It’s been more then ten years since Sublime’s Bradley Nowell passed away, ending the band just as they hit the big time with their nineties hits, “What I Got,” “Wrong Way,” and “Santeria.” Since then, fans have gobbled up live records, acoustic outtakes, remixes, and box sets of the band’s material, hungry for anything beyond Sublime’s three albums (40 oz. To Freedom, Robbin’ the Hood, and Sublime). However, this year fans were given a sort of resurrection, as surviving members Eric Wilson (bass) and Bud Gaugh (drums) announced the formation of a new group with singer/guitarist Rome Rameriez. Calling themselves Sublime with Rome (as the Sublime name is trademarked by the Bradley estate), the new trio put out the first record of new Sublime material in years, Yours Truly. The question is, how does the record stand up to the previous albums?
Same in the End
Truthfully, Yours Truly is less of a Sublime album, and more of a spin-off from the two surviving members. Which is not to say that it’s terrible - Rameriez sings in a voice close to Nowell, and moves well between the punk and reggae that make up Sublime’s influences. Many of the tracks feel like classic Sublime, such as the first single “Panic.” This cut is the most reminiscent of Nowell, as the band switches between hard-driving verses and a bouncy chorus, both full of loud guitars and dub-heavy bass. Rameriez brings his A-game vocally; while he sounds like himself, he brings Nowell to mind so well, it’s hard to tell who's singing at points. Other tracks, such as “Murdera” and “My World” have the same impact and punk-reggae appeal , although the metallic “Paper Cuts” feels too raw and unformed to work.
The band is also mindful of its past pop success. The mellow “PCH” brings to mind what might have been if Nowell had been able to write beyond “What I Got.” It’s a strummy, acoustic song with a strong hook that brings to mind California beaches and sunshine. Much of the album’s second half follows this formula, with “Same Old Situation” a gorgeous pop-reggae song, and the melodic, but still hard, “You Better Listen.” The album’s final track, “Can You Feel It?” which features rapper Wiz Khalifa, is another great song that references classic Sublime.
Wrong Way
Yet even with these positives, there are several factors dragging the album down. First and foremost is Rameriez himself, but not through any fault of his own. It isn’t fair to expect him to meet or surpass Bradley Nowell, and he handles himself well on such a high-pressure outing. Yet it’s undeniable that Rameriez’s soulful voice evokes Bruno Mars as well as Nowell. And despite his best efforts, Rameriez seems incapable of the pure punk rawness that Nowell managed just as well as his reggae crooning. The lyrics are another issue. They feel sanitized, without the frat-boy jokiness that Sublime was famous for. Some songs, like “Lovers Rock,” and “Spun,” feel like songs purely written for the radio, and there’s a great deal of focus on relationships throughout (most likely due to the young Rameriez). It gives the album a one-note feel, like a young band writing about first heartbreak and trying to echo Sublime at the same time. Finally, the production makes the record feel far too slick; it emphasizes all of the weakness, while coating them in a pop sheen in an attempt to cover them.
What They Got
While Yours Truly won’t be another classic Sublime album, it’s not a failure either. As mentioned before, it isn’t fair to expect Sublime with Rome to meet the standards of the original group, and it’s unlikely they’re trying to. Rome Rameriez can bring to mind Bradley Nowell, but he’s clearly his own performer, and he brings that to the group. Gaugh and Wilson still play well and are smart enough to know having someone come in and just emulate Nowell would seem like a cheap cash-in. At least in this way, it feels like a new direction, and if it gets a new generation interested in Sublime, then it’s a worthy effort. So if you are Sublime fan, you will probably enjoy this record. But you’ll still wish Bradley was with us.
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