Sublime Wiki - User contributions [en]

Articles/Interviews

2016-05-25T03:37:54Z

Dv8r: added mention an article i need to know how to link http://ww2.kqed.org/arts/2016/05/24/sublimes-last-show-20-years-later-the-oral-history/

[[Image:ARTICLESINTFINAL.jpg]]

----------------------------

'''If you have an article about Sublime that isn't listed here, please e-mail a copy of it to pantheon@sublimewiki.com and it will be posted immediately. Thank you.'''

== 1994 ==

02.26.1994 - [http://articles.latimes.com/1994-02-26/entertainment/ca-27307_1| "Robbin' The Hood" Album Review]

== 1995 ==

05.04.1995 - [[Sublime Making the Most of '40oz.' of Success - MIKE BOEHM, times staff writer]]

07.23.1995 - [[Interview With Sublime - Axis Magazine]]

09.18.1995 - [[Artist Profile - Pollstar]]

11.01.1995 - [[In Name Only - Slam Magazine]]

== 1996 ==
05.16.1996 - [[Sublime Time - The Sonoma Independent]]

05.27.1996 - [[Rememberances of Bradley James Nowell]]

05.27.1996 - [[Band's singer found dead in motel - San Francisco Examiner]]

05.29.1996 - [[Good-Bye to Bradley - Lint Magazine]]

06.01.1996 - [[Life Ends for Brad Nowell - L.A. Times Magazine]]

07.12.1996 - [[Sublime Make A Movie - All Star Magazine]]

08.12.1996 - [[When the Music's Over - Time Magazine]]

09.25.1996 - [[Sublime Still Rocks - Life & Times Magazine]]

== 1997 ==

00.00.1997 - [[Sublime's late Brad Nowell could have had it all: family, fortune and rock superstardom. Instead, he hocked it all for a needle and a spoon. - Guitar World Online Article]]

01.01.1997 - [[Ugly Trend of the Year '96 - Spin Magazine]]

01.24.1997 - [[A Sublime Rock 'N' Roll Benefit Show - BAM Magazine]]

06.01.1997 - [[Wrong Way To The Top - Addicted to Noise]]

07.22.1997 - [[Concert Celebrates Sublime’s Legacy - Star Bulletin]]

09.25.1997 - [[Three New Albums Due - All Star Magazine]]

09.25.1997 - [[Unreleased Songs Compiled On New Album - Music News Of The World]]

12.25.1997 - [[Life After Death - Rolling Stone Magazine]]

==1998==
08.20.1998 - [[Work That We Did - Rolling Stone Magazine]]

==2004==
06.01.2004 - [[The World Looks Warped: 10 years of Warped Tour - Alternative Press Magazine]]

12.01.2004 - [[History Lesson - Alternative Press Magazine]]

==2006==
05.25.2006 - [[Q & A From The Nowell Family At Brad's Grave - Written By A Fan]]

==2008 ==

06.00.2008 - [[In Search of Bert Susanka - Michael Downes, NYU '10]]

06.04.2008 - [[Drawn Together - The District Weekly]]

07.01.2008 - [[Randomville - Interview with Bud]]

09.17.2008 - [[Bud Gaugh Interview with Pilipo - ThePier.org]]

==2009==

09.16.2009 - [[Michael 'Miguel' Happoldt Interview with Pilipo - ThePier.org]]

==2010==

01.28.2010 - [[Brad Nowell Years 1986-1988 - MC Naitch]]

==2016==

05.24.2016 - 20th Anniversary Of Last Show An Oral History via KQED.org

==Misc==
[[Letter from Eben "Ebin" Sterling About Bradley]]

[[Show Mentions]]

1994

2016-05-25T03:34:50Z

Dv8r: added venue name to Santa Rosa Cafe in September and changed San Francisco to Hollywood for Dec 7th Gaslight gig

[[01.03.1994]] Sacramento, CA - Old Ironsides

[[01.18.1994]] California flophouse "Recording for Robbin' The Hood"

[[01.21.1994]] Los Angeles, CA - Dragon Fly

[[01.28.1994]] Fullerton, CA - Ice House

[[02.10.1994]] Riverside, CA - U.C. Riverside Campus

[[02.18.1994]] San Diego, CA - World Beat Center [Video]

[[02.19.1994]] Huntington Beach, CA - Old World Hall

[[02.20.1994]] San Bernardino, CA - Underground - Red Dog Saloon

[[02.26.1994]] Arcata, CA - Brewin’ Beats

[[02.27.1994]] Costa Mesa, CA - The Lab "Tower Records Free Outdoor Show" [Video]

[[03.01.1994]] San Diego, CA - Moose McGillyCuddys "Board Aid" & [[Robbin The Hood]]" released on Skunk Records.

[[03.05.1994]] Irving, CA - KUCI Ska Parade Radio Show

[[03.12.1994]] Las Vegas, NV - Elks Lodge

[[03.26.1994]] San Fransisco, CA - Slim's

[[04.02.1994]] Huntington Beach, CA - Golden West College Amphitheater "All Things Strange And Beautiful" [Video]

[[04.09.1994]] Huntington Beach, CA - Club 5902

[[04.21.1994]] Los Angeles, CA - Hong Kong Cafe

[[05.01.1994]] Long Beach, CA - Shoreline Park "12th Annual Beachfest"

[[05.05.1994]] Huntington Beach, CA - Black Fly's Warehouse

[[06.??.1994]] Long Beach, CA - The Blue Cafe

[[06.10.1994]] Berkeley, CA - Berkeley Square

[[06.11.1994]] Huntington Beach, CA - Club 5902 [Video]

[[06.17.1994]] San Diego, CA - World Beat Center

[[06.18.1994]] San Diego, CA - World Beat Center

[[06.19.1994]] Riverside, CA - Fairmount Park - Riverside Armory “Locapalooza”

[[06.26.1994]] Long Beach, CA - "4th Street Fair"

[[06.29.1994]] Hollywood, CA - Jack’s Sugar Shack

[[07.??.1994]] San Francisco, CA - Slim's

[[07.03.1994]] Santiago Canyon, CA - The Ranch "Independent's Day 94" (rescheduled) / Huntington Beach, CA - 15th and Pecan St.

