Sublime Final

8/3/2019 Sublime Final

1/21

MUSI 240

Sublime, a self-titled album released two months after the

death of its lead singer, could arguably be one of the most influential

rock albums released in the 1990s. The musical content of the album

is not what gives it its credibility. In fact, most of its tracks are covers

with blatantly adapted chord progressions, melodic lines, and lyrics

from noteworthy artists and poets. The albums tracks are not even

technically difficult, virtuosic, or groundbreaking in a musical manner.

However, the context in which this album was produced is pioneering

in itself. The band stood for everything and anything punk rock, hard-

core, and rebellious. In their music, they defined a subculture that

broke the boundaries of a punk rock genre and infused it with other

genres such as Reggae, Ska, Hip-Hop, and Surf Rock. The bands act as

a twenty-four hour party, rebellious, live show defined who they were

as performers. Mixing their careless attitudes with a reckless love for

music, Sublime became somewhat of a theme to the Southern

Californian-beach city culture. With Sublimes autonomy resting in the

hands of their influential live performances, their first major album was

produced in such a way to deliver that experience to the audience.

With professional technology available to them for the first time, they

were able to fuse aspects from different genres into their usual sound,


2/21

which influenced them as musicians. The album Sublime will always

be considered a tribute to the experience of the band, the subculture,

and Brad Nowell (front man)s influence on the rock genre in the

1990s.

Noticed by Jon Phillips, an A&R rep for Gasoline Alley records,

owned by MCA, Sublime was set up to meet with MCA records to sign a

deal and produce their first professional album. Angry when the MCA

representative failed to show up, the band trashed his office and was

banished from MCA; the deal was obviously off. With an immense

amount of underground media buzz about Sublime being the band to

see in Southern California, the label could resist no longer and gave

Sublime a second chance. After signing a six-album deal, which was

probably unknowingly exploitative, they were sent off to Austin Texas

to record a full-length album at Willie Nelsons Pedernales Studio.

While there, it was noticed that the band was having trouble writing

music in the studio. They hadnt come in with anything written and

expected to draw all of their ideas from the studio atmosphere.

Marshall Goodman, a friend from their hometown in Long Beach

California, frequently contributed to Sublimes live performances with

turntables and synthesized beats (VH1, 2001). With the resources of a

recording studio, the inclusion of these elements of technology was

soon noticed to be a lot more available to mesh into their

compositions. Although their sound was already a clash and mix of


3/21

several genres, the new technology and producers were able to give

the artists more freedom and develop their sound even further. During

the recording process, the band went through many trials with drug

and alcohol abuse. The pressure was even heavier to be serious

musicians, and that assumption was too much to handle for Bradley

Nowell. Nowell was known to have been involved with heroine use in

the Los Angeles rock scene. Now in the studio, his drug use was

becoming a necessity to write music and lyrics. Eventually their drug-

induced state became alarming to Jon Phillips, the A&R representative,

and it was decided by the company to send the band home

immediately. They did not get to finish the mixing process of the

album; the rest was left in the hands of the engineers and producers in

the studio (VH1, 2001).

Going back to the beginning of Sublimes history, you could find

them playing in a basement in Long Beach with an eight track recorder

purchased from the local Guitar Center. Their sound was heavily

influenced by punk rock backgrounds from performing in other bands

around the area. When Nowell came back from a trip to the Caribbean

with his father, his sound had become heavily inspired by Reggae.

Artists like Bob Marley became a big musical influence to him and he

shared that with his band mates. Confused by the contrast between

their usual genre and the new influences Nowell had become fond of,

they followed him anyway and experimented with a new sound.


4/21

Eventually, Sublime would become identifiable with the unique sound

of a Southern Californian sub-culture immersed in surfing, weed, and

bits of Mexican culture. Leading to their signing with MCA, their fame

became associated with newsworthy live shows such as The Peninsula

Riot and Los Angeles main rock radio station, KROQs Weenie Roast

of 1995. The Peninsula Riot of 1988, in Long Beach California, was held

on July 4th and was coincidently caused by Sublimes first ever gig open

to the public. This show changed Sublime from being the token

neighbor-kids band to the local act that caused mayhem at their

shows (The Gauntlet, 2010). The band went on to play numerous

shows but none were more chaotic than their performance at Weenie

Roast. The festival reportedly had to deal with over two hundred fake

backstage passes handed out to Sublimes entourage. During the show

more than just the band was wreaking havoc on the revolving stage

which was eventually rotated after they refused to end their set. To

Gasoline Alley, their live presence was priceless and was ultimately the

reason why they got a break into the music industry (Farley 1996).

