Review Summary: It's been 10 years now since 311's Don't Tread On Me was released, promptly being canned by critics (unsurprisingly) and its fan base alike. In those 10 years though, it's seemingly become more tolerable, even enjoyable. Why?
With 311 you have two very distinct eras. The early days of youthful exuberance, highlighted by nonsensical but endearing rapping, over thrashing metal guitars on top of soothing reggae backdrops -- see Music, Grassroots. And then you have the latter years. 2003’s Evolver was the start, less excitement, more maturity, less rapping, more harmonies. In the early years, circa 1997, 311 reached its mainstream peak, a well-deserved, MTV-hazed, chart-topping era. In the latter years they’ve sustained -- although no longer chart-toppers -- to the surprise of many, and its then rabid fan base has manifested into a now even more rabid cult of “positive vibe-merchants.”
The second album from the latter era, and eighth overall, Don’t Tread On Me was originally panned by critics (no surprise), and much of the band’s rabid fan-base alike. Interestingly though, the album, like some do, has seemed to gain favor since the 2005 release. Is it because subsequent efforts Uplifter and Universal Pulse failed to live up to early 311 expectation (2014’s Stereolithic is great), making Don’t Tread On Me not just a bust, but a the best of a series of blunders? Or, like fan-favorite 1997 effort Transistor, was it a group of tracks that just needed time to ferment?
Whatever it is, Don’t Tread On Me can longer be skipped over in a 311 catalogue that is now 11 albums deep. Instead, with the exception of a couple bad misses, it could be cherished among its “excitable” fan base.
Two songs could be considered very good, the first, “Long For The Flowers,” is a rehashed old instrumental tossed aside from Transistor (“Grifters”), turned top-notch, boast-worthy material. A slow start with a subtle crunching guitar eventually unfolds into beautifully orchestrated guitar-work by lead man Tim Mahoney. Vocalists SA Martinez and Nick Hexum add nice melody over lyrics of a lost, but unfinished relationship, “where is that bliss, the ordinary life I knew that was so exquisite.” The tune culminates with a Santana-esque solo by Mahoney, a fitting finish to a song characterized by its ingenious guitar work.
The other is the title track, and first single (No.2 modern rock hit) “Don’t Tread on Me.” Simply put, it’s a smooth and delightful reggae-rocker. A steady ska-reggae backdrop is contrary to Hexum’s aberrant aggressive lyrics, reserved mostly for early 311, “you might see me as calm, but I go off like a bomb.” A late bridge brings signature 311, trippy effects with commonplace Hexum reverberated vocals.
Other nice additions are bar-anthem “Frolic Room,” an ode to Hexum’s favorite Hollywood Boulevard dive. “Whisky And Wine,” is another, a melodic, and slow moving drinking tune, not far from the idea of “Long For The Flowers” lyrically, with it’s lost love theme -- “we both lost our balance, I drink to forget.” “It’s Getting OK Now” is interesting if nothing else, a catchy, fast-rocker, sans Hexum, all Martinez, that gets stronger as it heads into an intriguing finish. “Waiting” is an adorable, and naive reggae melody about, you guessed it, waiting. And lastly “There’s Always an Excuse” offers a mature ending to the album, starting slow, flowing into a heavy guitar crunch middle, before abruptly unfolding into a piano-laced joyous bridge, and then finally coming to a simmer with a melodic and Mahoney-filled final stanza.
Some losers on the album are heavy-rock miss “Solar Flare,” an annoyingly bad Martinez (though great on most of DTOM) screams of political frustration and while Hexum’s powerful vocals in the chorus almost save the rocker, it remains a dud. The album’s second single, a miss with the general rock public, “Speak Easy” is an easy listening island jam, but not with the same pomposity of From Chaos hit “Amber,” or even close.
So let’s add up the score.
Don’t Tread On Me -- 4
Thank Your Lucky Stars -- 3
Frolic Room -- 3.5
Speak Easy -- 2.5
Solar Flare -- 1.5
Waiting -- 3
Long For The Flowers -- 4.5
Getting Through To Her -- 3
Whisky And Wine -- 3.5
It’s Getting OK Now -- 3.5
There’s Always An Excuse -- 3.5
That’s a 3.23, it won’t make any best of the bunch lists, or live in lore like few of its 2000s counterparts will. But at it’s core it’s an album that’s being understood better after a decade, and is still good for a spin every now and then. And as an added bonus, it spawned a sure-fire top-10 311 jam with “Long For The Flowers.”
