Third Eye Blind Out of the Vein and Symphony of Decay (2001-2006) What is Out of the Vein? album: When was it released? 2003, Did it receive any recognition? Out of the Vein did not sell as well as its predecessors, with numbers estimated around 500,000 copies as of March 2007. Did they release any singles with the album Out of the Vein? Two singles were released from the album: How well did they do? I don't know.
Was there any collaboration on Out of the Vein?
Was there any collaboration on Out of the Vein?
After extensive international touring, the band took a break from performing, appearing only at charity events. They put on shows for the Tiger Woods Foundation and the Breathe Benefit Concert in Los Angeles after Jenkins' mother was diagnosed with breast cancer. During the four-year gap between albums, the band also built a recording studio in 2002 in San Francisco called "Morningwood" Studios. The band wanted to make a studio where they could feel comfortable recording in anticipation for their next album. Both before and after the release of the third album, the band worked for years on an EP entitled Symphony of Decay, though the album was delayed for years and never formally released.  In 2003, the band released Out of the Vein. Two singles were released from the album: "Blinded" and "Crystal Baller." Out of the Vein did not sell as well as its predecessors, with numbers estimated around 500,000 copies as of March 2007. Elektra Records was being absorbed into Atlantic Records at the time, and the only music video created from the album was for the single "Blinded." Due to the merger, the band found themselves without label support; as Jenkins said, "Our record company ceased to exist. The month the record was released, Elektra Records imploded." In May 2004, Warner Music cut Third Eye Blind, along with over 80 other acts, from its roster. While no specific reason was given for Third Eye Blind being cut, Atlantic co-chairman Craig Kallman said the cuts were made to get Atlantic's roster down to an appropriate size where "we can give each of our acts top priority."  It would be over six years after the release of Out of the Vein until the band would release another full-length album. In the meantime, the band did release A Collection in 2006. This album was a collection of songs from the first three albums. Jude Gold, associate editor of Guitar Player Magazine, recognized that the liner notes falsely credited guitarist Tony Fredianelli with the creative work of former guitarist Kevin Cadogan, who was completely omitted from the band's biography included in the liner notes, which state: "As always, the band profited from the musical interplay between Tony Fredianelli, Stephan Jenkins, Arion Salazar and Brad Hargreaves." In regards to this, Gold stated, "It's like saying Guns N' Roses music always profited from the interplay between Axl Rose and guitarist Bucket Head."  In 2006, Salazar left the group. Abe Millett, bassist for Inviolet Row, was added to the band's tour lineup; the band refrained from immediately adding a permanent replacement because they wanted to leave the position vacant in case Salazar desired to return. CANNOTANSWER
the liner notes falsely credited guitarist Tony Fredianelli with the creative work of former guitarist Kevin Cadogan,
Third Eye Blind is an American rock band formed in San Francisco, California, in 1993. After years of lineup changes in the early and mid-1990s, the songwriting duo of Stephan Jenkins and Kevin Cadogan signed the band's first major-label recording contract with Elektra Records in 1996. The band released their self-titled debut album in 1997, with the band largely consisting of Jenkins (vocals, rhythm guitar), Cadogan (lead guitar), Arion Salazar (bass guitar), and Brad Hargreaves (drums). Shortly after the release of the band's second album in 1999, Blue, with the same line-up, Cadogan was released from the band under controversial circumstances.

The band continued, but with many line-up changes and long gaps between album releases for the next 15 years. The band released Out of the Vein in 2003 and Ursa Major in 2009 with guitarist Tony Fredianelli, but parted ways with him shortly afterwards, leaving only Jenkins and Hargreaves as the remaining core members. The band's lineup stabilized again in the mid-2010s, adding Kryz Reid (lead guitar), Alex Kopp (keyboards), and Alex LeCavalier (bass guitar). The new lineup lead to increased output with less time between releases - Dopamine (2015), and a string of EPs, We Are Drugs (2016) and Thanks for Everything (2018). After Kopp was replaced by Colin Creev, a sixth studio album, Screamer (2019) was released, and a seventh studio album, Our Bande Apart, was released on September 24, 2021.

The band found commercial success in the late 1990s, with Third Eye Blind and Blue certified platinum six times and single platinum in the United States, respectively.  Several songs were a commercial success as well, with "Semi-Charmed Life", "Jumper", and "How's It Going to Be", all reaching the Top 10 of the US Billboard Hot 100, and "Never Let You Go" reaching the Top 20. Third Eye Blind has sold around 12 million records worldwide.

History

Formation and early years: 1990–1996
The band's origins trace back to the early 1990s, with frontman Stephan Jenkins writing music, but struggling to put and hold together a consistent musical lineup. Originally, Jenkins started his music career as one half of an interracial rap duo "Puck and Natty" with musician Herman Anthony Chunn, who went by the stage name "Zen". Because of legal issues from the musical group Tuck & Patti, the duo later changed their name to "Puck and Zen". The two managed to attract some attention from record labels - enough to get one of their few recorded songs "Just Wanna Be Your Friend" on a soundtrack for the television drama Beverly Hills, 90210. The two were in talks of being signed with Capitol Records, but Jenkins did not see eye to eye on the label's views on the musical direction or what music producer they would work with, and negotiations fell through. The group broke up shortly afterwards, and while short-lived, it was in the group that Jenkin's first developed connections in the industry, and wrote the first iteration of what would become Third Eye Blind's biggest hit, "Semi-Charmed Life".

After the experience, Jenkins moved into the direction of starting up a rock band instead. Jenkins recounted that over the span of a few years, he would recruit members, only to have them frequently dropout because of issues such as drug addiction or joining other bands. Jenkins would write and workshop early material with musician Jason Slater for years before the band started up formally, and the two would work together to record the band's first demo together in 1993. Jenkins reconnected with music producer and sound engineer David Gleeson, a contact from his Puck and Natty days, to be able to record demos at professional studios, such as Skywalker Ranch. Gleeson would assist in the sessions, but eventually had a falling out with Jenkins and stopped working with the band. George Earth also played guitar on some demos. Much of the contents of the first demo, such as the track "Hold Me Down", would be scrapped and shelved entirely, but Jenkins would continue to work on some material like "Semi-Charmed Life" or "Alright Caroline" that would eventually see release. Around this time, guitarist Tony Fredianelli would audition for the band as well, though according to Slater, Jenkins believed him to be "too [heavy] metal" for the band. Around the time frame of 1993 and 1994, Slater would depart the band, while guitarist Kevin Cadogan and bassist Arion Salazar would join. The band cycled through a number of drummers - Adrian Burley, Steve Bowman (Counting Crows), and Michael Urbano (Smash Mouth).