The environment of composing in a studio opened new musical

doors for Sublime. Nowell always seemed to be pushing to combine all

of his musical influences into his music. In a garage or a small local

punk club, many things like turntables, hip-hop sampling, and

recording clips were not available to include into their sound in a

primitive audio setting. When a full studio with professional technology


5/21

was suddenly available, the producers were able to encourage Nowells

tendencies of genre fusing. The technology available did not demand a

change in the bands sound, however it provided new opportunities to

express things they were not able to express before. Technological

advance has placed no obligation on rock musicians to juggle

frequencies, assemble and mix diverse track and so on, it has opened

up a whole range of options and it has encourage an adventurous

eclecticism of content (Clarke, 1983). They intended to take Sublime

into a realm associated with their autonomous live sound, but were

aiming to far surpass it. Sublime was heavily associated with a

Southern Californian party scene. Many of the connotations people

associated their sound with, was the infinite amount of chaotic live

shows, parties, and a vast drug scene existing up and down the Pacific

Coast. Bringing Sublime into the studio would pose as a challenge to

capture that nostalgia and be able to present it to the rest of the world

who were not familiar with that inherent sub-culture.

Sublime the self titled album, is full of the inclusion of hip hop

clips, turn table scratching, recordings of friends, and audio clips of

familiar objects such as Nowells pet, Lou-Dog (who is also the mascot

of the band). If an audience was not able to establish their connection

with Sublime in the way that many local fans had, then to bring that

identifiable atmosphere, in which the band existed so infamously, to

the recordings seemed to be the aim of the album. Before its release,


6/21

the idea of Sublimes sound shifting from a lo-fi and purely live sound,

into a produced version of their presence captured into a recording,

proposed an argument of whether or not this goal would turn out

successfully. Adding samples to a bands sound, which is heavily

defined by their live presence, would negate their worth to many

listeners. However, the producers aimed to include the sounds and

environment, in which sublime thrived, to fight that loss of value. On

the topic of sampling, Thomas Pocello mentions, Creativity is

embodied not only by composition, but by transposition of meaning

through contextual-and thus semantic- shifts (Porcello, 1991). In the

album, samples from artists who influenced Nowell are included to

almost recreate the space inside his head. In this way, he was able to

compose in a new way and create a different perspective for his

audience. Clips of recordings from riots in Los Angeles, dog fights

(probably of the bands mascot), and recordings of the streets of Long

Beach, California, are placed throughout the album. New meanings of

the bands experiences were suddenly associated with these samples,

and successfully fused the recognition of certain genres to that of

Sublimes cosmopolitan sound. With Sublimes sound soon to be

distributed to the world in a higher definition, the album is recorded in

a way to deliver the experience of seeing the band live.

Recorded and produced in Willie Nelsons Pedernales Studios, the

release of Sublimes first major album was influencing their sound


7/21

before anything was even recorded. Having their album produced at

Willie Nelsons studio, who is known for his unique characteristics of

blending different genres, seemed to be encouragement to the band to

experiment even more with their incomparable sound. Every track on

the album features a new mix of hip-hop samples with their stable mix

of Ska and Punk, and features their turntablist Marshall Goodman. A

move to a familiar sound seems apparent with the artists they sampled

from. In the mid-1990s, a rise in alternative Hip-hop mixed with Rock

and Dub was becoming popular with examples like Cypress Hill and the

Beastie Boys. Without actually being a member of the band, Marshall

Goodman had always been influential to Sublimes sound. As being

involved in the Hip-hop and R&B genre and culture, he was surrounded

by artists popular in the area. This familiarity was evident in the way

he contributed the mixing of genre paradigms throughout the album.

