{excerpt from my unpublished book On Rock Music within the 1990s} .. Eric Wilson’s bass is the alpha male. Bradley Nowell’s voice is incandescent, voluminous, damaged, almost feminine. The track opens with a spliced, stuttered and generally bamboozling drum beat.  Michael “Miguel” Happoldt handles the mix and this is garage rock reggae, sans horns, to … Continue reading “Chapter 3: On Sublime, The ’90s’ Misunderstood Problem Child”