Today, California-born ska punk band Sublime is remembered as one of the most defining—and most influential—acts of the genre. Headed by singer-songwriter Bradley Nowell, the band helped define the sound of the 1990s and even maintained close relationships with other blossoming acts of the decade such as No Doubt, Slightly Stoopid, The Butthole Surfers, and The Minutemen.
While the band had been prolific since its inception in 1988, its most popular song to date was released after Nowell’s untimely death. Indeed, “Santeria” remains a crowd favorite to generations of listeners, with its irreverent lyrics and catchy guitar riff. Nowell, unfortunately, never had the chance to witness the song’s popularity, nor did his bandmates anticipate that the track would double as a tribute.
Sublime’s Rapid Success Was Tempered By Tragic Consequences
Sublime was formed in 1988 by Nowell, Eric Wilson, and Bud Gaugh. The group’s sound initially skewed toward garage punk, but the members gradually infused elements of reggae and ska into their work. This original combination set them apart, gave their music a distinct Southern California sound (they were based in Long Beach, California), and set a template for the genre for decades to come.
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After finding their original sound, Sublime released their debut, 40 Oz. to Freedom, in 1992, finding moderate commercial success (as well as controversy for their song “Date Rape”) along with a strong cult following. The album also spurred a record deal with MCA, enabling Sublime’s second album, Robbin’ the Hood, to be released in 1994. But in spite of how successful the band appeared, all was not well among its members: Nowell was quickly developing a heroin addiction that often left him unable to continue live performances. While the singer made ardent efforts to quit—particularly before the birth of his son—he ultimately overdosed on May 25, 1996, just two months before the release of the band’s third album, Sublime.
“Santeria” Epitomized Sublime’s Signature Sound and Took Ska Mainstream
Sublime was the band’s most commercially successful album, marked by successful singles like “What I Got,” “Wrong Way,” “Doin’ Time,” and, of course, “Santeria.” The latter, in particular, is one of the band’s signature songs. The track gets its name from the Afro-Cuban religion, Santería, and its lyrics are filled with Chicano slang such as “Sancho” and “Heina.” While Nowell was white, these elements read more as nods to diversity and cultural appreciation than appropriation. Furthermore, the single’s rhythms were inspired by Jamaican reggae, though its bass line and guitar riff were lifted from the Robbin’ the Hood deep-cut “Lincoln Highway Dub.”
However, the joy of Sublime’s success was tempered by Nowell’s death—even more so because Gaugh woke from his own drug-induced stupor to find Nowell’s corpse lying beside him on that fateful day in May. In a gesture of love, grief, and appreciation, the video heavily features Nowell’s beloved Dalmatian, Lou Dog, in the video, along with Nowell’s widow, Troy Dendekker, who he married just a week before his death. Finally, and most poignantly, the video includes stock footage of Nowell himself as an angelic presence singing, playing music, and watching over the loved ones who survived him.
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During its time, “Santeria” was a crossover hit, peaking at number three on the Billboard US Alternative Airplay chart and number 43 on Hot 100 Airplay. It also did well abroad, charting in Canada while it received gold, silver, and six-time platinum certifications in Brazil, the United Kingdom, and New Zealand, respectively. Its renown has only grown since then, with the song finding its way onto popular movie soundtracks and countless playlists defining the 1990s.
In many ways, “Santeria” perfectly epitomizes Sublime’s musical style: Global, genre-defying, and tongue-in-cheek yet unexpectedly sincere, “Santeria” is just as much a summer anthem as it was when it first came out. In fact, it’s hard to even discuss Sublime without acknowledging “Santeria,” its beloved status, and its role in thrusting ska into mainstream music. One can only wish that Nowell had survived to see the song’s success.
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