[[07.07.1994]] Redlands, CA - Harry C's

[[07.08.1994]] Los Angeles, CA - Velocity

[[07.09.1994]] Calabasas, CA - Pelican's Retreat

[[07.12.1994]] Long Beach, CA - Lucy's Restaurant

[[07.22.1994]] San Luis Obispo, CA - Band gets signed to Gasoline Alley/MCA & receives a check for $20,000.00

[[07.25.1994]] Redlands, CA - Harry C's

[[07.29.1994]] Huntington Beach, CA - Club 5902

[[07.31.1994]] Huntington Beach, CA - Club 5902

[[08.21.1994]] Redondo Beach, CA - The Strand

[[08.23.1994]] New York City, NY - Pozo Lounge

[[08.25.1994]] New York City, NY - Brownies

[[08.25.1994]] New York City, NY - Don Hills

[[08.30.1994]] Long Beach, CA - Lucy’s

[[09.01.1994]] Orange County, CA - KDOC Channel 56 Cable Show with
the “Poorman”

[[09.02.1994]] Long Beach, CA - The Foothill

[[09.05.1994]] Redlands, CA - Harry C’s

[[09.06.1994]] San Bernardino, CA - Toes Tavern

[[09.07.1994]] San Luis Obispo, CA - In Store At Boo-Boo Records

[[09.07.1994]] San Luis Obispo, CA - The Cellar

[[09.08.1994]] Santa Cruz, CA - The Redroom

[[09.09.1994]] San Francisco, CA - Komotion

[[09.10.1994]] Sacramento, CA - The Cattle Club

[[09.11.1994]] Santa Rosa, CA - Café This

[[09.12.1994]] Chico, CA - Juanita’s Cafe [Video]

[[09.13.1994]] Seattle, WA - Off Ramp

[[09.14.1994]] Bellingham, WA - Speedy O’ Tubbs

[[09.16.1994]] Vancouver, BC -

[[09.17.1994]] Vancouver, BC -

[[09.18.1994]] Portland, OR - Mt. Tabor Theater

[[09.19.1994]] Eugene, OR - Icky’s Teahouse

[[09.20.1994]] Arcata, CA - Brewin’ Beats

[[09.21.1994]] New York City, NY - Brownies - CMJ Convention

[[09.22.1994]] New York City, NY - Brownies - CMJ Convention

[[09.23.1994]] New York City, NY - Brownies - CMJ Convention

[[09.24.1994]] New York City, NY - Brownies - CMJ Convention

[[09.25.1994]] San Luis Obispo, CA - The Graduate

[[09.26.1994]] Berkeley, CA - Berkeley Square

[[09.27.1994]] Berkeley, CA - Berkeley Square

[[09.28.1994]] Santa Barbara, CA - Underground

[[09.30.1994]] Orange County, CA - Ale House Rock Brewery [Video]

[[10.15.1994]] Boulder, CO - Fox Theater

[[10.22.1994]] Irvine, CA - Independence Day '94 Benefit
Show

[[10.30.1994]] Hollywood, CA - The Palace

[[11.10.1994]] San Diego, CA - Miles Doughty's House - Brad and Miles Acoustic Recordings

[[11.12.1994]] Santa Barbara, CA - Underground

[[11.14.1994]] Everett, WA - The Tressel Tavern - “Memories” Show

[[11.15.1994]] Hollywood, CA - North Vine Studios "Hempilation Recording"

[[11.17.1994]] San Francisco, CA - On Broadway

[[11.18.1994]] Tahoe City, CA - Humpties

[[11.19.1994]] Reno, NV - Lil’ Waldolf

[[11.23.1994]] Honolulu, HI - The Access Night Club

[[??.??.1994]] Oahu, HI - The After Dark

[[12.04.1994]] Hollywood, CA - Las Palmas Theater [Video]

[[12.07.1994]] Hollywood, CA - The Gaslight

[[12.08.1994]] Redondo Beach, CA - The Strand

[[12.09.1994]] Sacramento, CA - The Cattle Club

[[12.10.1994]] San Francisco, CA - Komotion

[[12.11.1994]] Arcata, CA - Brewin’ Beats

[[12.12.1994]] Chico, CA - Lava Lounge

[[12.13.1994]] Eugene, OR - John Henry’s

[[12.14.1994]] Everett, WA - Jimmy’s

[[12.15.1994]] Olympia, WA -

[[12.16.1994]] Portland, OR - Madrona Hill Winery

[[12.17.1994]] Boise, ID - Neurolux

[[12.18.1994]] Salt Lake City, UT - Salt Air

[[12.19.1994]] Telluride, CO - Fly Me To The Moon Saloon

[[12.20.1994]] Boulder, CO - Fox Theater

[[12.21.1994]] Aspen, CO - Double Diamond Hotel

[[12.22.1994]] Las Vegas, NV - The Huntridge Theatre [Video]

[[12.23.1994]] Fullerton, CA - Icehouse

[[12.30.1994]] Riverside, CA - The Barn - U.C. Riverside Campus

[[??.??.1994]] Long Beach, CA - Jack Herer's Cousin's House

[[??.??.1994]] Mesa, AZ - The Nile Theater

[[Category:Shows]]

*[[Sublime]] finishes six songs, and plans to release a CD. However, feeling that 6 songs on a CD is a rip-off, [[Bradley Nowell]] and [[Eric Wilson]] decide to add more. A few acoustic songs, dubs, and cover songs are added, and [[Robbin The Hood]] is born and released in January.

