Album Review: Third Eye Blind – Ursa Major
It’s so easy to pick on Third Eye Blind. They’re not “hip” or “current.” They come from that batch of late ’90s FM rock, like Matchbox Twenty and Vertical Horizon. Their lead singer, Stephan Jenkins, provides unintentional humor whilst giving political speeches. So why is it that the band still has a strong following, a following that causes an uproar over any criticism laid upon them? And more importantly, why am I enjoying the band’s first album in six years, Ursa Major?
Ah, questions. Who needs them?
The fact is, Ursa Major is a good record. It isn’t the band’s best by a long stretch, and it won’t set the bar for any albums to follow. It’s simply a good time, and sometimes that’s all you need as the summer comes to a close. For anyone in fear that this might be a “political” record, it isn’t. Oh, there are some heavy-handed moments here and there, but nothing that matches the clumsiness of “Non-Dairy Creamer”. And for that we should be grateful.
Opener “Can You Take Me” provides foot-stomping verses over loud-yet-melodic guitars. Lead guitarist Tony Fredianelli has more of an identity here when the electric guitar features prominently, as opposed to 2003’s confused Out of the Vein. Along with drummer Brad Hargreaves (though sans original bassist, Arion Salazar), the band welcomes back its fans with a song that shows the group hasn’t lost their flair for writing a big, pop rock song.
Third Eye Blind continues their trend of “Hey, track 2 sounds like a song by The Who” with “Don’t Believe a Word”. The guitar lead-in sounds as much like “Baba O’Riley” as the previous album’s “Blinded” sounded like “Pinball Wizard”. It does make sense as a first single, however; it’s catchy-as-hell, but has a couplet that is so horrendous, you will cringe every time you hear it: “Rap stars brag about shooting each other/Whatever happened to, “Brother, brother”?”.
What makes this line worse is how passionate and sincere Jenkins sounds while singing it. It doesn’t necessarily ruin the rest of the song, but it sticks with you. Fortunately, “Bonfire” provides a chilled-out track after the big production numbers preceding it. “Sharp Knife” has great percussion throughout that erupts into sing-a-long choruses the band has had perfected for over a decade now. If people still took the release of a single seriously, this track would garner popular consideration.
As a whole, Ursa Major is somewhat stripped down from the band’s previous releases. The strongest songs of the record are actually the more reserved, if a Jenkins-produced song in the 21st century can be reserved. As the surprises keep coming, a political (!) song in the form of “About to Break” may be the best tune on the album. The breakdown, with Jenkins singing under a choir shouting, “Break like a fever,” makes the track worthy of inclusion alongside hits off the band’s debut record or even 1999’s Blue. Hargreaves, yet again, is great behind the drum kit.
Before getting too excited, there are some serious mistakes Jenkins and co make on Ursa Major. “One in Ten” doesn’t work as a track placed in the middle of the record. As a secret track, it might work, but not between the two best songs on the album (”Sharp Knife” and “About to Break”). Its sequencing immediately ices the album’s pacing, but that’s hardly the only fault here.
The next mistake arrives in “Summertown”. In the past, Jenkins has rapped on many songs, and it used to be quirky and fun (see: “Never Let You Go”). Even on later Ursa track “Water Landing”, the rap works as a bridge to a chorus, but with “Summertown”, the lame free-form rapping goes on for nearly two minutes, and it’s just a tad embarassing.
Veering back to the more positive aspects of the record, we remember Jenkins asking “How’s It Going to Be” back in 1997 as he asks “Why Can’t You Be” in 2009. A live version of this song appeared on the band’s Red Star EP, and has now reached a solid studio conclusion (avoid the Kimya Dawson duet version of this track, however, at all costs). It really comes to life on the album, showcasing Jenkins’ best vocals on this effort, especially in the song’s climax.
The final two songs of Ursa Major, “Dao of St. Paul” and “Monotov’s Private Opera” (the teasing, “Carnival Barker”, notwithstanding), are also acoustic-driven, contrasting the electric-guitar of the opening tracks. Both feature choirs, which may turn off some with their “big finishes”, but they just seem to work here. And that sums up the record as a whole: It just works.
It isn’t definite that we will see the promised Ursa Minor later this year, featuring songs not included on Ursa Major. If it doesn’t come, hopefully fans of the band won’t have to wait until later next decade for a new record. In the meantime, if you can see past the occasional cheesy politicizing, the lengthy rap, and one strangely placed track, you should enjoy Third Eye Blind’s Ursa Major for what it is: a fun, end-of-summer pop rock album.
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Hey third eye blinds amazing and one of the greatest bands ever and i think whoever wrote this is an idiot and doesnt know music what so ever. At least stephen jenkins puts heart and soul in his music. idoit.
This is a great album. Trying to compare it to the first I find myself thinking it could have been better but really it could also have been a whole lot worse. The album feels like a good old friend making contact again. Evermore, rejoice!
