Sublime Wiki - User contributions [en]

Thanx

2017-01-10T16:16:49Z

Lucas: Removing. This "trivia" is not exactly correct. Miguel read it wrong on purpose as a joke. There is so much more trivia about this track it is rather silly to include one thing on this page.

'''Song Name:''' Thanx

'''Artist:''' [[Sublime]] Miguel - words Brad - guitar Eric - bass Marshall - drums

'''Album:''' [[40oz. To Freedom]]

'''Year:''' [[1992]]

'''Run Time:''' ???

{{Song_Nav_Stub}}
[[Category:Songs]]

It All Seems So Silly in the Long Run

2016-08-16T19:57:02Z

Lucas:

''The following is an excerpt from the [http://sublimestp.com/?page=pages/boot-silly Sublime STP]''

[[File:Silly.jpg|200px]]

'''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] ''for [http://sublimestp.com/?page=pages/boot-silly Sublime STP] 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

2016-08-16T18:27:52Z

Lucas:

''The following is an excerpt from the [http://sublimestp.com/?page=pages/boot-silly Sublime STP] in December 2012''

[[File:Silly.jpg|200px]]

'''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] for [http://sublimestp.com/?page=pages/boot-silly Sublime STP]
 
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

2016-08-16T18:13:14Z

Lucas:

''The following is an excerpt from the [http://sublimestp.com/?page=pages/boot-silly Sublime STP] in December 2012''

[[File:Silly.jpg|200px]]

'''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

2016-08-16T18:10:33Z

Lucas:

'' ''

''The following is an excerpt from the [http://sublimestp.com/?page=pages/boot-silly Sublime STP] in December 2012''

[[File:Silly.jpg|200px]]

'''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

2016-08-16T18:10:16Z

Lucas:

''_ ''
''The following is an excerpt from the [http://sublimestp.com/?page=pages/boot-silly Sublime STP] in December 2012''

[[File:Silly.jpg|200px]]

'''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

2016-08-16T18:09:31Z

Lucas:

'' ''
''The following is an excerpt from the [http://sublimestp.com/?page=pages/boot-silly Sublime STP] in December 2012''

[[File:Silly.jpg|200px]]

'''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

2016-08-16T18:09:11Z

Lucas:

''The following is an excerpt from the [http://sublimestp.com/?page=pages/boot-silly Sublime STP] in December 2012''

[[File:Silly.jpg|200px]]

'''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.

09.13.1994

2015-09-23T15:36:22Z

Lucas:

=='''Off Ramp''' ''Seattle, WA''==
''Tuesday, September 13th, 1994''

[[Image:09131994flyer2.jpg|thumb|Flyer]]
Bands performed:
*Laughing Head
*Sledge

[[Category:Flyers]]

Stories, Tales, Lie,s and Exagerations (Collectors Edition)

2015-09-23T15:14:40Z

Lucas: Lucas moved page Stories, Tales, Lie,s and Exagerations (Collectors Edition) to Stories, Tales, Lies, and Exaggerations (Collectors Edition): spelling errors

#REDIRECT [[Stories, Tales, Lies, and Exaggerations (Collectors Edition)]]

Stories, Tales, Lies, and Exaggerations (Collectors Edition)

2015-09-23T15:14:40Z

Lucas: Lucas moved page Stories, Tales, Lie,s and Exagerations (Collectors Edition) to Stories, Tales, Lies, and Exaggerations (Collectors Edition): spelling errors

Sublime

2015-09-23T15:07:40Z

Lucas:

[[Image:Band_58.jpg|thumb|Sublime]]
== Members ==

[[Bradley Nowell]] (Vocals, Guitar)

[[Eric Wilson]] (Bass)

[[Bud Gaugh]] (Drums)

''Extended Members:''

[[Michael Happoldt]] (producer)

[[Marshall Goodman]] (drums)

[[Lou Dog]] (mascot)

== Biography ==

It's been a long and wild ride since sublime's first gig way back in 1988 in Long Beach, California. The explosive debut not only set off a small scale riot, but also marked the beginning of a rare, genre-busting collaboration. Once known as the “below average garage punk band that every kid wanted to play at his party,” sublime steadily escalated from a group of backyard beer buddies to a renowned musical entity. Blending a love of dance-hall and rock-steady reggae rhythms with an aggressive punk ethos, sublime amassed a nearly fanatical Southern California following that would do just about anything (or anyone?) to catch one of their blistering sets.

