Most of Sublime Songs old Reggae Covers???

[Rats]

51. Waiting For Bud / Basketball Throwdown (Fantastic Freaks & The Cold Crush Brothers)

One of Vince’s favorites and a straight sample from a movie titled Wild Style, this song off the soundtrack was first heard in 1983. I couldn’t figure out how to mix it, but we agreed to keep it simple and just flow from the end of Waiting for Bud to Basketball Throwdown despite my original vision that it would need to be placed into context by having the next Sublime track run behind it for a bit to the same beat (Steady B Loop Dub). It ended up being a lot more trouble than it was worth and the idea was scrapped. I hope you like the track in its simple form.



52. Free Loop Dub / Loaded (Primal Scream)

There are many songs that Sublime incorporated where I just love the recycled version so much more than the original. And then there’s Primal Scream’s Loaded; such an awesome track independent of the band we all love. Few got the mention they deserved on Robbin’ the Hood; the insert only says “Thanks to all the artists we sampled.”



53. What Happened? / Tequila (The Champs)

The great thing about this song is that it uses the horn riff, but leaves out the world-famous hook in exchange for “What happened?” The song is about blacking out drunk, so the answer to the repeatedly asked question may very well be the title of the song Sublime mimics. That can sometimes be the result for plenty of people.



54. Foreman Freestyle / Lowrider (War)

The (Todd) Foreman Freestyle is named after their sax player who is not really freestyling in his sax solo so much as experimenting with a tune from War. I truly believe Bradley when he said in an interview that most of the tracks were made on the spot in the studio (“Thank god the tape was rolling. If we did it all the time, we’d have about a million albums”). On the Hong Kong Phooey bootleg, as poorly done as it may be, the track lends recognition with the title Reggae Lowrider.



55. Just Another Day (Falling Idols)

Some people might be less familiar with this track that is “new” to some collectors, having only come out to the general public on the bootleg War on the Boulevard. If you don’t have War On the Boulevard yet, try to grab yourself a copy. It shows the influence of Falling Idols beyond, well, the song Falling Idols. Good luck tracking it down, though. The guys who made it only pressed 200 numbered copies in 2003.



56. Hip Hop Rules / 89 Vision (Boogie Down Productions)

What is the 89 Vision? The borrowed lyric in the Sublime song is out of context and tells next to nothing, because it has nothing to do with Bradley’s anal fetishes. It is also mentioned in Jailhouse (“…89 vision, we didn’t fuss or no fight…”) but this time in context. The term refers to 1989 and KRS-One’s vision of non-violence in hip hop/the black community. His 1987 album Criminal Minded is said to be one of the original gangter hip hop albums, but his DJ and the other part of BDP Scott La Rock was gunned down. Shortly thereafter a fan was killed during a fight at his concert and it permanently changed his outlook on hip hop music. Kris Parker aka the Blastmaster aka the Teacher aka KRS-ONE began preaching against violence starting with his single Self Destruction in 1989. Thus the ’89 Vision was born. Guess who was on that single: Just I.C.E.




57. Warning Sign (Born Jamericans)

Love the Born Jamericans. Check out Yardcore, Gotta Get Mine, Sending My Love, and Boom Shak-a-Tack to enjoy something rough, but modern. If you’re feeling sentimental, get their rendition of Take That’s Back for Good with the Long Beach Dub Allstars at the House of Blues. Warning Sign might be their best.



58. Cost of Living / Level the Vibes (Half Pint)

Cost of Living/Level the Vibes is another two-for-one like One Cup/Judge Not, and this one again includes both originals by the same artist. Half Pint was such a tremendous influence to Sublime (see What I Got) that it makes plenty of sense that they would jam to his songs in the recording studio. If only Mike “Miguel” Happoldt would open that vault and let us hear some more.



59. All You Need / Fight Like a Brave (Red Hot Chili Peppers)

Again, a song that is mostly original, but always has a flavor of some direct influence – in this case a line from Red Hot Chili Peppers – displays the originality of Sublime, but their attention to their roots. Respect must be paid to the Red Hot Chili Peppers who have been doing reggae influenced rock for a long time.



60. The Youth Are Getting Restless (Bad Brains)

Sublime loved playing this political reggae-influenced song at many concerts. The song came out after House of Suffering on a live album that ended up being a best seller for Bad Brains.



61. Dachau Cabana (The Vandals)

From Barry Manilow’s Copacabana to the Vandal’s Dachau Cabana to Sublime’s rendition, this song is very catchy. The problem is it’s not a song to sing out of context. Try to get away with singing “…they were throwing them into ovens/ They weren’t playing games/ At that Dachau, Dachau Cabana…” in an elevator and then realizing it shortly after the doors close. It makes for an awkward 10 floors. All Nazis die.



62.DJs Live / Ride Natty Ride (Bob Marley & The Wailers)

Similar to the use of the Specials’ Message to Rudy these lines are tacked on to the end of an otherwise great and independent song. If you recognize the line from Cornerstone (“the stone that the builder refuse…”), understand that the lyrics aren’t original themselves; check your Bible:

Matthew 21:42
Jesus saith unto them, Did ye never read in the scriptures, The stone which the builders rejected, the same is become the head of the corner: this is the Lord's doing, and it is marvelous in our eyes?



63. Prince of Sin (Falling Idols)

This was part of a predominantly Falling Idols set in the recording studio at Austin, Texas that never made it to CD until the bootleg War On the Boulevard was released.



64. Have Your Ass Home by 11:00 / What I Got Demo (Richard Pryor)

I remember the moment I discovered this sample myself. For some of you, hopefully most of you, there is that instant of realization when you hear the sample/song/baseline/whatever where your mind comes alive and you think “Sublime used that!” For me, it came with a tingle on the back of my neck, but I don’t expect that for all, really. I was working in 2000 at a place that has probably gone belly up since the Dot Com Bubble burst, called eDocs. They gave me plenty of money but very little work, so when I wasn’t playing pool or grabbing something from the free vending machine, I was listening to comedy on streaming internet radio. What every friend of mine though was “**** you Kenny” (with theories about it being Sublime’s drug dealer, Kenny) became instantly clear. I wrote it down, downloaded it at home, and added it to my list after my first release of Rewind Selector (36 track version). This was the 51st song on the 56-track album.




65. Tim the Dinosaur (The Ziggens)

Trivia: Who was the first band on the Skunk label? Answer: The Ziggens. That is Bert Susanka who made Brad drink in Greatest Hits and Bert sampled in Smoke 2 Joints saying “Smoked cigarettes ‘til the day she died!” Sublime loved that band and showed it by covering (and popularizing) several of their tunes.



66. 54-46 Live / Boops (Supercat)

AllExperts.com is a division of Ask.com and allows people to sign up to answer questions about subjects. I started as the Sublime expert to fill the need and loved my first question: “Alright Matt, about 1 minute 12 seconds into 5446, what in the HELL is Brad saying?? I've looked everywhere for this but all the lyric sheets I find skip that part.” I pointed Mike to this song and gave him this answer: “It's hard to tell you what Brad is singing because he doesn't even get the lyrics right and the lyrics themselves are not all words. The lyrics are freestyle collections from a ‘popular’ dancehall song by Supercat called "Boops" which came out in 1986… Supercat is the guy who was scatting in the background on Sugar Ray's first pop hit ‘Fly’ (for better or for worse).”



