| | Sublime 40 Oz. To Freedom CD Sublime Discography of CDs
 (31 Customer Reviews)
The sound is a blistering blend of ska, reggae, and '80s West Coast thrash a la Black Flag, with a healthy dose of spoken-word and rub-a-dub dancehall thrown in for good measure. This magnificent debut was required listening on the Southern California skateboard circuit. Fans of any of the aforementioned musical styles are likely to get a kick out of hearing singer Brad Nowell rollick through songs like "Smoke Two Joints." The attack is a pure assault of youthful energy, almost over-the-top, but controlled, always reigned in by the rhythm, which rules. Samples abound, as Sublime pays tribute to its musical idols in true '90s fashion: by including chunks of their songs. Even the Grateful Dead gets a nod.
Additional personnel includes: Adam (vocals, congas); Miguel (samples, guitar, vocals, piano, organ, sound effects).
Recorded at Mambo, Long Beach, California. Originally released on Skunk (001).
Sublime: Brad Nowell (vocals, guitar, percussion, samples, bass, congas); Eric Wilson (bass, organ, percussion, vocals, congas); Bud (drums, samples).
Kerrang (Magazine) (p.98) - "[T]he initial collision of Sublime's charismatic style and their influences resulted in their unsurpassed debut album." 40 Oz. To Freedom Music | List Price | $13.92 (You save $3.53) | | Category | Rock Albums, Pop CDs, Alternative, Punk, Rock/Pop, Ska | | Label | Gasoline Alley / MCA | | Orig Year | 1992 | | All Time Sales Rank |  470   | | CD Universe Part number | 1103924 | | Catalog number | 11474 | | Discs | 1 | | Release Date | Jul 23, 1996 | | Studio/Live | Studio | | Mono/Stereo | Stereo | | Producer | Sublime | | Personnel | Bud - drums, samples
Eric Wilson - bass, organ, percussion, vocals, congas
Brad Nowell - vocals, guitar, percussion, samples, bass, congas
Also: Adam, Miguel |
Sublime 40 Oz. To Freedom Songs 40 Oz. To Freedom Music Review Purchase 40 Oz. To Freedom CD To buy, Click on price to add to cart | Sublime CD (1996)
40 Oz. To Freedom
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SECONDHAND SMOKE is a collection of previously unreleased tracks along with alternate and dub takes of currently available material. This limited edition release of SECOND HAND SMOKE is ...
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This excellent 20-track collection presents many of the finest tunes by the fascinatingly quirky art-rock performer Klaus Nomi.
The largest retrospective of Klaus Nomi's work yet released, Essential features 20 of his definitive tracks, spanning his operatic and classical-inspired works ("Samson and Delilah [Aria]," "Cold Song"), his forays into disco ("Icurok," "Falling in Love Again"), cheeky covers ("You Don't Own Me," "Just One Look"), and the experimental tracks ("Keys of Life," "From Beyond") that make up his surprisingly diverse body of work. While each of the other Nomi best-ofs features tracks that should be here -- the Purcell ...
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That there even is a tribute album to a teenage singer with only one album under her belt is credit to the marketing escalator that Avril Lavigne has ridden ...
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As the opening track, "Agony Wagon," shuffles out of the starting blocks like some sort of hillbilly klezmer chestnut, complete with violin and clarinet, you can't help but wonder if the Legendary Shack Shakers have done a 180 for their second album, 2004's Believe. Further research confirms this isn't quite the case, but Believe does find this band of hot-wired Nashville maniacs adding a few more flavors to their usual gumbo of country, blues, rockabilly, and punk. Fiddles and horns add seasoning to a few tracks, the group musters up a shade more technical finesse than they did on their blasting debut, Cockadoodledon't, and the graceful waltz-time "The Pony to Bet On" suggests this band might actually have some subtlety lurking deep down inside of them. But for the most part Believe shows the Shack Shakers's instincts remain mercifully unchanged ...
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From Loren Schoenberg's liner notes:It could be the vowels. Take Blame It On My Youth. At the end of the verse, she sings away and I have never heard an A sung like that before. It amplifies the text, the melody and that ineffable effect Barbara Lea casts every time she sings. The word “you” comes up a dozen or so measures later and there it is again -- the shape of a sound magically wedded to meaning. It could also be the diction. The t’s, the d's -- all of the sounds that make words distinct from each other are in Lea’s hands (make that mouth) things of great beauty. Never self-conscious, she nonetheless enunciates in a manner that should be the envy of any singer who loves the English language. But then again, it could very well be the love of melody and words and the commensurate respect for the composers and the lyricists who labored to produce the masterpieces that comprise this collection. Even given that jazz is largely a matter of theme and variations, far too many times the compositional baby has been thrown out with the interpretive bath water. Lea takes liberties to be sure, but they are deserved ones that underline and enhance the composer’s intentions. The program is also a major consideration. Some of the songs are well known, while the majority are still far from warhorses. In the months spent working on this album, those of us involved in the production heard these selections dozens of times each and I can tell you that Barbara’s interpretations contain a level of subtlety that reveal new facets on each listening.The arrangers outdid themselves. Chris Madsen, a creative saxophonist/composer ...
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