing as authentically as a blind Like it didn't feel like a put on. It didn't feel like just trying to go for something that like it was just it really felt like authentic to you guys. And just hearing you've mentioned like those like you know, obviously BDP because of the Karas one, we would know that, but like just Ice and like, you guys were really plugged in to wrap into hip hop. Like you it's like, so it seems like you guys were really digging for those records.

00:09:59
Speaker 2: Actually yeah, yeah, I mean the nineties it was just exploding. I mean, hip hop was was amazing. I mean, it was just like this whole brand new sound, but it was so familiar to you know, R and B, you know, jazz and blues and and stuff, so it was it was familiar, yet it was all brand new, and it was just like this whole new way of making music, you know, using already created music and so like kind of fit into our kind of thing where you know, it was big borrow and steel to get that feeling, you know, we needed that that that groove, you know, and so how do we get there? Well, we're gonna We're gonna make it by you know, listening to some of our favorite musicians and you know, imitating and you know, I mean life imitates art, Art imitates life.

00:10:47
Speaker 1: Is that that you have to do? Doing time came about? Because that's a really weird That was a really weird thing to take a bite of it.

00:10:55
Speaker 3: Yeah, like who thinking to do that?

00:10:58
Speaker 2: Was? That was Marshall Goodman there you know, I'm going to give that where that is because that was that was Marshall. Marshall brought that that track in and and him and Brad worked on that one together like solid. So when you when you heard the idea or like I was just like, oh man, this is amazing.

00:11:16
Speaker 3: You're into it.

00:11:18
Speaker 2: I was like, oh, this is dope. I mean it was like, you know, Janis Joplin, you know, Billy fucking you know, just I mean all of them, you know, the greatest people that, you know, our greatest artists have all redone that song, you know, and homage it's it's a beautiful song. Yeah, the chord structure is pretty pretty magical.

00:11:37
Speaker 1: So it seems like you guys, though, brought it back. Similar way Frank Ocean has sort of brought that standard Moon River kind of back in the popular consciousness. I feel like Sablon did that with with with Summer Time. I mean, Gershwin is Gershwin, you know. But you guys really did an incredible version. It really lives on through through you guys in the Lana del Rey doing it and whatnot.

00:11:55
Speaker 3: But yeah, it's like a testament too. It stands to like, I don't know, the collaborative, you know, nature of that era and all the stuff you guys were doing, the fact that you know, you take that little part and then from there of all this whole totally different song that could have never existed without all the stuff that came before it, So it's like so inspiring to hear like the evolution and what you guys were getting down into and how the stuff comes about, like and I think that's what makes music like that stand the test of times. People can see that it's like genuine you know, they were just like having so much fun.

00:12:28
Speaker 1: Yeah, man, what was?

00:12:31
Speaker 3: It just blows my mind here, And I love hearing about the history.

00:12:34
Speaker 1: What was growing up in Long Beach Like for you man, being Bradley knowles On, that had to be kind of heavy.

00:12:39
Speaker 3: Yes, I was born here and then then me and my mom moved to Hawaii and so I lived there for a couple of years, and then we moved to San Diego where I'd go to school and I'd stay there until I was seventeen and I moved back up here. But from you know, six to seventeen, the summertimes, I'd spend all the summer times here in Long Beach. So I would go to like Junior Lifeguards and I'd kick at my grandparents' house.

00:13:02
Speaker 1: That's passage here, Yeah, man.

00:13:04
Speaker 3: Junior Guards was. I was great looking back on it, but at the time, like I love doing the fun stuff like jumping off the boats, and stuff. But you what they usually do is you get there at nine am and then they're like, all right, start running. You're all right somewhere around the boot Oh I got it's fucked up, dude. It's like a kid work camp.

00:13:21
Speaker 2: Yeah.

00:13:22
Speaker 1: You start see you see like like like you know, like nine year old kids running like it's like like boot camp.

00:13:26
Speaker 3: Or you get out at like noon and then you're just like, please, can we go get a hamburg or something. He's just so hungry.

00:13:33
Speaker 4: Uh.

00:13:33
Speaker 3: But it was good man.

00:13:35
Speaker 2: You know.

00:13:37
Speaker 3: A lot of what Bud was saying stayed true. You know, there was so much uh. But me and my friends always saw you know, a lot of different genres of music and people and just this big, cool melting pot and there was cool stuff happening. But we were like keenly aware in our like I would say, like high school age that we started to take notice like, oh man, it feels like we're on the other side of like an era, like kind of how Hunter s Thompson if you ever you know how he's talking about, like in Fear and Loathing, It's like you could see the high watermark where the wave almost broke the wall. It's like it feels like we're this whole other era now where where people consume music differently, Like people don't didn't go outside as much, you know what I mean, they weren't out having having fun like that, which is a bummer. You know, there was definitely like a period where it felt like it was maybe harder for stuff to happen. But I think we're starting to see it happen again. You know, things go in waves and in cycles and and people's attention spans. They'll get over even the things that are distracting them from going outside and having authentic experiences. So the people that I see at our shows nowadays, I mean, they're they're hungry and craving that that experience again. So it's kind of you know, we kind of came back together at like the perfect time.

00:14:45
Speaker 1: It feels like, yeah, right at the time when it feels like people were wanting that authenticity that you know, you guys really brought, you know, were you did you? But so I mean obviously what you're saying, in high school, a lot a lot of kids were maybe into things other than music, but you were you a music had grown up.

00:15:02
Speaker 3: Yeah, yeah, for sure, And even if they were into music. It was just sort of different, like you would go out to shows and stuff like that, but were kind of putting there in their boxes, you know what I mean, Like, uh, it almost felt like going to a show was was sort of like it wasn't just something you did. It was like this weird relic of the past kind of thing, like you know, like, oh, look, I went to a show. Like it's like yeah, and no, I don't think anyone thought about it like that, or even we did at the time. But I mean, the internet just takes up a lot of your time and energy and imagination unfortunately. Like and uh, and I think now we're seeing it to be not so much of a bad thing. There's ways to utilize that creatively. But when I was coming up, I mean, I was obviously a fan of all the music my mom showed me, which of course was all the same stuff the guys were listening to. So I ended up being influenced by those same artists and stuff, you know, like men and Men, butthole surfers and Johnny Osbourne and you know a bunch of cool hip hop stuff too.