Arguably the most popular track on the record, What I got features a

large amount of samples from the artist Too Short, a popular rapper

from Oakland California. Other artists who were influential to

Goodmans mixing are sampled in tracks like Jailhouse featuring

Boogie Down Productions, Paddle out featuring the Sugar Hill Gang,

and Doin Time featuring the Beastie Boys who are the artists most

associated with Sublimes genre infusing style. Goodman didnt just

sample from a genre, he sampled from the subculture and focused on

other artists connections to each other. Goodman constantly sampled


8/21

from Just Ice, the self proclaimed Gangster of Hip-Hop hailing from

Brooklyn, New York. His most famous track being That girl is a slut

inspired by Doug E. Fresh and Slick Ricks La Di Da Di. Fresh and

Ricks track is coincidentally sampled in the same Sublime track as Just

Ice, April 29th, 1992. (Sublime STP, 2001)

Probably the most dominant figures in hip hop at the time, Dr.

Dre and Snoop Dogg are frequently quoted in Nowells Lyrics.

Coincidentally, Snoop Dogg is from the same city as Sublime, Long

Beach, California, and routinely includes references to the city in his

works, as does Nowell. Including samples and specific sounds, which

Nowell identifies his influences from, is what enabled him to

collectively create a mood of pioneering genre fusion. He was able to

use the technologies of sampling other recordings to include signifiers

from different genres into his works. Key quotes and sounds, not able

to be reproduced, enable Nowell to recreate his vision for the

audience. If any messages were heavily portrayed in the album, it

would be the stress put on recreating an environment in which Sublime

creatively existed. The track April 29th, 1992 is a narrative of Nowells

experiences through the riots caused by the beating of Rodney King in

Los Angeles, California. The incident based around the racial dispute

between an innocent black man and three white police officers stirred

social uproar concerning authoritative oppression placed upon racial

minorities (Mydans, 1991). Singing in tribute to all of the cities that


9/21

participated in the protests and riots, Nowell undoubtedly focuses on

recreating the scene they witnessed in Long Beach and the Los

Angeles County. The recording features clips of real calls made over

the LAPD police radio concerning the rioting. By using actual clips, not

reproduced ones, the Lo-Fi feel of communication over radio waves is

captured in the recording. The sounds of these occurrences create a

feeling of placement into the actual situation; it is hard to escape from

the overwhelming feeling of chaos and mass hysteria. One could not

understand the cultural influence this date had on the area unless a

very realistic ambiance was recreated. The unique sound environment

composed by a mixture of narrated experiences and live recordings,

captures the aura of fear, anger, and disappointment in a monumental

event in the history of their home city. Nowells voice and experiences

can be transmitted to the audience with the use of these devices.

In the track Garden grove, a clip containing a very identifiable

Yeah! is sampled from The Beastie Boys Licensed to Ill album. This

track also includes samples from The Ohio Players, a 1970s American

funk and R&B band, and Linton Kwesi Johnson, a famous poet who

identifies with the Dub genre. (Sublime STP, 2001). They open the

album with a theme of genre hybridism in preparation for the

experience they want to deliver. The almost three minute long outro

combines all three examples of Dub, Hip-hop scratching, and American

Funk in a psychedelic manner. The drug induced sub culture


10/21

surrounding the ideologies of Sublime is immediately introduced to the

album through this song. One can only assume that the psychedelic

coding of Garden Grove is mirroring the image of Nowell making

music while desperately clinging onto his heroine addiction. For three

minutes, a repeated phrase from a funk sample is fused with electronic

drumbeats and continues to repeat while different samples phase in

and out of synch. To quote Sheila Whitely on the topic of psychedelic

coding, The use of repetition in songs, works towards a mood of

obsessiveness and absorption.(Whiteley, 1990). There is a parallel

created between the repetition and addiction of drug use to the

repeated mixture of motifs in the song, leading to the mixture

eventually falling out of rhythmic synch and ultimately ending the

composition. As the motifs begin to blend together, the musical

direction becomes out of focus. For the listener, the sheer volume of

noise works towards the drowning of personal consciousness

(Whiteley, 1990). By the end of the track, you have lost the focal point

and consciousness of your own reality and have been sutured into an

environment that Nowell is preparing you for. Through the use of

unconventional sampling, the track is able to mentally and emotionally

transform your perceived consciousness into the environment it is

trying to portray. Through this, you are able to feel connected to

Nowells struggles and surroundings, while at the same time

experiencing the mesh of genres influential to the style of the album.


11/21

The band was brought to Austin, Texas to work with Paul Leary, a

fellow musician participating in the same Southern Californian Surf

Rock genre, and David Kahne, a professional studio producer known

for working with artists focused on genre fusion (VH1, 2001). Gasoline

Alley had already distinguished exactly why Sublime was an asset to

their company. Having an incredible live presence and specific local

following would give the company direct access to a very underground

fan base. Recreating Sublimes sound while maintaining their local

stature would be the producers only instructions. Although many of

the tracks are different, focusing on varying genres and subjects, all of

which are produced and mixed to reflect that of Sublimes live sound.