Salazar noted that the band struggled to make much progress prior to the arrival of Cadogan, and felt that the songs really started to develop when Cadogan's big guitar sound was added to Jenkin's more stripped down demos. The two became songwriting partners, with Jenkins writing the lyrics and Cadogan helping him brainstorm musical ideas, and worked on a second set of demos. The band toured locally extensively across 1994 and early 1995, building up a following. However, in July 1995, the band hit a significant setback with a disastrous "Battle of the Bands" performance that would see the winner be offered a record deal. Urbano, the drummer at the time, quit shortly before the show, Jenkins was sick and unable to perform well, and Cadogan blew out his guitar amp two songs into the show. They lost the contest, and with it, the potential record deal and the confidence of their current management and studio team, who left the band right afterwards. On the verge of breaking up, the band instead regrouped, recruited two new key people - a new drummer in Brad Hargreaves, and a new manager, Eric Gotland, a long-time personal friend and confidant of Jenkins. Jenkins, Cadogan, Salazar, and Hargreaves would go on to be the core lineup for the band during the recording of their first two studio albums.

Through past connections of Slater and Gotland, they were able to start recording a third demo with producer and sound Engineer Eric Valentine, with some additional funding from a partially interested RCA Records, from late 1995 to February 1996. Valentine noted that he had heard the demos the band had recorded prior to his arrival, but felt it was "not ready" and needed to be reworked or discarded. He later expressed more satisfaction with material he had worked on. RCA passed on the band after hearing the material, but the demos instead attracted the attention of Arista Records.  Label founder Clive Davis invited the band to perform at a band showcase in New York City in March 1996. During Third Eye Blind concerts at the time, it was customary for the band to have a piñata release candy above their mosh pits, yet at the showcase for the record executives, lead singer Jenkins released live crickets from the piñata instead. Cadogan noted that the performance was ultimately not successful, and Davis passed on signing the band, but the event built hype and notoriety for the band, and Salazar noted that the well-developed, 14 song demo they had recorded with Valentine still had helped the band feel more prepared to deal with record labels. In April 1996, after Jenkins had challenged Epic Records executive Dave Massey in a meeting, the band landed an opening gig for Oasis at the San Francisco Civic Auditorium. In an unlikely scenario for an opening act, the band was invited back for an encore after playing their initial set and was paid double by the concert promoter. In addition, Jenkins' production of hip hop duo The Braids' cover of Queen's "Bohemian Rhapsody" gained major-label attention. Afterwards, the band found themselves in a bidding war among record labels, and after another showcase in June 1996 in Los Angeles, the band signed a contract with Sylvia Rhone of Elektra Records because they believed it offered the most artistic freedom. It was later reported as the largest publishing deal ever for an unsigned artist at the time. Throughout this, the band had continued to work on their music, with much of the album being largely put together prior to being signed to Elektra. Some iterations of songs were even asked to be redone to be more similar to the original demos.

Debut album Third Eye Blind: 1997–1998
While the band had finally accomplished their goal of getting signed, troubles persisted with the band. Jenkins and Valentine clashed; Valentine was hired as a sound engineer, but felt he was tasked with duties that a full-fledged music producer would do, without the pay that would normally come with the role. Valentine ended up getting a co-production credit, but people involved felt he did far more for the album than technically credited for. Valentine also criticized Jenkins's decision to buyout all of Zen's early contribution to album material. Jenkins contended that he heavily reworked any of Zen's contributions. Cadogan also became disillusioned throughout the recording sessions. His understanding was that his role in the band was of an equal partnership with Jenkins, but did not feel he was treated as such. Valentine reported that while Jenkins and Cadogan recorded good material together, they were constantly at odds with one another in the studio, with their relationship deteriorating over time as they finished the album. Additionally, unbeknownst to the rest of the band until years later, even though both Cadogan and Jenkins were signed to the deal from the record label, days prior to the signing, Jenkins secretly set up a Third Eye Blind Inc" as a corporation, and named himself the sole owner and shareholder, giving him complete control over all legal and financial matters in the band.

Despite the issues, the band's debut album, Third Eye Blind, was finished and released in April 1997. As a new artist, album did not particularly debut high in the US all-format Billboard 200 album's chart, and only ever peaked at number 25 on the chart, but consistently sold each week, staying on the chart for over a year straight. Sales approached 1 million in the US by the end of 1997. The album's sales were propelled by the success of their first single, the long-worked-upon and finalized version of "Semi-Charmed Life". It not only performed well on rock radio, topping the Billboard Modern Rock Tracks chart for 8 weeks, but also found crossover success, becoming the fourth most popular song in the US after peaking at number 4 on the Billboard Hot 100 chart. Four subsequent singles - "Graduate", "How's It Going to Be", "Losing a Whole Year", and "Jumper" - kept the album selling well into 1998. "How's It Going to Be" and "Jumper" similarly succeeded "Semi-Charmed Life" as crossover hits as well, peaking at number 9 and 5 respectively on the all-format Billboard Hot 100 chart. The album would go on to be certified platinum six times by the RIAA, indicating over six million copies sold in the US. Meanwhile, Billboard named it the number one modern rock track of the year. The band toured extensively in support of the album, including opening for large acts such as U2 and The Rolling Stones in late 1997, before quickly graduating to headlining status afterwards throughout 1998. The band toured extensively throughout the year, including a 3 month tour with Smash Mouth and a larger venue amphitheater tour mid-year, and a college tour with Eve 6. The touring was seen as a success, as the band continued to book increasingly higher profile shows but the touring was not without issues, including a 1997 show where Jenkins fell unconscious after falling off the side of a stage, Salazar missing some 1997 shows because he was hospitalized by a viral infection, and an incident at a festival in 1998 where Salazar and Green Day bassist Mike Dirnt got into a physical altercation.