In 1992, realizing the hysteria they were creating, [[Bradley Nowell]] and co-conspirator/producer Miguel pawned the band's equipment and founded their own label, Skunk Records, to release and self-distribute their now cult classic, 40 oz to Freedom. “Basically, we created Skunk Records so that I could have a business card,” explains Miguel, “and so we could say `Skunk Recording artists sublime'.”

40 oz to Freedom, which was originally recorded for under $1,000, has gone on to sell thousands of copies with the first 30,000 being sold directly from the trunks of the band members' cars. 40 oz to Freedom was not only on the Billboard Alternative New Artist Albums Chart for over 50 weeks, spending the last 30 weeks in the top 20, but also broke into Billboard's Heatseeker (Top 50 New Artists Chart) while spending 5 weeks as the Billboard Pacific region #1 new artist top seller. The album became an indie icon exemplifying the synthesis of life and art. Utilizing samples off of everything from old Minutemen records, hip-hop and conversations with street denizens to just plain old bong sessions in the garage, sublime so much embodies the D.I.Y. ethic that has come back to haunt them at times. Much like the problems that De La Soul and other early Native Tongue artists experienced with using samples, sublime has was forced to pay up or remove samples from their albums. In fact, their signature sounding track, “Get Out,” which lyrically dictates the bands approach to making music, unfortunately had to be cut from 40 oz.

Robbin' the Hood, the experimental masterpiece released in 1994, also on Skunk, was recorded on a shoe string budget, partially on 4-tracks, in various living rooms and abandoned houses around LBC as well as with some charitable free time from Mr. Brett (Epitaph) at the legendary West Beach Studios (whose past occupants include The Minutemen, Bad Religion, and The Descendants). This subversive album, woven together with punk, dub and crazy spoken word, was never meant to be a follow-up to the conceptually classic 40 oz; it served as a precursor to the untapped possibilities of sublime. Robbin's eclectic bouillabaisse of sonic manipulation has now gained thousands of listeners.

Sublime's D.I.Y. ethic and intensity has garnered them shows with local and national music icons such as Firehose and Mike Watt, HR of Bad Brains, The Melvins, The Vandals, Rage Against The Machine, Avail, Ramones, Supernova, Greyboy All-Stars, No Doubt, Butthole Survers, The Mentors, The Ziggens, and of course, Duran Duran.

Over ten major tours, three vans, and one motor home later, the band sas spread its garage-hall gospel all across America, creating a rabid grass-roots following everywhere they go, especially among the surf/skate/snowboard constituency best exemplified by sublime's co-headlining gigs on last summer's inaugural Warped Tour, a hybrid of punk and skating with L7, No Use For A Name, Fluf and others that were organized by Warp Magazine. Also furthering the group's natural connection to the board culture was the Sno-Core Tour–with Guttermouth and Skankin Pickle–which destroyed ski resorts (and hotel rooms) throughout Utah, Colorado, Wyoming, Idaho, and California.

The 3 Ring Circus tour, a scary three-headed beast of a show, was conceived and released by sublime and its Skunk Records' employees on the unsuspecting West Coast in 1995. The 20-plus sold out shows on the Circus tour featured not only sublime, but the amazing and shocking talents of The Wesley Willis JFiasco and the Lordz of Brooklyn. The tour's diversity is a direct reflection of sublime's ability and drive to combine seemingly disparate forms of music and cultures.

Sublime and Bad Religion were the featured artists at the Band Aid III benefit show for Lifebeat (a fundraising organization for AIDS research) at Bear Mountain, California. Sponsored by Warp and Snowboarding magazines, the bibles of the boarding culture, the show spotlighted the top board athletes and organizations that support that subculture.

In April, 1996, High Times and Skunk Records teamed up to bring a Legal Defense Fund Benefit Show to the House of Blues in Los Angeles and Wetlands in NYC. Sublime headlined all three sold-out nights, which also featured the likes of the Greyboy All-Stars, Wayne Kramer, Weapon of Choice, Slightly Stoopid, DFL, the Wesley Willis Fiasco, and the Lordz of Brooklyn.