12.07.1994

2016-05-25T03:31:52Z

Dv8r: /* The Gaslight was not a San Francisco club it was in Hollywood */

=='''The Gaslight''' ''Hollywood, CA''==
''Wednesday, December 7th, 1994''

''21 and over''[[Image:FlyersPapers_Gaslight.jpg|thumb|Flyer]]

''$5 at the door, $2 with Offspring ticket stub''

Bands Performed:
*The Grabbers
*Lame Brains

[[Category:Flyers]]

09.09.1994

2012-12-20T18:16:40Z

Dv8r: added opening act info

=='''Kommotion''' ''San Francisco, CA''==
''Friday, September 9th, 1994''

''All Ages Show''

''$5''

''9:30 p.m.
[[Image:Kommotionfront.jpg|thumb|Bootleg Front Cover]]
Bands performed:
*Marginal Prophets
*Breathe - a tribute to Roger Waters of Pink Floyd, (it was his 50th birthday and members of Bomb, Helios Creed & Eric McFadden performed a set of Pink Floyd material)
*D.J. Wiki Wiki & DJ Bobo Romo

== "Kommotion" == aka Klub Komotion

'''San Fransisco, CA - September 9th, 1994'''

# Don't Push
# Right Back
# New Thrash
# Let's Go Get Stoned
# Greatest Hits
# Pool Shark
# Untitled Dub
# Sound Check Dub
# STP
# Scarlet Begonias
# 5446, Date Rape
# Work That We Do
# Badfish
# House of Suffering
# DJ's
# Hope, 16 Second Dub
# We're Only Gonna Die

==''Notes''==

*Blaine Kaplan - Sublime's Co-manager & Booking Agent writes in Crazy Fool:

''But where I really got a feel for the Sublime scene was at this place called the Kommotion. It was a little, punk rock, art collective in the Mission District, somewhere between Folsom and Harrison on 16th, I think. It's just a glorified practice room with some make-shift plywood bleachers on one side--about 40 feet long.''

''They had a multi-track live mixer, and some of the songs from the 'Badfish' EP came from Kommotion. I know 'We Are Only Gonna Die for Our Arrogance' was recorded at one of their shows there.

''That was my first real experience going to some dirtbag, punk rock underground show, paying two bucks and walking in with a 12-pack. People were sprawled out, drinking jug wine-- it was just crazy. It was cool, though. It was summer of '94, and it was a really interesting point for the band. Not only were they big on the SoCal underground, but Northern California was vibing on them, too. Word was spreading all over. People weren't really into reggae as much, but they knew when Sublime played, it was a party.''''

*In the first few tracks of Kommotion one thing is certain, the crowd is definitely feeling Sublime's sound. They cheer and yell when Eric goes solo or Brad sings a chorus, and they sing the words to the songs in between. And Sublimes performance- some of their best. At the end of "Untitled Dub," to later become Pawn Shop on their Self Titled album, the crowd insists the band do Date Rape. "Alright alright alright, Later later later.." Brad says, and goes into the Sound check Dub. STP is definitely one of my favorite tracks on the bootleg. Their performance speaks for itself. At the end of Scarlet Begonias they start to go into a dub, but Brad changes his mind. By track 11 they finally give the crowd what they want by going into Date Rape from 5446. This transition isn't shown in the Stand By Your Van release. In the Bad Brains cover House of Suffering, they have stop to change the bass tuning. Brad interacts with the crowd, many of them shouting out requests.The show ends with a strong performance of We're Only Gonna Die, exhibiting Sublime's mellow, soulful side, along with their noisy, punk side. Kommotiom is without question one of Sublime's best live performances.

<font color="green"> '''-joHn'''
[[Category:Bootlegs]]

06.09.1995

2012-12-04T06:52:11Z

Dv8r:

=='''Shoreline Amphitheater''' '' Mountain View, CA''==
''' ''Live 105 B.F.D II Show'' '''

''Friday, June 9th, 1995 ''

''All Ages Show''

'''Sold Out'''
[[Image:Live105.jpg|thumb|Live 105 Concert shirt]]
Bands Performed:
*Chris Isaak
*General Public
*Adam Ant
*Elastica
*Catherine Wheel
*Ned's Atomic Dustbin
*Better Than Ezra
*Bush
*Belly
*Monster Magnet
*Wax
*No Use For A Name
*Parade Of Losers
*Phunk Junkeez
*[[Mike Watt]]

[[Image:BFD2pictures.jpg]]

the band caused a bit of a ruckus at the corporate venue, (beginning to show a pattern?) when their voluminous, unruly entourage, including Lou Dog had problems bypassing the uptight radio station staff, & venue security...

06.08.1995

2012-12-04T06:48:23Z

Dv8r:

=='''Kommotion''' '' San Francisco, CA''==
''Thursday, June 8th, 1995 ''

''Mixing tracks, No show played''[[Image:pheonix.jpg|thumb|Flyer]]
[[Category:Flyers]]

Originally this was going to be a gig in Petaluma, but that didn't happen. The band instead played in Santa Cruz at Palookaville the night before, which isn't listed in this gigography...Brad stayed up late singing on an acoustic in the back of a VW van before retiring at a motel. After breakfast in downtown Santa Cruz, the posse then traveled up the coast to SF all day, drinking & smoking in the van. Reconvening at Klub Komotion on 16th St where the live version of We're Only Gonna Die For Our Arrogance was mixed by Miguel from the gig the previous September. Brad drifted off, and no impromptu underground show was played.

It All Seems So Silly in the Long Run

2012-12-04T06:33:01Z

Dv8r:

This was originally done for Lucas Ellingson's website [http://SublimeSTP.com] in December 2012 [[Image:http://sublimestp.com/media/boots/sm/Silly_sm.jpg]]

Label - Junk Records

Year - 1996

Quantity Produced - 2000

Formats - CD

Recording Method - 16 track analog & ADAT / Mic
Recording Quality Grade - A+/C+

Recording Venue(s) & Date(s) - San Francisco, CA (Komotion) 09/09/1994 / 12/10/1994 (tracks 1-10)
& Petaluma, CA (Phoenix Theater) 05/24/1996 (tracks 12-16)
Summary

Credited to Lil' Mike of "Junk Records" (a sarcastic take on Skunk Records); what better person to tell us the tale of this mythical CD? Skip below the track list for the truth he's thoughtfully laid out for us.