Blue and departure of Cadogan: 1999-2000
The band began work on a second album in January 1999, directly after finishing their 1998 tour with Eve 6. By March, Jenkins reported that there were already 30 songs in contention for the follow-up album, and that recording would start in April. The band were given a tight deadline of six months to submit a completely recorded album by October 1999. While Jenkins would publicly state that sessions were fast and carefree at the time, both Cadogan and Jenkins would retrospectively reflect on the sessions being very difficult. Cadogan and Jenkins were already not getting along while touring in support of their self-titled album, and Cadogan was outraged to finally find out that Jenkins had secretly legally and financially put himself in charge of the band, and of Salazar and Hargreaves' indifference to it. Cadogan recounted that he later found out that Jenkins and Gotland had started to make plans to replace Cadogan prior to even beginning work on a second album, but the plans were not acted on. Cadogan stated that he and Jenkins agreed to put aside their differences and work together on further music; Cadogan set up a 2 week period where the band would write and record early song ideas in Cadogan's house with sound engineer Jason Carmer. Cadogan noted that it was the only time in the six month period where the band collaborated and worked together in the same room; the rest of the parts were written and recorded independently at separate times in the studio and then later compiled together into the finished album because of the animosity between them. A major point of contention was final song selection, with Jenkins and Cadogan both fighting for more of their own written songs to make the final track list. Gotland set up a voting system where each member could vote for a certain number of songs, though results would lead to further animosity. Among particular contention was the track "Slow Motion", a controversial ballad written by Jenkins about a student shooting a teacher's son. While Jenkins insisted that the song was satirical parody, and actually anti-violence, Elektra disapproved of the track being on the album, feeling it could cause controversy because of the proximity of the Columbine High School massacre, which had just happened in April of that year. The band and the label fought over the song's inclusion for four months, with the label proposing a compromise that would allow only the instrumental to be on the album, and in return, the label would finance an EP to be released after the album, where the band could release the song in its entirety and have complete creative freedom, without restriction. Cadogan, already unhappy with his lack of ownership over the band, was the sole member of the band to object to the deal, knowing he would not have any control over the deal's terms of a cash advance and imprint label creation for the EP.

On November 23, 1999, the band released their second album, Blue. The album debuted with sold 75,000 copies the first week of release, and by 2003, had sold 1.25 million in the U.S. Four singles were released from the album: "Anything", "Never Let You Go", "10 Days Late", and "Deep Inside of You". "Never Let You Go" came close to replicating the success of the singles from the bands first album, peaking at number 14 on the Billboard all-format US singles chart. "Deep Inside of You" also made it on to the chart, albeit peaking at 69. "Anything" and "10 Days Late" performed moderately at rock radio, hitting 11 and 21 on the Billboard Modern Rock song chart. Blue would be certified platinum by the RIAA, indicating over a million sold in the US; a strong achievement, but well below their first album's six time platinum achievement.

Two months after the album release, on January 26, 2000, it was announced that Cadogan had been fired after playing a show at the Sundance Film Festival. No reason was for the termination was given at the time, just a message from Godtland that Jenkins, Salazar, Hargreaves wished him well. Cadogan was immediately replaced by Tony Fredianelli, who had briefly jammed with the band in 1993 in the band's formative years, and had sometimes supported the band as a live keyboardist as well. The new lineup toured heavily in support of the album, including a North American tour through much of 2000, including the "Dragons and Astronauts" tour with Vertical Horizon. In June 2000, Cadogan filed a multi-million dollar federal lawsuit against Jenkins. Cadogan filed suit, alleging wrongful termination, adding that his production, recording, and songwriting royalties had been withheld since being kicked out of the band. The band would push forward with touring in the meantime, the band continued to play large venues, but would feel pressure from the burgeoning teen pop and nu metal musical movements of the time, of which they fell in between without being part of either. In this time period, Jenkins considered working with Limp Bizkit's Fred Durst, doing some early work on collaborating on material for both of their respective bands, though none of this material ever ended up being released by either party.

Out of the Vein: 2001–2004
After four straight years of recording music and touring in support of it, the next couple years were quieter year for the band. Originally, the band had planned on starting work on the EP they had agreed upon making as a vehicle to release the controversial "Slow Motion" song kept off of Blue by the label. The EP was originally titled Black, as a companion piece to Blue. Recording plans were delayed from late 2000, to early 2001. By 2001 though, Jenkins had fallen into a deep depression. He isolated himself for almost a year, and turned his attention to writing material for a third studio album, of which he amassed over 40 songs in this time. The band only played a handful of live performances, largely one-off benefit shows. Progress on the album would be slow. The third album was originally scheduled to be released in early 2002, but was delayed several times before its release in May 2003. According to Jenkins, some of the reasons for the delay stemmed from a self-imposed pressure to live up to Third Eye Blind's previous successes, leading him to rewrite lyrics. The band also spend substantial time building their own recording studio  in San Francisco called Morningwood Studios. During this time, the band's lawsuit with Cadogan was finally settled out of court, with the terms of the settlement undisclosed.

On May 13, 2003, the band released their third studio album, Out of the Vein. The album debuted on the Billboard 200 chart at number 12; while the charting placement was higher than Blue's debut at 40, sales were actually substantially down, selling only 62,000 copies, compared to Blue's 74,000 copies.  Two singles were released from the album: "Blinded" and "Crystal Baller". Neither songs performed to the level of prior singles; neither placed on the Billboard Hot 100 chart and only "Blinded" charted at rock radio, peaking at 35 on the Billboard Modern Rock songs chart. Out of the Vein long-term sales also fell behind its predecessors, with numbers estimated around 500,000 copies as of March 2007. Elektra Records was being absorbed into Atlantic Records at the time, and because of the merger, the band found themselves without label support; as Jenkins said, "Our record company ceased to exist. The month the record was released, Elektra Records imploded." In May 2004, Warner Music cut Third Eye Blind, along with over 80 other acts, from its roster. While no specific reason was given for Third Eye Blind being cut, Atlantic co-chairman Craig Kallman said the cuts were made to get Atlantic's roster down to an appropriate size where "we can give each of our acts top priority." Plans to release an EP still persisted for a time. After the Out of the Vein sessions, the band dropped the name Black and started referring to the EP as Symphony of Decay. A month after the release of Out of the Vein, in June 2003, Jenkins stated to VH1 that the band planned on releasing the EP as soon as September 2003. However, it was repeatedly delayed, and Hargreaves indicated that its release became difficult after their departure from Elektra, and the idea was eventually dropped altogether. The full lyrics version of "Slow Motion" would instead finally see a vehicle of release through a greatest hits collection, A Collection in 2006.