== Links ==
[https://en.wikipedia.org/wiki/Sublime_(band) Sublime on Wikipedia] 
[http://www.skunk.com/ Skunk Records] 
[http://www.sublimestp.com/ Sublime STP] 
[http://www.sublimespot.com/ Sublime Spot]

Sublime Forum

2015-09-21T17:51:40Z

Lucas:

The Sublime Wiki Facebook Forum is a place where you can communicate with other Sublime fans.

[https://www.facebook.com/SublimeWiki-284378333943/ Sublime Wiki Facebook Forum]

Lucas STP

2015-09-17T17:30:45Z

Lucas: Created page with "'''Person''' ---- creator of: [http://www.sublimestp.com SublimeSTP.com] moderator at: [http://www.reddit.com/r/sublime /r/Sublime] editor at: [http://www.sublimewiki.com..."

'''Person'''
----

creator of: [http://www.sublimestp.com SublimeSTP.com]

moderator at: [http://www.reddit.com/r/sublime /r/Sublime]

editor at: [http://www.sublimewiki.com sublimewiki.com]

general nobody ;-)

04.20.1995

2015-09-17T17:22:01Z

Lucas:

[[Image:FlyersPapers_FoxTheater.jpg|thumb|Flyer]]
[[Image:SublimeBoulder.jpg|thumb|Ticket]]
[[Image:Foxfront.jpg|thumb|Bootleg Front Cover]]
[[Image:Foxback.jpg|thumb|Bootleg Back Cover]]
== '''The Fox Theatre & Cafe''' ''Boulder, CO'' ==
''Thursday, April 20th, 1995''

=="Fox Theatre"==
'''Boulder, CO - April 20th, 1995'''

''Recorded by Unknown''

''[[Lucas STP]] has the 'master' CD-R and distributed first known copies''

'''Disc One'''
# House Of Suffering
# Babylon Stone
# Poolshark
# Saw Red
# Scarlet Begonias
# Tuning
# Badfish
# My Age (Descendents)
# Smoke Two Joints
# Falling Idols
# 40oz To Freedom
# We're Only Going To Die
# Waiting For My Ruca
# Don't Push
# Garden Grove
# Right Back

'''Disc Two'''
# Minor Threat
# Date Rape
# Drum Dub
# Dj's
# I Love My Dog
# Jailhouse
# Ebin
# All You Need
# Party At Ground Zero (Fishbone)
# Stp
# Rawhide
# Work That We Do

==''Notes''==
*This is an amazing show. It is one of the longest sets recorded, and a few of the songs played here were not played at any other (recorded/circulated) shows. The quality of the recording is quite good, the only flaw is a few levels peaked a bit. Between nearly every song you can hear banter between Brad and the band.

*This is the last show of the tour. Brad and the guys show up too late to do a sound check, and it can be heard on the first track.

*Brad mentions, "I'm bad, you know, these strings have been on since New York City (April 9th - Wetlands '95 show). That about a week and a half of strings. By the grace of God they haven't broke"

*In the middle "Tuning Track" before Badfish, Brad challenges Eric to a drinking challenge. And ends up losing, "I lost again! Winner and still champion, Eric Wilson"

*They are returning home after this show (To be seen 5 days later at the [[04.25.1995]] Beachfest '95) and Brad and Eric are going to catch some waves. Bud plans to "surf on some mattress reef" with his girl. Before 40oz to freedom, Brad and Eric can be heard having another drink challenge, finally with a tie.

*Before Ruca, an unknown guitar riff is played.

*After Date Rape, Bud can be heard playing a drum dub.

*Before "I Love My Dog" Brad can be heard saying, "Check it out! Crazy bitch is going to write a movie about the song, Ruca. Wants me to play it all over again. And I told her she better just change her cinematic.... YEAH YEAH YEAH! Okay. How long we been gone? A few months? I haven't had my dog. My sweet spotted Lou Dog. So, when I was on the road awhile back, he wrote this song. He has a dog, too, and he wrote this song... And it's called I Love... (Crowd Yelling) No, it's a dalmation, bro. Ain't a shepard. So, just bare with us, because we don't know it that well. FUCK ALL YA'LL. Just listen, alright?"