00:15:57
Speaker 1: But your mom was feeding you that stuff.

00:15:59
Speaker 3: Yeah, yeah, but uh, and not so much like homework, sit down and listen to this that would come later, Like Miguel would tell me to do my homeworks, like you need to listen to these records, otherwise you won't understand music.

00:16:08
Speaker 1: I was like said, Miguel's the dude who like big part of Sublime's history. Obviously recorded your first recorded some of your first recordings.

00:16:15
Speaker 2: It's not very first.

00:16:16
Speaker 3: We still see him all the time. He's our buddy. Yeah, he's I'm really grateful for that for sure. And but at the time, I think what made me really excited was like Queens of the Stone Age, tool masted on. These were all I mean, coincidentally, I get maybe or not coincidentally, but just matter of factly, they were just bands that were releasing music. And you know, two thousand and two, two thousand and six, nine ten, you know they they had. That was what my friends liked growing up, and it's what we were enthusiastic about. And sure we go out to a show every now and again, but it didn't feel like belonging to a scene. I think, like how when we look back and view the scenes and clicks of like the nineties, you know, those the way that people were starting to consume music was changing like a little bit.

00:17:01
Speaker 1: See that's that's the weird that is. That's that's what I was trying to get at. Is where you put so succinctly is like the nineties, eighties nine, I mean like kind of like most of you know, the twentieth century, like music was really segmented into like and scenes were segmented as the punk kids and the rock and the Glans and the ring you know, like or whatever. And I don't know how you guys managed to like escape that trap of just being like, you know, like it's it's really wild that you guys because.

00:17:30
Speaker 2: We liked it all. I mean, you know, it's like sometimes I think one of the best quotes that I can take from Brad was, you know, what, what kind of music do you like? Good music? Yeah? You know, if it's good, if it makes you feel something mad, sad, glad, angry or afraid, you know, then then it's doing its job. It made you feel, you know, So yeah, you know it's good music. It's good music, doesn't matter what kind or style it is. Yeah.

00:17:55
Speaker 1: Yeah, when did you When did you start h ingesting the work of Bud and Eric and your dad I.

00:18:02
Speaker 3: Mean, you know, it was definitely always present when I was a kid. You know, my mom was always playing it and stuff and h But I think when I got.

00:18:09
Speaker 1: Remember the first starry But do you remember the first time, like you do you remember like the first time your Mom's like, hey, that's your.

00:18:13
Speaker 3: Oh no, because it was happening since I was in the cradle, you know what I mean, it was so uh, it just seeped into my life. I always had known. I couldn't even think back or point to a time like it's kind of a little bit a tear jerker. But I remember being very little, maybe like two or three, like over in Hawaii, and like my mom's saying saying that your dad is alive. He's alive in your heart, you know, And so that was kind of a cool way. I always had felt that she said he was alive in the music and stuff. So that always tied this huge emotional component to the songs and the work. But you know, like most kids, though, I mean that since it was so emotional, it kind of just was in the background. I never gave too much crazy thought to it until like my teenage years. I think everybody's teenage years. Music is such an important, such an important tool because you know who doesn't have a weird you know, teenage saga. You know that when you're that age, everything's so intense and crazy that if you if you have music that can make you feel like, oh maybe I'm not the only one who thinks this way, like or any kind of art, that's your escape, right, So I was. I was at that point like learning and interacting with all these different sounds and artists, and of course just naturally because Sublime's dope and awesome, Like I would listen to it like any other fifteen year old smoking we would do you know what I mean, And you could do it.

00:19:26
Speaker 1: Like objectively and just be like, yeah, this is just great to smoke weed too, Yeah, I remember.

00:19:29
Speaker 3: I mean I definitely listened to all the records I was taught by, like my older friends, Like if they caught you listening to because in our in our day and age was like the iTunes era and LimeWire live wire stuff, and if you listen to just singles, they would like shame you ruthlessly, like what you can't just listen to a single, You gotta listen to a whole record or the song won't make sense, dude, Like come on, like okay, okay, I'll listen, but but then you'd find your favorites and you'd put you'd make your own little playlists or whatever. And Uh, for me, I'd always listen to pawn Shop, uh Boss DJ. And I'm trying to remember. There was definitely a few more. Uh definitely All You Need That still one of my favorites. Uh, but I don't know. It just it just fit very perfect into the teenage experience, I guess, or the youthful experience. And I think that's why we see so many of our fans still to this day are all ages.

00:20:18
Speaker 2: Yeah.

00:20:19
Speaker 1: Yeah, did you? I mean over the years, I mean you kept playing music, you kept going you and Eric, did you did you recognize that like it's successive generations a teenagers kept having that same experience with your music.

00:20:33
Speaker 2: Yeah, it was wild. I was just like, man, this is like the gift that just keeps on giving. It's just like it's it's never ending, you know, this is this is an awesome ride that we're on here. You know, there's all these other bands that have kind of you know, taken to our sound and and it's started its own you know, kind of little sub genre of music and in a way, and it was just like it was like wow. You know, at first, I was it was kind of you know angering you know, it's like we didn't get to do that, you know, and and it's like you know, right, your own style, you know, do something ridge and you know. But then it was like wow, these people they really truly like loved our band, and you know, it's like just like what we were doing. You know, imitation is a purest form of flattery, and it was like wow, man, whoa, this is even greater awesome feeling. You know, It's like, holy cow, It's like what did we do? Wow? Yeah, it was a trip.

00:21:33
Speaker 1: There was a part of you that maybe initially saw other people doing a version of Sublime.

00:21:41
Speaker 2: Lie. You know, it's like, man, that was part of it. You know, we're on this We're on this magic carpet ride where you know, ten thousand feet in the air and then the carpet gets ripped out from underneath us. You know, we we were just on that launching pad. All this stuff that we were working for, those childhood dreams when me and Eric were in the coliseum watching you know, the clash and the who going.

