311 stands as a unique entity in the American music scene, a band that has cultivated a dedicated following, bordering on a cult, over decades. Whether they resonate with your musical tastes or not, their impact is undeniable. From their dedicated holiday, March 11th (3/11), to branded merchandise like the Grassroots Uplifter vape pen and the annual 311 Caribbean Cruise, they’ve built a strong and recognizable brand. For nearly ten years, they held a consistent presence on rock radio, a remarkable feat in the ever-changing world of music trends, especially for a rap-rock band.
Like many bands achieving multi-platinum status, 311 boasts a collection of standout songs that extend beyond just their hardcore fanbase. These tracks, while sometimes requiring a deeper listen, have proven their appeal, many becoming radio staples.
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Here’s a countdown of the Omaha, Nebraska-based quintet’s best songs, showcasing their diverse sound and enduring appeal.
10. “Prisoner” (from Transistor, 1997)
Transistor, released in 1997, is often viewed as a complex and sometimes flawed album within 311’s discography. However, within its experimental dub-infused tracks, “Prisoner” emerges as a standout. The song effectively utilizes a slack-key guitar effect, lending a unique and slightly quirky charm that permeates some of the album’s dub explorations. As the second single from Transistor, “Prisoner” sees vocalists Nick Hexum and S.A. Martinez harmonizing over a relaxed, ska-influenced melody. The chorus, while perhaps lyrically ambiguous with lines like “Twilight Zone, Twilight Zone, I’m floating in the dark alone,” still carries a soulful and carefree vibe. Despite the song’s sonic appeal, the music video is often humorously noted for the band members’ awkward dance moves.
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9. “I’ll Be Here Awhile” (from From Chaos, 2001)
While 311 is often associated with a laid-back, marijuana-friendly image, their music often incorporates complex structures that can feel somewhat heavy, hindering the breezy vibe they sometimes aim for. However, “I’ll Be Here Awhile,” the closing track from their 2001 album From Chaos, breaks free from this tendency. It’s a straightforward ska tune, offering a sense of relief and lightness after the more intricate tracks on the album. The song feels like a celebratory release, a promise kept to their fans to remain a constant presence in the music scene – “ain’t going nowhere,” as the lyrics declare. This track is a testament to 311’s ability to deliver pure, unadulterated ska energy.
8. “Amber” (from From Chaos, 2001)
“Amber” stands as 311’s most commercially successful song, and like “I’ll Be Here Awhile,” it highlights their strength in simplicity. This track from From Chaos leans into an overwhelmingly positive and almost hippie-mystical vibe. It was arguably time for 311 to release a straightforward love song, and “Amber” delivered, built upon a reggae-influenced groove that surpasses their hip-hop explorations. The song’s appeal is broad, often likened to a more laid-back, hacky-sack-friendly version of Coldplay’s “Yellow,” capturing a similar sentiment of gentle affection and optimism.
7. “Life’s Not a Race” (from Soundsystem, 1999)
A recurring theme when discussing the best 311 Songs is that their highlights often emerge when they venture outside of the rap-rock genre. “Life’s Not a Race,” from the 1999 album Soundsystem, exemplifies this. This track is an homage to bands like War and Santana, characterized by its easygoing groove and jam-band sensibilities. It provides a refreshing change of pace for their audience, incorporating impressive guitar solos while maintaining a relaxed atmosphere. Adding a layer of depth, a darker guitar counterpoint subtly underscores the chorus, creating a slightly unsettling but intriguing sonic texture.
6. “Purpose” (from 311, 1995)
311’s self-titled album, released in 1995, is considered their breakthrough record. It’s characterized by its catchy hooks and less convoluted song structures compared to some of their later work. Even the deeper cuts on 311 are accessible and pop-infused, a quality not always present in albums like Stereolithic. “Purpose” showcases a particularly lovely and well-harmonized melody, arguably one of Nick Hexum’s best vocal performances. Each verse builds to a climax with an “intergalactic” guitar lead, ranking among their most effective and straightforward riffs. The song’s uplifting melody and driving rhythm make it easy to believe in their artistic “purpose.”