*Humorously, before Jailhouse, Brad can be heard talking about people getting up on the mic, and gives an explanation of the song, Jailhouse "Let's do Jailhouse... I just want to play Jailhouse... (recording cuts) Well, I shouldn't say we don't know. Shouldn't say "Shit" I hate when fuckers get up on the microphone and run off on the mouth and start popping off at the lip. They're just.. Ain't no shit. We're just a bunch of fuckin' drunks kickin' back. This is actually.. about rude boys. Rudy. RU-DY. Who knows who Rudy is? You know that song "A message to you Rudy". It's talking about rude boys. RU-DY. Ain't someone's fuckin' name. Well, we ain't Rudys. We are law abiding, cock suckin' citizens...."

*Before Ebin, "Hey Shawn, your roommate is cracked-out. He sold his car for shit at that crack spot. And it's Reed's birthday, so happy birthday Ebin? Reed, whatever. So let's play Ebin. This is like the second time we've played this song in two months because I really don't dig it that much because it's not reggae. It's kind of like some other band should be playing this song, yeah, like Caja Googoo or Haircut 100."

*In the second disk (Track 9) is a cover of Fishbone's "Party at Ground Zero". This is the only bootleg to hear this cover. Brad is unfamiliar with some of the lyrics, and substitutes "Whatever whatever" for some of the lyrics he doesn't know.

*On the second disk is the only live version of the old cover of "Rawhide". Which appeared as a hidden track on the first pressing of 40oz To Freedom after Date Rape.

*On the last track, Work That We Do, Brad says "This is about the Work that we do, you know, we are getting paid 25 grand from ya'll tonight. Ain't bad for a nights work, huh? It's in the contract, and all the cocaine and hookers we want."
[[Category:Flyers]]
[[Category:Bootlegs]]

Thanks Wisdom

2015-09-17T17:18:11Z

Lucas:

''The following is a *non-current* excerpt from the [http://sublimestp.com/?page=pages/40ozwis#23 Sublime STP]''

