What I Got surely wasn't this.

Any band that characterizes themselves above everyone and everything else physical or spiritual, does not deserve a record label let alone an album named after themselves. Sublime is a term defined as so; “of outstanding spiritual, intellectual, or moral worth.” The self-titled album “Sublime” does not live up to Merriam-Webster’s straightforward definition. 

This album is in no way comparable to their first album “40 Oz to Freedom.” With songs like “Badfish”, “Rivers of Babylon”, and of course “40 Oz to Freedom”, their self-titled album seems just like an attempt to sell out.

Their hit of the 90s, “Santeria,” does not make up for the rest of the album. It does keep their laid back ska/reggae true like their previous albums. Its beautiful melody and captivating lyrics provide the listener with a sense of what Sublime once was. The lyrics creating a story that any listener can relate to. That is the job of the artist to provide their fans a relationship between them and the lyrics. “Santeria” being nearly towards the middle of the album, it provides Sublime with a peaking point, but still cannot save the album. 

Sublime appeared as a grimy, gritty album that only seemed to reach its listeners by polluting their ears with immense amounts of derogatory lyrics. “Caress Me Down,” has a catchy beat, but the burden of the song is the lyrics and story that the song explains. It begins with the bands founder, Bradley, explaining how he is getting pleasure from, Mixie, who we can assume is someone’s daughter. Later in the song, in spanish, Bradley sings “don’t be afraid, I’m your daddy.” The lyrics are not the only thing that bring the album down.

Although Sublime provides you with an almost full Compact Disc of seventeen tracks, you still get robbed by songs that sound like complete chaos. The vocals and the guitar clash on “Paddle Out.” From the beginning when vocalist’s mouth opens, it sounds like a twenty car pile up. The guitar is so abrupt. It overpowers the lyrics which, in this case, may not be that big of a problem.

Of course the album would supply you with the same song twice. One “acoustic” and one with a little more push. Put these songs side by side, although there is are differences between both versions, they are very minimal. The original has more of a hip-hop sound while the acoustic version eases up with the force.

As provided earlier, the definition of sublime does not even graze the dirty case that holds the album. There is nothing above and beyond about the self-titled album. In its sad attempts to cross their music with a more hip-hop sound, leaving behind the unique reggae once beheld on “40 Oz to Freedom,” it becomes obvious that some bands just cannot live up to their own original. With the attempt failed, it should motivate the listener to go to their refrigerator, grab a brew, toss “Sublime” to the side and previous album. Sit back and let the past heal the pain.