00:22:01
Speaker 3: We're gonna be up there someday.

00:22:03
Speaker 2: You know, when we're this big. It was like all that stuff was like, yeah, we're finally yeah, yeah, damn, you know. And it wasn't a soft landing. You know, a lot of drugs and alcohol came into play and and uh, you know, pushing the feelings away, and there was a lot of emotional damage, you know, internally to you know, ourselves and others around us. And typically the ones we love the most to seem to catch a lot of the flat because they're right there hugging you went your bomb explodes, you know. Yeah, So it's yeah, man, been a lot of uh, a lot of uh, you know, reparations along the way, you know.

00:22:45
Speaker 1: Son, It's one of the heaviest stories because like you could point to some people in music history that you know, like maybe like Otis Redding, you know, maybe a Randy Roads just thinking about Ozzie's just passed Randy Roads, who was just like you know, they kind of you know, gone too soon. But it's like the riots really like it's never happened, and the way that it uniquely happened to you guys, losing it.

00:23:13
Speaker 3: Is totally unique story completely from start to finish, from from high school to present day. You know, from eighty nine to twenty five, there's nothing quite exactly like the story of Sublime, and it's it's stayed pretty like underground in a cool way, you know what I mean. It's big, obviously bigger than anybody ever thought it'd be.

00:23:31
Speaker 1: But it's obviously very big, but it's it's a countercultural thing.

00:23:35
Speaker 3: It's almost like its own subgenre. Not subgenre you trying to say, is that I.

00:23:39
Speaker 1: Was going to figure out too. It's like a subgenre that gets just a culture. Maybe it's a subculture that gets adopted kind of everywhere around everyone has their own little personal experience. I mean, like it's just it was so funny to hear you explain your teenage years with it, because it was like the same thing with my teenage years of like people smoking joints and listening to like, you know, ruka or like what you know. It's like that was like what we did, and then that's how and then going back and then finding like Barrington Levy or find you know, like just like how hip hop helped me go back and find new records, like you know, sublime help me go back and really rediscover what was going on in Jamaica and the islands. And then it's covering people like Gershwin and you're like it's a whole musical education. And then like you know, digging deeper into caras One, you know, like it's like that was what what you guys did. But yeah, but it's just it's just unfathomable that you guys were right there with this album with the self title Low and it just sounds like as perfect as any album that's ever classic record.

00:24:38
Speaker 2: That was like the sound that we were attempting to achieve from the beginning. You know when when we when we had the rough tracks done in in uh at Willie's place there and they had the rough at it, it was like, that's it. This is the sound that we had been trying to make this entire time, you know, from John Won't Pay the Bills all the way through.

00:25:08
Speaker 1: You know what were you guys going for on Robin the Hood?

00:25:13
Speaker 2: So that sounds like a funny story there. Well, we were talking with Brett Gurwitz, uh, mister Brett from from Bad Religion and and uh yeah he had had uh expressed some interests and signing us to Epitaph Records, and so he said, well, come on down to the studio. Donelle is going to record you guys and just just uh, you know, have some fun, you know, do what you guys do. And so we go down to the studio expecting to see mister Brett there and everything, and he's like, oh, well he's he's in Uh, he's in New York. He's signing a deal with Atlantic for Bad Religion right now, so he's not going to be able to be here. So we stayed there, we knocked out a bunch of tracks, and the engineer went to go get some food pick up, food delivery or something like that, and so we hit rewind on the tape machine, boxed up the two inch tape and took it with us left to nose. Have mister Brett call us when he returns. And uh, you know, Brett was pretty upset, you know, he'd just given us all this time. And I was like, well, Brett, this is our this is our intellectual property. You know, we owe you for the tape. Okay, you said you were giving us the recording time, but we owe you the two hundred fifty bucks for the for the tape. You want to sign us, we can go see it all This later's got lost in the shuffle, and so now here we got this. We have half a record, well, probably a full record if we looked at it like a regular band, but we like to fill up all the plastic on the CD. So we had half a record in material. What are we going to do with it? Well, we have to make another record. So it was demo days and we had some friends that had found this community down in South County that had some homes that were damaged and and so you know, it was it was free, free studio time. We set up our equipment and in the abandoned homes and squatted away living rooms across. Yeah, you know, Kathy Cornwall's living room was part part of it. Yeah, there was a couple of other people who donated the their rooms and and but yeah, a lot, a lot of uh, a lot of debauchery went into that album. That's why it's called Robin the Hood because we were stealing time.

00:27:44
Speaker 1: That's insane. We'll be back with more from Jacob and Bud of Sublime after the break. So you had the I mean the stolen but not really stolen because to your point, was your actual property those dates. It was from epitaph.

00:28:01
Speaker 2: It was, yeah, eccentrically borrowed.

00:28:06
Speaker 3: Yeah, repurposed and recommandeered.

00:28:10
Speaker 1: Have you heard that? Have you heard the story before?

00:28:12
Speaker 3: You were bits and pieces, but hearing it all together is just like, blow my mind every time.

00:28:16
Speaker 1: That's so crazy.

00:28:18
Speaker 3: You just don't hear like stories like that anymore.

00:28:21
Speaker 1: Man, it's not too late. You guys can steal. You guys have from tapes, you can steal from these sessions.

00:28:25
Speaker 3: You guys, let's go right.

00:28:28
Speaker 2: Now, let's.

00:28:31
Speaker 3: Let's go to John Joseph.

00:28:34
Speaker 1: So when you guys put that together, I mean just to get back and obviously well we'll start talking about Sonatas and the new stuff, but it's just it's we got both two generations of the band going here. So it's just it's it's like an embarrassment of riches. But you know, the self title album and it's like this perfect sound and even you said it's the sound you heard Robin Hood was definitely the exact opposite of that. But you guys knew that putting it out.

