Number 67 - 40oz. to Freedom by Sublime

 Number 67: 40oz. to Freedom by Sublime

The stoner's rite of passage

Release: June 1st, 1992
Genre: Ska Punk
Favorite Tracks: Date Rape, Badfish, Smoke Two Joints

 

Where I heard it: 

In another instance of what I can only describe as brilliant public marketing, I was aware of Sublime's existence first through their branding before I remember having heard any of their music. I think everybody knows at least one person with a 40oz. to Freedom T-shirt or some other piece of merchandise related to the cover art. It's an undeniably iconic piece of 90's pop culture. When I began hearing Sublime staples on the radio like What I Got, Santeria, and Doin' Time in 2010, my taste was well set towards the album these songs shared in common. Sublime was the album that propelled the band into the mainstream, which is morbidly ironic considering it was released posthumously following the sudden overdose of lead vocalist and guitar Brad Nowell. However, my tastes have changed substantially since the days of Sublime on the radio. I figured Sublime was a shoe-in selection for my top 100 albums, but I'd neglected 40oz. to Freedom a proper full listen into my older age. After a couple careful listens, I'm once again here to testify against my original argument and make a case for the legacy of 40oz. to Freedom.

So don't tell me about a fake drug war
The people will one day learn and rise
Cause not everyone is out to score
People always ask me why people are all fucked up
At every corner liquor store
~ New Thrash

What to expect:

Labeling Sublime under one all-encompassing genre isn't an easy task, but both Ska Punk and Reggae Rock seem to do the trick. Initially, bassist Eric Wilson didn't even share the love and appreciation for reggae that frontman Brad Nowell approached him with. We've seen ambitious crossovers involving these genres notably from groups like Bad Brains and the Beastie Boys, but neither of these bands quite match the qualities that Sublime consistently delivers with their sound. 40oz. to Freedom temperamentally shifts between multiple traditional reggae styles, often infusing elements of hardcore punk and even hip-hop to various degrees among the album's 22 tracks. The band's musical influences are a hodgepodge of unique acts that range from Jimi Hendrix and Pink Floyd to Public Enemy and KRS-One, all of whom are referred to whether in large or small part on 40oz. to Freedom. Countless snippets and samples are shoved into the album's hour plus runtime, some subtly weaved into Nowell's lyrics and others crudely ripped straight from the original source material. Hell, six of the tracks are medleys or covers of groups that contributed toward developing Sublime's eclectic palate. However, the execution of these covers disguises each iteration just enough to make them sound authentic in their own right, especially Smoke Two Joints. As far as original recordings, Sublime's fusion of genres creates an even greater sense of ambiguity to the band's overarching style on 40oz. to Freedom. While some may consider a wide range in music unappealing, I find that individual tracks know exactly how long to play before they overstay their welcome and switch things up a bit to maintain a freshness to the album. There isn't a dominant sound that governs 40oz. to Freedom, ensuring that listeners can find at least one version of Sublime that they really resonate with, if not their entire vibe.

Threw a bottle at the bouncer
Didn't think that he was cool

Pissed in someone's drink

And threw a bike into a pool

Drivin' down the sidewalk

Like a drunken possessed fool

I broke every single traffic rule

~ What Happened
  

Why it's my favorite:  

For quite a while, Sublime was a band I respected for their place in history, but never really had a strong opinion toward their catalog. After closely comparing Sublime and 40oz. to Freedom, I've come to adore the latter for the growing pains that characterize the tone of the album. Overall, 40oz. to Freedom has poorer sound quality, crasser lyrical content, and fewer original songs than its counterpart Sublime. That's to be expected of a debut independent release versus a refined label-backed production, but Sublime were never meant to be radio darlings. The band's imperfections are what give 40oz. to Freedom its novelty and charm. Brad Nowell's whimsical immaturity that borderlines ignorance dominates his laymen approach to songwriting, whether ripping through a punk track or chilling on a reggae beat. The album's musical diversity serves as a tribute to the artists that inspired its creation, and does so with the utmost respect of a faithful rendition. Nowell was the heart and soul of Sublime, and I feel like 40oz. to Freedom more accurately reflects that spirit at its core.