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A song like “Wounded,” for example, it doesn’t really open up until the very end of the song. I get a lot of criticism that my songs don’t take off until the very end. To me, I can’t really write from structure, I wrote from a more emotional sense.
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There’s a chorus, then it goes beyond that. The first time I heard it I said, “Oh, it’s just perfect.” The interesting thing about Oasis is right when you think they’re at the chorus, they’re willing to go another step, and I love that. Jenkins: “Umbrella” by Rihanna comes to mind. It’s great.ĪllMusic: What are some songs you can point to that have a perfect chorus? But still, “Hit me, baby, one more time,” that’s amazing. From a very young age, I could tell when things were trite. But I always picked up the narrative aspects of songs, too, so a song like “Bohemian Rhapsody,” a line like, “Mama, just killed a man/Put a gun against his head, pulled my trigger, now he’s dead,” that just woke me up to what was going on. Jenkins: When I was a little kid, I loved pop music, I loved pop radio, and I learned so much about song structure from it. They don’t go, “Is this too long, will this play on radio? How will this be perceived?” Those are the times where something really happens, and those are always the songs that become my favorite.ĪllMusic: For some people, lyrics are just a melody delivery system, but the content seems really important to you. A song never holds together until all the lyrics are done, and then when they are done and I’m in the studio with musicians with whom I have a kind of empathy, there are moments where everyone puts down their egos, puts down whatever hat they’re wearing, and they go into an exploration and they do it without any sense of what the outcome’s going to be.
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In the recording process, if I have the lyrics done, then I really enjoy it, but if I don’t have the lyrics done, I feel like a fraud. Stephan Jenkins: I don’t have one favorite part, but I have different parts where it’s a really, really happy thing.
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We talked to Jenkins about whether fretting over subtleties yields rewards, some of the non-musical influences on his performance style, and how opening for Oasis in 1996 put his band on a new course.ĪllMusic: Now that you're five albums in, have you pinpointed your favorite part of the album cycle? With an over 20-year career, featuring high points ranging from early hits like " Semi-Charmed Life," "How's It Going to Be" and "Jumper" to this summer's amphitheater-filling tour alongside Dashboard Confessional, Third Eye Blind has carved a career out of sticking to its hallmarks: respecting the strength of the pop music structure and the vocal hooks of frontman Stephan Jenkins.ĭopamine, the band's latest, came out this June, which editor Stephen Thomas Erlewine wrote features "insistent, surging, miniaturized arena rock," and its creation brought about much hand-wringing on the part of Jenkins, particularly in the lyric department.