Robbin' the Hood Explicit Lyrics
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Robbin' The Hood [Explicit]
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Media Type: CD
Title: ROBBIN' THE HOOD
Street Release Date: 07/18/1996
Long Beach garage kings Sublime rode the cresting wave of late-'80s/early-'90s Cali punk to a well-received 1996 major-label debut whose success was overshadowed by tragedy: frontman Brad Nowell died of a heroin overdose just a month before its release. This 1994 album was their freshman indie outing and the record that largely secured their ticket to the majors. Instead of building on the energetic, if formulaic, punk-reggae fusion of their 1992 40 Oz. to Freedom (with its sometimes awkward, too-dumb-to-be-ironic lyrical bent), Robbin' displays a Nowell whose slow evolution as a songwriter is more than compensated by an eager plundering of old-school rap influences and ska beats. It's a record that moves the band beyond often-stultifying punk clichés to a true musical adventure whose buoyant sense of discovery is almost palpable, and one that proves that their '96 big-label breakthrough was no accident. --Jerry McCulley
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(To really appreciate the gravity of this story, it needs to be understood that I bled Sublime when I was growing up. It is still my favorite band to this day. I associate the music with all of the wonderful memories I had of surfing, sneaking beers onto the local access beaches, skateboarding, eating fried seafood until I puked, catching punk and reggae bands at the local bars, blah, blah, blah.)
One beautiful day, back in 2009 or 2010, I went over to my friend's house and saw his 16 or 17 year old sister's Mini Cooper sitting in the driveway. On the back window of her car was a myriad of band stickers and surf brand logos, even though she'd never so much as floated in a kiddie pool on a surfboard (you probably already know where this is going). There was everything from various "emo" bands to Phish plastered on the ass of this car. As I walked toward the front door of the house, I noticed a vinyl Sublime sticker above the left tail light that she must have bought at one of the local head shops at the beach. I walked into the house and saw said sister sprawled on the living room couch watching Harry Potter or something of the sort on the TV. I plopped down in the recliner next to her and casually asked if I could borrow her copy of Robbin' the Hood because I had lost mine (I emphasized the "the" in the title so I could be sure she wouldn't misunderstand what I was asking for). I leaned forward in the recliner with my hands planted firmly on my knees as I stared laser beams into the top of her head while I waited for her reply. Without even bothering to lift her head from the couch, she responded (wait for it) "Which one? Prince of Thieves or Men in Tights?"
I. Saw. Red. (Yeah. It's a pun. Deal with it.)
I sat silently for a minute or two as I clung to the last fraying thread of restraint that I had left. When I finally stopped feeling my heartbeat in my eyeballs, I told her to go outside and take the Sublime sticker off of her car. If I remember correctly, I believe my exact words were: "...right F---ing now!"
If you laughed at this story, Okay. If you cried, got angry, or just shook your head in disappointment, you get it.
Seriously, though - It doesn't matter how old you are or when you first heard this band. If you want to get a full scope of what Sublime was as a band and an influence, find a way to listen to this album. I'm not even suggesting you buy it. Just listen to it. Listen to it for what it is, or more importantly, listen to it for what it isn't. That doesn't just go for Sublime, either. If you find a band you really like, seek-out the early stuff. 9 time out of 10, you'll appreciate it even more.
Oh yeah, and the Raleigh tracks are really weird and inevitably annoying, but it wouldn't be the same album if they weren't there.
Robbin' the Hood is excellent. While it's notably referenced as a cheaply produced collection, it is completely unnoticeable. I would argue that it sounds more like a major studio production, and as if it was just released this year, which adds to its overall greatness.
The tracks are laid out in beautiful, and sensible, order with minimal breaks in between. To me, the whole album feels like a jam session recorded one night in a extremely entertaining, but chaotic, setting. It captures the crisp sounds of dubbed ska with a supporting cast of character voices in the background. Oddly, the voices and music combined had an anxiolytic effect to it.
This is album is an absolute must-have, if not for the music, then simply due to the interlaced "Raleigh Soliloquies".
The people who rate this album one or two stars (even the three star reviewers) don't know JACK. They simply like Sublime for their S/T. This is what I call "Shallow Listener Syndrome", or "SLS". These people don't like anything that's not mainstream (and this album is NOT mainstream, just to clarify), and anything that's not MS, they bash...just like this album. Sure, its sound quality sucks for the most part. Look past the sound quality and see the pure genius Bradley had. Look at the funny Soliloquy tracks...they're funny even after the umpteenth time. Listen to some of the dubs...you'll find them familiar...mainly because these tracks are unfinished versions of favorites (like Santeria..or Garden Grove). Some people say this album is trash. I say, it's a treasure. If you've got SLS, don't even look into this album. If you like to dig a bit deeper in a band's roots (like me), delve right in. But listen to 40 Oz. To Freedom first, just so you get a good understanding of the band. You'll appreciate it more if you do. Peace, and RIP Bradley Nowell.
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