I’m not usually the type of person who gravitates toward the niche sub-genre of beach reads. (I typically prefer to pick up a comedian’s autobiography, a work of absurdist fiction, or a twisty thriller that keeps me up at night wondering why I did this to myself.) Still, I do believe there’s a time and place for almost everything, and some days I just need to immerse myself in something warm, lighthearted, and easy-to-read. No Doubt’s 2001 album Rock Steady, with its vibrant dancehall sounds, is like a beach read to me. It’s a sunny pop record that’s easy to sink into, and I find myself thinking about it (almost exclusively) in the summertime.
Some No Doubt fans will remember Rock Steady being played to death on MTV, but I was only about six months old when this record came out. I personally became familiar with the band through my dad, who often played their greatest hits CD during long drives in our Toyota Camry. Quite a few of the hits from that compilation come from Rock Steady, including “Hey Baby,” “Hella Good,” “Running,” and “Underneath It All.” These are the songs that make the album so memorable. While some of the other tracks border on derivative, many of them remain just as danceable with their distinct reggae rhythms. It makes for a quintessential summer sound. (Ironic, considering the record was released in December.)
While most No Doubt fans are loyal to Tragic Kingdom for its popularization of ska, a subcategory of reggae, or Return to Saturn for its satisfying punk sound, Rock Steady takes a different approach altogether. It leans hard into other branches of reggae music like dancehall and, of course, rocksteady. The inspiration for this shift came to the band during the tour for their previous album, Return of Saturn, where they spent lots of time partying to music of these genres. Dancehall suits No Doubt really well, considering their ska roots, and combined with Gwen Stefani’s raspy delivery and confessional lyrics, the result is a fun, funky coming-of-age record.
No Doubt jumps into Rock Steady guns a-blazing with their smash hit “Hella Good.” Stefani wrote this song with the intention to celebrate life, and the result is a song that oozes confidence as she triumphantly sings, “You got me feeling hella good / So let’s just keep on dancing.” The beat, created by legend Nellee Hooper, is so funky, it feels impossible not to take Stefani’s lead and “keep on dancing.” The song’s title might read cringey at first glance, but the track’s fusion of bold guitar riffs, Stefani’s raspy vocals, and vibrant synths make this song an effortless-sounding pop banger.
Recorded between London and Jamaica, the band spent much of their time in the latter location drinking rum and partying. (Guitarist Tom Dumont famously passed out drunk in the middle of a recording.) Luckily, we have the constant reveling to thank for the next track, “Hey Baby.” Inspired by the groupies who often approached the bandmates at parties, the song, produced by the Jamaican duo Sly & Robbie, is simultaneously playful and intense with its vivid lyrics and loud, bouncy beats. It’s also mixed flawlessly, so it’s no wonder “Hey Baby” remains one of the most successful No Doubt songs of all time.
While the themes on Rock Steady fluctuate, most of the album is about Stefani’s relationship with her then-fiancé, Bush vocalist Gavin Rossdale. For example, in “Making Out,” Stefani details her growing impatience with a long-distance relationship. It’s another fun track with a glitzy beat and glitchy instrumental breakdowns, but after the hits that came before, it feels half-baked with its simplistic, looped riffs. The underrated “Waiting Room” is about the same topic. With its high energy bassline and whirling guitars, it’s a track that, contrastingly, feels compelling from the start. This song was actually co-written by Prince, who apparently did some heavy re-writes, and you can literally hear him all over the song as a background vocalist. The jazzy harmonies and rhythmic lyric delivery are unexpected and fun, but the lyrical themes tie the song back to the record. “You need to be my lover/Humiliation/I’m in the waiting room,” Stefani sings.
On “In My Head,” Stefani admits to feeling distrustful of her lover. Here, guitars ring out in tense, staccato rhythms, the instrumentals reflecting the sneaky nature of the subject of Stefani’s lyrics. It’s another fun song, but the lyrics border on cringey at times. “Sometimes I think that cupid is just taking the piss / Let’s talk about how much you like me / And all that,” Stefani sings. The funky bassline and moving synth help this song end on a high note, but otherwise, the combination of cringey lyrics and simplistic guitar patterns makes me think this song would better suit an evil spider delivering a monologue in a children’s cartoon.
In “Underneath It All,” the popular rocksteady hit, Stefani finally questions whether she and her love are right for each other at all. The lyrics actually came from Stefani’s own diary, and the song was said to be written in under 10 minutes. If it wasn’t for the bittersweet lyrics, you’d think this was a beautiful, carefree ode to a lover. Instead, Stefani sings, “There’s times when I want something more / Someone more like me / And you’re really lovely/ Underneath it all / And you want to love me / Underneath it all.” Lady Saw echoes those sentiments in her own lyrics as the featured vocalist. “Aside from your temper, everything else is secure,” she sings. The words give this song a bittersweet edge, and it makes me sad to hear Stefani gaslighting herself about her own relationship. Framed by mid-tempo percussion and soaring saxophone, it’s Stefani fighting for contentment while wearing rose-colored glasses. (A tale as old as time.)
The synth ballad “Running” is another highlight of Rock Steady. With memorable synth lines and rolling acoustic guitar, this song is a stark break away from the carefree sound of the rest of the record. Stefani’s lyrics are so sincere, it feels like she’s piercing my soul. While the track is unexpected, it doesn’t feel out of place and is just another signifier of the band’s incredible versatility. “Platinum Blonde Life,” on the other hand, is a contagious early-2000s alternative rock anthem with cool guitar riffs and shimmering synthesizers. Featuring more unique production work from Ric Ocasek, we get more lore on Gwen Stefani in this track as she explains why she dyes her hair that signature color. It’s all in an effort to step into a new mindset. “And who’s fooling who with this mood like a train / Watch me roll over, get out of my way / I want a platinum-blonde life / So I keep bleaching out the color,” she sings.
The album’s title track is the perfect closer to Rock Steady. It encapsulates the overarching sound of the record with its laidback reggae beats, and also ties up the major lyrical theme. Here, Stefani fully acknowledges that her love is imperfect, but it’s something she’s decided to come to terms with. She couldn’t have known what would happen in the future, but back then, she was simply hoping that the love she had would survive. “Love is like a punishment / Homegirl here to represent / A real love survives / A rock steady vibe,” Stefani sings. (This is another song featuring flawless production, a throughline that continues to surprise me, considering how many producers worked on this thing.)
While Rock Steady traverses a lot of different genres and sounds, it doesn’t feel jumbled or chaotic. Instead, a distinct Jamaican influence makes this record come together effortlessly while helping it stand apart. While a few tracks are forgettable, some of the band’s most popular songs are on this record, as well as a few underrated picks (“Waiting Room,” “Platinum Blonde Life”). The result is a record that is charmingly uneven and deeply listenable. Rock Steady is also the last project No Doubt made together until 2012’s Push and Shove. That record, unfortunately, flopped, and many fans still consider Rock Steady to be the last true No Doubt album. I’m not sure if that’s true. All I know is that I’ve found myself getting lost in this album every summer for the last 20 years. I’ll probably do the same in all the summers to come.
