Sublime

30 years ago, Sublime released the album that defined 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 Nowell’s son, Jakob Nowell, is stepping up as lead singer.

Bradley, Sublime’s original frontman, died of a heroin overdose in 1996, just a couple of months before the band's breakthrough album came out. Jakob 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 Southern California in the ‘90s. 

After Bradley’s passing, bassist Eric Wilson and drummer Bud Gaugh launched Long Beach Dub Allstars in 1997 and stayed active with different projects. In late 2023, they shared the stage with Jakob at a benefit for Bad Brains’ singer H.R., and the spark between them was immediate.

On today’s episode, Justin Richmond talks with Jakob, Bud, and Eric about how this new chapter of Sublime came together. They also revisit the band’s scrappy early days, when they had to beg, borrow, and steal just to keep going, and share memories of recording the self-titled album at Willie Nelson’s studio outside Austin.

Big thanks to InterTrend and Creative Class Collective for letting us record at their facilities in Long Beach, CA.

You can hear a playlist of some of our favorite Sublime songs HERE.

See omnystudio.com/listener for privacy information.

Episode Transcript

Speaker 1 (00:15):
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,

(00:36):
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

(00:58):
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,

(01:20):
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

(01:41):
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.

(02:02):
We have Eric here shortly, but Bud Jacob, thanks for
doing this, y'all.

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

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

Speaker 1 (02:13):
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.

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

Speaker 1 (02:29):
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

(02:51):
with just with you, Bud, taking us back a bit
about like what Long Beach was like when you guys
were first starting out.

Speaker 2 (02:56):
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,

(03:20):
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

(03:42):
in backyard parties and and uh little warehouses and stuff.
You know, what were the.

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

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

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

Speaker 2 (04:00):
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

(04:22):
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?

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

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

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

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

Speaker 2 (04:50):
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,

(05:13):
but it was basically just kind of like a warehouse,
you know, it wasn't really a club with a good
sound system.

Speaker 1 (05:19):
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?

Speaker 2 (05:29):
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

(05:50):
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

(06:10):
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.

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

Speaker 2 (06:37):
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

(06:57):
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.

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

Speaker 2 (07:23):
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.

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

Speaker 2 (07:54):
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.

Speaker 1 (08:08):
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.

Speaker 2 (08:16):
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,

(08:37):
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

(09:01):
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.

Speaker 1 (09:20):
It's incredible.

Speaker 2 (09:20):
Man.

Speaker 1 (09:21):
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

(09:41):
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.

Speaker 2 (09:59):
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,

(10:20):
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,

(10:44):
I mean life imitates art, Art imitates life.

Speaker 1 (10:47):
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.

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

Speaker 2 (10:58):
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.

Speaker 3 (11:16):
You're into it.

Speaker 2 (11:18):
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.

Speaker 1 (11:37):
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.

Speaker 3 (11:55):
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

(12:16):
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.

Speaker 1 (12:28):
Yeah, man, what was?

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

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

Speaker 3 (12:39):
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

(13:01):
at my grandparents' house.

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

Speaker 3 (13:04):
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.

Speaker 2 (13:21):
Yeah.

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

Speaker 3 (13:26):
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.

Speaker 4 (13:33):
Uh.

Speaker 3 (13:33):
But it was good man.

Speaker 2 (13:35):
You know.

Speaker 3 (13:37):
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

(13:58):
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

(14:19):
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.

(14:42):
So it's kind of you know, we kind of came
back together at like the perfect time.

Speaker 1 (14:45):
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.

Speaker 3 (15:02):
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

(15:23):
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

(15:44):
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.

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

Speaker 3 (15:59):
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.

Speaker 1 (16:08):
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.

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

Speaker 3 (16:16):
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

(16:36):
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

(16:58):
way that people were starting to consume music was changing
like a little bit.

Speaker 1 (17:01):
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

(17:23):
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.

Speaker 2 (17:30):
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

(17:50):
it's good music. It's good music, doesn't matter what kind
or style it is. Yeah.

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

Speaker 3 (18:02):
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.

Speaker 1 (18:09):
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.

Speaker 3 (18:13):
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.

(18:34):
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

(18:56):
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

(19:18):
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.

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

Speaker 3 (19:29):
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

(19:51):
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

(20:14):
I think that's why we see so many of our
fans still to this day are all ages.

Speaker 2 (20:18):
Yeah.

Speaker 1 (20:19):
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.

Speaker 2 (20:33):
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

(20:55):
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

(21:16):
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.

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

Speaker 2 (21:41):
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.

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

Speaker 2 (22:03):
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

(22:25):
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.

Speaker 1 (22:45):
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

(23:09):
it's never happened, and the way that it uniquely happened
to you guys, losing it.

Speaker 3 (23:13):
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.

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

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

Speaker 1 (23:39):
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

(24:00):
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

(24:22):
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.

Speaker 2 (24:38):
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

(25:01):
we had been trying to make this entire time, you know,
from John Won't Pay the Bills all the way through.

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

Speaker 2 (25:13):
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,

(25:37):
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,

(26:01):
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

(26:24):
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

(26:45):
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

(27:06):
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,

(27:28):
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.

Speaker 1 (27:44):
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.

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

Speaker 3 (28:06):
Yeah, repurposed and recommandeered.

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

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

Speaker 1 (28:16):
That's so crazy.

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

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

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

Speaker 2 (28:28):
Now, let's.

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

Speaker 1 (28:34):
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.

(28:57):
But you guys knew that putting it out.

