Customer Reviews

Ursa Major (Clean Version)

5 star:		(38)
4 star:		(14)
3 star:		(16)
2 star:		(6)
1 star:		(5)

 

 

Tuesday, August 18th, Third Eye Blind will release their first full-length studio album in six years, "Ursa Major". They have been working on and performing the tracks live for quite sometime but it is officially completed and ready for release! 3EB will also be releasing a live album, "Ursa Minor" at either the end of this year or the beginning of next which will feature some more new material.

Below is a brief review of each track on the album upon first listen. These numeric opinions are subject to change over repeat listenings, but you can preview the album in its entirety on the band's Myspace page and see if you agree with the ratings below.

Ursa Major

1) Can You Take Me?--(6)--a solid debut track, it rocks but not too hard. Frontman Stephan Jenkins is tired of temperance. "Let's start a riot, 'cause a riot's overdue!"

2) Don't Believe a Word--(9)--by now, if you are a 3EB fan, you have more than likely seen the music video for this first single. The album version is exactly the same so if you enjoyed the video version, you'll be happy that they didn't change anything for the album. The David Marion mix of this song is an excellent version as well, if you can get your hands on it.

3) Bonfire--(7)--if you have heard the acoustic version that was floating around and you were hoping that the studio version could match it, or at least come close, then you will not be disappointed by this version. The percussion accompaniment and the vocal mix flesh out the track, giving it everything it was missing acoustically.

4) Sharp Knife--(7)--this is another song that was floating around on the internet as a live version which, like "Bonfire", is done a great deal of justice by being tightened up in the studio. "How did we get not so loose"--excellent lyric.

5) One in Ten--(7)--a catchy and touching but alas, short song. Jenkins sings for the woman he's in love with who doesn't share the sentiment, mainly because she'd rather be with a woman. Strong lyric: "love doesn't come in perfect packages, that means I qualify."

6) About to Break--(6)--one of the ballads on this album, this song is more politically themed. Jenkins is saying here how people are eventually going to be fed up with the unfair treatment they receive and they'll all break like a fever, meaning they will finally stand up and be counted.

7) Summer Town--(7)--another of their catalog that was played heavily at live shows and became a crowd favorite. The first half of the song is a great lament to friendships come and gone. The second half of the song is reminiscent of, although a bit more extensive than, the rap-like ending of their hit "Never Let You Go" off of the "Blue" album.

8) Why Can't You Be--(10)--major relief here, since the album version does not include Kimya Dawson. While she was good on "Self Righteous" back in the day, her addition to this song took away all of the charm that it carried with it on the Red Star EP. Thankfully, here we hear the song as it was always meant to be heard.

9) Water Landing--(6)--this is easy to see as a crowd favorite. The chanting of "water landing" is just as catchy as the "woah oh oh"'s of "Bonfire". This is a solid track where Jenkins compares the relationship he is in to a plane crash, describing it down to an almost scary detail.

10) Dao of St. Paul--(6)--Jenkins bares his heart on his sleeve in this song, where the relationship he is in has reached the point of deciding whether it's worth the long haul or to just cut the losses and move on. On the "evermore, rejoice" section at the end, it sounds kind of like a church choir, which is a bit odd for the band but doesn't play out so long as to get ridiculous.

11) Monotov's Private Opera--(8)--a slow-tempo, soul-baring piece of honesty, Jenkins is trying to figure himself out while realizing that his love is "only you and no one else".

12) Carnival Barker (Instrumental)--(7)--a solid instrumental track that has been making its rounds on the internet for quite some time now.

Overall album rating: 8

Purchasing Options

Just want the album and none of the extras? Buy the cheaper copy on Amazon.com.

Want concert tickets to a free NYC show? Buy it from Best Buy.

Want bonus tracks? Buy it on iTunes.

Want an autographed copy of the CD booklet, (while supplies last)? Buy it from Newbury Comics.

Six years have passed since San Francisco trio Third Eye Blind released their last album "Out of the Vein." While many things have changed in the music landscape since then, the release of "Ursa Major" proves that Third Eye Blind is still one of the most relevant bands on the scene today. The album plays out as such.

1. Can You Take Me- 8/10
Solid uptempo rocker with a searing guitar riff and an infectious bridge breakdown.

2. Don't Believe A Word- 9/10
This song is best described as an all out rock anthem. Jangly verses lead up to a chorus that is worthy of being a stadium rock song. Controversial and witty, lead singer Stephan Jenkins shows off his lyrical wit on this track.

3. Bonfire- 10/10
A haunting intro, understated midtempo verses, and the most catchy chorus on the album make this one of the best songs Third Eye Blind has ever released.

4. Sharp Knife- 10/10
A rapid fire gem, this track grabs you at the outset and takes you on a musical adventure. The verses build up seamlessly to a soaring chorus that is one of the highlights on the album.