67. We're Only Gonna Die OG / Mad as Hell (Peter Finch in Network)

This movie ought to be your next homework assignment. The film totaled four Oscars and presents a story that is chillingly relevant to today’s media-as-entertainment world. It certainly belongs mixed into the music of anything by Bad Religion – a band that has socially conscious lyrics rather than anti-religious tones as their name might suggest. Some of the stars: Faye Dunaway, William Holden, Peter Finch, Robert Duvall, and Ned Beatty.



68. Zungguzungguguzungguzeng / Greatest Hits Live (Yellowman)

There are certain songs that are obvious influences of Sublime, but without looking at the band’s record collections, it is impossible to know which came first for them. The guitar riff is identical, but through my research on this particular reggae influence I met a man who has developed an entire thesis upon this song/riddim. His name is Wayne Marshall and after several emails back and forth in which we helped each other understand this trend better, he had this nugget of wisdom: “…I quite agree, as is true for the reggae (and hip-hop) tradition more generally: understanding someone's influences doesn't subtract from their ‘originality’; rather, it enriches one's sense of their distinctive voice.” This is part of the idea of Rewind Selector as a project. Please check out his paper on this famous riddim: http://wayneandwax.com/?p=137
And please also check out Michigan and Smiley’s Diseases.



69. Zimbabwe (Bob Marley & The Wailers)

When Rhodesia/Zimbabwe earned its independence from Britain in 1980, Bob was asked to sing this at their freedom rally. The song had been an inspiration to the ZANLA (Zimbabwe National Liberation Army) and the demand for the song was so strong that a riot erupted and the chaotic crowd was dispersed with tear gas.



70. Lou Dog Went To the Moon / The Day That Lassie Went To the Moon (Camper Van Beethoven)

Anyone who is listening to this album and reading these details must have seen Stories, Tales, Lies, and Exaggerations, but in the off chance that you didn’t, go grab a copy and watch it through a few times. Troy mentions the time Brad “made up” this song off the top of his head as an answering machine message when someone stole Louie when he was left outside. As a dog lover it was touching to hear the stories of how broken up he was about the band mascot missing for the few days it took to get him back. Lou Dog was named after Louie Nowell, Brad’s grandfather and was mentioned in the most bizarre eBay post I’ve ever seen. Someone claimed to have bagged a Louie turd from the stage and wanted a couple hundred bucks. My moniker “LouIsFatAndSassy” was derived from the Second Hand Smoke insert in which Mike Happoldt writes that Lou is fine and sitting with him; “He’s fat and sassy.”



71. House of Suffering (Bad Brains)

A favorite song of the band and often referred to simply as House, this song, like many of heLTa’s original tracks, is a straight cover. Sublime makes it their own by making a punk track even faster.




72. Legalize It (Peter Tosh)

Peter (McIn)Tosh was 1/3 of Bob Marley and the Wailers. This was the title track off of his first solo album and kind of his raison-d’être. His campaign for the legalization of marijuana led him to even smoke pot on the stage at the famous One Love Peace Concert in 1978 and demand its legalization in front of both political parties. You may know this concert as the one Bob Marley attended immediately after an assassination attempt by a gunman. In a sling, suffering from a gunshot, Marley called up Jamaican Prime Minister Michael Manley and his rival Edward Seaga to the stage to pronounce a truce and peaceful relationship. Sublime’s use of the song was less politically charged, of course, probably using its curing qualities (asthma, glaucoma, etc) to promote their recreational use…that and to keep Bud out of jail for a full tour.



73. Myage (Descendents)

If anyone can tell me the significance, I’d love to know it, but on Milo Goes to College, the Descendants have many –age songs: Myage, Bikeage, Toniage, and Marriage. Email me at mdmaguirespam@comcast.net.



74. History Lesson Part II / Waiting For My Ruca (Minutemen)

Sublime may have the best use of a dog barking sample in their music, but when 40oz to Freedom was being made, oddly enough, this idea wasn’t original. Sorry, Louie/Toby, but Jane’s Addiction recorded Been Caught Stealing in 1990. That’s a small history lesson, but it goes with the theme from Sublime’s use of the Minutemen’s sample. D. Boon is the one who says “Punk rock changed out lives,” but is often confused with Bradley as Bert Susanka is confused with Brad in the line “Smoked cigarettes ‘til the day she died!” D. Boon, Mike Watt, and George Hurley are all mentioned in the Thanks Dub at the end of 40oz to Freedom. Speaking of the Thanks Dub, most people have only heard the short version. There is a long version that doesn’t cut out that was only available on the original and very rare 40oz cassette tape. That runs six minutes, so if you have never heard Miguel thank Queen Latifa or the Beastie Boys or you, then you are missing half of it.




75. April 29, 1992 Leary / Give Me My Share (Jah Rubel)

This probably isn’t the most obscure influence, but it proved to be one of the hardest to come by. On Feb. 10th 1982 Yellowman and Fathead played a dancehall reggae show live at Ace’s. This was the first live dancehall reggae album pressed on wax and was very popular. It can’t be found easily today, and yes, the quality really is that terrible. Jah Rubel came on stage and threw out a “Give Me My Share” freestyle, which we all recognize and love from April 29th 1992 many years later. Thanks to Ernie B’s Reggae for this hard to find track.



76. Same in the End / I Can See For Miles (The Who)

Again, Brad grabbed lyrics from contemporary and classic, obscure and popular. In this case a popular song by a popular classic band. I Can See for Miles is apparently ranked number 258 on Rolling Stone’s greatest songs of all time, so give it a listen and see if you can discover something I can’t seem to hear. I don’t like it, but de gustibus non est disputandum, I guess.



77. Celebration / Ebin (Stranger Than Fiction)

This track has a story that is not worth me rehashing because I have the words from the original artist himself. Search this document for “***” for a hell of supplement. All I can say is that this song is so closely mimicked, but it doesn’t “fit” like other tracks. For that I apologize. The best fit would be the final seconds of Ebin and 2:22 of Celebration but the guitar and bassline are similar throughout. According to Eben, Brad promised he shouldn’t be furious about the song using his name and mentioning a neo-Nazi because the spelling was different. Few know, but the original version of Sublime’s song was titled Ebennz Change (Zapeda cassette tape info courtesy of Damon Crucani).



78. Party At Ground Zero (Fishbone)

This version of Party at Ground Zero is not the only instance of Fishbone influence in Sublime’s music. What Happened? has Brad yell “Play it Boy Wonder!” to Todd Foreman during his sax solo a la Party at Ground Zero – the phrase used in the same fashion.



79. Do It Twice / Boss DJ (Bob Marley & The Wailers)

Bradley takes from many songs and many genres, perhaps few as heavily as Bob Marley and reggae music. It might just be a line or a theme, but you can imagine the man crooning every line from every album. There are dozens of Bob Marley CDs for you to check out, but to get a nice cross section with a lot of bang for your buck, please grab a copy of Songs of Freedom which chronicles the growth from One Cup to No Woman No Cry. You can be sure that Sublime listened to all of those tracks and soaked them like a sponge.