In a broader categorization of the albums tracks, you can place some

in the influenced by the art of sampling category, influenced by

Reggae and Dub category, and influenced by Ska and Punk

category. Of course, Sublimes sound is ultimately a mixture of all

three characteristics, the work as a whole seems to be subcategorized,

and produced differently to reflect each genre of influence. Each track

is handled in a different creative manner noting the important fact that

aural analysis draws upon the link between auditory and visual

perception (Dockwray, Moore, 2008). Each of the tracks are mixed

and produced differently in terms of spacing and effects, supporting

the resulting image of a performance in the audiences mind.

Producing tracks inspired by genres that already exist in a live


12/21

performance setting is easy to create a standard placement and sound

for each track. However, including electronic samples, turn table

scratching, and electronic beats in a Rock, Ska, Punk, or Reggae

recording is evidently unconventional. It is extremely obvious that in

the producers efforts of recreating a live performance space in the

recording, the placement of certain un-natural elements is culturally

un-known. There was no specific space, or proximity, at which a

sample should have been heard, because at the time, there were not

enough examples of this existing in previous recordings. Therefore,

while instruments like the drums, guitar, bass, and vocals have a

distinct placement in terms of Lateral placement (controlled by

panning devices), depth or prominence (the way in which volume and

reverb can control the perceived distance of sounds in relation to other

sounds and from the listener), and time (Dockwray, Moore, 2008);

technological sounds had the freedom to be placed anywhere in the

mix. Despite its freedom to be placed anywhere in the aural stage

regarding the three dimensions mentioned earlier, the samples and

technological aspects of the works are frequently kept in the center

and close to the front of the mix. Little to almost no effects, in regards

to spatial aspects, are used on the multiple hip-hop samples and

turntable contributions. Keeping in mind, the goal of the producers was

to re-create the live feeling of a Sublime performance, the sudden

inclusion of new technology in their sound posed as a problem. The


13/21

band would not perform live with immense amounts of samples and

edited turntable sessions, thus asking the question, where do those

examples belong in the mix? Mentioned earlier, most of these

technological additives are kept very centered in the mix and kept

close to the front in proximity, almost existing overhead.

In the track What I Got, the differences between songs

produced with samples, and songs without, are heavily evident in the

use of panning and spatial effect. Looking at the sound of the drums

first, unlike the other tracks on the album, the entire rhythm section

consists entirely of electronic beats; the acoustic drum set is not used

in this track. The sound of the composition does not heavily identify

with one specific genre. This could be why it is the bands most popular

track, being the best example of the genre fusion Sublime is admired

for. With the absence of the drum set, the song continues to do some

unique things. Unlike most of Sublimes other tracks, Nowells vocals

feel close in proximity in a more intimate manner compared to that of

a live venue layout. The use of panning on the vocals also varies from

the usual conventions of this album. Sparingly, but noticeable, the

vocals are rapidly panned left to right sporadically throughout the

track. This confusion with the placement of the voice mimics the lyrical

content of the song. Nowell is contemplating his life and listing the

things he values, and the uncertainty of placement reflects his inner

struggle. This could also parallel the bands experimentation with


14/21

changing their sound and the combining of different genre related

influences. Despite the change in the usual vocal placement and

rhythmic conventions throughout the album, the Hip-hop samples are

placed in the center of the mix, with little reverb, placing the samples

extremely close in proximity. There is no general visual placement of

sound technologies on a stage with a rock band. The producers chose

to keep the technological aspects of the song close to the audience;

perhaps to emphasize its unnatural aspects between its electronic

sound and the organic sound of the band, giving the technological

additives an edge.

Other tracks on the album identify heavily with the idea of

recreating the live and organic experience of Sublime performing on

stage. When listening to these certain tracks like Seed, Pawn Shop,

and Jailhouse, the producers tactics in achieving a live sound is

apparent in the placement and effects employed in the mixing of the

tracks. Commonly in these four examples, the same sound stage is

recreated in terms of instrumental placement and the use of effects to

form that of the visual expectation of a live performance. Most notable

in these specific recordings is the use of panning for placement of each

instrument in a distinctive manner. Each example of specific

placement of a sound demonstrates a purpose to emphasize either a

specific style as well as create a visual picture using auditory

strategies.