Ursa Major: 2005–2010
With promotional efforts for Out of the Vein fizzling out in 2004, the band would again be quieter for the next few years. Jenkins would help with producing then-girlfriend Vanessa Carlton's album Harmonium; the experience motivated Jenkins to start writing a solo album of his own. At the same time, Fredianelli, Salazar, and Hargreaves had also been working on music together, and upon hearing it, Jenkins scrapped his solo plan in favor of working on a fourth studio album with the band. Work on the album began in early 2005, but progressed slowly, and Jenkins suffered from writers block and struggled to write lyrics for the songs that had been created for him by the rest of the band. As of mid-2006, the album was untitled and had a rough release date of 2007. Around this time, Salazar became disillusioned with the band, and left. Salazar wasn't immediately replaced as a member; in the coming years, Abe Millet and Leo Kramer played bass while touring, while a variety of bass players filled in while recording in the studio. In 2007, Jenkins announced that the fourth studio album had a tentative title of The Hideous Strength, had around 35 songs written for it, and that some of the lyrics had become political in nature. The band continued to tour, with the band previewing work-in-progress versions of new songs while Jenkins continued to revise lyrics. Despite it being years since the band released an album, the band still maintained a strong following in live performances, and the band continued to tour while Jenkin's struggled with writer's block. Fredianelli noted that lyrics were continually being rewritten, and songs as a result, songs often needed to be re-recorded to accommodate the changes, which continued to delay an album release.

As the process would drag on, privately, internal strife would flare up again across 2008. According to Fredianelli, morale was low at the time because of the departure of Salazar, Jenkins beginning to lose interest in the band, and tensions between Jenkins and long-time friend and band manager Eric Godtland. Jenkins fired Godtland and sued him, accusing him of not paying Jenkins enough, and Godtland in turn counter-sued him, responding that the lower pay was due to lessened productivity by the band, a fault of Jenkins himself, not Godtland, and this had caused an unfair decrease in pay for Godtland himself. Fredianelli then claimed that Jenkins insisted that the rest of the band also join in and file lawsuits against Godtland too, threatening to abandon the band if they didn't. Fredianelli, not wanting to abandon the band after all the work done on the long-awaited album, went along with Jenkin's plan, creating a deposition against Godtland, creating friction between the two. As months passed, Fredianelli felt guilt about it, and apologized to Godtland, offering to change his deposition, then angering Jenkins in return. Jenkins lawsuit was eventually dismissed, and Godtland settled his case out of court. The band's touring manager would unceremoniously quit shortly after.

Despite the discourse, the band persevered and by late 2008 the material they had been working on for the last five years would finally begin getting released. First, the band would release a teaser of sorts through the three song Red Star EP. Secondly, two album's worth of material had been written, but with struggles to finalize the recordings, the band opted against a formal double album release, in favor of potentially releasing two connected album's within a years time. The plan would include releasing an Ursa Major album with the material that was closest to completion, and a second Ursa Minor album later on. Plans continued to change though; Ursa Major was originally slated to a 15 track album released on June 23, 2009. When it was released, it ended up being a 11 song and 1 instrumental album released on August 18, 2009. The album, their first in six years, was released under their own independent label, Mega Collider Records. Ursa Major debuted at number three on the Billboard 200, selling 49,000 copies. This made it the band's highest charting album, albeit with sales figures that were lowest since their debut album. Third Eye Blind also topped the Billboard Rock Albums chart, Top Alternative Albums chart, and Top Digital Albums chart. Three singles were released - "Non-Dairy Creamer" from Red Star and "Don't Believe A Word" and "Bonfire" from Ursa Major, but all failed to place on any Billboard chart.

The band toured in support of Ursa Major throughout 2009, but in early 2010, Fredianelli was fired from the band. Irish musician Kryz Reid replaced Fredianelli on guitar, while Third Eye Blind continued to tour in support the album in 2010, most notably co-headlining The Bamboozle Roadshow between May and June 2010. Both Jenkins and Hargreaves would continue to mention a Ursa Minor release, but the focus remained on touring, and the release would eventually be cancelled by Jenkins because of the involvement and subsequent departure of Fredianelli. Fredianelli would go on to sue Jenkins for over 8 million dollars based on many claims of breach of contract and missing writing credits and money and royalties owed from it. Many of the claims were rejected because of the Fredinelli's accusations not corroborating the actual contract he signed from Jenkins and Godtland. Still, the claims of lost wages from touring were supported, awarding $448,000 to Fredianelli.

Dopamine: 2011–2015

The band would again turn to extensive touring in the following years. In addition to Jenkins, Hargreaves, and newly recruited guitarist Reid, the band stopped relying on temporary studio and touring support for bass playing, and hiring a new permanent bassist, Alex LeCavalier. Additionally, for the first time, a fifth official member, Alex Kopp, was brought on as a dedicated keyboardist. Work on a fifth album continued, with earliest reports showing plans for a 2011 release, but writer's block continued to hamper Jenkins ability to complete lyrics for songs. The only newly recorded studio music the band would release for years was the impromptu-written "If There Ever Was a Time" song released in support of the Occupy Wall Street movement in November 2011. Moving into 2012, with writer's block continuing to hinder the process, Jenkins would begin to advertise the album as the band's last, feeling that the volume and structure of the album format was what made the writing process difficult for him. By the end of the year, the band did a short tour in India to help inspire the writing process; the band was far enough along to announce they were shooting a music video for a track. However, the album's release continued to be delayed from 2013 to 2014 to 2015. Writers block continued to be cited as the reason by Jenkins, though Hargreaves also noted that their past successes had afforded them the luxury of taking their time on material without having to rush it because of financial matters.

In May 2015, the band announced that their fifth studio album was finally completed, and on June 16, almost six years after their last album, the album, titled, Dopamine was released. The album debuted at No. 13 on the Billboard 200, selling just over 21,000 copies in its first week. Two singles were released - "Everything Is Easy" and "Get Me Out of Here" A non-album cover of Beyoncé song "Mine" was also released to promote the album after live performances of the song received a warm reception in the touring leading up to the album's release.