Track List
1. Intro
2. Don't Push Medley (Don't Push / Right Back / New Trash / Let's Go Get Stoned)
3. 40 Oz. to Freedom
4. Greatest Hits
5. Hope
6. Scarlet Begonias
7. It Don't Work (Romantic Girl song)
8. STP
9. Badfish
10. Pool Shark
11. Courtney (A phone message from Courtney Love)
12. KRS-One
13. Smoke 2 Joints
14. Pawn Shop / DJ's Dub
15. Same in the End
16. Sound Check

'''The Story of Silly'''
by [Lil' Mike]
December 2012
Here's What I Recall As The Truth: The Komotion recordings were done in Sept & Dec of 1994 at two different gigs. The September show later turns up in chunks as most of "Stand By Your Van". Each gig was recorded direct to 16 track analog & ADAT via a snake run from the stage to a recording studio in the back of the building. Manager Jon Phillips & Sublime took control of the 2" Quantegy tape master tapes after the end of the gigs, we retained the ADAT tapes which were actually digitally recorded to S-VHS tape stock.

The proper name for the studio performance space we generally used was Klub Komotion... but it often ended up being referred to by the name Kommotion. It was a studio & rehearsal spot that would open up for all-ages shows on some nights to host gigs for out of town bands & benefits for non-profit orgs & causes. Amongst the many bands that played there included eventually well known groups like Operation Ivy/Rancid, Green Day, Primus etc and many dozens of lesser known talents. It was run on a cooperative egalitarian way, and everyone was was treated much the same, we served canned beers for a $1...and there was no backstage. I was honored once to hear Bud in a post mortem interview say that I was the best promoter they ever worked with, basically I wasn't the biggest, but I imagine because I never lied, cheated or took more than small share for my expenses from any band.

Sublime were a musical treat for me, the 40 oz tape they sent me blew my lil' mind. When I played it in bars as a DJ people kept asking after every song, what band this was, not believing I had been playing the same record all night. They came into my life at the right time, offering so much more than just the generic punk rock sound, with all their unique influences shown through & their musicality on a good night was amazing. I caught their killer live show whenever possible and would travel up and down the state to see them. Of course, part of their appeal was the element of don't give a f#ck danger & unpredictability, which could play out in various ways. Whether it was a skate ramp in Sacramento or a near riot in San Pedro with no notes played...each gig was a thrill, and these were genuinely fun young guys to be around.

When Bradley died, like many, I was devastated; and so disappointed, but went back into the studio a week later and quickly mixed down the shows with our in house engineer "Art Space". I intentionally used more of the December gig than would seem practical, as I knew the September gig had legit release value to Bradley's estate, and figured MCA would have little use for the drunken oft off-key, flying by the seat of the pants atmosphere of the second show in December. I felt that the 2nd show was just as representative of a Sublime concert as any other, and would offer fans a true unexpurgated audio documentation of their attitude & style.

Sublime actually was a haphazard & unwieldy unit, and a third gig/session we intended to record was aborted in spring of 1995, when after a day leisurely spent cruising the coast up from Santa Cruz & drinking beers on the way to San Francisco fizzled out. By the time we hit the SF Mission District that night, Bradley was too buzzed & distracted to record or perform. I had invited a reporter from the SF Weekly, who later wrote the Bay Area punk book Give Me Something Better, and when she saw the potential of the powerful performance I had described, evaporating into clouds of lackadaisical smoke, I could only shrug. It was still a somewhat useful session for Miguel, who managed to mix down the previously unused version of "We're Only Gonna Die" that turned up on the Badfish CD5 EP.

The address listed on the Silly CD was "275 Redondo Ave", which I believe was officially connected to a trust fund set up for Jacob James Nowell. So that's why it was on there.

The Courtney Love tape comes as an intermission between the segments, and was a tape we had transferred for a friend who was a Santa Cruz based astrologer for the SF Weekly. Courtney had been calling him and leaving rambling messages... we thought they were hilarious...and enlivened the disk, providing a nice mystery transition, and access to the mind of another warped drug addict... the more the merrier?

Finally, the last 5 songs were from what would be the last-ever live show, May 24th, 1996 at the Phoenix Theater Petaluma, CA. A lesser quality recoding method was used here and sound quality suffers from it.
The songs recorded at the Phoenix Theater were recorded on a hand held Sony Walkman cassette in the balcony of the theater by my girlfriend. We just thought a few from the last show might make a nice addition to the collection, but they were obviously not of the same quality ...c'est la vie.

The CD was financed by my girlfriend's gig as a stripper, produced in a hastily arranged limited batch of a couple thousand at a local duplicator with a plant based in Oregon. I took the initial run of a few hundred on a road trip up & down the California coast offering them to surf/skate shops & indie record stores for $8 each. The remainder moved swiftly to to the world via Bob McDonald of Hank IV and the Revolver/Scooby Doo distro network at the same $8 price. They hit the streets a good month or two before the major label debut, and I heard were selling for $25 to $40 instantly. Truly, I had no idea if their actual MCA album would even break even and ever pay them a dime. Brad had been through two rehabs that cost almost as much as the recording budget... plus the cost of the recoupable advances the band had lived off of put them hundreds of thousands in debt that most major label acts never escape.

The band heard about the disc and called Revolver distro to get distribution stopped, but when they heard who was behind it, and that we had a limited number of copies circulating, they let it peter out and run it's course before any lawsuits could get started. We truly did it out of love & respect and I think it shows in the care we took making it; and why people still contact me about it over 15 years later. I haven't found a band since that have captivated me in the same way, or even close, and doubt I ever will.

Once we got the check from the distributor we took a chunk of the money and donated it to Jakob's trust fund, and gave Eric & Bud each $1000 dollars. They were grateful, and said it was the most money they had ever been paid in a lump sum up until that time. They both had no income from gigs anymore and took the money; I heard they went to Mexico to chillax. Rumor has it that the Tequila they guzzled before stumbling onstage at the MTV awards show that year and bad-mouthing MCA was paid for by proceeds from "It All Seems So Silly In The Long Run".

R.I.P. Bradley James Nowell - We Miss You Bradley, & Wish All The Love Out There Could've Been Enough... Peace.