Hey Jon (post on 8/30/09 at 12:13am),
I would say you’re theory about Kevin is right on. He used some very, very distinct amp & reverb sounds, which vanished when he left (you can find info online about some of the stuff he used). Keep in mind he did most of the “guitar melodies” on both the first records - by “melodies” I mean something that stands out enough for the listener to be able to hum along with (but played on guitar). And of course- as most musicians do, he had his own signature “feel” for which notes he wanted to play (the particular scales & chord combos he liked). As a musician myself, I really believe THAT (his preferences for harmony, chords, scales, etc) is the primary source of the mojo/atmosphere you’re talking about . But stuff like reverb definitely makes a difference - almost everybody can hear FAR more subtle differences in reverb (etc) than they think they can.
Some of his solo stuff is awesome, and I highly recommend it. Youtube these 2 phrases, and click the first result:
1. “Kevin Cadogan Chill” (Chill is the title)
2. “Kevin Cadogan Million Times The Sky acoustic”.
I’m pretty confident you’ll be able to hear that same “mojo” again. Jenkins is a fantastic musician, but you’ll be able to see how much Cadogan added to the sound.
I don’t know about you guys, but I just feel like there has been something missing from Out of the Vein and this new album. Their first album, along with Blue, just had this “mojo” or something about them that seemed real and deep and mysterious — these past two albums totally lost that. The only thing I can figure is the loss of Kevin, the original electric guitarist, as Stephen AND Kevin are listed as co-writers on most of the first 2 album’s tracks? Maybe there was just a goldmine of songwriting when they worked together and now it’s just…not the same? I just can’t get into it like the first two albums and it truly makes me sad as I had such high hopes for the band.
love this band, love this album. had an opportunity to listen to it 3 times through while working today, and by the third go around i was singing along, just like any other 3eb album. glad they’re making music again. not too many bands make uncomplicated cheesy pop rock anymore, at least not any that aren’t geared towards 14 yr old girls.
my one bone to pick: the vinyl version omits monotov’s private opera??? sigh.
THANK YOU! Any band, and I mean ANY band that sells more than couple million records on their debut album is going to be underneath immense scrutiny from all the Decemberist nerds, and critics who fawn over Brighteyes but will bash widely popular bands that actually sell records, which is a great thing for everybody involved with the record industry, including critics.
The fact remains that music and your affinity towards a particular band or song is based on your interpretation, and if the six million people who purchased their self-titled debut album share the same interpretation, you might have something there.
Couldn’t agree with you more, sir. I’ve been listening to his record all week and it’s been growing on me non-stop. Sad to say, I’m even starting to get into the cheesy faux rapping on “Summertown.”
Where I left my bungalow keys?
Sorry, I can’t believe you gave this record any stars at all. I’ve never heard such a disjointed pile of unoriginal music. I used to like 3EB but Jenkins hasn’t evolved in over ten years and that’s pretty sad. They really shouldn’t have bothered.
Did anyone else pick up on the Marvin Gaye “What’s Going On?” reference when SJ sang “Rap stars brag about shooting each other, What ever happened to Brother Brother?”.. he sang the words exactly the same, hence the passion. Maybe that sheds a little light on the so-deemed “horrendous” couplet? Thought it was kind of cool.
3EB can do no wrong. They can do better, but they finally sound like they’re having fun. Can’t wait for Ursa Minor! (Hopefully sans a Kimya appearance).
4 stars would have been more accurate, but your review, your rating. This is a beautiful album.
wasn’t that kimya dawson on “everyone is so self-righteous” off of ‘out of the vein’? she works much better on that track than on this one.
i also dug one in ten but, admittedly, i listened to it out of sequence.
Solid review. I must be the only person that liked One in Ten on first listen. I love every version of, “Why Can’t You Be” and “Monotov’s Private Opera” was very touching when he talks about his father and mother.
I just hope this leads to more touring. God knows I love that debut album like no other.
Thanks for actually listening to the album. Longtime fans who have followed the 4 year evolution of these songs for the most part agree with your criticism and praise. Personally, I’d say Water Landing deserves a little more attention. Oh, and Jenkins sings “Break like a fever,” not “But not the fever.”
Wow, you pretty much summed up the opinions of the 3eb’s biggest fans when it comes to this album. The ending to summertown ruins the song, SJ can be embarrassing at times (but it is endearing to us long-time fans), and we wish one in ten were never born, but regardless, there is something so refreshing about hearing 3eb again. When SJ writes quality lyrics, few can come close to matching him; Tony isn’t scared to let the lead guitar dominate; the songs Arion contributed to reflect his unique and funky sound; and Brad is a beast.
Saw them last night at their album release show in Oakland, and was completely taken by surprise by how crazy their fans are for them. All of their t-shirts were sold out before they even took the stage; someone went out to get more, and these went, too. The girls screaming out every single lyric, often drowning out the music, was pretty intense. I think we’ve all underestimated the continued popularity of Third Eye Blind. Oh yeah, it was a pretty good show, too.
While I think the album is better than you have reviewed it, I appreciate the fact that you actually listened to the record, unlike so many critics. It is indeed a masterpiece end of summer album.
Nice review! Glad to see them back. I didn’t think Summertown was as bad as you say, surprised they didn’t make it the lead single on the album. I have not heard the album, by the way, but will this week.