80. Get Ready / Are You Ready? (Frankie Paul)

Tracking down the rare or vinyl reggae and punk songs could be a total hassle. When I ran the Hotline server for a few years, the collective input of thousands of people grew my list considerably. Every 10th person knew at least one thing I was missing and they contributed. Knowing the title and artist is one thing, but finding the song is harder. In this instance, a guy under the moniker “ur done” emailed me Frankie Paul’s Are You Ready? Countless others contributed, but were lost in the jumble. This living tracklist and influence list should be helpful to many/all, but please email me if I am missing anything; I would greatly appreciate it, make the addition, and give the credit if you’d like. mdmaguirespam@comcast.net

[Rats]

81. It's Who You Know (X)

The band’s name is simply X and I don’t know much of anything about this obscure band. Searches are difficult with just a letter, but reviews I have found suggest that this band is extremely popular and well reviewed to those who have heard their punk albums. This song came from the second album Wild Gift which has a straight five-star rating from reviewers on Amazon.



82. Let's Go Get Stoned Live / #1 Hit Song (Minutemen)

After Brad counts uno, dos, tres, cuattro, Sublime goes into this Minutemen track. The guitar doesn’t match perfectly, but the influence is obvious, especially since this part is omitted in the studio version.




83. Farther I Go (Mudhoney)

You can find this studio version at the end (hidden) of the Skunk pressing of Robbin the Hood, but it has since been released to the masses on Everything Under the Sun. Lyrical accuracy is unimportant even for album releases, it seems.



84. Welcome, Tomorrow (Love and Rockets)

Firecracker Lounge is a treasured album not for quality of sound or Brad’s playing, but because it was so personal. Oddly enough, the most personal times don’t necessarily mean that the artist plays personal work. In this case, Brad kept picking obscure favorites of his and shared them with the crowd while he was hammered. Love and Rockets was a band without a major hit that drifted through genres and had enough small successes to release eight albums over twenty years.



85. At It Again / Ko Lo Ko (Clement Irie)

Even the new audio has references to reggae roots. This anti-illicit drug song is eerie with sampled screams and laughter and the video has the typical 1980s video effects that make put the viewer under the influence. Check out the video and hear the complete audio on YouTube: http://www.youtube.com/watch?v=In7TQiH84ng



86. Hong Kong Phooey (Scatman Crothers)

Trivia: what famous child-actress stars in this music video? Drew Barrymore. The band has incredible fun with this song, which was part of a cartoon theme compilation called Saturday Morning Cartoons and included many other artists of the day. If the show ever makes a comeback, the decision should be made to go with this celebrity theme, like Spiderman’s by Aerosmith. Bonus trivia: Scatman Crothers sang this song, but what else is he known for? Answer: He is the voice of Phooey in the show.



87. Hope (Descendents)

This song is a straight cover with the tempo picked up. Sublime was heavily influenced by the Descendents (or at least loved their music) as you can tell from other covers off the same album. No matter your musical tastes, pick up the album Milo Goes to College which is a veritable necessity for anyone who wants to expand his musical palette. What a great song about hope/hopelessness at the end of a relationship.



88. Caress Me Down (Clement Irie)

I am surprised how few people know that the most famous hooks have deep rooted reggae influence. Clement Irie was one of those artists that the band used in jam sessions and naturally his lyrics found their way into a hugely popular song with a whole new sound. The words and timing are so similar, but the songs couldn’t be more dissimilar.



89. Speech / Miami (KRS-One)

If you play this track, you’ll hear more than one sample that you’ll recognize from several Sublime songs. It comes from an incredible compilation of hip hop pulled together by Funkmaster Flex called Funkmaster Flex Presents: The Mix Tape Volume 1: 60 Minutes of Funk.



90. What I Got Reprise / Nappy Heads Remix (The Fugees)

I love the Fugees and recognized this right off the bat before I knew about the Richard Pryor sample, the Beatles influence, Half Pint, or the Rolling Scabs. Blunted on Reality is a fantastic album. Grab that and Wyclef’s Carnival (you should have The Score, of course) and queue up Nappy Heads (Remix) with Mona Lisa ft the Neville Brothers for some quality recycling of lyrics and sound, Wyclef sampling himself.



91. Slow and Low / Doin' Time (The Beastie Boys)

I’d also have loved to have Lookin Down the Barrel of a Gun (“racism is schism…”) on this album or The New Style (“…kick it!”), but there’s only so much space and time. It is necessary to have the Beastie Boys on here though, because despite being worlds apart in style, they are one of the most similar bands to Sublime that I can pick. They are eclectic and prolific, dipping into every realm of music and create jigsaw masterpieces from various elements for their tracks.



92. Garden Grove / Five Nights of Bleeding (Linton Kwesi Johnson)

Garbage/Garden Grove has Marshall sampling and mixing in this lyric over a borrowed bassline (Ninja Mi Ninja by Courtney Melody) and a sample from The Funky Worm by the Ohio Players all after the song has basically finished (and after it does end on Second Hand Smoke. This was a last minute addition that was mixed well and took the place of a lesser track in the final 100.



93. Leaving Babylon (Bad Brains)

The video on Everything Under the Sun shows the band performing this live in Costa Rica in 1993. Bad Brains formed a longstanding relationship with the members of Sublime, HR performed in some live shows and collaborated on Long Beach Dub Allstars’ New Sun from Right Back. “Babylon” is a general Rastafarian term that refers to the Caucasian patriarchy (generally the government) that oppresses the oftentimes majority black community by means of economic or physical slavery. For those of you who have never heard reference to Rastafarianism beyond Legend by Bob Marley and Sublime’s music, look up the history for Haile Selassie of Ethiopia and the creation of Rastafarianism independent of him, but based upon him.



94. Unite (Courtney Melody)

Vince and I both love Courtney Melody’s Unite and agree it has a place in this album, even though it wasn’t performed live, so much as it was bumping in the background of the Groove Tube interview. There’s a bit of musical influence in every video and Brad crooning that one line was enough to give away that bass-line. If you take it further and listen to more Courtney Melody, you’ll hear the song A Ninja Mi Ninja, but not only in Sublime’s cover of the song, but in the studio version of Garden Grove. Throw that song to the end and at 3:30 (and before and after) the bassline is unmistakably identical to A Ninja Mi Ninja.



95. Hammer (Bob Marley & The Wailers)

This is the only track that is done by a third party without my collaboration. I was in the middle of the 56 track version when someone just emailed this to me as a tribute to past work and an addition to the present project. I wish I knew who, but that is the background story to this particular track.



96. King Step (Pato Banton)

Sublime’s version is cursory compared to the original, but this mix gives an idea of the religious direction of the song. I am not religious in any way, but the flow throughout is so fantastic, especially the line “…who Jah bless no man curse, who Jah curse no man no bless.” Pato Banton has nothing to do with Buju Banton; both used the name which means gifted in speech or superior DJ, but Pato is British and Buju is Jamaican.