We Are Drugs and Screamer: 2016–2020

Following the release of Dopamine, the lineup of Jenkins, Hargreaves, Reid, LeCavelier, and Kopp experienced an increase in productivity not seen since the late 1990s. Jenkins announced plans for releasing an EP in 2016. On July 19, 2016, they played a benefit concert for "Musicians on Call", a charity organization, in close proximity to the Republican National Convention. The band took the opportunity to speak out against the Republican Party, criticizing their views on science and LGBT rights, and playing tracks specifically critical of their stances, including "Jumper", and "Non-Dairy Creamer". The stunt received national coverage, and inspired the band to move forward with material. The EP, the seven track We Are Drugs, was released on October 7, 2016, just 16 months after the release of Dopamine. One single, the politically-themed "Cop Vs. Phone Girl", 
was released from the EP.

Jenkins announced next plans to be releasing another EP titled Summer Gods in 2017 to coincide with a tour of the same name. With the EP not ready for release by the end of the tour, the idea was scrapped and the name was instead assigned to a live album release of performances from the tour. Some new music was still released in the year though, in the form of the 20th anniversary release of their debut album. Newly recorded versions of old songs from the sessions were released, including a finalized version of the 1993 song "Alright Caroline". In June 2018, another EP was released -  a collection of seven cover songs  titled Thanks for Everything. Jenkins stated that the act of reinterpreting the cover songs of various genres inspired the band to create another full studio album in the process. Initially announced as another EP in late 2018, the project bloomed into the band's sixth studio album in 2019. The band continued to tour into 2019, including a major co-headlining North American tour with Jimmy Eat World from June to August, called Summer Gods Tour 2019. Prior to the tour, Kopp announced he was leaving the band to pursue other projects, He was replaced by Colin Creev. On October 18, 2019, the band released their sixth studio album, Screamer.

Our Bande Apart (2020–present)
After releasing their sixth studio album Screamer, in October 2019, the band was able to complete the first leg of the tour supporting it, but was forced to cancel the second leg of it in 2020 because of the COVID-19 pandemic—the first time the band had to cancel a tour in 22 years according to Jenkins. The band was able to do some live online streaming performances, but the band largely turned to writing more new music instead. Jenkin began writing in solitude during the initial wave of lockdowns, and began recording with the rest of the band as soon as the lockdowns ended.

On July 30, 2021, the band announced their seventh studio album, Our Bande Apart, would be released on September 24, 2021, and released the first single from it, "Box of Bones". A second song, "Again", was released ahead of the album on August 20, featuring Best Coast singer Bethany Consentino.

In February 2022, the band announced a North American tour with Taking Back Sunday and Hockey Dad.

Musical style and influences
Third Eye Blind's musical style has been described as pop rock, alternative rock, post-grunge, and pop punk. Jenkins noted that he was influenced by The Clash, Jane's Addiction, and Camper Van Beethoven . Hargreaves stated that his drumming style was influenced by the Ohio Players and James Brown.

Band members

Current members
Stephan Jenkins – lead vocals, guitar (1993–present)
Brad Hargreaves – drums, percussion (1995–present)
Kryz Reid – guitar, backing vocals (2010–present)
Alex LeCavalier – bass (2012–present)
Colin Creev – keyboards, guitar (2019–present)

Former members
Kevin Cadogan – guitar, backing vocals, keyboards (1993–2000)
Jason Slater – bass, backing vocals (1993–1994)
Adrian Burley – drums, percussion (1993–1994)
Michael Urbano – drums, percussion (1994–1995)
Arion Salazar – bass, backing vocals, guitar, piano (1994–2006)
Steve Bowman – drums, percussion (1994)
Tony Fredianelli – guitar, backing vocals, keyboards (2000–2010)
Alex Kopp – keyboards, guitar, piano (2011–2019)

Former touring musicians
Leo Kremer – bass, backing vocals (2006–2008)
Abe Millett – bass, backing vocals, piano, keyboards (2007–2012)
Jon Pancoast – bass, backing vocals (2012–2013)

Timeline

Awards
1997 – The band won a Billboard Music Award for Best Modern Rock Track ("Semi-Charmed Life").
1998 – At the California Music Awards, known as the Bammies and formerly the Bay Area Music Awards, Third Eye Blind won 3 awards (including Best Album, Best Songwriting, and Best Debut Work).
1998 – Jenkins and Cadogan won a California Music Award for Outstanding Songwriters.
1999 – Third Eye Blind were nominated for 2 American Music Awards for Favorite Pop/Rock New Artist and Favorite Alternative Artist.
1999 – Third Eye Blind won 3 California Music Awards for Outstanding Group, Outstanding Single ("Jumper") and Outstanding Artist of the Year (Stephan Jenkins).
2000 – Third Eye Blind were nominated for 7 California Music Awards.
2000 – Jenkins and Cadogan won a California Music Award for Outstanding Songwriters.

Discography

Studio albums
 Third Eye Blind (1997)
 Blue (1999)
 Out of the Vein (2003)
 Ursa Major (2009)
 Dopamine (2015)
 Screamer (2019)
 Our Bande Apart (2021)

References

External links

Alternative rock groups from California
Articles which contain graphical timelines
Musical groups established in 1993
Musical groups from San Francisco
Warner Music Group artists
Elektra Records artists
1993 establishments in California
20th-century American guitarists
Guitarists from California
Out of the Vein is the third studio album by American rock band Third Eye Blind. Released on May 13, 2003, Out of the Vein is the band's first album with guitarist Tony Fredianelli, who replaced longtime guitarist Kevin Cadogan in 2000. It would also be Third Eye Blind's final album with Elektra Records as well as their final album with bassist Arion Salazar.

Writing and recording 
Out of the Vein was recorded at the group's own Mourning Wood Studios in downtown San Francisco and at Skywalker Sound. Frontman Stephan Jenkins felt that Out of the Vein would mark "a new period for the band", and added that "The first two albums were like two parts of the same piece. We've had a hiatus. This is a new beginning." Jenkins reported having written over 40 songs for the album as of August 2001, just prior to starting the recording process for the album. Out of the Vein was originally scheduled to be released in early 2002, but was delayed several times before its release in May 2003. According to Jenkins, some of the reasons for the delay stemmed from a self-imposed pressure to live up to Third Eye Blind's previous successes, leading him to rewrite lyrics.