15/21

Consistently throughout the album, the live drum set is mixed

almost identically in every track, considering all but two songs with

only an electronic rhythm section. Looking deeper into the song

Pawnshop, the drums have a very distinct, live sound. It is

persistently placed at the back of the mix, mimicking its visual place

on a stage. It does this by sounding as though it is the farthest

instrument into the stage, existing in the center, and is placed equally

in the stereo mix. This sound is recreated by placing each tom from left

to right in the stereo mix. Visually, this sound creates a mental image

of the toms linear placement within the drum set. The snare is panned

slightly to the right, mimicking its arrangement in the drum set, and

kick drum is placed in the center doing essentially the same thing as

the snare. Nowells guitar is panned very far to the left and has almost

no sound included in the far right side of the mix at all. What is

interesting about the placement of the guitar is that it occupies a

completely different space in the mix compared to that of Nowells

vocals, which are obviously being performed by the same person. In a

live environment, the amplifier delivering sound for the guitar would be

producing sound in a different place than the monitor in which the

vocals would be projected from. In the mix, this technique is executed

by panning the guitar to the far left, and the vocals stay center in the

mix. Also performed by Nowell is the organ featured in this track. The

organ is panned completely opposite from the guitar, all the way to the


16/21

right. This placement juxtaposes the rhythmic purpose of the organ to

the melodic purpose of the guitar. In other compositions, there are

usually two guitars, one rhythmic, and one melodic, both played by

Nowell. They are usually panned oppositely of each other similar to

that of the techniques used in this track. Also given its own place in

the mix, is the bass guitar. Although the low-end frequencies from the

bass are present throughout the entire mix, it is heavily panned to the

right side. The placement of each instrument, laterally, proves crucial

to recreating a visually based soundstage (Dockwray, Moore, 2008).

Also crucial to the composition of Sublimes live sound, are the

effects used on the instruments and vocals to recreate the space of a

live venue and to add dimensions of proximity to the sound. Looking

closely at the Jailhouse track, there are great examples of the

general effects used throughout this album to create placement on the

stage. The most effective technique used to create a proximity effect

would be the use of reverb and echo. In this song, the sound of the

band is similar to that of an intimate and small-scale venue.

Regardless of the venue size, the effects used on the vocals, drum set,

and guitars provide the audience with a sound similar to that of

experiencing the music being performed live. There is a slight amount

of reverb placed on the vocals that evidently put Nowell in the center

of a virtual sound stage (Dockwray, Moore, 2008). Although not exactly

at the front of the stage, he is positioned dead center in between the


17/21

listener and the drum set. The echoes captured to mimic that of a

large performance space is placed on his vocals, putting the audience

in a venue witnessing the music happen live. On the drums, a certain

amount of reverb is placed put on the bass drum and the snare to

situate the sound towards the back of the mix. The audience perceives

the placement of the drums to similarly to that of what they would see

on a typical, live stage set up. Like other songs in the album, both the

rhythmic guitar and melodic guitar are placed on opposite sides of the

mix. To give the guitars a cohesive sound with the rest of the band, a

reverb effect is also used on both instruments.

Both of the aforementioned tracks were produced similarly,

recreating a visual picture for the audience of a live setting using

techniques like panning and audio effects. The same strategies are

used in the Seed track, but are executed differently. The structure of

the song shifts from verses immersed in the Punk Rock genre, and is

then shifted to choruses that identify with the Reggae and Dub genre.

Both displays of separate genres are mixed differently to emphasize

their associated characteristics. The verses associated with a punk

rock theme, have a very different feeling compared to that of the

chorus. All of the instruments and vocals are mixed centrally; the use

of panning is extremely light. The clustered mix of sound reflects that

of chaotic noise inherent to the punk genre. This too demonstrates the

producers strategies in recreating Sublime as a live experience,


18/21

hinting at their earlier musical styles. In the Reggae influenced chorus,

the instrumentation is suddenly panned with distinct placement for

each instrument. The separation of the melodic guitar and rhythmic

guitar emphasizes the style change from the punk genre to that of the

Reggae influenced verses. The juxtaposition of two very distinct genres

is ornately created by the audio effects and techniques used by the

producers. With its ability to distinguish clearly between the two

genres within one song, the fusion becomes a statement of identity.