00:28:58
Speaker 2: You just wanted to experimental album, you know, at the time, you know, you had albums like Paul's Boutique coming out. You know, I was gonna mention all of this, you know, really great wild stuff, and so you know, we're we're pushing the limits with the hip hop and you know element and in our music and really trying to find that next sound, you know. And and so, like I said, we had we had this half of an album that was you know, it was professionally recorded, and then the other half was not so professionally recorded. And then we all put it together and produced it on our own. You know. That was Miguel and Brad and you know mine and Eric's two cents in there when needed. So you know, it was, uh, that's how we put that album together. And it was like all right, now we got something new, let's get it out there, you know. And it was we always looked at at our records like a finished product, a piece of art, but it was also a business card. You know, this is what we're going to hand people. This is going to get their attention, you know. And so it was like we got something new to pass out, we have something new to sell. Well, it was just putting gas in the vand so we can get to the next show.

00:30:07
Speaker 1: What was the reception when you're passing that around fifty to fifty people?

00:30:12
Speaker 2: Some people loved it, some people hated it. You know, I couldn't understand, Raleigh, what the fuck did you put that guy on the album for? It's like, you don't get it, Okay.

00:30:22
Speaker 3: This one doesn't get it?

00:30:26
Speaker 1: Fifty fifty description of that record, Like it's it's pretty abrasive. It's like, you know, it's definitely you know, like if you hear that, you're gonna get it, or you're just.

00:30:38
Speaker 2: Like, yeah, you know, it's for the seasoned listener.

00:30:42
Speaker 3: Odds are good, but the goods are odd so good.

00:30:53
Speaker 1: So then once you finally get out to Willie's place and outside of Willie Nelson, outside of Austin, just outside of Austin, Texas, and you guys are recording and self titled, did you just like, was it an accident that you got that sound?

00:31:05
Speaker 2: Like?

00:31:06
Speaker 1: Did it just I mean, I'd assume not, but like.

00:31:09
Speaker 2: You know, it was just the years and years of working together, you know, playing playing shows out on the road, you know, I mean there there's times when you know, Eric and I were lockstep from from a Jump, and I think that's partly because you know, being trained by his father and stuff, both of us.

00:31:29
Speaker 1: So so father was a drummer, right, His.

00:31:31
Speaker 2: Father was a drummer and also played piano and vibes and stuff too. But but you know, being playing shows out on the road, you know, for for as long as we did, we developed like this kind of third eye between us. You know, we all knew what we were going to do. When you know, it's like all it took was just like Brad turning around and looking at me and going like watch this hold on, you know, and I was like I knew a change was coming, and I was like, I know what he's gonna do. I remember the music we were listening to on the way here, you know. Yeah, and so so you know, things would change up and we had improvised it, and you know, it was it was just developing that that musicianship you know, really played into the recording. And you know a lot of times we were you know, the other recordings, we were pressed for time and money, you know, because it costs money to be in the studio, and we didn't go into the studio without a purpose. You know, there was we had ten or fifteen songs and we're going to bust out as many as we can. And we went in there bing bang bing bang bing bang boom, you know, because it was costing us money and we were broke. So we're going out to Willie's place and the record company's paying for it. And I remember flying out there asking Eric what the fuck are we gonna do? We got maybe two or three songs, you know, I mean, and he's like, I don't know, but we're figuring out when we get there.

00:32:57
Speaker 3: You know.

00:32:59
Speaker 2: So uh, you know, every day it was just something new, and it was part of that that jam, that improv kind of feel, you know, and it was just it was just wild, you know, and just things came to us every day, and some days nothing came to us. We'd sit there and try as hard as we could, and Paul would be like, why don't you guys go play golf or something.

00:33:22
Speaker 3: They actually had that set up there.

00:33:24
Speaker 2: There was a little golf Willie's studio was a it was on a golf course. It was a it was an old golf club. It was a country club, and the country club for the golf course was the actual studio, and there was homes around the golf course. And I think that like all of the touring families lived out there, you know, so all of his roadies and such, you know, they all kind of add their their community out there. It was Willie World, you know, it was pretty really cool thing, you.

00:33:50
Speaker 1: Know, was any of Willie's Like, like, so Willie's some of Willie's entourage must have been around to see, right, Yeah, yeah you meet you got to meet him.

00:33:58
Speaker 2: You didn't get to meet Willie. He was out on the road at the time, okay, yeah, yeah, yeah.

00:34:02
Speaker 1: So a lot of that was jamming. You guys got in hit record, see what happens, and then you would just shape it from there, like yeah, listen back to the tay here something.

00:34:12
Speaker 3: Okay.

00:34:12
Speaker 2: So, for instance, caress me down. I had an electronic drum kit. I think it was a Rolling TD seven and there was this one pre programmed drum kit on there that had like reverse cymbals and drums, and I'm just messing around with it. I got like the headphones on, you know, and and I'm just playing around on this thing. And then and I didn't realize that it was in the monitors too, and Brad was like, wait, wait, wait, play that again, play that again, you know, And that was like the first part for Caress Me Down, and that's how that and he was like I got something, I got something, and he just grabbed a microphone. Paul hit play and record and it was the drums and Brad and Brad was like kind of directing me as he's singing lyrics, you know, And so the scratch lyrics on there, I'm sure he'd be like, no, bring it down, bring it down, okay, you know. So it's it was pretty cool, like wild, like on the spot, like live creation.

00:35:05
Speaker 1: You do that, and then he might he might be scratching, he might redo it, read it. Yeah, that's pretty insane though, Yeah, that's pretty nuts. How much of that I mean? You can't like obviously, like the sound of en Sonata, which is like the first fully original song that you guys have done with with with Jacob, it sounds like a bit like logically what you would think comes next after that album, But you can't recreate the magic that might have happened at Willie's studio, no, totally. So how do you guys think about going in the studio once you decide to do this together?

00:35:38
Speaker 3: Like basically everything Bud said, I kind of wanted that to be the case too, and so yeah, it's kind of exactly the vibe. I mean, there was some basic ideas here and there from various sources, and then we just go in there and jam it out. And that's exactly what you're hearing on this recording and Sonata and all the recordings of the record, like and same thing we had, like the mike and me and John would be us into the drum doing the or Bud doing the drum takes and uh, Eric on bass are on the keys and uh, I mean that's just like how good music is made, you know. And we're smiling the whole time. And then we break for lunch and go take a little walk sunny Sampedro and it was just like such a cool experience there for a couple of weeks, I think, and they're like, yeah, how.