97. Secret Dub / Send a Moses (Barrington Levy)

Sound check jams are for tuning instruments and making sure the levels are correct, but you need to play real songs. When Sublime wasn’t jamming a Santeria instrumental, they sometimes played other people’s work. In this instance it is Barrington Levy’s Send a Moses. Obviously this is a song they practiced before – just imagine how many other great tracks must have been played that never were released or even recorded. No, not Smilin’…that was not Sublime.



98. I Love My Dog / I Love I Jah (Bad Brains)

Brad struggled with religion and was often at odds with the idea with lines like “Sunday morning hold church down at the bar” and substituting “Lord have mercy” with “Lord have his grilled cheese”. In Garden Grove he often switches “Don’t **** around with my God” to “doG”, so it makes sense that he would do the same thing with the Rasta’s Jah.



99. Trenchtown Rock (Bob Marley & The Wailers)

Another great thing about music is that is lasts long after the singer dies. Here we again have two greats who have passed on. Technically there are three on this mix because Peter Tosh of the Wailers was murdered after Bob Marley died. This song is about the slums where Peter McIntosh grew up. Bob Marley came from a more affluent family – his black side was relatively wealthy compared to the slums of Jamaica and his white father was a British captain. After his father’s death, however, he moved to Trenchtown and dealt with violence and prejudice for being half white.



100. Guava Jelly / This Train (Bob Marley)

By far my favorite mix, this acoustic medley of Marley songs is one of the stronger products of the Rewind Selector project. The tempo is mostly identical so there was some real opportunity to create duets between Brad and Bob. The length of the track is truncated however, because Brad only covers half of the medley. I highly recommend listening to Bob Marley’s full twelve-minute version that includes Comma Comma, Dewdrops, Stir It Up, and I’m Hurting Inside. If you are just discovering Bob Marley beyond the songs you hear on the radio and at frat parties, a budget choice for a first purchase is the four-disc set Songs of Freedom. The album gives a great cross section of all of his music and can give a starting point better than Legend to lead you to the other few dozen albums.

[Rats]

101. Winner Takes It All (Half Pint)

Brad and Mike did this impromptu harmonizing duet before a show during an interview. It seemed appropriate to have Half Pint, a major contributor to Sublime’s music, bookend this 100-track album. Thanks for listening and thanks for reading. Enjoy!



102. Rewind Selector Outro

As the album expands, this outro is always moved to the end, helping to bookend the project. By the time you reach this final track, you undoubtedly have learned something new, and hopefully have found some new musical interests. I definitely don’t know and feel like I can’t know all of the influences that created Sublime’s music, but I would like to invite emails for suggestions of anything I miss in the list below (Rewind Selector will certainly never have them all). Please look back to get constantly updated text supplements to have the most recent information and most complete list. I hope for this project to become a valuable resource for all who are interested. http://rewindselector.bwlng.com/ If that isn’t available, drop me an email at mdmaguirespam@comcast.net with “Sublime” in the subject text of the email.



Ball and Chain (The Vandals) – Not included

This track was the 13th in the ORIGINAL heLTa Rewind Selector and it was my purposeful decision to keep it in for further iterations of the album out of respect for his first e-CD. I don’t need anyone to tell me that this was an original Sublime track that the Vandals covered and that it doesn’t belong on this list. Vince and I agreed that it will not be featured on the 100 track album, but you can email me for a copy if you have not heard it, yet: mdmaguirespam@comcast.net.








