Sublime 40oz To Freedom Album Free Download
| 40oz. to Freedom | ||||
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| Studio album past Sublime | ||||
| Released | June 1, 1992 | |||
| Recorded | 1991–1992 at Mambo in Long Beach, California | |||
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40oz. to Freedom is the debut studio album past the Southern California ska-punk band Sublime, originally released on Skunk Records and later reissued by MCA. 40oz. to Freedom received mixed disquisitional reviews upon its first release merely has earned an improved public perception since. Sublime would not achieve any mainstream success until the release of their eponymous album in 1996, two months after the death of their lead singer and guitarist, Bradley Nowell. Every bit of 2011, the album has certified sales of two million copies in the US and is Sublime's 2nd best-selling studio album at that place (the self-titled album leads with half-dozen 1000000). Along with The Offspring's 1994 anthology Smash, 40oz. to Liberty is 1 of the highest-selling independently released albums of all time.
40oz. to Freedom's sound blended various forms of Jamaican music, including ska ("Date Rape"), rocksteady ("54-46 That's My Number"), roots reggae ("Smoke Two Joints"), and dub ("Allow's Go Become Stoned", "D.J.due south") along with hardcore punk ("New Thrash", "Hope") and hip hop (as in "Live at Due east's").
Background [edit]
At the historic period of sixteen, Bradley Nowell began playing guitar and started his first band, Hogan'southward Heroes, with Michael Yates and Eric Wilson, who would later become Sublime'due south bassist.[1] At first, Wilson did not share Nowell's interest in reggae music. Nowell recalled the experience: "I was trying to get them to do (UB40's version of) 'Carmine Oh Baby', and it didn't piece of work. They tried, but information technology simply sounded like such garbage. We were horrible."[2]
In 1990, music student Michael "Miguel" Happoldt approached the band, offering to permit the band record in the studio at the school where Happoldt was studying. The band enthusiastically agreed and broke into the schoolhouse at nighttime, where they recorded from midnight to seven in the morning.[3] The recording session resulted in the popular cassette tape called Jah Won't Pay the Bills, which was released in 1991. The record helped the band gain a grassroots following throughout Southern California. Using the same tactics implemented for the recording of Jah Won't Pay the Bills, the band recorded 40oz. to Freedom in secrecy at the studios in California State University, Dominguez Hills.[4] Nowell recalled "You weren't supposed to be in there after 9 p.m., only nosotros'd go in at ix:30 and stay until 5 in the morning. We'd just hibernate from the security guards. They never knew we were in that location. We managed to go $30,000 worth of studio time for gratis."[4]
Influences [edit]
Sublime themselves credit a number of local reggae and rap bands from California for inspiration in their Thanx Dub. In add-on to explicit mentions of artists like KRS-One and One-half Pint, Nowell makes copious allusions to others through his lyrics. The line "Stolen from an Africa land" in "Don't Push button", for case, alludes to Bob Marley's "Buffalo Soldier". References are also fabricated to Boomtown Rats, Beastie Boys, Tenor Saw, Pink Floyd, The Specials, The Ziggens, Minutemen, Jimi Hendrix, Merely-Ice, Fishbone, Public Enemy, and Flavor Flav, amidst others.[v]
The album has six covers:
- "Smoke Two Joints" (past The Toyes)
- "Nosotros're Merely Gonna Die" (by Bad Organized religion)
- "54-46 That's My Number" (by Toots & the Maytals)
- "Scarlet Begonias" (by Grateful Dead)
- "Rivers of Babylon" (by The Melodians)
- "Hope" (by the Descendents)
The song "Don't Push" contains lyrics from the Beastie Boys vocal "Looking Down the Butt of a Gun". The song "D.J.due south" contains a lyric from Bob Marley'south "Ride Natty Ride" with "Dred gotta a chore to do". The song "D.J.s" closes with lyrics from the Bang-up Livingstone song "Rudy, A Message to You" which was popularized by The Specials, another ring oftentimes credited as a Sublime influence. In "New Thrash," the words "There ain't no life nowhere" tin can be heard in the background, a reference to the Jimi Hendrix Feel song "I Don't Alive Today" where the same words can exist heard. "New Song" starts the aforementioned equally the 1990 song 'The Nigga Ya Dearest To Hate' by Ice Cube, with the line "I heard payback'southward a motherfuckin".