It All Seems So Silly in the Long Run

2012-12-04T06:32:08Z

Dv8r:

This was originally done for Lucas Ellingson's website [http://SublimeSTP.com] in December 2012 [[Image:http://sublimestp.com/media/boots/sm/Silly_sm.jpg]]Label - Junk Records
Year - 1996
Quantity Produced - 2000
Formats - CD
Recording Method - 16 track analog & ADAT / Mic
Recording Quality Grade - A+/C+
Recording Venue(s) & Date(s) - San Francisco, CA (Komotion) 09/09/1994 / 12/10/1994 (tracks 1-10)
& Petaluma, CA (Phoenix Theater) 05/24/1996 (tracks 12-16)
Summary

Credited to Lil' Mike of "Junk Records" (a sarcastic take on Skunk Records); what better person to tell us the tale of this mythical CD? Skip below the track list for the truth he's thoughtfully laid out for us.

Track List
1. Intro
2. Don't Push Medley (Don't Push / Right Back / New Trash / Let's Go Get Stoned)
3. 40 Oz. to Freedom
4. Greatest Hits
5. Hope
6. Scarlet Begonias
7. It Don't Work (Romantic Girl song)
8. STP
9. Badfish
10. Pool Shark
11. Courtney (A phone message from Courtney Love)
12. KRS-One
13. Smoke 2 Joints
14. Pawn Shop / DJ's Dub
15. Same in the End
16. Sound Check

'''The Story of Silly'''
by [Lil' Mike]
December 2012
Here's What I Recall As The Truth: The Komotion recordings were done in Sept & Dec of 1994 at two different gigs. The September show later turns up in chunks as most of "Stand By Your Van". Each gig was recorded direct to 16 track analog & ADAT via a snake run from the stage to a recording studio in the back of the building. Manager Jon Phillips & Sublime took control of the 2" Quantegy tape master tapes after the end of the gigs, we retained the ADAT tapes which were actually digitally recorded to S-VHS tape stock.

The proper name for the studio performance space we generally used was Klub Komotion... but it often ended up being referred to by the name Kommotion. It was a studio & rehearsal spot that would open up for all-ages shows on some nights to host gigs for out of town bands & benefits for non-profit orgs & causes. Amongst the many bands that played there included eventually well known groups like Operation Ivy/Rancid, Green Day, Primus etc and many dozens of lesser known talents. It was run on a cooperative egalitarian way, and everyone was was treated much the same, we served canned beers for a $1...and there was no backstage. I was honored once to hear Bud in a post mortem interview say that I was the best promoter they ever worked with, basically I wasn't the biggest, but I imagine because I never lied, cheated or took more than small share for my expenses from any band.

Sublime were a musical treat for me, the 40 oz tape they sent me blew my lil' mind. When I played it in bars as a DJ people kept asking after every song, what band this was, not believing I had been playing the same record all night. They came into my life at the right time, offering so much more than just the generic punk rock sound, with all their unique influences shown through & their musicality on a good night was amazing. I caught their killer live show whenever possible and would travel up and down the state to see them. Of course, part of their appeal was the element of don't give a f#ck danger & unpredictability, which could play out in various ways. Whether it was a skate ramp in Sacramento or a near riot in San Pedro with no notes played...each gig was a thrill, and these were genuinely fun young guys to be around.

When Bradley died, like many, I was devastated; and so disappointed, but went back into the studio a week later and quickly mixed down the shows with our in house engineer "Art Space". I intentionally used more of the December gig than would seem practical, as I knew the September gig had legit release value to Bradley's estate, and figured MCA would have little use for the drunken oft off-key, flying by the seat of the pants atmosphere of the second show in December. I felt that the 2nd show was just as representative of a Sublime concert as any other, and would offer fans a true unexpurgated audio documentation of their attitude & style.

Sublime actually was a haphazard & unwieldy unit, and a third gig/session we intended to record was aborted in spring of 1995, when after a day leisurely spent cruising the coast up from Santa Cruz & drinking beers on the way to San Francisco fizzled out. By the time we hit the SF Mission District that night, Bradley was too buzzed & distracted to record or perform. I had invited a reporter from the SF Weekly, who later wrote the Bay Area punk book Give Me Something Better, and when she saw the potential of the powerful performance I had described, evaporating into clouds of lackadaisical smoke, I could only shrug. It was still a somewhat useful session for Miguel, who managed to mix down the previously unused version of "We're Only Gonna Die" that turned up on the Badfish CD5 EP.

The address listed on the Silly CD was "275 Redondo Ave", which I believe was officially connected to a trust fund set up for Jacob James Nowell. So that's why it was on there.

The Courtney Love tape comes as an intermission between the segments, and was a tape we had transferred for a friend who was a Santa Cruz based astrologer for the SF Weekly. Courtney had been calling him and leaving rambling messages... we thought they were hilarious...and enlivened the disk, providing a nice mystery transition, and access to the mind of another warped drug addict... the more the merrier?

Finally, the last 5 songs were from what would be the last-ever live show, May 24th, 1996 at the Phoenix Theater Petaluma, CA. A lesser quality recoding method was used here and sound quality suffers from it.
The songs recorded at the Phoenix Theater were recorded on a hand held Sony Walkman cassette in the balcony of the theater by my girlfriend. We just thought a few from the last show might make a nice addition to the collection, but they were obviously not of the same quality ...c'est la vie.

The CD was financed by my girlfriend's gig as a stripper, produced in a hastily arranged limited batch of a couple thousand at a local duplicator with a plant based in Oregon. I took the initial run of a few hundred on a road trip up & down the California coast offering them to surf/skate shops & indie record stores for $8 each. The remainder moved swiftly to to the world via Bob McDonald of Hank IV and the Revolver/Scooby Doo distro network at the same $8 price. They hit the streets a good month or two before the major label debut, and I heard were selling for $25 to $40 instantly. Truly, I had no idea if their actual MCA album would even break even and ever pay them a dime. Brad had been through two rehabs that cost almost as much as the recording budget... plus the cost of the recoupable advances the band had lived off of put them hundreds of thousands in debt that most major label acts never escape.

The band heard about the disc and called Revolver distro to get distribution stopped, but when they heard who was behind it, and that we had a limited number of copies circulating, they let it peter out and run it's course before any lawsuits could get started. We truly did it out of love & respect and I think it shows in the care we took making it; and why people still contact me about it over 15 years later. I haven't found a band since that have captivated me in the same way, or even close, and doubt I ever will.

