The ska-punk, reggae blend that Sublime would later explode with in the mid- to late-’90s wasn’t quite what cool kids were listening to in 1992. Pantera, Beastie Boys, Sonic Youth, Alice in Chains, Stone Temple Pilots and even Megadeth were having memorable years with huge releases, but the third wave of ska, popularized in Orange County, Calif., was still years away from tapping into the mainstream. When Sublime released their 40oz. to Freedom album, the band’s first, it delivered a mishmash of world music like ska, rocksteady, roots reggae and dub, and meshed it with punk and hip hop. Following in the footsteps of Angelo Moore’s ingenious Fishbone, 40oz. left its own stamp on the west coast music world, one that was seething just below the surface, biding its time.

Written by singer/guitarist Bradley Nowell, bassist Eric Wilson, and drummer Bud Gaugh, the debut record was released on Skunk Records in June of 1992, introducing their unique blend to a new, MTV-hopped generation. While the album remains one of the most youthful and frenzied debuts of the ’90s, Sublime had zero problem wearing its influences on its (record) sleeve. Here’s a deep dive of the cover songs and influences strewn across Sublime’s first—and best—album.

“Smoke Two Joints”
The album’s red hot fourth track was originally written by The Toyes, an American reggae band based in Oregon. The track was cut almost a full decade before Sublime in 1983 and was re-released on The Toyes’ eponymous debut in 1993. The band was well known for their advocacy of the legalization of marijuana (duh), and also for its parody of Bobby “Boris” Pickett’s Halloween favorite, “Monster Mash.” (Theirs was named, you guessed it, “Monster Hash.”)

The Toyes – Smoke Two Joints [HD]

The Toyes are great, buy their CDs or check them out on iTunes.

“We’re Only Gonna Die For Our Arrogance”
Another 40oz. cover came from the 80’s, but this time from punks Bad Religion. Sublime’s version starts with ska guitar but quickly turns thrashy, while the original is a straight up punk tune from its very first licks. Written by Bad Religion frontman Greg Graffin (and originally titled “We’re Only Gonna Die”), the original is found on the band’s debut album, How Could Hell Be Any Worse? released in 1982. It’s safe to say that Bad Religion were a huge influence to the heavier stylings of Sublime found on 40oz. and elsewhere. 

Bad Religion- We’re Only Gonna Die (From Our Own Arrogance)

Early man walked away as modern man took control. Their minds weren’t all the same, to conquer was his big goal, so he built his great empire and slaughtered his own kind, then he died a confused man, killed himself with his own mind. go! We’re only gonna die from our own arrogance.

“54-46 That’s My Number”
The first half of Sublime’s “5446 That’s My Number/Ball and Chain” can be accredited to Toots Hibbert. Recorded by his band, Toots & the Maytals, “54-46 (That’s My Number)” was one of the first ska songs to receive widespread acclaim outside of Jamaica, and since, remains one of the most defining tracks of the reggae genre (at least from an American perspective). The lyrics describe Toots’ time in prison after being arrested for marijuana possession. Two Toots versions were released, one in 1968 and the other the following year.

54-46 Was My Number – Toots and The Maytals

Title: 54-46 Was My Number Artist: Toots and The Maytals Album: Pressure Drop – The Golden Tracks Become a fan: https://www.facebook.com/tootsandthemaytals

“Scarlet Begonias”
Dead fans certainly know this one, with lyrics penned by Robert Hunter and music written by the legend Jerry Garcia. You can find the original “Scarlet Begonias” on 1974’s From the Mars Hotel.

Grateful Dead – Scarlet Begonias (Studio Version)

best song ever woof i like skiing

“Rivers of Babylon”
This Rasta-inspired reggae tune was written and recorded by Brent Dowe and Trevor McNaughton of The Melodians in 1970. Made famous for being on the soundtrack for the 1972 film, The Harder They Come, “Rivers of Babylon” was another reggae classic granted with the honor of bringing reggae to the world. Sublime is just one of many artists to cover it: Sinéad O’Connor recorded it for her 2007 album, “Theology,” and The Neville Brothers have a version of it on their Walkin’ in the Shadow of Life album released in 2004, to name a few. Unsurprisingly, none of them come close to the chill found on this original take.

MELODIANS “RIVERS OF BABYLON” PSALM 137:1

MELODIANS “RIVERS OF BABYLON” PSALM 137:1

“Hope”
And back to thrash we go with another punk cover, this time from the band Descendents. Written by singer and frontman Milo Aukerman, “Hope” was originally found on 1982’s Milo Goes to College, a record referring to Aukerman’s decision to leave the band to attend college. Descendents and Bad Religion are just a couple of the bands who helped put the “punk” in “ska-punk” for Sublime, whose version of “Hope” is louder and more aggressive than its predecessor.

Descendents – Hope

Artist: Descendents Album: Milo Goes to College Track: Hope

“D.J.s”
“D.J.s” (often covered with love by contemporaries No Doubt) contains lyrics from Bob Marley’s “Ride Natty Ride” (Dready got a job to do / And he’s got to fulfill that mission / To see his hurt is their greatest ambition, yeah! / But we will survive in this world of competition…”). The track ends with lyrics borrowed from Dandy Livingstone’s “Rudy, A Message to You,” popularized by Britain’s 2 Tone ska revivalists, The Specials (“Stop your messin’ around, ah ah ah / Better think of your future, ah ah ah / Time you straighten right out, ah ah / Or you’ll wind up in jail”). Even when they weren’t straight up covering someone else’s material, Sublime was always paying homage.

Sublime – D.J.s

Sublime

This barely scratches the surface. Sublime constantly scratched in dubs and samples from their favorite hip hop tracks and MCs, while referencing even more of their favorites lyrically. This continued with 1994’s Robbin’ the Hood, and continued two years later when Sublime erupted with the release of “What I Got,” the first single off their 5x platinum self-titled record. By the time of its release, Nowell would be dead from a heroin overdose. But it was 40oz. that showed the world not only what Sublime was capable of, but also the many complexities and influences that helped shape the Long Beach, Calif. band they built.