5. “Creatures (For a While)” (from Evolver, 2003)
While rapper S.A. Martinez’s contributions are sometimes seen as a weaker aspect of 311’s sound, his vocal harmonies with Nick Hexum are a defining characteristic, present in almost every song. The 2003 single “Creatures (For a While)” from the album Evolver stands out as a rare moment of aggression where all elements of the band align perfectly. The riffs are impactful, the chorus is catchy, and the overall energy is potent. “Creatures” serves as a reminder that despite being labeled as quasi-rap-metal, 311 possesses a unique sonic identity, distinct from other bands in the genre. It highlights their potential for greatness when they manage to operate at full capacity, delivering a powerful and cohesive track.
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4. “Running” (from Transistor, 1997)
Transistor is a paradoxical album in 311’s catalog, representing both their most intriguing possibilities and their most frustrating excesses. Spanning 21 tracks, the album showcases their eclectic musical tastes, drawing heavily from dub and reggae influences, reminiscent of artists like Lee “Scratch” Perry and King Tubby. They arguably became the most dub-obsessed hard rock band since Bad Brains (whose song “Leaving Babylon” they later covered). This fusion of styles, while ambitious, doesn’t always coalesce seamlessly. However, amidst the sprawling tracklist, “Running” emerges as a hidden gem. Despite the album’s inconsistencies, “Running” is a thoroughly enjoyable and catchy track that stands out from the unfinished ideas and riffs scattered throughout Transistor. It even features a jazzy guitar solo in the style of Aerosmith, surprisingly fitting within the song’s eclectic soundscape.
3. “All Mixed Up” (from 311, 1995)
Following the success of “Down,” “All Mixed Up” solidified 311’s place on the pop charts and became a song they could truly be proud of. The track is characterized by its multiple chorus-like sections, a common feature in 311 songs, but in “All Mixed Up,” these sections flow seamlessly and build upon each other effectively. Hexum and Martinez’s vocals complement the song’s signature scratch-funk riff, creating a dynamic interplay without overpowering the groove. Few 311 songs maintain such a consistent and infectious groove as “All Mixed Up.” Its widespread popularity cemented its status as a significant contribution to 311’s legacy.
2. “Don’t Stay Home” (from 311, 1995)
The debate between “Don’t Stay Home” and “All Mixed Up” for the superior track from 311 is a close one. “Don’t Stay Home” possesses a somewhat heavier and less fluid groove, driven by persistent distorted guitars. However, it earns its high ranking due to a rarer element in 311’s music: a genuinely clear and pretty melody that remains consistent throughout the song. Unlike some 311 songs that rely on abrupt shifts and changes, “Don’t Stay Home” maintains a cohesive melodic thread. It stands out as unique within their catalog, even lending itself to humming or piano interpretation. The song also features a perfectly integrated double-time bridge, enhancing its dynamic structure.
1. “Beautiful Disaster” (from Transistor, 1997)
Despite the effort to identify 311’s most straightforward and accessible songs, their inherent complexity is undeniable. They often deviate from conventional song structures, incorporating multiple sections and unexpected shifts, sometimes including less-than-seamless rap verses. However, their best song, “Beautiful Disaster,” embraces these very idiosyncrasies to their advantage. This track from Transistor encapsulates everything that makes 311 both intriguing and sometimes challenging, but in this instance, it works perfectly. “Beautiful Disaster” is a showcase of their diverse elements: aggressive riffs, Santana-esque dueling guitar solos, ominous ska-influenced verses, and a chorus that balances bubblegum pop catchiness with crunchy, overdriven guitars. Crucially, it achieves all this without incorporating any rap sections. Even the title, “Beautiful Disaster,” aptly summarizes the often-unpredictable and multifaceted 311 aesthetic, making it the quintessential 311 song.
