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July 30, 1996


4.293 (average of 9 ratings)


alternative rock/ska



Album Tracks:

  1. Garden Grove
  2. What I Got
  3. Wrong Way
  4. Same in the End
  5. April 29, 1992 (Miami)
  6. Santeria
  7. Seed
  8. Jailhouse
  9. Pawn Shop
  10. Paddle Out
  11. The Ballad of Johnny Butt
  12. Burritos
  13. Under My Voodoo
  14. Get Ready
  15. Caress Me Down
  16. What I Got (Reprise)
  17. Doin’ Time

Sales (in millions):

sales in U.S. only 5.0
sales in U.K. only - estimated --
sales in all of Europe as determined by IFPI – click here to go to their site. --
sales worldwide - estimated 5.0


peak on U.S. Billboard album chart 13
peak on U.K. album chart --

Singles/Hit Songs:

  • What I Got (8/24/96) #29a US, #11 AR, #1 MR
  • Santeria (1/18/97) #43a US, #3 MR
  • Wrong Way (6/14/97) #47a US, #3 MR
  • Doin’ Time (10/4/97) #87 US, #28 MR


A 1999 reissue added extra tracks, including “Date Rap,” “All You Need,” “Lincoln Highway Dub,” “Rivers of Babylon,” and alternate versions of “Doin’ Time” and “What I Got.”

In 2006, a deluxe edition of the album restored the album’s original track listing, as it was set before Nowell’s death, and added a second disc of bonus material.





“Sublime’s eponymous major-label debut arrived a few months after the band’s leader, Brad Nowell, died tragically of a heroin overdose. As a show of sympathy, the album tended to be slightly overrated in some critical quarters, who claimed that Nowell was an exceptionally gifted lyricist and musical hybridist, but Sublime doesn’t quite support those claims. The trio does have a surprising grace in its unabashedly traditionalist fusion of Californian hardcore punk, light hip-hop, and reggae. Switching between bracing hardcore and slow, sexy reggae numbers, Sublime display supple, muscular versatility and, on occasion, a gift for ingratiatingly catchy hooks, as on the hit single What I Got.” STE

“What they don't have is the vision – either lyrical or musical – to maintain interest throughout the course of the entire album. Sublime sags when the band delves too deeply into their dub aspirations or when their lyrics slide into smirking humor. The low moments don’t arrive that often – by and large, the album is quite engaging – but they happen frequently enough to make the record a demonstration of the band’s blossoming ability, but not the fulfillment of their full potential. Of course, Nowell’s death gives the record a certain pathos, but that doesn’t make the album any stronger.” STE

Review Source(s):

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Last updated March 28, 2011.