*** Eben on Ebin; Ten Years After the Passing of Bradley Nowell
By Eben Sterling

I met Brad Nowell in an intro to sociology class I was enrolled in at the University of California at Santa Cruz in January of 1989. We were both part of a group project that was supposed to survey the student population and extract some sort of empirical conclusion. At the time I had long dread locks down to the middle of my back, this was during skateboarding’s Alva era, so it was only natural that Brad and I would strike up a friendship. He was a huge dancehall reggae fan and I pretty much wanted to be Bob Marley.
The group project didn’t go so well for me. I’m too much of a rogue individual. Brad, on the other hand, proved to be both charismatic and gregarious and was a natural leader. I was way too caught up in the validity of the research and employed my cousin to create a highly technical statistical interpretation of the data, which I tacked on to the study. I ended up getting a C while the rest of the group under Brad’s steerage received A’s. The instructor praised Brad with a particularly glowing review.
During the course of our research I was introduced to another famous character, Brad’s now infamous 4-track recorder and drum machine. This is really where our story begins for it was on this machine that the genesis of the song Ebin begins. We were both aspiring musicians and Brad invited me over to record a song. The song I chose was a number I had written while still living at home in Ojai, California the summer before I started college. It was called Celebration and was a basic progression in C minor with a calypso feel. The lyrics, admittedly cliché, were an appeal for people to rise up and unify through music, very Santa Cruz.
The first line of the song “Rejoice, rejoice”, ironically enough was boosted from a Steel Pulse song I’d heard growing up. The whole affair climaxed with ever so cliché:
Get up and dance, Clap your hands and
Sing out, Sing out, Sing Out
To make matters worse the second verse started out with a lyrical couplet that was a near plagiarism of the cheesiest chunk of Broadway schmaltz ever penned “Sing, sing a song, sing it loud, sing it strong” -- Just hideous.
To my credit the song had a hook that Brad recognized and which to my soon to be astonishment became his muse. I say soon to be because it wasn’t until the next day that Brad called me on the phone and told me that he’d re-recorded my song. He’d changed it around a bit and written knew lyrics and, the capper; he’d used my name in the song. He assured me that the song was not about me and he’d actually changed the spelling of my name so people wouldn’t think that it was. Thus was the birth of Ebin.
To be honest I was pretty much appalled and a bit weirded out. First off, the guy had pretty much stolen my song. I mean I barely knew him as it was. Secondly, was he singing the song to me? I gotta admit it seemed a little gay. Well, then he started telling me some of the lyrics and I was downright alarmed. There was the part about joining the CIA and the KKK and smoking crack, which was pretty standard issue UCSC liberal paranoia for the times. Then it transitions into the whole you’ve changed bit which in the punk rock integrity wars of the 80’s was tantamount to calling someone a Judas and finally the capper of all cappers the guy is calling me (or the fictional me) a Nazi. Hold the ****ing presses! I’m Jewish for God’s sake. That was strictly unacceptable, a diss of the highest order.
While my reaction was less than positive I was more perplexed than anything. I agreed to meet Brad and at least hear the recorded song in full. Upon listening I was struck more than anything by the fact that the guy could sing. He had a beautiful voice, somewhat effeminate but in a good way, a trait shared by many reggae artists of that era, a bit to syrupy for my tastes at the time but recognizably good in a pop kind of way. To be completely honest I was somewhat jealous. Remember I told you I wanted to be Bob Marley. Brad had that sort of frat boy all American vibe about him even at that time, That sort of I want to be punk rock but I’m just a few years too late and I can’t shake my suburban upbringing. I just couldn’t believe that this dude could conjure such a sweet sound from inside. His voice truly was an instrument unto itself. Why did he have it and I didn’t? I pretty much pushed the entire incident out of my mind but I was always stuck with the memory of Brad, the weird dude with the voice.
That summer or maybe the next I received a letter at my mom’s house in Ojai. Brad had gotten my address from his ex-girlfriend who was still enrolled at UCSC. He was living in Southern California after being asked to leave college over a graffiti incident on the campus. Apparently during a drunken binge Brad had spray painted something to the effect of “surf Nazi’s must die” on a building and was caught. In the hyper charged PC atmosphere of UCSC in the 80’s that was equivalent to a hate crime or an act of terrorism, an ironic payback of sorts for the guy that married my name to a Nazi persona.
The letter informed me that Brad had formed a band called Sublime, a name I considered awkward and somewhat pretentious, and he was asking my permission to record “my song” Ebin as their first single. At that point I was in a band of my own and we were performing Celebration, my version of the song. I figured Brad was just kind of a kook who stole my song, wrote some weird lyrics more or less defiling my name and had about a hamster’s chance in hell of going anywhere with the tune. I never even wrote him back but I did keep the letter for legal reasons just in case. I kept the letter in a box where I kept my old ticket stubs and love letters from past girlfriends and after a few years decided it was weird to keep a letter from a dude with my sentimental stuff and I threw it away never to think of it again.
In the fall of 1993 I found employment at High Speed Productions, the publishers of Slap and Thrasher skateboard magazines. In 1994 I was working in the advertising department and was naively pursuing an ad from Tracker trucks. At that time they were still owned by the publisher’s of Transworld Skateboarding. I never got the ad, of course, but in my pursuit ended up talking to an intern who was struck by my name. She explained that it was the name of her favorite song from her favorite group, Sublime. Transworld was offering the group’s CD Forty Oz. To Freedom as a subscription premium and she offered to send me a copy so I could check out the mysterious song. At the time I had totally forgotten about the band from the letter. The funny thing is I had heard of Sublime from my friend who owned a club in Arcata who was all up in arms about how rad they were.
When I received the CD I listened to the song Ebin but I made no connection. The words were weird and less than flattering although I thought it was pretty funny how they repeated my name over and over. At the time I was so immersed in hip-hop’s golden age of the Wu Tang Clan and Biggie Smalls that I really had no interest in white-boy rappers or punk rock. The CD was OK but I really didn’t think much of it. I did however keep the record as a novelty. My friends were really into it so I figured maybe at some point I’d get into it.
A while passed and one day Brian Brannon, Thrasher’s music editor, dropped a promo single on my desk with no explanation. It was a CD single of the song Ebin that Skunk records sent him. They probably were pumping up whatever product they owned in anticipation of Sublime’s upcoming major label release.
On a lark I popped on the track. I remember I was pretty blazed at the time sitting in my room. I was just zoned out enough to open some dark corner of recognition in my subconscious. All of a sudden I was like, “Man that hook sounds so familiar. Where have I heard that before?” It turns out that the Skunk single is much closer to my original recording than the album version which I first listened to when I received the CD from Transworld.
BOOM! Like a light the memory came flooding in. I was like, “Wait a second this sounds familiar and the song is called Ebin.” Ok, it seems totally obvious now but I was super blazed. I was like, “Oh ****! This is that song. That guy Brad from UCSC. This is the song. Right, Sublime, now I remember. Could it be?”
I rushed over and found the Album since the single didn’t even have a sleeve. I looked at the pictures. “Yes, is it? Yes, that’s Brad.” I checked the liner notes, “Bradley” close enough. “That’s Brad. Wow! This is my song. Weird -- that’s cool.
I went back to work and called Skunk records I was going to hit them up for an ad. They thought it was funny that my name was Eben and I was like, “Yeah, I’m Ebin. Well, I’m not Ebin but that’s my song. I went to school with Brad at UCSC.”
If they were skeptical they didn’t show it and even agreed to tell Brad I said “What up.” It was also agreed that they would send my some Sublime t-shirts and the next time they played in SF, they would hook me up with passes and facilitate a reunion.
When I got the swag box I was stoked. They sent me a copy of Robbin’ in the Hood and a t-shirt with a Tabasco logo bite that I thought was supremely cool. They also sent me some stickers with “Sublime” written in old English vato writing that I thought looked super cool because they reminded me of the punk rock scene growing up in Oxnard and Ventura. I started listening more closely to my Sublime CD’s and developed a true appreciation for the music. I even started to like the song Ebin.
I liked it so much in fact that I never even thought about seeking any sort of compensation (although a writing credit would be the utmost honor. Whatever though -- I just figured Brad took my song and made it cool. He made it much better than I ever did or could have. In all honesty I’m grateful for that. It later became clear to me that the power in Brad’s gift as a songwriter was in his ability to fuse disparate styles and songs and blend them into something new and wholly his own. To be a piece of that puzzle is a huge honor and puts a smile on my face just thinking about it. Brad’s talents really were a gift and he was very generous in sharing them with us.

In a strange addendum to the story as the nineties wound on and Sublime’s star began to rise I found myself spiraling downward into the grip of addiction. I never did see Sublime or have my reunion with Brad. On May 18th, 1996 I checked into the drug detox center at Stanford Medical Center in Palo Alto. That same day Brad Nowell married his fiancé Troy, the mother of their 11-month-old son Jacob Nowell. On May 23rd I transferred to a six-month residential rehab program in San Francisco. I only had the few clothes that I brought with me to detox so I was in dire need of going home to pick up my belongings in order to transition into my new living situation. I did not have a car at the time so on Saturday the 24th with great trepidation I skateboarded to my house in the mission. I knew I was on shaky ground both geographically and in my recovery. I could only grab a few necessities to bring back to the rehab but I had this inexplicable urge to grab my Sublime Tabasco t-shirt. It was really the impetus of my entire journey. I don’t know what solace I sought in that t-shirt but I wanted it and I was willing to risk going into a dangerous place to get it.
Well as the story goes Sublime played their last show that night in Petaluma and early the next morning Bradley Nowell died of a heroin overdose alone in a hotel room in San Francisco. When I heard the news I was shocked. I got goose bumps. It wasn’t supposed to happen. We hadn’t had our reunion. My story would never be validated. The letter was gone. My brush with greatness evaporated into the ethers. I was saddened but mostly it was just eerie. Why had I gone back for the shirt? Why was I sober and he was dead? Why was he in San Francisco in such proximity? Just eerie.
When I got to work the next day I immediately called my buddy over at Skunk records and expressed my deep sorrow and hoped to comfort his pain. I told him about the shirt that he had sent me and how at that very time I was newly clean and living in a rehab. We talked about Brad’s attempts at getting clean and how optimistic he’d seemed about life, his family, fatherhood, and his new record. I have to say it was one of the realest most, heart-wrenching conversations I’ve ever had.
Well, here we are. It’s 2006 and ten years have gone by. By the time you read this I will, God willing, have celebrated my 10th year clean and sober. I have a son now, Aidan, who is around the same age Jacob was when Brad died. God, Jacob must be eleven years old now, old enough to read this article, old enough to miss the dad he never really knew in a real and tangible way, old enough to start shredding on guitar and writing and singing songs of his own.
To Brad’s family I send my condolences. To all those that miss him and were touched by his music I say we were so lucky, and to Bradley I want to say “THANK YOU!”