Release history [edit]
The anthology was originally released by Skunk Records on meaty disc and cassette. The original cassette version independent a longer version of the runway "Thanx"; the cassette version was v:56, while the length was iv:23 on all other releases of the album. A longer instrumental version of the recording appears on the compilation 2d-hand Smoke equally "Thanx Dub", with a length of 6:28.
The album was reissued by Gasoline Alley Records and MCA with a different runway list, removing the song "Become Out!" and the hidden rail "Rawhide" due to copyright issues — "Go out!" contained unlicensed samples, and "Rawhide", which appeared at the cease of "Appointment Rape", was an uncredited cover of the theme to the Tv series of the aforementioned name. Still, in the album booklet, the lyrics for "Get Out!" are still printed. Additionally, other unlicensed samples were removed from the songs "We're Only Gonna Dice for Our Airs" and "Let's Go Get Stoned".
The reedited version was released every bit a picture disc limited edition vinyl album in 2002, following the sixth ceremony of the events of 1996. A limited edition vinyl was released through Hot Topic in 2010.
Reception [edit]
| Review scores | |
|---|---|
| Source | Rating |
| AllMusic |   [vi] |
| Punknews.org | [7] |
| Pitchfork Media | 5.6/ten[8] |
| The Rolling Stone Album Guide | [nine] |
Pitchfork gave the album a mixed review, acknowledging its influence while also critiquing the band for attempting to include too many contradictory styles and influences at in one case, creating an incoherent audio, proverb, "The debut album from the SoCal trio is a flawed antiquity of '90s alt-stone, punk, ska, and hip-hop, simply remains a fascinating certificate of Bradley Nowell equally the honey-voiced musical tourist bro."[8]
The author of the article besides called the album "prescient" in foreshadowing the role hip-hop would have on belatedly 1990s stone, adding that much of the influence of the anthology was the lifestyle captured in the lyrics, adding, "the anthology resonated considering it captured a lifestyle. Rejecting the smoldering angst of the grunge music that was first to take root on the radio, Sublime fabricated revelry their primary muse, detailing parties, hookups, and bad decisions with such rowdy immediacy." The commodity too remarks that "time hasn't flattered" the anthology due to the lyrical content concerning consent and treatment of women.[viii]
Legacy [edit]
Remembering the album on the 25th ceremony of its release, LA Weekly wrote, "If 40oz. to Liberty revels in its careening, narcotic whimsy, that's partially why it's stood the test of fourth dimension. At its core, music is utilitarian, and Sublime reached a universality of experience that can't become obsolete."[ten]
Commercial performance [edit]
Since its release in 1992, the album has proved to exist a seller over fourth dimension, moving over ii million copies in the Us alone and being certified Multi Platinum by the RIAA.[11]
Runway list [edit]
All tracks produced by Sublime and Elephant Levitation, except where noted. Track list adapted from Tidal.[12]
| No. | Title | Author(due south) | Producer(s) | Length |
|---|---|---|---|---|
| 1. | "Waiting for My Ruca" |
| Sublime | 2:20 |
| 2. | "Get Out!" | 3:32 | ||
| 3. | "40oz. to Liberty" |
| Sublime | 3:02 |
| 4. | "Fume Two Joints" |
| Miguel | 2:53 |
| five. | "We're Simply Gonna Die for Our Arrogance" | Greg Graffin | three:27 | |
| vi. | "Don't Push" |
| 4:18 | |
| 7. | "5446 That'due south My Number/Ball and Chain" | Frederick Hibbert | 5:17 | |
| eight. | "Badfish" | Nowell | Miguel | 3:05 |
| 9. | "Let's Go Get Stoned" |
| three:32 | |
| 10. | "New Thrash" |
| i:30 | |
| 11. | "Scarlet Begonias" |
| Miguel | 3:31 |
| 12. | "Live at Eastward'southward" |