00:36:16
Speaker 1: Many songs do you guys recorded in Pedro for the for the news shoot?

00:36:20
Speaker 2: It was like sixteen or something.

00:36:23
Speaker 3: I think about sixteen we did, and we did even more if you count the jams, because sometimes he just turned it on to be like all right, start jamming.

00:36:31
Speaker 1: You guys must say like what did you guys. First jam.

00:36:35
Speaker 3: Honestly, the very very first time was it was it Doug's birthday party.

00:36:39
Speaker 2: That's right. Yeah, we have a common employer. We both worked at Billings Hardware growing up in Long Beach.

00:36:46
Speaker 1: Right down the street from here on Second Street.

00:36:51
Speaker 3: Shoutout Doug.

00:36:52
Speaker 2: Doug had his fiftieth birthday party and he had invited me. Doug got me into jeeping. He's he's really big and driving jeeps off roading. Yeah, yeah, cool enough, you're good. And uh so he was like, yeah, We're having a little party out of my house in the desert and I have a bunch of jeeps out there, and you know, like, oh, cave in and cave exploring. Because he's a spilunker. He's actually an underground cartographer.

00:37:18
Speaker 3: Dude. I don't know how he does that. That stuff gives me nightmares, Like I brave.

00:37:22
Speaker 2: He like maps, like underground cave systems for foreign governments and stuff too. It's on the side what.

00:37:28
Speaker 3: Yeah, draining cartography. It's nuts, dude, and it's dangerous if you have you're the first dude in the cave mapping it out.

00:37:36
Speaker 1: It was one thing to be like adventures, like I'm going to just go for it and try it out, and like that's like a hobby. But to do that for form got.

00:37:42
Speaker 2: Like carry's canary in his pocket, see that sweety bird. Yeah. So it went out to his fiftieth birthday and he said there was going to be a band out there. He's like, oh yeah, probably a Z man will probably be out here or something like that. He was, And I show up and Jake was out there with his band, like a right.

00:38:03
Speaker 3: We were playing some punk tunes or whatever. It was very early in my in my musical learning. I think I was like eighteen, what year like maybe? Oh man, if I was eighteen, no, no, this would have been more like twenty fifteen maybe.

00:38:18
Speaker 2: Yeah, all right, right fourteen maybe yeah, right around there.

00:38:23
Speaker 1: So you saw Jacob out there with his band.

00:38:25
Speaker 2: Yeah, he just jumped up on the drums and played a couple of songs.

00:38:28
Speaker 3: Yeah, just kicked it. It was fun.

00:38:30
Speaker 2: Yeah.

00:38:30
Speaker 3: And then the next day we did some caving and uh, very very light because you know, because Doug's a real deal. And then I totally blew it. I'm taking I had think I had a Forerunner at No, it wasn't a four runner. It was an FJ Cruiser. And I got it caught in the dirt, and then Bud and Doug came in and winched it out of the out of the sand.

00:38:51
Speaker 2: Got him unstuck. Oh yeah, oh, put.

00:38:53
Speaker 3: A bunch of brush underneath the tire and stuff and got unstuck.

00:38:57
Speaker 1: I was about to ask, was Eric there that day? He washed it?

00:39:01
Speaker 2: Was not there that day. But he's from Doug too. Eric's Eric's good friends.

00:39:07
Speaker 1: With Dun from from as On Billions.

00:39:11
Speaker 2: Talking about Doug Billions.

00:39:12
Speaker 3: Yeah, yeah, Doug Buildings.

00:39:15
Speaker 1: Set you up here with the great to meet you man.

00:39:19
Speaker 4: How's you going?

00:39:21
Speaker 3: When Eric still lived down here when I started working there, he would still come into the shop all the time.

00:39:27
Speaker 1: Yeah, when did you guys? When did you guys first jam? Then with Eric?

00:39:32
Speaker 3: Yeah, all three of us together kind of same thing. So me and Bud, you know, we see each other's show, jam a little bit. Me and Eric, we saw each other the show would hop up, jam a little bit that happened like with his band, spray aling and stuff. And then the three of us jam for the very first time to prepare for the hr benefit show, to see if we dug it and it made sense? H yeah, and uh, the terogram tetragram ballroom.

00:39:57
Speaker 1: Yeah yeah, and like what was uh, how did it feel like to do like actual, dude, it was cool show these songs.

00:40:09
Speaker 2: Yeah, I definitely felt right. There was a lot of healing going on in the room that night all definitely. Yeah, yeah, yeah it was. It was a pretty magical moment.

00:40:19
Speaker 3: My favorite is when I pick like some old obscure favorite that I love, and they'll look at each other like, man, I don't think I've played that for like twenty five years. They wrote it, so they remember it perfectly. At least to me, it sounds perfect.

00:40:32
Speaker 1: Yeah you are you? What's the process of learning the songs? Like are you do? I mean I imagine you can get most of them, but then to do occasionally have to ask them like.

00:40:38
Speaker 3: Yeah, well, you know, I've been invited to be uh, I've been invited to projects before to sing or to fill in and stuff for pre established materials. So I just go in and just try to listen all the material, watch a bunch of live sets the best of my ability, And then there have been some parts when I'm like, wait, it does it here on this recording? But is that how you guys? Did it live? So you know, there's sometimes there's differences about how we want to portray things, or sometimes just just cuz we'll switch things up a little bit.

00:41:03
Speaker 2: Yeah.

00:41:03
Speaker 1: Yeah, has your voice always sounded similar to your dads, like that close to your dads when you sing, or.

