After the "Puck and Zen" experience, Jenkins moved into the direction of starting a rock band instead. Jenkins recounted that over the span of a few years, he would recruit members, only to have them drop out because of drug addiction or join other bands. Jenkins would write and workshop early material with musician Jason Slater for years before the band started up formally, and the two recorded 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 like Skywalker Ranch. Gleeson assisted 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", were scrapped and shelved entirely, but Jenkins continued to work on some material like "Semi-Charmed Life" or "Alright Caroline" that were eventually released. Around this time, guitarist Tony Fredianelli auditioned for the band, though according to Slater, Jenkins believed him to be "too [heavy] metal" for the band. Around the time frame of 1993 and 1994, Slater departed the band, while guitarist Kevin Cadogan and bassist Arion Salazar joined. The band cycled through a number of drummers including 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 lyrics and Cadogan helping him brainstorm musical ideas; together, they worked on a second set of demos. The band toured locally during 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 management and studio team, who left the band right afterwards. On the verge of breaking up, the band instead regrouped and recruited two new key people: Drummer Brad Hargreaves and 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 its first two studio albums.
Through past connections of Slater and Gotland, Third Eye Blind started 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 they were "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 unsuccessful, and Davis passed on signing the band; however, 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 that contract offered the most artistic freedom. The contract was later reported as the largest publishing deal ever for an unsigned artist at the time.
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.
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 Godtland 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 which songs to keep on the album and which ones to cut; Jenkins and Cadogan had each written songs individually, and each of them fought for more of his own songs to make the final track list. Godtland set up a voting system where each member could vote for a certain number of songs, and that process led 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.
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 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 pushed forward with touring in the meantime, continuing to play large venues, but felt pressure from the burgeoning teen pop and nu metal musical movements of the time, 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.
After four straight years of recording music and touring in support of it, the next couple years were quieter 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 spent 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.
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 albums' 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 albums within a year's 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 an 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 the 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 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. Writer's 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.
In early 2024, a new iteration of the "Summer Gods" tour was announced, with the band touring with Yellowcard from June to August 2024. Jenkin's also noted in March that the band was working on a new studio album, and that they wished to release new music prior to the tour, though he wasn't sure the whole album would be ready for release by then. New music did not release prior to the tour; Hargreaves noted that 4 to 6 songs were largely recorded since 2022, but still required Jenkins to finish writing and recording lyrics and vocals.
On March 13, 2025, the band released a new song "Like A Lullaby". The song was first performed during their Tiny Desk performance, which was released the same day. The track was co-produced by Jenkins and Eric Valentine, who produced the band's debut.
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