* [[Smoke 2 Joints]] - jacked (stolen) from [[The Toyes]]
* B. (Brent) Dowe and F. (Trevor) McNaughton - wrote Rivers of Babylon
* Happoldt - Miguel's family
* Nowell - Bradley's family
* Wilson - Eric's family
* All the Players - The people that played an instrument on the album, 40oz To Freedom
* Kelly Vargas - Old drummer for Sublime
* LBP - Long Beach Possie
* World Famous [[Juice Bros.]] - The Juice Brothers - a punk band consisting of Bud Gaugh, Eric Wilson, Dennis "Scummy" Elm and Michael "Miguel" Happoldt
* Field Marshall Goodman - Ras MG, toured with Sublime, and played drums on 40oz to Freedom while Bud was in rehab.
* Floyd I - [[Bud Gaugh]]
* Bad Religion - Wrote and performed, [[We're Only Gonna Die]], which Sublime covered
* The Descendants - Wrote and performed the song, [[Hope]], which Sublime covered
* George Hurley - Drummer for The Minutemen and Firehose
* Mike Watt - Front man from The Minutemen and many other bands
* All those flops - Mentioned in the song "Get Out", people who stayed around with no contributions
* Toby Dog - Eric's dog (RIP), who walked away into the woods one day and Eric never saw him again (he was very old)
* Louie Dog - [[Lou Dog]] (November 25, 1989 - September 17, 2001) Brad's dog and mascot for Sublime
* Matt Dog - Bud's dog - Went blind and got hit by a car
* James Brown - (May 3, 1933 – December 25, 2006) Considered the "Godfather of Soul"
* The BSM - ?
* Miles Davis - (May 26, 1926 – September 28, 1991) The famous trumpeter.
* [[Ken The All Night Rocker]] - Kenneth Ramsey. The paraplegic punk rocker who fronted the band which shares the same name. He also wrote songs for Flipside. He has since passed away in 2006.
* "Southside Pat" and Kathreen
* Ino and Shelly, and their baby - Ino T. was a friend of the band, he was also mentioned in the song "DJs" on 40oz To Freedom. Long since divorced
* Jimi Hendrix - (November 27, 1942 – September 18, 1970) Considered to be one of the greatest guitarists of all time.
* Beer - "Liquid Bread" - An alcoholic beverage made from barley, hops, and wheat. Comes in many different styles. A favorite of Sublime's vices.
* Sonic Lizard - band
* The Rapeman - Band fronted by Steve Albini in the late 80s. OR, possible reference to the guy at the party during Brad's years at Santa Cruz who mentioned the line "If it wasn't for date rape I'd never get laid" which inspired their hit song, [[Date Rape]]
* Bob Marley - (February 6, 1945 – May 11, 1981) "King of Reggae" Sublime covered/referenced many of his songs.
* Bob Dobbs - Fictional founder of the Church of the Sub-Genius and the guy who has his head pictured three times on the 40oz CD (the pipe dude)
* Bob Forrest - Front man for Thelonious Monster (another LA band). They played the Foothill, Bogart's, Blue Cafe, etc. with Sublime and was friends of many of the bands mentioned; Diet Faith, Imagining Yellow Suns
* All those punker sluts - Other members of Thelonious Monster? Possibly Brad's groupies?
* Eek-A-Mouse - Reggae musician
* Tom - Tom Cheney, co-editor of "The Beat" magazine?
* Crass - 80's English punk band
* Chili Pot All Night - ?
* Peni - Another 80's British punk rock band, Rudimentary Peni
* Fugazi - American punk band on Discord Records
* Rhino '59 - actual name: Rhino '39 (It was an inside joke, the band called them Rhino '59 because they were old), a punk band out of Los Angles - Brad may have lived with their lead singer Jason Scharback for a while
* Reek One - Opie Ortiz's tag name
* Last Pariahs - Band from Portland, OR
* Naomi's Hair - Band
* Butthole Surfers - Band Brad played with and later wrote songs with lead singer, Paul Leary (ex. Seed, April 29th, 1992)
* Frank Zappa - (December 21, 1940 – December 4, 1993) Member of "Mothers of Invention" and also a solo artist
* Aunt Bea - maybe something to do with the Andy Griffith show, Aunt Bea was the Grand-Aunt to the Opie character?
* Big Drill Car - Punk band that Sublime performed with at Bogart's
* Bert Suzanka and all the Ziggens around the world - Bert Suzanka is the lead singer of The Ziggens who were Sublime's "brother band"
* Jack the Third - Jack Maness III
* Julia Parker - An Ex-Girlfriend of Miguel Happoldt
* Jeff the King - ?
* Martini (with his 40oz in hand) - ?
* Jai Dodds and his son Christian - Friend of the band, mentioned in the song "40oz to Freedom"
* Scum - Dennis "Scummy" Elm, he was in the (World Famous) Juice Bros.
* Hard as Smoke and Cheap as Wood - reference to Wood & Smoke, an Orange County band Sublime played with at Bogart's in the early days
* Scummette - Scum's then (psycho) girl.friend, but presently could be used to describe Scum's wife (rudely) or daughter (affectionately)
* The Vandals - A Huntington Beach punk band
* H.R. - ("Human Rights") is the stage name of Paul D. Hudson, lead singer of Bad Brains. Sublime performed with on H.R. a few occasions, and backed him for his solo release, Charge.
* Nik Tweak - Nik Orlando, friend/neighbor of the band from college. An early drawing of the 40 oz to Freedom sun hung on a roll down screen in his apartment he shared with Jack Maness.
* Joanne: Joanne Josie Spinardi, friends and neighbors of the band from college, met Miguel as freshmen in the dorms and was his housemate for a short period of time. In college days, Brad frequently dedicated their Minor Threat cover to her because she was a fan of Ian MacKaye.