00:41:09
Speaker 3: I mean in the same way that like sometimes kids look like their parents and stuff like that. I think there's definitely like similarities, and people definitely tell me they hear it. I hear it more more times than others. But I mean, you can't, you know, you can't go and try to emulate something you're not all the time, Like I would try to get it as close as I can. Yeah, I'm never trying to insert my own interpretation of the material because that doesn't seem like if anything, I'm trying to be like, Okay, let's see how this type of singer my dad would would approach things and how he would deliver things and when to use vibroad and when not to. And I was much worse at it. I think a year ago when we started, I think it was still, you know, fun show for people to co see. But all the time I'm trying to improve, And so recently I actually started listening to the iso vocals. There's people up there who put it on YouTube where they isolate you know, drums based vocals, and so that helps a lot for me to hear hear the inflections and where things are supposed to go. But ultimately, you know, no plans to survive contact with the enemy. You know, when we're up there playing, it's all about just having fun and chaos. Yeah, that's all just to prepare.

00:42:13
Speaker 1: Well, Na's break and we'll be back with Sublime. But the studying has got to be a trip because like Bradley made some really weird choices. Like see, I don't know if there were conscious choices. It might have just been who he was and just come naturally.

00:42:28
Speaker 2: But like this is so cool, man, Like it's so cool.

00:42:31
Speaker 3: There's some parts where like musically, I'm like what were they thinking? Like no, who comes up with it? It's so rad just certain progressions or like, I don't know, it just it had the vibe of like kind of like budd was. We were talking earlier about like a self titled record and you guys just like nailing that sound you've been working up towards for so many years. And I think a big part of that component correct me I from wrong. But it's just like you know, just that that jam element and just almost turning your brain off, you know.

00:42:58
Speaker 1: Yeah.

00:42:59
Speaker 3: Yeah, so that's helped a lot for sure.

00:43:01
Speaker 1: Yeah, for you, Like the healing part of it, was that expected or did that feel? Was that a surprise? Just how right it felt? And so the weight of it, the gravity of it, the healing of it.

00:43:16
Speaker 3: Yeah, I guess no one expects something intense to happen, but uh, yeah, it felt right and it continues to. Yeah for sure.

00:43:26
Speaker 1: Was there a part of you that felt before green to do it, before doing it, that felt like maybe like maybe it's just too much, maybe it's too for me?

00:43:34
Speaker 3: Yeah, because I didn't want to like you know, it's it's it's tricky because I think especially fans, you know, they they get attached to what the fuck the band is?

00:43:44
Speaker 2: You know?

00:43:44
Speaker 3: That was that was real? So that's it, you know what I mean. I'm no surrogate or replacement or whatever. I think it's fun for people to see and we love jamming and writing music and continue that's what the three of us know how to do and work like families, so it makes sense for us. Can you to do it. But for a while, like understandably, I was like, well, I don't want to feel like I'm you know, replacing or stepping out of line or whatever or misutilizing uh you know, legs up or any any of that stuff. So all that factored in for sure, and still does. But at the end of the day, it's like, you know, we're not fucking caring cancer here, We're making rock music. We're having fun.

00:44:19
Speaker 2: Yeah, But I think I think that it's the way that we approached it. You know. It was like we did this, you know, for for you know, a friend. It was a benefit show, and yeah, that's that's where where it was. It wasn't like we're going to put this together. We're going to go do this, We're going on tour and we're going to make a record. Okay, get ready.

00:44:38
Speaker 3: Yeah, there was no plan.

00:44:39
Speaker 2: It wasn't it wasn't like that, and you know, and so it was like, you know, there for me, there was thoughts, you know, because you know, I mean, you know, we tried to do this before with Rome, you know, and and uh, you know, at the time, it seemed like the right thing to do, but then after I got into it, a couple of years later, it just it wasn't right for me. It didn't feel right for me, and so I had to step back. And then so when we were approached, you know, to do this thing, you know, it was like, well, okay, it's just a one off kind of thing, you know, and so it was like, you know, talk about it, you know with other friends, were like, you know, you guys could probably really do this, and it's like, well, you know, like Eric said, let's see if we can even jam together. You know, yeah, they start there, yeah, you know, and then so once it once it kind of happened, you know, at that show, it was just like the feeling, you know, it was so incredibly real and felt so right that it was like, yeah, this is this is what needs to happen.

00:45:44
Speaker 3: And it did kind of snowball naturally, like it was just that show and we jammed out and practiced for that. And then it's like our buddy Joe's friend with Paul Toillette, and he's just a big you know, skopunk fan, you know, in that year, he had like no doubt and stuff. So he's like, oh, why do you guys do this?

00:45:58
Speaker 1: Coello Paul who puts on Coachello. Yeah, he started out as like a just a punk promoter.

00:46:02
Speaker 3: So it's just one thing after another kind of led lead fell in together, and I remember it was so like not thought. Like one time we were jamming and I was like, you know, I'll be honest, like I'm not I don't see myself as much a guitar player like my dad shredded, like Jimmy Hendrix is just not My fourte can be serviceable here and there, but I'm like, who should we get to is like a Shredder? And then Eric's like, I think he's just like called Trey and he was like, hey, Trey, Derek, do you want to come play with them? It's just like so natural, And I was like we got some tracks and DJ stuff. And then I just called Dougie because I see him all the time at Ho Dads. When I go down to San Diego, which he still works at that Who Dads, he still curls up burgers really yeah, because he's just that's his Dougie man. He rocks and the five of us all go up there and play. And then you know, I got a bunch of friends who were young musicians, and I'm always trying to hook up and stuff. So my buddies A and O, who's just an insanely gifted guitar player, I'm always like, dude, you play the song, I hand him my guitar is my guitar tech. And it's just or if our buddy Gobbo's in town, he's you know, fluent Spanish speaker, I'm like, they'll probably rather listen to you do that part, you know what I mean. Like, and so it's just that's like the fun of it, dude. Like I grew up actually listened to a lot of the og Long Beach Dub stuff too. My mom it's always said it's like our favorite band. So like to me, it was just this fun collaborative like I don't know, everyone's just just adding in their part and stuff like that. So that's always been an element that's made these this last year really exciting and fun to me.

