A Semi-Charmed Year

Fans of melodic rock haven't had a whole lot to crow about since this decade began. But in the extinction of grunge (and subsequent naming of flannel to the 'Endangered Species' list), there has indeed been a lot more music to bob your head to and smile about. Until now. Or so says Stephan Jenkins, lead vocalist and catalyst for San Francisco rockers Third Eye Blind.

In a year when electronica failed to catch on like the disco plague gripping the country in the '70s, Third Eye Blind still scored with the sex, drugs and rock and roll mentality that accompanied that decadent time. One need look no further than the band's eponymous debut, where Jenkins and mates Arion Salazar (bass), Brad Hargreaves (drums) and Kevin Cadogan (guitars) excitedly praised their long-charting hit "Semi-Charmed Life" as "the first time a song about sex and speed is a hit."

Well, not exactly. But even despite nicking its motor skills from Lou Reed's seminal favorite "Walk On The Wild Side," the tune opened a lot of doors for the band after signing with Elektra.

Opening slots for the Rolling Stones and U2 on their respective stadium tours helped the band into million-selling status. And now people just can't stop playing - or humming - that crafty, happy little tune.

"That song sounds bright and happy for a reason," offers the onetime literature student cum mic stand confidant. Calling SCENE after an in-studio appearance in Los Angeles, Jenkins explains why the song struck such a chord with listeners. "It's definitely got that punk band irony, with a nastiness and a literary sense of humor. Everything feels happy when people are first starting drugs - sometimes even when the walls are starting to come down around them. But that contradiction in the lyrics is what people have in their lives while doing drugs. People are transfixed by contradiction."

While offering that the addictive nature of THIRD EYE BLIND's debut single is "not based on personal experience," Jenkins offers that the quartet's addiction lies in the quest for an imperfect world within the perfect tune.

Just don't call Third Eye Blind a "pop band."

"I don't really like the term 'pop' at all, because most people think of that [genre] as disposable. There's a whole movement in the noise-pop, post-grunge, aggro-rock world that is missing emotional commitment," he argues. "We formed this band with the idea of not fitting into that.

"Our band was just born with a tremendous sense of melody. And we've always looked for that sort of friction that would keep the room all lit up while the corners stay dark. I'm a big believer in the opposing forces - the yin and yang of friction in rock - though I don't really care to think about what we do in analytical terms much," Jenkins pines. "Yes, it is a conscious process and a matter of craft, but it is also about creation and emotional, electrical impulses that precede the craft. And that's even more important."

That may explain why it took a bidding war and several months for Jenkins and Third Eye Blind to settle on signing with Elektra. While money didn't seem to be a major issue at the time, the hands-on, indie control issue was. Needless to say, Jenkins and company are plenty satisfied with the label and current situation.

"We have always approached record companies by telling them not to tell us what to do.

There was never any question about what kind of record we wanted to make, or on what terms we wanted to do it," Jenkins says matter-of-factly. "That whole line about 'trying to sell out for years' was Kevin's. I like the control idea of being on an indie label, but I think that the idea of selling out is nothing more than a farce. I think if you make real music, it will be able to travel to other people - regardless of where it's from. We've always done that.

"I was never really sure about the public consumption aspect of this business, but I have to say that the way other people got [THIRD EYE BLIND] is a very pleasant surprise. We're very blessed. I just wanted people to hear our music, and being on a major label means your records are more likely to get played on the radio and stocked in the stores," Jenkins reasons with a laugh.

"I will gladly take the major label money to make a better record. I don't believe it is necessary to stay stuck on an indie label to remain hip."

But there are drawbacks to the million-selling success that Third Eye Blind enjoyed over the last year according to Jenkins - both label-speaking and otherwise. "The best part of our success is that the record did well," he says. "But the worst part of being on Elektra is that they haven't extended the leeway for videos. I'm thinking I'd like to have complete control of that, as well."

Is Jenkins as concerned about modesty and staying grounded? You be the judge. "I think because we've had the same people around us, we've been able to maintain and stay the same people. But I also believe that we've failed at being grounded. I mean really, man - we've all gone a bit crazy from being on tour over a year. And you would, too ... Another drawback [to success] is in being judged. And not just by the media, either," Jenkins adds with possible veiled reference to Third Eye Blind's recent spat with Green Day.

"The whole world is pretty much a knitting circle anyway."

In large contrast, Third Eye Blind's current tour - which brings them to the Nautica Stage with Canadian alt-rockers Our Lady Peace and newcomers Eve 6 this Friday, June 10 - has a much different circle in mind. The band calls its current summer fling "The Bonfire Tour," which Jenkins hopes will bring the fans huddled in closer to the band and the action at hand.

"We're really excited about this new tour, because there are many different things going on within our show, as usual. The stage will echo closed-down clubs and dilapidated warehouses where we all started out. There's a squat scene in the first act - even some of the illegal parties that we came from - which really mirrors our music and frames it right for the fans. We have these really heavy theater curtains, an empty chair and a closed bar for the second act," Jenkins exudes.

"Everything is basically ancient luxury in disrepair. And somewhere outside all of this, from behind the riser comes the glow of a bonfire. And all the heat we can muster up with our music will be a part of that.

"The third act is where we actually have two stories of stage to play on.

"The stage will actually transform into a club show, with part of the audience actually on stage with us," he adds excitedly. "And that gives us a chance to make a night for [our fans] that didn't get decent seats. So consider this an invitation. We'll give Cleveland a great show. It's a great rock and roll town, and a great place to throw down and do a show that you're proud of.

"With these big tours supporting the Rolling Stones and U2, [the setting] was really impersonal, but there are ways around that," Jenkins finalizes.

"You still go out and try to get them in the eyes. If for no other reason than the glory of the fight and bringing it to the people, you have to get in the ring. We'd like to think that the music came across anyway. You just have to approach things different and try to win over the crowd. And that can be frustrating, but I'm very psyched. It's a challenge that you just can't turn down."
~ Pete Chakerian