Once we got the check from the distributor we took a chunk of the money and donated it to Jakob's trust fund, and gave Eric & Bud each $1000 dollars. They were grateful, and said it was the most money they had ever been paid in a lump sum up until that time. They both had no income from gigs anymore and took the money; I heard they went to Mexico to chillax. Rumor has it that the Tequila they guzzled before stumbling onstage at the MTV awards show that year and bad-mouthing MCA was paid for by proceeds from "It All Seems So Silly In The Long Run".

R.I.P. Bradley James Nowell - We Miss You Bradley, & Wish All The Love Out There Could've Been Enough... Peace.

It All Seems So Silly in the Long Run

2012-12-04T06:30:24Z

Dv8r:

Label - Junk Records
Year - 1996
Quantity Produced - 2000
Formats - CD
Recording Method - 16 track analog & ADAT / Mic
Recording Quality Grade - A+/C+
Recording Venue(s) & Date(s) - San Francisco, CA (Komotion) 09/09/1994 / 12/10/1994 (tracks 1-10)
& Petaluma, CA (Phoenix Theater) 05/24/1996 (tracks 12-16)
Summary

Credited to Lil' Mike of "Junk Records" (a sarcastic take on Skunk Records); what better person to tell us the tale of this mythical CD? Skip below the track list for the truth he's thoughtfully laid out for us.

Track List
1. Intro
2. Don't Push Medley (Don't Push / Right Back / New Trash / Let's Go Get Stoned)
3. 40 Oz. to Freedom
4. Greatest Hits
5. Hope
6. Scarlet Begonias
7. It Don't Work (Romantic Girl song)
8. STP
9. Badfish
10. Pool Shark
11. Courtney (A phone message from Courtney Love)
12. KRS-One
13. Smoke 2 Joints
14. Pawn Shop / DJ's Dub
15. Same in the End
16. Sound Check

'''The Story of Silly'''
by [Lil' Mike]
December 2012
Here's What I Recall As The Truth: The Komotion recordings were done in Sept & Dec of 1994 at two different gigs. The September show later turns up in chunks as most of "Stand By Your Van". Each gig was recorded direct to 16 track analog & ADAT via a snake run from the stage to a recording studio in the back of the building. Manager Jon Phillips & Sublime took control of the 2" Quantegy tape master tapes after the end of the gigs, we retained the ADAT tapes which were actually digitally recorded to S-VHS tape stock.

The proper name for the studio performance space we generally used was Klub Komotion... but it often ended up being referred to by the name Kommotion. It was a studio & rehearsal spot that would open up for all-ages shows on some nights to host gigs for out of town bands & benefits for non-profit orgs & causes. Amongst the many bands that played there included eventually well known groups like Operation Ivy/Rancid, Green Day, Primus etc and many dozens of lesser known talents. It was run on a cooperative egalitarian way, and everyone was was treated much the same, we served canned beers for a $1...and there was no backstage. I was honored once to hear Bud in a post mortem interview say that I was the best promoter they ever worked with, basically I wasn't the biggest, but I imagine because I never lied, cheated or took more than small share for my expenses from any band.

Sublime were a musical treat for me, the 40 oz tape they sent me blew my lil' mind. When I played it in bars as a DJ people kept asking after every song, what band this was, not believing I had been playing the same record all night. They came into my life at the right time, offering so much more than just the generic punk rock sound, with all their unique influences shown through & their musicality on a good night was amazing. I caught their killer live show whenever possible and would travel up and down the state to see them. Of course, part of their appeal was the element of don't give a f#ck danger & unpredictability, which could play out in various ways. Whether it was a skate ramp in Sacramento or a near riot in San Pedro with no notes played...each gig was a thrill, and these were genuinely fun young guys to be around.

When Bradley died, like many, I was devastated; and so disappointed, but went back into the studio a week later and quickly mixed down the shows with our in house engineer "Art Space". I intentionally used more of the December gig than would seem practical, as I knew the September gig had legit release value to Bradley's estate, and figured MCA would have little use for the drunken oft off-key, flying by the seat of the pants atmosphere of the second show in December. I felt that the 2nd show was just as representative of a Sublime concert as any other, and would offer fans a true unexpurgated audio documentation of their attitude & style.

Sublime actually was a haphazard & unwieldy unit, and a third gig/session we intended to record was aborted in spring of 1995, when after a day leisurely spent cruising the coast up from Santa Cruz & drinking beers on the way to San Francisco fizzled out. By the time we hit the SF Mission District that night, Bradley was too buzzed & distracted to record or perform. I had invited a reporter from the SF Weekly, who later wrote the Bay Area punk book Give Me Something Better, and when she saw the potential of the powerful performance I had described, evaporating into clouds of lackadaisical smoke, I could only shrug. It was still a somewhat useful session for Miguel, who managed to mix down the previously unused version of "We're Only Gonna Die" that turned up on the Badfish CD5 EP.

The address listed on the Silly CD was "275 Redondo Ave", which I believe was officially connected to a trust fund set up for Jacob James Nowell. So that's why it was on there.

The Courtney Love tape comes as an intermission between the segments, and was a tape we had transferred for a friend who was a Santa Cruz based astrologer for the SF Weekly. Courtney had been calling him and leaving rambling messages... we thought they were hilarious...and enlivened the disk, providing a nice mystery transition, and access to the mind of another warped drug addict... the more the merrier?

Finally, the last 5 songs were from what would be the last-ever live show, May 24th, 1996 at the Phoenix Theater Petaluma, CA. A lesser quality recoding method was used here and sound quality suffers from it.
The songs recorded at the Phoenix Theater were recorded on a hand held Sony Walkman cassette in the balcony of the theater by my girlfriend. We just thought a few from the last show might make a nice addition to the collection, but they were obviously not of the same quality ...c'est la vie.