Eben Sterling



Vince’s AllExperts.com question to Matt on Jan. 22, 2007 (about 5 months before the release of the 102 track version of RS)

I have been a huge fan of the Sublime bootlegs for years and I had downloaded every file from Sublemon and Sublime Archives before they got shut down. My favorite of all these bootlegs was, indeed, Rewind Selector. It is incredible to be able to communicate with the man who created such a fine mix of Sublime's music and influences.

I am also a Sublime expert on AllExperts, and I am also extremely interested in bands that influenced Sublime, and I listen to music by the Minutemen, the Specials, Horace Andy, Bob Marley, NWA, Public Enemy, Toots and the Maytals, Peter Tosh, Minor Threat, Half Pint, the Born Jamericans, the Ziggens, KRS-One, and so many others.

When did you first create the bootleg, and how long did it take to create? What software was used to mix the tracks together, and how did you locate each song that was mixed with the Sublime versions?

My biggest question would be... would you ever consider making a new version of Rewind Selector? There are so many more covers and samples taken from other bands that aren't covered in the 56 songs on the original Rewind Selector.

I had created a list months ago which documents a vast majority of the songs that Sublime covered or took samples from. Here is the list, which I originally posted at SublimeSpot here. (You must be a member of the site to view it)

viewtopic.php?t=27654

[Rats]

As you can see, there are so many other covers and samples that are not revealed in the original Rewind Selector, especially after the release of the new Everything Under The Sun box set. I am entirely serious in asking if you would be interested in creating, or helping someone else create, a new Rewind Selector bootleg that documents even more Sublime material, while still keeping original Selector material intact. I have been thinking about a new Rewind Selector bootleg for months, and would love to see one come together. In my opinion, you are the perfect person to ask about this. Please message me back.

-Vince

Matt’s Reply:

Vince,

Thanks a ton for your interest in my work. Let me preface this response by giving credit to a guy named heLTa for creating the original Rewind Selector. It was project of his mind that I picked up and turned into more of a catalog of Sublime's roots. I built from his 14 (?) track version and added to it religiously for a while, considering it to be a living work that I would always expand upon. I have not worked on it in at least 6 years and it's no longer available since http://www.sublemon.com went defunct and could no longer carry it. However, I send it out to people all the time and hand it out to anyone who is interested in giving it a spin. I find it's an easy solution to the kid who asks "Excuse me, but can you tell me which bands sound like Sublime"� That terrible cliche of a question points in the wrong direction because so many people will try to emulate Sublime's sound, but that usually leaves a bitter taste in the mouth of a fan because it can't BE Sublime. Instead, I tend to focus on what Sublime liked and what they mixed in their "rub-a-dub blender” to produce tunes that fill the CDs you and I love. I hope I can prevent a few people from narrowing their horizons and looking for Pepper or Badfish (no offense to fans of those bands, they're fine, but my point remains) and instead looks outward to all the bands that Sublime liked, giving them a taste of each, and letting them decide to pursue more or not. I don't love it all, but I am interested in it all.

I'm not sure if All Experts will butcher this list, but I have a document that I work on that helps me categorize each DIRECT influence by listing the song, the artist, and, if I've done it yet, where you can unquestionably find the song in Sublime. That will be at the bottom of the page, probably jumbled and ugly, but drop me an email (this goes to anyone who reads this) at mdmaguirespam AT comcast DOT net and I'll send you the excel spreadsheet. It's very incomplete and I always add to it. I by no means will tell you that I know all of this off the top of my head, but I do know 1000 people who know 10 of these things each and I've collected the data. A special thanks to Sean who helped with much/most of the discoveries, Juhani out in Finland for some of the rarer tracks, long-time members of the Curb for a decade of information, and others for support.

Answers to your questions quick and dirty: This boot has been around for a long time, but I made a 36 track one in 2000 and made the 56 track one from 2000-2001. I have at least 15 new tracks that I'd like to do. Some are easy, but some (Doin Time, Prophet with Bobby D and SS for example) are going to be downright impossible. Am I done making them? No. I want to make more, but I do have a job and I don't have the software to do it since getting OSX for my Mac. Yeah, I used an OLDSCHOOL 400k program from VersionTracker.com to make all the tracks. It was an audio editing 2-channel freeware program (I forget the name, but it's still on my computer, but only runs on OS 9). Sean (last name omitted) did a lot of the research for stuff I never would have noticed. I compiled everything I did notice and made lists. I know so many collectors of reggae and other music that have been valuable resources and good help. I've also been on the Skunk message boards for far too long, feeding on collective knowledge. Most notably, I ran the Hotline server that was the precursor to Dunny, Chris, and Pablo's SublimeArchive and that's where all of those tracks came from. When I ran that, it was a general rule that if you had anything I was looking for, you'd donate it to help grow the collection. Worldwide knowledge can really help in monumental projects.

I can't view that list you wrote because I am required to log in and I actually don't have a username to the Spot. I applied and might get it in a day or two, but I probably know everything on your list. I didn't stop because I was done; I stopped because I wanted to do a bunch before a re-release. That day just never really happened. Here's how I would make a new RS: I could talk with you about the process (simple, but takes a lot of time and patience) and would not protest if you did some tracks with my help. I might even do them myself, but I'd want to overlook the process.



This list will grow continually with the wiki-like knowledge of many. Email me with anything that should be added. I have definitely overlooked some, and I am certain I haven’t listed everything. If you want, you will even get recognition in this text at the end. Please make sure to come back often for the most up-to-date text supplement, checking for the date in the file name. Contact me at mdmaguirespam@comcast.net.

This order and format was created by Vince and the info has come from many sources, listed in general at the bottom.

To easily find a particular song or album, press [Control + F] to open your browser's "find" option, and search for what you are looking for.


40 OZ. TO FREEDOM

Waiting For My Ruca ---- History Lesson Part II (Minutemen) [Punk rock changed our lives]

Get Out! ---- It's Expected I'm Gone (Minutemen) [drum fill]
Get Out! ---- Slow Ride (Beastie Boys) [opening horns]
Get Out! ---- Clean Up Woman (Betty Wright) [background sample]
Get Out! ---- If It Ain't Ruff (N.W.A) [let me bust a freestyle then]
Get Out! ---- Clips from the film Scarface [**** you mang!]
Get Out! ---- **** 'Em (The Geto Boys) [I got a bone to pick]
Get Out! ---- Moby Dick (Led Zeppelin) [drumroll at 1:14]
Get Out! ---- Lemon Song (Led Zeppelin) [bassline at the end]
Get Out! ---- Four Legged Zoo (School House Rock) [ 1, 2, 3, 4, elk and bison, a gnu or two]

Smoke 2 Joints ---- Smoke 2 Joints (Toyes)
Smoke 2 Joints ---- Clips from Beyond The Valley of the Dolls [reefers...]
Smoke 2 Joints ---- Outside! (Ziggens) [smoked cigarettes...]
Smoke 2 Joints ---- Na Touch Da Jus (Just Ice) [smoke a big spliff...]
Smoke 2 Joints ---- We Want Eazy (Eazy E) [Aw, Yeah.]
Smoke 2 Joints ---- No More Questions (Eazy E) [Eazy E were you...]
Smoke 2 Joints ---- Rock Me Tonight (Freddie Jackson) [Rock me tonight for old times sake]

We're Only Gonna Die ---- We're Only Gonna Die (Bad Religion)
We're Only Gonna Die ---- Clips from the film Network [punks are running wild in the street...]