* Carolyn: Carolyn Case, friend of the band
* Snow - Friend of the band (pictured inside Robbin' the Hood liner notes)
* Bam Bam - ?
* East Side Stoners - Generic reference to pot heads living in East LA
* Saint Tucko - ?
* Shawn Stern - One of three brothers from LA Punk band Youth Brigade, which played shows with Sublime
* Kenji Easley Project - A joke band that Eric (drums), Scummy (bass), and Kenji Easley (guitar/vocals) had. They never performed live. On a side note, [[Kenji Easley]] was in Sublime for 8 or 9 months.
* Steve Zepeda - Arguably "made" Sublime, one of their early promoters and booking agents; a club promoter, did Bogarts, Blue Cafe and Foothill in Long Beach.
* Richard Greco - Owner of Bogart's
* Bogart's - A bar on Pacific Coast Highway in Long Beach; Closed in 1994.
* Dave Shea - A roadie with Sublime. Dave Shea, Dave Cornblum, and Elder D. all formed a band called Shave. Miguel helped produce their album. Their first show happened to be at Golden Sails with Sublime in 1993.
* Greg A - Greg Abramson, was THE PERSON who gave Jon Phillips a Sublime demo when they both worked for Gasoline Alley. He still DJs, going by the moniker Groovy Greg or Rewind Selecta.
* Sacramento - Capital city of California
* BMD - ?
* Dany Lovitz in Arcata - ?
* Diet Faith - A band with Greg Abramson, Miguel Happoldt and a couple other people who played a one-off show opening for Sublime at The Nugget at CSULB
* Imagining Yellow Suns - A band from Long Beach / Orange County, CA. Consisting of bassist Tim Bugge, guitarist Ed Bernard, drummer Rob Fadtke, and another guitarist Scott Cross (AKA Elder D.). And, Scott did mastering for some of Juice Bros. albums.
* Ben is Dead - Magazine (now defunct). [http://www.facebook.com/pages/Ben-Is-Dead-Magazine/360334114280?ref=ts Facebook group]
* Kevin Swinsen - ?
* Fresha - band?
* Cold Duke Train - band?
* Wister - Bradford Wister Haines, friend of the band from LB State
* Mark Mandoo and the One Live Crew -
* Lakewood Posse - City between LA and Long Beach, CA
* Mr. Capu -
* Antioch Posse - City in Northern CA
* Johnson Family -
* Dirty Al -
* Jennifer Henry -
* Kelly 2 -
* Lisa Johnson in Austin - Friend to the band. Took many pictures featured in later documentaries
* Tonto -
* Jimmy Carl Black - From Mothers of Invention (Frank Zappa's early stuff)
* Mercado Caribe - A now defunct punk/ska/reggae club in Austin, TX (on 6th st.)
* Lee - Lee Gettys, he was the owner of Mercado Caribe at the time Sublime visited
* Jimmy's - Bar in New Orleans where Sublime played
* Hardback - Bar in Gainesville, Florida where Sublime played
* Mark Goodnine - Had some "psycho-pad" where Brad stayed - well known 1989 murder occurred and featured on true-crime shows
* Jack Tripper -
* Ingrid in Arcata -
* Rusty, Bermuda Pete, Sarah -
* Shannon Boyle -
* The Spacefish - Band
* NKOTB (in Costa Mesa) - New Klub On The Block, a punk rock venue in Costa Mesa
* OK Hotel - Hotel in downtown Seattle on Alaskan Way; photo from outside club 1991
* Joel at Waves - Waves is a Reggae bar that was in Downtown Los Gatos and is now in Downtown San Jose, Joel is the owner
* Ninja Man - Reggae artist
* Tam - Another Ex-girlfriend of Miguel Happoldt
* Darby Crash - Lead singer for The Germs. (Committed suicide by heroin overdose)
* D. Boone - Lead Singer of The Minute Men
* Alex & Eka - 2 brothers, Alex was roommates with Greg Abramson when they met Happoldt back in the day
* Grin -
* Craig Caskey - ? also credited by Sublime-influenced band "Bargain's Music" on their album titled "77 003".
* Dave Cornblum - mentioned above with Dave Shea, they were in the band, Shave.
* Church of Rock and Roll - Small club in the Niles district of Fremont, CA
* Cori and best friend. Georgi - Cori C. and Georgi L., friends of Sublime from the beginning. Sublime performed Georgi's party on 4/20/1990, which is considered to the the oldest known video of Sublime
* Meat Puppets - Rock band
* Tar Babies - Band
* Katlyn and Frank - These two owned an awesome (but now defunct) punk record store in Long Beach called Zed Records, that always had rare Sublime boots. The address used to be: Zed Records, 1940 Lakewood Blvd., Long Beach (562)498-2757 [Current Website]
* Scott (at Ten Ton) - Scott Papa. He owned Ten Ton Records in Long Beach. It closed in early '93. Sublime, Suburban Rhythm, and other LB bands used to play here and promote their music. Address was: 2749 E. Broadway, Long Beach, CA
* Everyone at DeJa - ?
* CMJ Enterprises - College Music Journal
* Molly Contrel - ?
* Courtney Beatman - A guy named Courtney who owned Culture Beat, a reggae record store in Long Beach.
* Mecca Parks and Recreation Department - Mecca is a city in CA near Palm Springs
* 29 Palms - city in California near Palm Springs, the bitterness was reference to a couple of outdoor desert jam parties Sublime played at in Mecca that kinda got outta hand and the authorities were involved
* Lisa G - Another Ex GF of Miguel Happoldt, Lisa Garvin (who was Miguel's lady at that time)
* Kimmy - Old friend from Long Beach State, she was with Greg A and Happoldt at a Greatful Dead show in Las Vegas when Happoldt heard Scarlet Begonias and said he was going to get Sublime to record the song
* [[Busface]] - Long Beach punk band that at one time Bud and Eric were in (amongst others)
* Soup-lime - Another band consisting of the friends of Sublime. MORE INFO?!?
* The Mentors - Band