The CD was financed by my girlfriend's gig as a stripper, produced in a hastily arranged limited batch of a couple thousand at a local duplicator with a plant based in Oregon. I took the initial run of a few hundred on a road trip up & down the California coast offering them to surf/skate shops & indie record stores for $8 each. The remainder moved swiftly to to the world via Bob McDonald of Hank IV and the Revolver/Scooby Doo distro network at the same $8 price. They hit the streets a good month or two before the major label debut, and I heard were selling for $25 to $40 instantly. Truly, I had no idea if their actual MCA album would even break even and ever pay them a dime. Brad had been through two rehabs that cost almost as much as the recording budget... plus the cost of the recoupable advances the band had lived off of put them hundreds of thousands in debt that most major label acts never escape.

The band heard about the disc and called Revolver distro to get distribution stopped, but when they heard who was behind it, and that we had a limited number of copies circulating, they let it peter out and run it's course before any lawsuits could get started. We truly did it out of love & respect and I think it shows in the care we took making it; and why people still contact me about it over 15 years later. I haven't found a band since that have captivated me in the same way, or even close, and doubt I ever will.

Once we got the check from the distributor we took a chunk of the money and donated it to Jakob's trust fund, and gave Eric & Bud each $1000 dollars. They were grateful, and said it was the most money they had ever been paid in a lump sum up until that time. They both had no income from gigs anymore and took the money; I heard they went to Mexico to chillax. Rumor has it that the Tequila they guzzled before stumbling onstage at the MTV awards show that year and bad-mouthing MCA was paid for by proceeds from "It All Seems So Silly In The Long Run".

R.I.P. Bradley James Nowell - We Miss You Bradley, & Wish All The Love Out There Could've Been Enough... Peace.

01.15.1995

2012-07-17T06:58:30Z

Dv8r: /* ''Notes'' */

=='''Great American Music Hall''' ''San Francisco, CA''==
''Sunday, January 15th, 1995''

''All Ages Show''

''$6

''9
[[Image:Jan15.jpg|thumb|Flyer]]
[[Category:Flyers]]

Bands Performed:
*Mudsharks
*Rudiments

==Not ''Notes''==

*''Just confirmed that Sublime did indeed play this show. I received a used ticket stub from someone who was at this show and saw Sublime play.

hey look: I don't care if someone was able to 'confirm' this event for you, I'm gonna tell you the whole truth, believe it or don't. I remember the night quite well, as on this date the San Francisco 49ers played the Dallas Cowboys for the NFC championship at Candlestick Park. The 49ers won 38-28, and I left the stadium aglow and took a bus through streets of a city that was a madhouse of revelry all across town. By the time I got to the venue on O'Farrell, it was different story, and they were sending people home & the show had been cancelled. I immediately called Jon Phillips in LA and he had bad news. He told me that Brad had been unable to travel due to a heroin OD in Long Beach and the band was forced to cancel a sold out show. Tickets were definitely printed and over 500 were sold, but the show DID NOT happen...Shortly after this I offered my house up in Sonoma County as place for Brad to song write, chill & get away from the low lives in Long Beach he kept messing around with, but this did not happen and neither did the gig. - Lil Mike

07.25.1995

2012-07-17T06:41:54Z

Dv8r: /* ''Notes'' */

=='''Dancing Waters''' ''San Pedro, CA''==
''Thursday, July 25th, 1995 ''

''All Ages Show''

[[image:19950725.jpg|thumb|Flyer]]

[[image:flyer25th.jpg|thumb|Flyer 2]]

''$6

Bands Performed:
*Avail
*[[Juice Bros.]]
*Rig
[[category:flyers]]

==''Notes''==
*Sublime never played due to Los Angeles Police Department intervention before their set.

The club was all ages, and pretty packed early on, and from what I recall, neither Avail nor Sublime played. Pretty soon the LAPD helicopters were circling the neighborhood and people were being dispersed in all directions. - Lil Mike

07.25.1995

2012-07-17T06:41:40Z

Dv8r: /* ''Notes'' */

09.03.1995

2012-07-17T06:32:35Z

Dv8r:

[[Image:Concord.jpg|thumb|Ticket]]
[[Category:Tickets]]
Bands Performed:
*Quicksand
*L7
*No Use For A Name
*Orange 9MM
*Fluf
*[[No Doubt]]
*Protein
*Civ
*Good Riddance
*Wizo
*Deftones

''All Ages Show $15 12 p.m.''

''Recorded by Josh Fischel''

(Random Order)

1. Badfish

2. Poolshark

3. Greatest Hits

'''ALL RELEASED FOOTAGE:''' http://www.youtube.com/watch?v=otIC01CTarg

<gallery>
Image:Bradconcordshow.jpg
Image:BradCrowd2.jpg |Brad with fans
Image:Fans.jpg |Brad with fans 2
Image:Concord1.jpg |Eric & Brad
Image:Concord2.jpg |Brad
Image:Concord3.jpg |Brad & Eric
Image:Concord4.jpg |Brad & Bud
</gallery>

*The band had been booted from the middle of the Warped tour for "bad behavior" out East, and some incidents including pills, Lou Dog and friction with the straight-edgey jock core band the they had to share a bus with called Orange 9mm. This was Sublime's homecoming show back into California, where they were brought back onboard for the final West Coast leg to help boost sagging ticket sales...

*other bands on bill that day included L7, Quicksand, Orange 9mm and No Doubt opening

*recall Ziggens & Lagwagon played side stages by skate ramp up the hill from main amphitheater

*Ziggens parked their van just outside the fence so technically, they could legally drink their own beer...we'd scramble through a gap in the fence to go in & out of the venue in a big grassy field.

*"Sleep Train Pavilion, 2000 Kirker Pass Road, Concord"

11.17.1994

2012-07-17T06:08:25Z

Dv8r: /* ''Notes'' */

=='''On Broadway''' ''San Francisco, CA''==
''Thursday, November 17th, 1994''

''All Ages Show[[image:19941117.jpg|thumb|Flyer]]

Bands Performed:
*[[Counterpoint]]
*Impact

==''Notes''==
* Rumored to be video taped.