The material went over many changes before finally being released. Jenkins originally wanted the album to be titled Crystal Baller, after the song of the same name, but it was renamed to Out of the Vein because the other members hated the name. The single "Blinded" was originally titled "When I See You". A scrapped collaboration with hard rock artist Andrew W.K. was still set to be on the album less than two months before the album's final release date. Their collaboration was titled "Messed Up Kid". Jenkins and Salazar were motived to work with him after having attended a live show of Andrew W.K.'s, and coming away from the experience equal parts baffled and impressed by his style of music. The song featured Andrew W.K. performing backup vocals; Jenkins noted that "his voice is so hilarious because it sounds like it's doubled and compressed, but it's not."

The song "Misfits" initially started as a collaboration between Jenkins and Limp Bizkit frontman Fred Durst. Jenkins spoke about a Third Eye Blind collaboration with Durst in 2000, after Durst invited Jenkins to collaborate on their 2000 album Chocolate Starfish and the Hot Dog Flavored Water, although neither collaboration ever surfaced. Jenkins had visited Durst while he was recording Chocolate Starfish in 2000, and the two had co-written a track together in between Limp Bizkit recording sessions. Jenkins reported the song featured Durst on guitar and Jenkins on vocals, with a "funky" sound atypical of either band's work. Per Jenkins in 2002, this iteration of the song credited Durst with writing the chords, Jenkins with writing the melody and lyrics, and Salazar with writing the bridge; the final version of the song that made the album lacks a Durst performance or writing credit.

As of May 2002, Jenkins reported that they had almost 26 completed songs, and had narrowed it down to 12 songs they felt would make the final tracklist. Jenkins revised and tweaked lyrics for the album through April 2003 - a month prior to the albums release - at which point he had settled on the final 14 song tracklist.

Themes and composition
Much of the music on the album was written while Jenkins was suffering through an extended period of depression in late 2000 and 2001. Jenkins noted in 2001 that he wished for the album to have more complex, layered compositions. He wanted to make a rock album, motivated to provide a counterpoint to Radiohead's Thom Yorke's then-recent assertion that rock was no longer interesting to him.

Promotion and release
By the time the album was completed and released, Elektra Records was in the midst of being absorbed into Atlantic Records, and Jenkins contends the group was not a priority: "Our record company ceased to exist the month the record was released," "Elektra Records imploded. It was just letterhead." The album cover is by photographer Mick Rock, and according to Jenkins screams "rock joy". The first 100,000 copies of the CD included a DVD documenting the making of the album.

Reception 

The album debuted at #12 on the Billboard 200 with 63,000 copies sold in its first week. By 2004, the album had sold 192,000 copies in the US.

While Out of the Vein has yet to be certified by the RIAA, the album had sold about 500,000 copies as of March 2007.

Track listing

Personnel 

Third Eye Blind
 Stephan Jenkins – lead vocals, rhythm guitar
 Arion Salazar – bass guitar, backing vocals
 Tony Fredianelli – lead guitar, backing vocals
 Brad Hargreaves – drums, percussion

Additional musicians
 Vanessa Carlton
 Kimya Dawson – vocals on "Self Righteous"
 Kim Shattuck – backing vocals on "Faster"

Artwork
 Mick Rock – cover photo, photography
 Third Eye Blind – art direction

Production
 Stephan Jenkins and Arion Salazar – producers
 Tom Lord-Alge and Jason Carmer – mixing
 Sarah Register – assistant engineer
 Sylvia Rhone – A&R
 Emily Lazar – mastering
 Sean Beresford, Jason Carmer, Judy Kirschner, and Dann Michael Thompson – engineers

References

External links 

2003 albums
Third Eye Blind albums
Elektra Records albums
Albums with cover art by Mick Rock Champion-Providence Mine was a consolidation of two adjoining gold mines in Nevada City, California subsequent to the California Gold Rush. After it became the Champion Group following annexation of additional adjacent mining concerns, it became one of the two most productive mining groups in the Nevada City Mining District, alongside the North Star Mine, which eventually purchased it. The Champion-Providence Mine closed in 1920.

Champion Mine

Early years
The Champion mine is situated on Deer Creek, one mile west of Nevada City, at an altitude of . The property had an original area of .

The Champion property, located in 1851 as the New Years, was not opened as early as the adjoining Providence mine and in 1888 the inclined shaft had reached a depth of only 300' (180’ vertical) and only 350’ of drifts had been driven. In 1892 a consolidation with the adjoining Merrified and 8 other claims had been effected and the development work consisted of a 3000’ drain tunnel driven from Wolf Creek on the vein and intersecting the shaft at a depth of 600'; an inclined shaft on the vein 1000’ in depth and the ten levels had reached a maximum length of 1000’ north of the shaft. Although compelled to suspend operations at intervals during the period from 1892 to 1902, owing to the Providence-Champion legal war, the Champion shaft had been sunk to a depth of 2400’ on the vein and a new shaft on the Merrifield vein had reached a depth of 900 feet.

Holdings
The course of the vein is north and south, dipping easterly with an inclination of 42 degrees. The vein is a large one, varying from  in width and averaging from . The fissure is a contact between a syenite in the hanging wall and a slate in the foot. This is probably due to the size of the vein and its permanence in depth. The property of the company consisted of a consolidation of ten claims, as follows: Merrifield, Climax, New Years, New Years Extension, Miiller, Phillips, Ural Relocation, Bavaria, Merrifield Extension, and Mary Ann. Two parallel veins were included in the property, the more eastern being the Merrifield, and the western, or foot wall vein, the New Years. The Champion Mine holdings included the Merrifield and Ural, together with the Wyoming and other minor veins, comprising one of the most important vein systems of the Nevada City District.

The Merrifield vein which varies in strike from N. to N. 20° W. and had an average dip of 35° E., was one of the longest and most persistent veins in the Nevada City district. It could be traced from a point 3000’ south of the Providence shaft to the Mount Auburn mine, a total distance of 11,000 feet. South of the Providence shaft, the Merrifield vein at the surface occurred near and at the contact of the slates and granodiorite. North of the Providence shaft, the vein occurred wholly in the granodiorite. The fissures were the result of intense dynamic stresses which resulted in a movement of the granodiorite hanging wall upward a distance of 1200 ft. As a result of the intense movement, there was generally a zone of crushed and altered material reaching a maximum width of 30 ft. The Merrifield quartz veins occurring in this altered zone varied in width from one to ten feet; of the wider veins, from four to six feet was solid quartz. In some cases, the ore bodies occurred along parallel planes separated by a few feet of altered country rock, while in others they are lentieular in form. The ore was a milky white quartz carrying an average of 6% of sulphides, consisting of pyrite, chalcopyrite, galena and sphalerite. ‘Specimen ore’ rarely occurs.