[the following is only available on the extended version]

* Just-ICE - Rapper from New York City sampled by Sublime on Smoke Two Joints, also Brad speaks highly of him during the KROQ interview located on Bum's Lie
* Kris Parker, commonly known as KRS-One - Famous NYC Rapper, obvious inspiration for the song KRS-One and several samples
* D-Nice - Derrick Jones, Another NYC Rapper and part of Boogie Down Productions with KRS-One
* Queen Latifah - Famous Rapper/Singer
* Shelly Thunder - 1980s reggae dance-hall artist (Just-ICE & Major Worries used her "riddim" from Kuff (1988) for part of Na Touch Da Just)
* Geto Boys - Rap group from Houston, TX frequently sampled by Sublime
* Public Enemy Number One - NYC rap group sampled by Sublime
* N.W.A. - (Niggaz With Attitude), a rap group from Compton, California also sampled by Sublime
* Ice Cube - Rapper from Compton, California, once a member of N.W.A.
* Lench Mob - A West Coast rap group associated with Ice Cube
* Cypress Hill - Rap group from South Gate, California
* South Gate posse - South Gate is a city in California, and part of South-East Los Angeles County
* Scott Cunningham -
* Gina G. - Brad's first girlfriend.
* That long-haired soundman dude - A weird, tweeky-looking sound guy that worked at Bogarts
* Prince Jammy - (AKA Lloyd James, King Jammy) dub mixer and record producer
* Scientist - Dub reggae artist that worked with Prince Jammy and King Tubby
* Ini Kamoze - Jamaican reggae singer
* Tenor Saw - Jamaican dancehall singer in the 1980s
* Super Cat - Jamaican dancehall singer in the 1980s
* Major Mackerel - 1980s reggae singer
* Daddy Tiger - 1980s reggae singer
* Major Worries - Reggae artist who's song "Dont Bodder With It" was sampled by Just-ICE and subsequently used by Sublime in DJs (after being influenced by Shelly Thunder's Kuff itself)
* Half-Pint - Prominent Jamaican dancehall and reggae singer mentioned on Don't Push
* U-Roy - Jamaican musician
* Daddy Lizard - Reggae singer
* Redman Superpower - Reggae compilation album
* Shinehead - Jamaican reggae singer
* Shabba - Shabba Ranks, Jamaican dancehall recording artist
* The Beastie Boys - Popular hip hop group that Sublime sampled
* Maggie and Jules and the Arlington crew -
* Bradco Tires - on Anaheim and Orange(?), "always the lowest prices!"
* YOU! - All the fans of course!

Trivia:

* Billy Wilson - Eric's father, this album was dedicated posthumously to him in the liner notes but not directly in this song.
* This track is spoken by Miguel Happoldt, not Bradley as often assumed.

It All Seems So Silly in the Long Run

2015-09-17T17:13:03Z

Lucas:

It All Seems So Silly in the Long Run

2015-09-17T17:11:54Z

Lucas:

''The following is an excerpt from the [http://sublimestp.com/?page=pages/boot-silly Sublime STP] in December 2012''

[[File:Silly.jpg|200px]]

'''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

2015-09-17T17:09:32Z

Lucas:

''The following is an excerpt from the [http://sublimestp.com/?page=pages/boot-silly Sublime STP] in December 2012''

[[File:Silly.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.

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2015-09-17T17:08:25Z

Lucas: It All Seems So Silly In The Long Run Bootleg CD

It All Seems So Silly In The Long Run
Bootleg CD