Sublime is seen presenting their alternate personalities, back and

forth, throughout the song. The Band is using these genres outside of

their original purposes, to make a statement. Whenever a musical

form is utilized outside of its cultural and creative contexts,

transformation becomes inevitable.(Alleyne, 2000)The track Seedincorporates two different experiences into one, and changes the

audiences perspective in conjunction with the bands spontaneously

changing musical style. The album is missed in a very strategic way,

and used the technology available to deliver a strong and non-verbal

message through the way in which we perceive the album as sound.

The relationship between this recording and the culture

surrounding it is clearly very strong. With a large amount of

unexecuted potential, Sublime was never able to climb the industry

later and portray their evolved sound, expected from them and their

newest release. The producing technique used on Sublime was


19/21

focused around the meaning of the band to its following. Locally in

their hometown, the band was seen as a symbol of authentic

creativity, fueled by unrestricted experimentation. Live performances

were what initially proved Sublime to be a noteworthy band, and thus

their most representational album is produced to recreate that

experience. Their worth as creators of music was held in their ability to

combine the genres of music they loved, and were considered pioneers

for ignoring the barriers between each style of music. The theme of

rebellion and independence in many aspects of the style and

personality influenced the sub culture surrounding their music. Drug

use, chaotic parties, and a beach lifestyle seemed to be the cultural

norm in which their music existed. In the question of whether the

album influenced a culture or rather if a culture influenced the album,

the first choice would be have to be the more evident answer, however

both are true. Seeing as how the band broke up immediately after

Nowells death, which was coincidently after the albums release, the

culture surrounding the aftermath was no longer being fueled by the

presence of the band. Its fan base no longer took the bands messages

and themes of rebellion, and careless boundary crossing, lightly after

their leader had fatally crossed too many boundaries himself. However,

the culture surrounding the inspiration of this album was incredibly

strong, and the band obviously drew most of its inspirations from their

surroundings and the society they thrived in. Their creativity and


20/21

experimentation was praised by their followers and gave them

inspiration to continue innovating. The recording of this album utilized

inorganic audio effects to recreate a natural sound, which is a parallel

to that of Sublimes adaption of cross culture genres to prove the

autonomy of their musical style.

References.

Alleyne, Mike (2000), White Reggae: Cultural Dilution in the RecordIndustry. Popular Music and Society, Vol 24, No. 1, pp 15-30

Clarke, Paul. 1983, A Magic Science: Rock Music as a Recording Art.Popular Music, Vol. 3, Producers and Markets. pp 195-213


21/21

Dockwray, Ruth. Moore, Allan (2008) The Establishment of the VirtualPerformance Space in Rock, Twentieth Century Music, Vol. 5, No. 2,pp 219-241

Farley, Christopher John. 1996. When the Musics Over, TimeMagazine. [Article] Vol. 148, No. 8.

Mydans, Seth (1991), Seven Minutes in Los Angles- A special report.;Videotaped Beating by Officers Puts Full Glare on Brutality Issue., TheNew York Times [Online] Available at:http://www.nytimes.com/1991/03/18/us/seven-minutes-los-angeles-special-report-videotaped-beating-officers-puts-full.html?sec=&spon=[Accessed on 12 May 2010]

Porcello, Thomas. 1991, The Ethics of Digital Audio-Sampling:Engineers Discourse. Popular Music, Vol. 10, No. 1, The 1890s, pp.69-84.

Sublime Bio, The Gauntlet[Online] Available athttp://www.thegauntlet.com/bio/3769/Sublime.html [Accessed 5 May2010]

Whiteley, Sheila (1990) Progressive Rock and Psychedelic Coding inthe Work of Jimi Hendrix. Popular Music, Vol. 9, No. 1, pp 37-60

Wisdom, Sublime STP. (2001) [Online] Available athttp://sublimestp.com/?page=pages/wisdom [Accessed 7 May 2010]

VH1s Behind the Music: Sublime. 2001. [DVD] New York, USA: VH1

(Narrated by Jim Forbes)
http://www.thegauntlet.com/bio/3769/Sublime.htmlhttp://sublimestp.com/?page=pages/wisdomhttp://www.thegauntlet.com/bio/3769/Sublime.htmlhttp://sublimestp.com/?page=pages/wisdom

Documents

Sublime Final