| 3:08 | |
| thirteen. | "D.J.s" | Nowell | three:xviii | |
| xiv. | "Chica Me Tipo" |
| 2:16 | |
| fifteen. | "Right Back" |
| 2:49 | |
| 16. | "What Happened" | B.B. King | 3:27 | |
| 17. | "New Song" |
| 3:14 | |
| 18. | "Ebin" |
| iii:32 | |
| 19. | "Appointment Rape / Rawhide" |
| 4:38 | |
| 20. | "Hope" | Milo Aukerman | 1:43 | |
| 21. | "KRS-1" |
| two:23 | |
| 22. | "Rivers of Babylon" |
| two:29 | |
| 23. | "Thanx" |
| 5:56 | |
| Full length: | 75:22 | |||
| No. | Title | Length |
|---|---|---|
| 23. | "Thanx" | iv:23 |
| Total length: | 73:48 | |
| No. | Title | Writer(due south) | Producer(s) | Length |
|---|---|---|---|---|
| ane. | "Waiting for My Ruca" |
| Sublime | two:xx |
| two. | "40oz. to Freedom" |
| Sublime | iii:02 |
| three. | "Fume Two Joints" |
| Miguel | 2:53 |
| 4. | "We're Only Gonna Die for Our Arrogance" | Greg Graffin | 3:27 | |
| 5. | "Don't Push" |
| 4:18 | |
| 6. | "5446 That's My Number/Ball and Chain" | Frederick Hibbert | 5:17 | |
| seven. | "Badfish" | Nowell | Miguel | 3:04 |
| viii. | "Let's Go Get Stoned" |
| 3:32 | |
| nine. | "New Thrash" |
| 1:thirty | |
| ten. | "Crimson Begonias" |
| Miguel | iii:31 |
| 11. | "Live at E's" |
| 3:08 | |
| 12. | "D.J.s" | Nowell | 3:18 | |
| thirteen. | "Chica Me Tipo" |
| ii:16 | |
| fourteen. | "Correct Back" |
| 2:49 | |
| 15. | "What Happened" | B.B. King | 3:27 | |
| xvi. | "New Song" |
| 3:14 | |
| 17. | "Ebin" |
| 3:32 | |
| xviii. | "Date Rape" |
| iii:38 | |
| nineteen. | "Promise" | Milo Aukerman | 1:43 | |
| xx. | "KRS-One" |
| 2:23 | |
| 21. | "Rivers of Babylon" |
| 2:29 | |
| 22. | "Thanx" |
| five:56 | |
| Total length: | 69:15 | |||
Personnel [edit]
Sublime
- Bradley Nowell – vocals, guitar, and percussion
- Eric Wilson – bass, vocals (runway #12), and xylophone (track #22)
- Bud Gaugh – drums and percussion (tracks #8, #ix, #13, and #17)
Other Personnel
- Marshall "Ras Mg" Goodman – drums (all tracks except #8, #ix, #13, and #17), turntables, samples, and vocals (runway #12)
- Brian Wallace – baritone saxophone
- Chris Hauser – trumpet
- Michael "Miguel" Happoldt - vocals for Thanx, producer, mixer, unofficial member
Production [edit]
- Producers: Michael "Miguel" Happoldt, Sublime, Elephant Levitation
- Engineers: Anthony Antoine Arvizu, Steve McNeil
- Mastering: Brian Gardner
- Artwork: Opie Ortiz
- Photos: Josh Coffman
Nautical chart positions [edit]
Album [edit]
| Twelvemonth | Album | Chart | Position |
|---|---|---|---|
| 1995 | 40oz. to Liberty | Heatseekers | No. fifteen |
External links [edit]
- Official Sublime website
References [edit]
- ^ Smith, RJ (1997-01-06). "Drug Bust: When Brad Nowell Died of a Heroin Overdose". Spin . Retrieved 2011-02-04 .
- ^ Boehm, Mike (May four, 1995). "Sublime Making the Most of '40oz.' of Success". Los Angeles Times . Retrieved December 4, 2011.
- ^ "Sublime". Behind the Music. May xxx, 2001. VH1. Retrieved February 2, 2011.
- ^ a b Liberty du Lac, J. (November 5, 1995). "Ska'southward the Limit for Controversial Band Sublime". The Sacramento Bee. Cheryl Dell.
- ^ "sublime STP". sublime STP. Retrieved 2011-03-15 .
- ^ Allmusic Review
- ^ Punknews.org Review
- ^ a b c Rytlewski, Evan. "Sublime: 40oz. to Freedom Album Review". Pitchfork . Retrieved 30 April 2019.
- ^ Cross, Charles R. (2004). "Sublime". In Brackett, Nathan; Hoard, Christian (eds.). The New Rolling Stone Album Guide (4th ed.). Simon & Schuster. pp. 790. ISBN0-7432-0169-8.
- ^ Jeff Weiss (2 August 2017). "The Haters Are Wrong: Sublime's 40oz. to Liberty Is a Long Beach Archetype". LA Weekly . Retrieved 18 April 2017.
- ^ RIAA – Golden & Platinum Archived June 26, 2007, at the Wayback Car (blazon in "Sublime" in the artist box)
- ^ "Try the TIDAL Web Player". listen.tidal.com . Retrieved 15 Jan 2019.
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