00:47:23
Speaker 1: Yeah, that that that spirit comes through because like you know, when the song got sent to me and I put it on, I was like, before I put it on, I was little like you alow like, oh man, like its gonna be you just hope it's good because you're like, oh man, like it's like otherwise it might be a little awkward. It's like and you put on you like not and it's like not just that, it's good, it's like the spirit the original, Like I saying like that. The there's just a vibe to it that feels very authentic and natural and it feels quite frankly, it feels like a lot like Long Beach too.

00:47:51
Speaker 3: You know, we actually switched. The first few songs were glam metal. We were gonna make a huge shift and see we got this great foundation hook up with this makeup company.

00:48:01
Speaker 2: Metal with show tunes, with.

00:48:03
Speaker 3: Show tunes combined.

00:48:05
Speaker 2: Is that's what we did with the rock and reggae.

00:48:07
Speaker 1: But it's you know, it's show tunes and and butt rock.

00:48:11
Speaker 3: But yeah, and we're just gonna merge these two genres.

00:48:15
Speaker 1: I would have love I would have loved to I would like to hear those I'd like to hear those tapes.

00:48:21
Speaker 3: But I know, I know the feeling to talk about you, you're never sure when people you know beloved bands from another era, it's like, oh, here's some more music. It's always kind of a coin toss. But so far, the reaction from all our fans and from new fans too. We're getting new fans now from It's just it's been so cool, dude.

00:48:37
Speaker 1: Yeah, how many how many songs are on the new the new album?

00:48:42
Speaker 3: Well, we're still piecing it all together. But like but said, I think we did like sixteen tracks and then maybe we'll do some interludes in there and then some jams and stuff. It'll probably like probably like an eighteen track record.

00:48:52
Speaker 1: And is Travis Barker and volved.

00:48:55
Speaker 3: No, me, me and my buddy did some writing sessions with him. But the songs that we did, which are really cool, they're just they were made separately from what we did over in Sam Pedro. So I think in the future be cool to get all three of us over there. At first, it was just like write and get some ideas. So if the three of us went in, I think that's what makes it like actual sublime. You know, we would have to all do it together. But Travl's cool, man, I mean, it was this a epitaph situation.

00:49:20
Speaker 2: You just went to try.

00:49:21
Speaker 3: No, actually, I think took some stuff up and just friends of friends who were just like, yeah, they want to do this, they want to link up and so, but it was very informal you know, it's not like there's a contract sign. It was mainly just hanging out. Yeah, yeah, no.

00:49:33
Speaker 1: And it feels it feels I mean, it's just like two from like the outsider perspective, the fan perspective, the thing that seems so cool about it too, and then why I'm so happy also that it works and that it all came together so organically. It's like, you know, like to a point earlier, like getting the rug pulled out from under you guys, the way that you did, and then and then for you too, man, like you know, like just you know, kind of in a more profound way, you know, losing your pop.

00:49:58
Speaker 3: So no, yeah, we were talking earlier about how this whole history of Sublime is is so unique and truly what we're doing right now is is interesting because you have this perspective from multiple generations about how music is involved in people's lives. I feel like, sort of like the little thesis statement for this whole discussion here, you know what I mean, or just some some stuff for people to chew on out there, I guess, is how we you know, how we absorb music, how we consume it, and then how we use it to affect other people's lives and stuff like that, And like we've been saying too, when you come out to the shows, all generations are present in attendance and smiling and having fun and creating those new memories. So yeah, I think the unique perspectives that we all bring to the table is super present in the record and in our performances.

00:50:46
Speaker 1: Yeah, do you guys, do you guys think about Bradley much when you're playing with Jacob?

00:50:51
Speaker 2: Like, yeah, yeah, it's a feeling.

00:50:59
Speaker 3: Yeah, for sure. It's good evidence because I was always thought my dad was like the Maleman because my beard's red.

00:51:09
Speaker 1: It's definitive proof.

00:51:10
Speaker 3: Told my grandpa the other day, He's like, well, I guess we finally got proof.

00:51:15
Speaker 1: How is your family? Is your family happy you're doing it? Are they?

00:51:18
Speaker 2: Are they?

00:51:18
Speaker 1: Is it totally dude?

00:51:19
Speaker 3: Yeah, No, they're so happy. Like it's you know, they all grew up cruising over to my grandparents. It's just like like you said, it's like healing.

00:51:26
Speaker 2: You know.

00:51:27
Speaker 3: They're my grandpa, doesn't you know. He's he's very very old now, so he just kind of chills on his patio these days, and he's just very mellow and chilled out and stuff, but he hears about it, and then my grandma sees like all our faces in the newspaper and stuff, and they just see us doing good and thriving. So I think for them it's a it's a special experience for sure.

00:51:46
Speaker 1: Yeah, yeah, what was for you guys? I was always used what was like when the album came out and with such a success the Sublime album, we kind of had to go sell the record still, which is kind of crazy and deal with the label and you now.

00:52:01
Speaker 4: It was like a bittersweet because you know, yeah, there's a wold bunch of albums, but we just lost our just friendly business partner alone.

00:52:12
Speaker 1: Yeah.

00:52:12
Speaker 2: I remember we uh turned down a interview on the Howard Stern Show right after, So there was there was a lot of press, you know, and stuff like you said, you know, I have to sell the record and and so interviews and and things like that, but we had to kind of be selective. At first, it was like, oh, yeah, we're going to talk about this, this stuff is real, But then we started realizing that certain people were just using our our emotional torment to better their personal situation. So it was like, all right, well, we definitely don't want to go on the Stren Show. I hit below the Belt, he might get hit back home. Arn. So yeah, we uh but yeah it was you know, it was wild, but we you know, we took our We took our time. You know. The record label wanted us to to find a fill in, you know, and immediately it was just shut down. And it's along came the Long Beast of All Stars, which was a group of our friends. You know. It was Opie, our artists that Drew the Sun, and Marshall Goodman, Miguel you know, and other other neighborhood friends. Jack Manus, He's sang Rivers of Babylon, you know, he was always around. I went to school with them to so you know, it was just a group of neighborhood friends. Once again, just keeping true to our roots and sticking, you know, to our recipe.

00:53:43
Speaker 1: You know.