Don't Push ---- Could You Be Loved (Bob Marley)
Don't Push ---- Comfortably Numb (Pink Floyd)
Don't Push ---- Buffalo Soldier (Bob Marley) [Stolen from Africa]
Don't Push ---- Lookin' Down the Barrel (Beastie Boys) [Racism is schism]
Don't Push ---- Up All Night (Boomtown Rats)[Up all night]
Don't Push ---- Wake the Town (Tenor Saw) [Go and wake the town, tell the people the news... tell them reggae music is on the loose)

5446 / Ball and Chain ---- 5446 Was My Number (Toots and the Maytals)
5446 / Ball and Chain ---- Boops (Supercat) [Say Boops stay... kissed and caressed]

Badfish ---- Nite Klub (The Specials) [Parasite... creep at night]
Badfish ---- All the Fun That We Missed (The Ziggens) [inspiration for the song, confirmed in the sublime live 94-96 DVD]

Let's Go Get Stoned ---- Let's Go Get Stoned (Ray Charles) [lets...]
Let's Go Get Stoned ---- The New Style (Beastie Boys) [Drumroll and KICK IT!]
Let's Go Get Stoned ---- Just Don't Bite It (N.W.A) [damn... lick my balls]
Let's Go Get Stoned ---- Contract on the World (Public Enemy) [WORD!]
Let's Go Get Stoned ---- #1 Hit Song (Minutemen)
Let's Go Get Stoned ---- Rebel Without A Pause (Public Enemy) [The rhythm the rebel]

New Thrash ---- I Don't Live Today (Jimi Hendrix) [there ain't no life nowhere]

Scarlet Begonias ---- Scarlet Begonias (Grateful Dead)
Scarlet Begonias ---- Funky Drummer (James Brown) [drum fill]

DJs ---- Ride Natty Ride (Bob Marley) [dreadie got a job to do...]
DJs ---- Message to You, Rudy (Specials) [stop your messing around]
DJs ---- Na Touch Da Jus (Just Ice) [all of the people surely you've taken a lesson...]

Right Back ---- Mix Up Mix Up (Bob Marley) [Bright holiday - holiday!]

What Happened ---- Tequila (Champs)
What Happened ---- Rhapsody in Blue (George Gershwin) [opening horn sample]

New Song ---- Atomic Dog (George Clinton) [Why must I feel like that?]
New Song ---- Can't Do Nuttin' For Ya Man (Public Enemy) [Runnin' from a gun, or some brain that weighs a ton]

Date Rape / Rawhide ---- Rawhide (Frankie Laine)

Hope ---- Hope (Descendents)

KRS-One ---- Charlie Mack (DJ Jazzy Jeff & the Fresh Prince) [drum beat]
KRS-One ---- You Must Learn (Boogie Down Productions) [Must Learn...]
KRS-One ---- Tough (Kurtis Blow) [Damn Tough!]
KRS-One ---- Breath Control (Boogie Down Productions) [chorus]
KRS-One ---- The Style You Haven't Done (Boogie Down Productions) [Be a producer, Be-biddy by-by-by]

Rivers of Babylon ---- Rivers of Babylon (The Melodians)


ROBBIN' THE HOOD

Waiting For Bud ---- Basketball Throwdown (Fantastic Freaks & The Cold Crush Brothers) [I told ya'll, here they come now, you see that?...]

Steady B Loop Dub ---- Bring the Beat Back (Steady B) [beat sample]
Steady B Loop Dub ---- Look Youthman (Barrington Levy) [Jah Jah is coming]

Steppin' Razor ---- Steppin' Razor (Peter Tosh)

Greatest Hits ---- Diseases (Michigan & Smiley) [Opening guitar riff]

Free Loop Dub ---- Loaded (Primal Scream) [sample]
Free Loop Dub ---- Chuckie (Geto Boys) [****! Chuck's on a killing spree...]

Saw Red ---- She's Mine (Barrington Levy) [Everyday I love her just a little bit more...]

Cisco Kid ---- Clips from the Cisco Kid TV show [Here's adventure...]
Cisco Kid ---- Introduction (Guru) [horn sample]
Cisco Kid ---- When the Music's Over (Doors) [organ sample]
Cisco Kid ---- Clips from the movie Scarface [...eating pussy?]
Cisco Kid ---- Lost Mi Love (Yellowman) [She must have gone with the boss D.J.]

STP ---- I Second That Emotion (Smokey Robinson) [gonna give me kisses sweet...]

Boss DJ ---- Do It Twice (Bob Marley) [partial cover]
Boss DJ ---- Roots Rockin' (Aswad) [partial cover]

Falling Idols ---- Falling Idols (Falling Idols)

All You Need ---- Fight Like a Brave (Red Hot Chili Peppers) [no one can tell you, you've got to be afraid...]

Farther I Go ---- Farther I Go (Mudhoney)


SUBLIME (DELUXE EDITION)

Trenchtown Rock ---- Trenchtown Rock (Bob Marley)

Doin' Time ---- Summertime (Gershwin)
Doin' Time ---- I Wish (Skee Lo) [sample]
Doin' Time ---- Jump for Jah (Ini Kamoze) [we've come off the shelf...]
Doin' Time ---- Slow and Low (Beastie Boys) [we can move it like this, it's the place to be]

What I Got ---- Loving (Half Pint)
What I Got ---- Lady Madonna (Beatles)
What I Got ---- My Mom Smokes Pot (Rolling Scabs)
What I Got ---- Life Is Too Short (Too Short) [Too Short!]
What I Got ---- Nappy Heads Remix (Fugees) [...with my bulletproof vest]
What I Got ---- Have Your Ass Home by 11 (Richard Pryor) [**** you, you can't even sing]

Wrong Way ---- It's Up To You (The Specials) [It's up to you, what you really wanna do]

Pawn Shop ---- War Deh Round a John Shop (Wailing Souls)

April 29, 1992 ---- Black Korea (Ice Cube)
April 29, 1992 ---- Deep Cover (Dr. Dre / Snoop Dogg) [187...]
April 29, 1992 ---- Shook One Part I (Mobb Deep) [sample]
April 29, 1992 ---- La Di Da Di (Dougee Fresh) [I'm feeling sad...]
April 29, 1992 ---- Original Gangster of Hip-Hop (Just Ice) [Homicide, never doin' no time]

Seed ---- Mr. Moto (Bel- Airs) [solo cover]

Jailhouse ---- Jailhouse (Bob Marley)
Jailhouse ---- Roll Call (Tenor Saw) [Version, version, reggae version]

Caress Me Down ---- Caress Mi Down (Clement Irie)
Caress Me Down ---- Pumpkin Belly (Tenor Saw) [Bassline]

The Ballad of Johnny Butt ---- The Ballad of Johnny Butt (Secret Hate)

Same In the End ---- I Can See For Miles (Who) [I can see for miles and miles and miles]

Get Ready ---- Are You Ready? (Frankie Paul)
Get Ready ---- contains elements from a KRS-One Speech

Garden Grove ---- Funky Worm (Ohio Players) [sample]
Garden Grove ---- Dread Beat An' Blood (Linton Kwesi Johnson) [sample]

I Love My Dog ---- I Luv I Jah (Bad Brains)

Little District ---- Little District (Eric Monty Morris)

Zimbabwe ---- Zimbabwe (Bob Marley)

What I Got Alternate Version ---- Round 6 (Prince Jammy)


SECOND HAND SMOKE

Get Out! Remix ---- Cremation Services (Jerky Boys) [you're driving me ****in' nuts over here, chief...]