The Ural vein, which lies parallel and 500' west of the Merrifield, follows the contact of the granodiorite and contact metamorphosed Calaveras formation. It can be traced from the Champion shaft, N. 15° W. for a distance of 3500’, to within a short distance of the ‘New’ Nevada City shaft. At this point the vein takes a sharp bend to the westward (N. 70° W.) following the contact and can be traced to the Coan mine a distance of 4000’, making a total length of 7500 ft. From the point mentioned, a branch vein continues northward for a distance of 1000’ into the granodiorite, but appears to die out before intersecting the northern extension of the Merrifield vein. The Ural vein has an average dip of 35° E. and was worked in crosscuts from the 600', 1200’ and 1800’ levels. On the 600' level a drift was driven south from the crosscut on the Merrifield vein. This drift shows that 400’ south of the crosscut the vein enters an altered diabase and then splits, the east branch continuing south and then east in the diabase, while the west branch taking first a westerly and then a southerly course, finally enters an unaltered black slate. In the Providence mine the main ore body lies north of the point where the vein enters the diabase and was about 150’ in length with an average width of from 24; to 3 feet. The vein carries a black gouge on the foot-wall and several feet of altered granodiorite on the hanging wall. The sulphides are pyrite, chalcopyrite, galena and zinc blende amounting to from 5 to 8 per cent, and an occurrence of telluride of silver and lead is reported. The physical and mineralogical characteristics of the Ural vein, as shown by the Champion workings, are similar to those in the Providence ground. The Wyoming vein, which lies in the footwall of the Ural vein, dips to the east and joins the latter in depth. It seems probable that this vein in its northern extension is the one that intersects the Ural vein in the vicinity of the ‘Old’ Nevada City shaft. The northern continuation of the Ural vein in the Nevada City (Gold Hill) property was extensively worked since 1879, and in 1914 most of the ore being produced was coming from this source. The vein averages about 2' in width, reaching at times a maximum of 12 feet. As in the case of the Ural vein in the Champion-Providence territory the lode in the Nevada City ground shows the characteristic evidence of intense movement and alteration. The sulphides, however, average only 2% per cent.

Operations
The mine was worked through an incline shaft  in length, with an inclination of about 42 degrees. Eight levels were turned from the shaft with a maximum extent north of , and south . A drain tunnel extending north from the shaft  into the hill relieved the mine of the surface water.

Two shoots of ore were worked, one on the north and the other on the south of the shaft. That on the south was of high grade, while the north shoot was large, but contained low-grade ore. As depth was attained the north shoot pitched south more rapidly; crossing the shaft between the 6OO-foot and 900-foot levels. As the north, or low-grade shoot, approached the south shoot, an improvement in the grade of the former was noticeable, increasing as the shoots approached each other without any decrease in the grade and size of the rich shoot. The ore from the mine was of good grade, while the cost of mining was very small, varying from US$2.50 to $3 per ton. The ore was free milling, but at times very heavily mineralized. Ore of this character and quality ran from $150 to $200 per ton. Notwithstanding this heavy mineralization, the ore throughout yielded from 4 per cent to 5 per cent of sulphurets, with a total average value of $80 per ton, about $10 per ton being silver. The product was treated in the chlorination works belonging to the company.

The water from the mine was light, the largest pump being an  plunger pump, which sufficed to keep clear of water the workings below the tunnel level. Ventilation was afforded by a regular system of winzes from level to level.

The ore was crushed in a fifteen-stamp mill. The weight of stamps was seven hundred and fifty pounds, dropping seven inches 90 times per minute, and crushing through No. 5 round-punched screens. The duty per stamp was one and two-thirds tons per day. No rockbreakers or self-feeders were used, but the introduction of the same was contemplated. Steel shoes and iron dies were used. The sulphurets were saved on six Frue concentrators. The chlorination plant owned by the mine was formerly the property of the Merrifield Company. It contained one roasting furnace  inside measurement. It had a capacity of four tons per day; when sufficient sulphurets had accumulated, a run is made. The sulphurets of the Mountaineer Mine was usually treated in these works. The cost of treatment was $8 per ton. The mine was provided with water power throughout; three Pelton wheels were used: a  for plunger, and an  for hoisting. Power for the mill was obtained from a  wheel. Altogether a total of 75 inches of power water was used under a head of  feet.

In 1893, five men are employed in the chlorination works. Fifty-six men and boys were employed underground, plus three in the mill. Miners' wages underground were $3 per day.

Providence Mine

Early years
The Providence Mine was situated on the south bank of Deer Creek,  west of Nevada City, at an altitude of .

The Providence Mine, located in 1858 as one of the earliest claims of the group, was first operated from 1861 to 1867. Owing to difficulties encountered in treating the concentrates the mine was not worked successfully until after the adoption of the chlorination process about 1870. In 1886 the shaft had reached a depth of 1100' and eleven drifts, the longest of which was 3600', had been driven on the Merrifield vein. A crosscut 547’ in length had also been run westward to the Ural vein from the 600’ level of the Providence shaft. After being worked at intervals by the owners and tributers the mine was closed in 1891, but was again reopened the following year. In 1894 apex litigation was instituted between the Providence and Champion and this was finally settled in 1902 by the purchase of the Providence property by the Champion company. The Providence had been developed to a. depth: of 1750’, and was credited with a production of $5,000,000 prior to its acquisition by the Champion.

Operations
The property contained , with two veins worked. One vein was on the contact between the syenitic granite and slate formations, and the other lay entirely in the granite,  to the east, and in the hanging wall. The two veins dipped east at an angle of 36° to 40°. The main shaft was upon the eastern or Providence vein, and the greater part of the work in the past was prosecuted on this vein. The incline shaft was  in depth, ten levels being turned, and extending an average distance of  on the vein. The Providence vein was a larger one, running from  in size, and averaging over . Four shoots of ore were discovered on it, running from  in length. These ore shoots all trended to the north. The work on this vein consisted of driving and opening ground on the  and  levels, and sinking the main shaft.