*''We were afraid they were not going to show until a Dalmatian (Lou) was seen roaming the crowd.'' - Mark (Counterpoint)

* ''They got paid, we got paid a "half of a 12 pack" (not to be confused with a 6 pack) of Henry Winehards, that we drank with them in the alley out back after the show. A good time was had by all.'' - Mark (Counterpoint)

'''Background story to the On Broadway show as told by Mark Ferguson.'''

''Ok, well we had heard Sublime from a bootleg taped off of a 40oz to Freedom CD a friend of our band got from Sublime when they played at the "Church of Rock and Roll" in Fremont CA, it was July 4th 1992 I think as we were having a 4th of July party. We really dug the band and related to their style straight away as we were playing similar style at that point in time.

''We (actually our drummer Jim I think) had called them and asked how they went about the DIY CD thing (mostly talking to Miguel), about the pressing and distribution etc., they were nice folks and gave us some good advise. We sent them a CD I think and may have called a time or two regarding other stuff, I cant remember... I believe there were other mutual friends etc it was a long time and a lot of people ago.

''We had been doing pretty well around the Bay Area at the time so we had this dude we had done stuff with before, Wes, that used to run Ruthies Inn call us to do a show and he wanted to get Sublime up to the Bay and we wanted to play with them so Wes got the On Broadway (upstairs from the Mabuhay Gardens), we made a couple calls and we ended up playing a show at the On Broadway with Sublime and another bay area band, Impact was the opener. This was kind of a big deal to us (since we actually liked the band) but they had not really "broke" yet so it was a good underground show but nothing near what they would achieve later.''

'''Thank you to Mark Ferguson for taking the time to give us the background story on this show.'''

"When it became no other promotion was really being done for the event at a rather sizable SF venue, I quickly & sloppily made the flyer for this show in a few minutes, seen up top, entirely at my own expense and circulated 'em around SF as a favor to the band. I was totally unaware who the other bands from the suburbs on the bill even were, and all I knew was that Miguel told me they were coming and could I help get the word out. The show was in this historic, yet leaky ol' venue above the defunct Mabuhay Gardens in North Beach that easily could hold 300-500 people. Unfortunately, the opening bands weren't very well known, nor was Sublime, so the gig didn't really go off like it could have, maybe drawing a 100 or so folks on a week night. The late great Wes, had promoted a lot of classic early 80's Bay Area punk & speed metal gigs, but wasn't really at the top of his promotional game at this point, and never was really great about coughing up money to the bands. I just used these handbills & flyers as a way to create awareness, and subtly promote their next regional appearance I was doing with them in the SF Mission District less than a month later, for their return to the Komotion studios. " - Lil Mike

[[category:flyers]]

11.17.1994

2012-07-17T06:01:06Z

Dv8r: /* ''Notes'' */

=='''On Broadway''' ''San Francisco, CA''==
''Thursday, November 17th, 1994''

''All Ages Show[[image:19941117.jpg|thumb|Flyer]]

Bands Performed:
*[[Counterpoint]]
*Impact

==''Notes''==
* Rumored to be video taped.

*''We were afraid they were not going to show until a Dalmatian (Lou) was seen roaming the crowd.'' - Mark (Counterpoint)

* ''They got paid, we got paid a "half of a 12 pack" (not to be confused with a 6 pack) of Henry Winehards, that we drank with them in the alley out back after the show. A good time was had by all.'' - Mark (Counterpoint)

'''Background story to the On Broadway show as told by Mark Ferguson.'''

''Ok, well we had heard Sublime from a bootleg taped off of a 40oz to Freedom CD a friend of our band got from Sublime when they played at the "Church of Rock and Roll" in Fremont CA, it was July 4th 1992 I think as we were having a 4th of July party. We really dug the band and related to their style straight away as we were playing similar style at that point in time.

''We (actually our drummer Jim I think) had called them and asked how they went about the DIY CD thing (mostly talking to Miguel), about the pressing and distribution etc., they were nice folks and gave us some good advise. We sent them a CD I think and may have called a time or two regarding other stuff, I cant remember... I believe there were other mutual friends etc it was a long time and a lot of people ago.

''We had been doing pretty well around the Bay Area at the time so we had this dude we had done stuff with before, Wes, that used to run Ruthies Inn call us to do a show and he wanted to get Sublime up to the Bay and we wanted to play with them so Wes got the On Broadway (upstairs from the Mabuhay Gardens), we made a couple calls and we ended up playing a show at the On Broadway with Sublime and another bay area band, Impact was the opener. This was kind of a big deal to us (since we actually liked the band) but they had not really "broke" yet so it was a good underground show but nothing near what they would achieve later.''

'''Thank you to Mark Ferguson for taking the time to give us the background story on this show.'''

"I made the flyer for this show, seen up top, at my own expense and circulated around SF as a favor to the band, unaware who the other bands from the suburbs on the bill were. The show was in this historic, yet leaky ol' venue above the defunct Mabuhay Gardens in North Beach. Unfortunately, the opening bands weren't very well known, nor was Sublime, so the gig didn't really go off like it could have. The late great Wes, had promoted a lot of classic early 80's punk gigs, but wasn't really at the top of his promotional game at this point, and never was really great about coughing up money to the bands. I just used these handbills as a way to promote their next regional appearance I was doing with them in the SF Mission District a month later. " - Lil Mike

[[category:flyers]]

09.03.1995

2006-06-01T10:37:25Z

Dv8r:

actually gig was at Concord Pavilion

other bands on bill that day included L7, Quicksand, Orange 9mm and No Doubt opening

recall Ziggens & Lagwagon played side stages by ramp u the hill from main amphitheater

Ziggens parked van just outside the fence so they could drink their own beer

01.15.1995

2006-06-01T10:33:05Z

Dv8r:

Show was planned but never went down.

I was waiting for band at the venue

a phone call to HQ confirmed Brad OD'd and was not fit to travel...

09.11.1994

2006-06-01T10:31:19Z

Dv8r:

I helped put this gig together and it was on the 10th actually, the hangover after the great SF show the night before... Brad strolled up and down 4th Street in front of Cafe This for a long while playing free acoustically on the sidewalk for passerbys...

more details coming later y'all and a flyer upload
lil mike ( dv8r )