00:53:43
Speaker 2: But we uh, we realized that that the record label had the rights of first refusal to our next project.

00:53:50
Speaker 1: That's what I was wondering.

00:53:51
Speaker 2: Yeah, so Eric and I all of a sudden we weren't seeing it. Well. We found we had an attorney look into the contract and found that the record label had to provide a recording. They had to pay for the recording for us, and so all of a, Sudd and Eric and I were no longer seeing eye to eye creatively. So we had two different projects that we were going to present to them because they had to provide each one of us individually with a recording. So we recorded our first punk rock band, Juice Bros. And put out a vinyl record on that, because we knew they weren't going to accept that.

00:54:28
Speaker 1: Yeah yeah, yeah, no one.

00:54:31
Speaker 2: So we're just trying to get out of our contract. So we basically handed them two shoe boxes full of dog shit and said, and uh, but we got we got two solid recordings out of that, or two of our side projects that we had worked on, and then we were free to do the longbie stub All Stars. And that turned out to be a real treat as well, because now here after, you know, the record comes out and we're now having to share publishing with all these great Jamaican artists, you know, like Half Pint, Barrington, Lee Vy, you know, and amongst others. The way we approached paying that that debt back was by recording songs for them. So we got to go into the studio and record with pipes and bread from Whaling Souls with Barrington with Half Pint, you know, they came out on tour with us, so you know, it was just it was it was amazing gift being able to play with our mentors, you know, and record with them. So it was just you know, and once again an amazing experience. I don't I don't know any other band that they has shared those kinds of experiences on the way that we have.

00:55:45
Speaker 1: Yeah, they had to be surreal to get to play with like the Actually, I mean I was asking it too, like to be able to share a stage with those guys.

00:55:51
Speaker 2: Right, you know what I mean, turn back to clocks. It could have been Bob Marley, you know, like holy.

00:55:56
Speaker 1: Yeah, yeah, yeah, you know, like you know, I guess maybe the closest would be like the Stones, you know, getting to play like Muddy Waters or something, you know, like bearn to be like a Half Pint. It's like your guys is you know, yeah, Howling Wolf and Waters or whatever, you know, and uh and Long Beach of All Stars had such a great run. You guys had an incredible run. You know, people loved going out and it was such a cool. It was just it was it was you know, getting to you know, bringing the whole sublime sort of the larger family together was Ah. It seemed like that was kept people fans going for for a long time. You know.

00:56:34
Speaker 2: It was a good way for us to heal too at the same time.

00:56:38
Speaker 1: Yeah, so you guys are doing warped tow tomorrow.

00:56:41
Speaker 3: Yeah, warped to her bright and early. We're excited. Six am, six am set, six am set, yep, yep. Because you know once Kevin, you know Limon, he still likes to mess with the set times on the board. So the rumor is he's gonna put us right at six am before doors open. It's like Hendricks, that would stock you guys just gonna should probably just start staying up now, you know, drop acid now you time Actually, if you time it, that's perfect. You'll be plateauing by their first.

00:57:09
Speaker 1: Yeah, but he got to open with you go now you gotta think about that because you got a whole whole crowd of people. Plats on. Man, Well, it's so great to meet you guys, and it's like a great talk dude.

00:57:20
Speaker 3: This is fun as hell.

00:57:21
Speaker 2: Man.

00:57:22
Speaker 3: Yeah, it's stoked. I'm stoke. We're all here in LBC.

00:57:24
Speaker 1: And it's a real honor man, you know, because it's like you guys are, like I said, we like you mentioned the top. We work at the same gym. I go outside.

00:57:31
Speaker 3: How low cool is this?

00:57:31
Speaker 1: It's so cool to see a blind wall. I see, I see you guys up there with Bradley and lou Dog and Dude.

00:57:36
Speaker 3: I was parked out in front of their earlier day because I had to do this this phone interview or whatever. I'm on the camera and he was talking about He's like, oh, yeah, I really like this one picture of you and your dad. I'm like, oh you do. And I just like drove home, like hear it is it's my Floyd's barber shop. Yeah yeah, And he's like, no way, it's so cool. Yeah, it's everywhere you look here. Man, it feels nice. It's home.

00:57:56
Speaker 1: Are you gonna keep your other band because you have other you guys, you know, other projects going. Are you gonna, Oh.

00:58:00
Speaker 3: Yeah, we all got time to do the various projects that we do in the side and stuff like that.

00:58:05
Speaker 2: Yeah.

00:58:06
Speaker 3: Yeah, we're still active. And I think it's very much adjacent to and inspired by, uh, that amazing era in the nineties Sublime and all the contemporaries and just the spirit of musicians that like to mix together genres that seem like they don't mix. Yeah, you know, maybe not glam metal and show tunes, but you never know it.

00:58:22
Speaker 1: You're a man out there.

00:58:24
Speaker 3: That's mixing those genres. And you got a cool demo. Send it, bro, We want to hear it.

00:58:27
Speaker 1: Release the glam metal, show tunes tapes and the Juice Boys. Yes, yes, the contract. That's what the people want. Man. Yeah, well, great, great, great, talk to you guys man, Good luck tomorrow, and you can't wait to listen to the rest album.

00:58:39
Speaker 3: I Care time to be cool Man.

00:58:46
Speaker 1: In the episode description, you'll find a link to a playlist of our favorite Sublime tracks. Be sure to check out YouTube dot com flash Broken Record podcast to see all of our video interviews, and be sure to follow us on Instagram at the Broken Record pot. You can follow us on Twitter at broken Record. Broken Record is produced and edited by Leah Rose with the marketing help from Eric Sandler and Jordan McMillan. Our engineer is Ben Holiday. Broken Record is production of Pushkin Industries. If you love this show and others from Pushkin, consider subscribing to Pushkin Plus. Pushkin Plus is a podcast subscription that offers bonus content and ad free listening for four ninety nine a month. Look for Pushkin Plus on Apple podcast subscriptions, and if you like this show, please remember to share, rate, and review us on your podcast app. Our theme music exp by Kenny Beats. I'm justin Richmond.