The western, or contact vein, was worked by means of a crosscut from the Providence vein on the  level; this crosscut was about  in length. The ore shoot on this vein was over  in length, and was stoped out from the  level to the surface. This ore was of high grade, the vein averaging , and being heavily mineralized. A crosscut was driven from the  level of the Providence vein, which gave, when the vein was intersected,  of "backs " on the contact vein.

A Burleigh compressor was added, and a National drill was used in this work. Safety Nitro No.2 powder was the explosive used. There was a forty-stamp mill on the mine, twenty stamps of which were overhauled and were in running order. The entire plant was operated with water power under a fall of  at the mill and  at the hoisting works. The plant was also provided with steam engines, used in case the water supply was temporarily shut off. A Dodd wheel was employed to run the compressor. Twenty-five men were employed in 1893; miners' wages were $3 per day.

Champion Group
By 1919, the Champion Group included Providence, Home (Cadmus), Merrifield, Spanish, Wyoming and Nevada City mines. The owner was the North Star Mine Company at 22 William street, New York City. George B. Agnew, was president, Arthur De Wint Foote was manager, and his son, Arthur Burling Foote, was superintendent.

The Champion property consisted of a consolidation of a number of mines and claims, containing about  and controlling  along the Ural and Merrifield veins. The following claims composed the Champion group; the Bavaria, Bayard Taylor, Champion, Clima, Deer Creek (Cadmus) East Home, Home North, Home South, Mary Ann, Miller, Nevada (Merrifield), Nevada City Extension, New Years, New Years Extension, North Wyoming, Phillip, Providence, Schmidt (Nevada City), Soggs, Spanish, Ural (Cornish), Ural (relocation), West Providence, West Providence Extension, West Wyoming, Wyoming, Graves Placer mine, and Swartz Placer mine. The Providence, Champion, Nevada City, Wyoming and Home were the principal producing mines, and the combined production was variously reported to have been from $8,000,000 to $20,000,000.

The' Providence property was purchased by the Champion in 1902. In 1905, however, the Champion was again involved in litigation with the Home (Cadmus) mine, and this suit was also settled in the early part of 1907 by the purchase of the Home holdings by the Champion company. The Home and Cadmus claims lying west of the Providence were developed by short tunnels and shallow shafts until about 1896, when active work began, and in 1902 the Home shaft had reached a depth of 700’, and a 30-stamp mill had been installed.

The Nevada City or Gold Hill mine in which the Northern extension of the Ural vein had been extensively worked from 1880 to 1895 was included in the Champion holdings by purchase, after suffering from legal complications. Two incline shafts were sunk on the vein, one on the Schmidt claim near the southern end line 1000’ deep and the ‘new’ shaft on the Nevada City claim 1100’ northwest of the old shaft. From 1907 to 1911, the Champion mines experienced the usual vicissitudes of fortune that generally follow protracted litigation, when money is used for attorney fees,_rather than for systematic development work. In June, 1908, work was suspended, but a few months later tributers were working, and in 1909 the mine was bonded. Later the bond was forfeited, which led to more lawsuits. In 1911 the North Star Mines Company bonded the property, and after extensive exploration work the Champion group was purchased by the North Star Mines Company. The work so far accomplished by this company consists of unwatering the Champion shaft to the bottom or 2400' level; reopening and driving the 1000’ level 2500’ north on the Ural vein to the Nevada City ore shoot; driving the 2400’ drift north 3000'; crosscutting on the 1600' level connecting the Ural and Merrifield veins, and a drift which was driven a distance 2500’ north of the crosscut on the Merrified vein. Most of the ore being produced in 1914—15 was obtained from the ore bodies of the Nevada City mine.

Owing to the fragmentary records of the gold output of the different properties, it is impossible to accurately ascertain the total production of the consolidated properties, which had been variously estimated over the wide range of from $8,000,000 to $20,000,000. The latter figure is undoubtedly too large. From authentic records, the production of the Champion Company from 1893 to 1913, has been $2,864,528 from 508,910 tons of ore. This total, however, does not include the production of the Providence or Home mines prior to their purchase by the Champion. According to Lindgren the production of the Providence mine from the Ural and Merrifield veins prior to 1896 was estimated-at $5,000,000, but this figure was considered excessive. From the data available, it seems probable that the combined production of the Ural and Merrified veins has been between eight and nine million dollars.

Ore and mining conditions
The veins in these properties were entirely different from those at Grass Valley, and different methods of timbering and mining were required. The veins were generally not less than  thick, and dipped at an average angle of 35 to 40 degrees, so that less shoveling was necessary than at Grass Valley, and less waste had to be handled. There was no specimen ore. The concentrates averaged about 6% of the ore and carried about 30% of the value. The ground was heavy and cost of timbering was high. Modified square setting was used. The life of timbers was said to be not over a year and a half. Long working drifts had to be watched and the ground taken frequently, and caution was needed in the stopes. According to Weed, the developments at the Champion group up to 1917 had not been satisfactory, the average yield not paying for operation in 1916. By 1919, however, the superintendent expressed satisfaction at the grade of ore, and it was evident that conditions had improved greatly since stoping in the deeper levels of the Providence began.

Milling
The stamp mill contained 40  stamps. Ore entering the mill from the tramway went over grizzlies. It then went to stamps which dropped 106 times per minute. Only outside amalgamation was used, and the pulp flowed over  amalgamating plates to Frenier sand pumps, which sent it to hydraulic classifiers. The slime was sent to thickeners; the sand was concentrated in three double deck and two single deck Deister tables. The concentrate was de-watered, after which it was ground in a tube mill. The middling was sent to two Union Vanners. Tailing went from the tables to 7 sand vats. From the tube mill, the ground concentrate flowed over a  amalgamating plate, fines going to cyanide and portion over 200 mesh returning to tube mill for regrinding.

References

Bibliography

External links

Champion-Providence Mine at U.S. Department of the Interior, U.S. Geological Survey

Gold mines in California
History of Nevada City, California
1851 establishments in California
1920 disestablishments in California
California Gold Rush
Energy companies established in 1851
Energy companies disestablished in 1920
American companies established in 1851
American companies disestablished in 1920
Defunct energy companies of the United States