Don't Push ---- Rough and Rugged (Shinehead) [rough and rugged, I keep my body strong...]

Legal Dub ---- Legalize It (Peter Tosh)

Doin' Time Eerie Splendor Remix ---- Green Eyed Lady (Jerry Corbetta)

ACOUSTIC: BRADLEY NOWELL AND FRIENDS

Big Salty Tears ---- Big Salty Tears (Ziggens)

Marley Medley ---- Guava Jelly (Bob Marley)
Marley Medley ---- This Train (Bob Marley)
Marley Medley ---- Cornerstone (Bob Marley) [Stone that the builder refused...]

Eye of Fatima ---- Eye of Fatima, Part I (Camper Van Beethoven)

It's Who You Know ---- It's Who You Know (X)

EVERYTHING UNDER THE SUN

Roots of Creation ---- Mi Believe Summer Holiday (Yellowman) [My ink is dry, My love for you, it will never ever die...]

Johnny Too Bad ---- Johnny Too Bad (Slickers, then covered by UB40)

I'm Not A Loser ---- I'm Not A Loser (Descendents)

'91 Freestyle ---- Hip Hop Rules (Boogie Down Productions)

Shame in Dem Game ---- Shame In Dem Game (HR)

Angelo ---- Do You Want Me (Salt-N-Pepa) [No time for funny games, that ain't even why I came]

One Cup of Coffee / Judge Not ---- Judge Not (Bob Marley)
One Cup of Coffee / Judge Not ---- One Cup of Coffee (Bob Marley)

Lou Makes Friends ---- Lazer Beam (Don Carlos) [Pass Me the Lazerbeam...]

Youth Are Getting Restless ---- Youth Are Getting Restless (Bad Brains)

House of Suffering ---- House of Suffering (Bad Brains)

Great Stone ---- Elementary (Horace Andy) [Check out my style...]
Great Stone ---- Great Stone (Half Pint) [Under that great stone...]
Great Stone ---- Real Ting (Mad Lion) [Real, real real, Jah so real to me]

Minor Threat ---- Minor Threat (Minor Threat)

Legalize It ---- Prison Oval Rock (Barrington Levy) [Cool and deadly...]

Foreman Freestyle ---- Lowrider (War)

Prophet ---- Ain't No Prophet (Slightly Stoopid)
Prophet ---- If I Were A Carpenter (Bobby Darren) [Would you marry me anyway]

Miami ---- contains elements from a KRS-One Speech [can you stand the rain?]

Foolish Fool ---- Foolish Fool (Dee Dee Warwick)

89 Vision ---- Hip Hop Rules (Boogie Down Productions) [Is it because we got the 89 vision?]

Sweet Little Rosie ---- Sweet Little Rosie (Major Worries)

Just Another Day ---- Just Another Day (Falling Idols)

Prince of Sin ---- Prince of Sin (Falling Idols)

At It Again ---- Dancehall Vibes (Half Pint) [Don't mean to brag, Don't mean to boast...]
At It Again ---- Ko Lo Ko (Clement Irie) [Don't touch the ko lo ko... don't touch the crack]

Real Situation ---- Real Situation (Bob Marley)

Soundcheck Jam ---- Send A Moses (Barrington Levy) [Bassline]

Hong Kong Phooey ---- Hong Kong Phooey (performed by Scatman Crothers, written by Hanna/Barbera)

Leaving Babylon ---- Leaving Babylon (Bad Brains)


MISCELLANEOUS LIVE / BOOTLEG MATERIAL

100 Weight of Collie Weed ---- 100 Weight of Collie Weed (Carlton Livingston)

A Ninja Me Ninja ---- A Ninja Me Ninja (Courtney Melody)

Adult Books ---- Adult Books (X)

Brand New Day ---- Brand New Day (No Doubt)

Cost of Living / Level the Vibes ---- Cost of Living (Half Pint)
Cost of Living / Level the Vibes ---- Level the Vibes (Half Pint)

Craven Choke Puppy ---- Craven Choke Puppy (Bob Marley)

Crazy / Tie One On ---- Crazy (Patsy Cline)
Crazy / Tie One On ---- Tie One On (The Ziggens)

Dachau Cabana ---- Dachau Cabana (Vandals)

Dr. Woo ---- Dr. Wu (Minutemen, Steely Dan)

Fugees Freestyle ---- Vocab Hip-Hop Remix (Fugees)

Good Old College ---- Good Old College (Red Dragon)

Hammer ---- Hammer (Bob Marley)

I Shot the Sheriff ---- I Shot the Sheriff (Bob Marley, Eric Clapton)

Jamming ---- Jamming (Bob Marley)

King Step Dub ---- King Step (Pato Banton)

Lou Dog Went To the Moon ---- the Day That Lassie Went To the Moon (Camper Van Beethoven)

MyAge ---- MyAge (Descendents)

Our Faith ---- Our Faith (Bad Brains)

Party at Ground Zero ---- Party at Ground Zero (Fishbone)

Prison Oval Rock ---- Prison Oval Rock (Barrington Levy)

Ring the Alarm ---- Ring the Alarm (Tenor Saw)

Romantic Girl ---- Romantic Girl (Winston Reedy)

Saw Red Bandelero ---- Bandelero (Pinchers)

Sour Grapes ---- Sour Grapes (Descendents)

Tim the Dinosaur ---- Tim the Dinosaur (Ziggens)

Unite ---- Unite (Courtney Melody) [Wanie was a good boy, Wanie was a boy who steals]

War on the Boulevard ---- War On the Boulevard (Falling Idols)

Warning Sign ---- Warning Sign (Born Jamericans)

Welcome, Tomorrow ---- Welcome, Tomorrow (Love and Rockets)

Winner Takes It All ---- Winner Takes It All (Half Pint)


SOURCES

Matt Maguire & heLTa, the creators of Rewind Selector: 56-track version
the liner notes of the albums
the iTunes Music Store for the previews
other SublimeSpot threads
http://everything2.com/
http://robbinthehood.com/wiki/index.php?title=Main_Page
http://en.wikipedia.org/wiki/Main_Page
the original rewind selector bootleg (thanks, swanny!)
www.sublemon.com

Thanks to Stephen Bowling for being a gracious host!
Thanks to the Sublime Archives for the rare Sublime, Falling Idols, and Ziggens songs!

[James6610198]

Not sure if anyone has contributed this one.. But on the track "At It Again" at 3:20 a sample from King Tubby's "The Immortal Dub" is mixed in...