Speaker 2 (28:58):
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

(29:19):
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

(29:41):
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

(30:02):
to sell. Well, it was just putting gas in the
vand so we can get to the next show.

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

Speaker 2 (30:12):
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.

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

Speaker 1 (30:26):
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.

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

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

Speaker 1 (30:53):
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?

Speaker 2 (31:05):
Like?

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

Speaker 2 (31:09):
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.

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

Speaker 2 (31:31):
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

(31:53):
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,

(32:15):
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

(32:37):
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.

Speaker 3 (32:57):
You know.

Speaker 2 (32:59):
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

(33:19):
play golf or something.

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

Speaker 2 (33:24):
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,

(33:45):
they all kind of add their their community out there.
It was Willie World, you know, it was pretty really
cool thing, you.

Speaker 1 (33:50):
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.

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

Speaker 1 (34:02):
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.

Speaker 3 (34:12):
Okay.

Speaker 2 (34:12):
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

(34:33):
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

(34:55):
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.

Speaker 1 (35:05):
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

(35:28):
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?

Speaker 3 (35:38):
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

(35:59):
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.

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

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

Speaker 3 (36:23):
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.

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

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

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

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

Speaker 3 (36:51):
Shoutout Doug.

Speaker 2 (36:52):
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,

(37:13):
cave in and cave exploring. Because he's a spilunker. He's actually
an underground cartographer.

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

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

Speaker 3 (37:28):
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.

Speaker 1 (37:36):
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.

Speaker 2 (37:42):
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,

(38:02):
like a right.

Speaker 3 (38:03):
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.

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

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

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

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

Speaker 2 (38:30):
Yeah.

Speaker 3 (38:30):
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.

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

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

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

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

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

Speaker 2 (39:11):
Talking about Doug Billions.

Speaker 3 (39:12):
Yeah, yeah, Doug Buildings.

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

Speaker 4 (39:19):
How's you going?

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

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

Speaker 3 (39:32):
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,

(39:53):
and uh, the terogram tetragram ballroom.

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

Speaker 2 (40:09):
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.

Speaker 3 (40:19):
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.

Speaker 1 (40:32):
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.

Speaker 3 (40:38):
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,

(40:59):
or sometimes just just cuz we'll switch things up a
little bit.

Speaker 2 (41:03):
Yeah.

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

Speaker 3 (41:09):
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,

(41:32):
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

(41:55):
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.

Speaker 1 (42:13):
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.

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

Speaker 3 (42:31):
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

(42:53):
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.

Speaker 1 (42:58):
Yeah.

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

Speaker 1 (43:01):
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.

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

Speaker 1 (43:26):
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?

Speaker 3 (43:34):
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?

Speaker 2 (43:44):
You know?

Speaker 3 (43:44):
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

(44:04):
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.

Speaker 2 (44:19):
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.

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

Speaker 2 (44:39):
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,

(44:59):
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

(45:20):
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

(45:43):
to happen.

Speaker 3 (45:44):
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?

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

Speaker 3 (46:02):
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

(46:24):
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,

(46:45):
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.

(47:06):
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.

Speaker 1 (47:23):
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

(47:47):
authentic and natural and it feels quite frankly, it feels
like a lot like Long Beach too.

Speaker 3 (47:51):
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.

Speaker 2 (48:01):
Metal with show tunes, with.

Speaker 3 (48:03):
Show tunes combined.

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

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

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

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

Speaker 3 (48:21):
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.

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

Speaker 3 (48:42):
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.

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

Speaker 3 (48:55):
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,

(49:18):
I mean, it was this a epitaph situation.

Speaker 2 (49:20):
You just went to try.

Speaker 3 (49:21):
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.

Speaker 1 (49:33):
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,

(49:57):
you know, losing your pop.

Speaker 3 (49:58):
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

(50:19):
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

(50:42):
that we all bring to the table is super present
in the record and in our performances.

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

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

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

Speaker 1 (51:09):
It's definitive proof.

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

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

Speaker 2 (51:18):
Are they?

Speaker 1 (51:18):
Is it totally dude?

Speaker 3 (51:19):
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.

Speaker 2 (51:26):
You know.

Speaker 3 (51:27):
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.

Speaker 1 (51:46):
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.

Speaker 4 (52:01):
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.

Speaker 1 (52:12):
Yeah.

Speaker 2 (52:12):
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,

(52:33):
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,

(53:01):
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.

(53:22):
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.

Speaker 1 (53:43):
You know.

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

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

Speaker 2 (53:51):
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

(54:14):
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.

Speaker 1 (54:28):
Yeah yeah, yeah, no one.

Speaker 2 (54:31):
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,

(54:52):
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.

(55:13):
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,

(55:36):
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.

Speaker 1 (55:45):
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.

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

Speaker 1 (55:56):
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

(56:16):
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.

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

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

Speaker 3 (56:41):
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,

(57:02):
you know, drop acid now you time Actually, if you
time it, that's perfect. You'll be plateauing by their first.

Speaker 1 (57:09):
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.

Speaker 3 (57:20):
This is fun as hell.

Speaker 2 (57:21):
Man.

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

Speaker 1 (57:24):
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.

Speaker 3 (57:31):
How low cool is this?

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

Speaker 3 (57:36):
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.

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

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

Speaker 2 (58:05):
Yeah.

Speaker 3 (58:06):
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.

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

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

Speaker 1 (58:27):
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.

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

Speaker 1 (58:46):
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.

(59:08):
Broken Record is production of Pushkin Industries. If you love
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(59:28):
by Kenny Beats. I'm justin Richmond.