5. One In Ten- 7/10
Weakest song on the album. A slow acoustic ballad that just doesn't connect as well as the other songs on "Ursa."

6. About To Break- 9/10
Similar to the song "Wounded" off their sophomore album "Blue," this song starts slow and builds up to a powerful chorus. The bridge is the highlight of the track as it builds up to a face melting guitar riff and a sing-a-long ending.

7. Summertown- 9/10
Stephan Jenkins went a bit overboard with the rapping at the end of this song, so I prefer to skip to the next track around the 3:30 mark. If you do that, you'll find this track to be one of the best on the album. Extremely catchy and uptempo, this song is the most pop-friendly track on "Ursa."

8. Why Can't You Be- 8/10
A solid midtempo acoustic ballad, this is the studio version of the song originally released as a live track on the Red Star EP. Jenkins has changed up the lyrics slightly (apparently, now he's the one who has forgotten about Robbie Williams), but for the most part, this is very much like the Red Star EP live cut.

9. Water Landing- 9/10
For those who have followed the story behind this song, you may find yourself singing a completely different chorus and having to correct yourself on this one. Billed as "Break Me" for several years, Jenkins decided to rework the song and the result is "Water Landing." The speed talking rap style that Jenkins has become enamored with is much more enjoyable on this track (in comparison to "Summertown"). This track ebbs and flows nicely and leads up seamlessly to a soaring chorus with solid backing vocals echoing throughout.

10. Dao of St. Paul- 8/10
A very chill song that builds up nicely to a sing-a-long chorus that is quickly followed up by a surprisingly gripping guitar solo. The fade-out of this song is a highlight.

11. Monotov's Private Opera- 9/10
A great album closer, this midtempo ballad is extremely catchy and infectious. This track also ends with a solid fade-out.

12. Carnival Barker (Instrumental)- 7/10
The 3EB faithful are big supporters of this track, but I would have preferred this slot be taken up by a song that was not previously available. That being said, here's to hoping the forthcoming "Ursa Minor" ("Ursa Major" B-Sides) is released as promised.

After six years, Stephan Jenkins and company have proven once again with the release of "Ursa Major" why Third Eye Blind is still one of the most relevant bands producing music today. Releasing this album independently, "Ursa" most likely won't receive much airplay, but fortunately this band has grown out of the phase where it needs the help of radio to spread its message.

Now, I love Third Eye Blind and this is the first review I have written for anything. I have seen them five times, every time was amazing; one of the best live bands going. But I am baffled by the number of 5-star reviews going on here. I was torn between a 3-star and 4-star review, but in the end, I think it was a matter of me wanting the album to be better than it really is. So, if I am being honest with myself, it only rates as a 3-star, 3 and a half if it were possible. But come on people! With the exception of a handful of bands, like The Beatles and U2, most bands do not have multiple 5-star albums on their resume, and if 3eb has one, this ain't it. It is still a good album, and there are definitely worse ways to spend 4 bucks. If you are looking for a reason why, heck, I say why not.
It does feel a little underwhelming for a 6 year wait. There are a number of good tunes, not as hook-y as usual, but frankly, it's disappointing that these are the lyrics Stephen came up while "suffering" from writers block. Here his words come off a little average and pedestrian. Some people describe him as a 'profound' lyricist, but I think that is a little off the mark. He is certainly witty and clever and heartfelt, and even deep, but not what I would consider profound. I don't want to turn this into a "they're not what they used to be" rant, but I think the songs have been lacking since Kevin Cadogan's departure years ago. There was just something about his use of alternate tunings that made their early songs more interesting and unique instead of standard and somewhat blah.
I'm not going to give each song an individual review, but there a few things I'd like to comment on. The first two songs are nice and punchy, but pretty average. The following two songs get better, with A Sharp Knife, in my opinion, being the best song on the album. Now, the next song, One in Ten, seems to be bringing out the most diverse opinions. I agree with the people that say it breaks the flow of the album, but I still think it is a pretty interesting, even with its juvenile lyrics. I do think it would be better suited for an EP release. I think Red Star would have fit in much better here. After this point, I don't think it ever really gets back on track, maybe with the exception of Summer Town. Some people are turned off by the little sing-rap at the end. But I always liked Can't Get Away, and it is pretty similar to that song.
With the last two songs, Monotov and Carnival, I, for some reason, was under the assumption that there were only supposed to be ten songs on this album and now these two have kind of a tacked-on feel to me. I enjoy the mellow attitude of both songs, especially Carnival Barker, but it just feels, to me anyway, like filler.
The one song that I think absolutely bites is Why Can't You Be. It plods along for way too long, he sounds whine-y, and I hate that he dropped the Robbie Williams lyric. And no, throwing in a beej reference does not make it good, and the more I listen to it, the worse it gets. Oddly, I didn't mind it so much on the Red Star EP.
One last thing: it took me awhile to figure out what it is in most of their songs on all their albums that is so d**n good. And it finally hit me: it's Brad. This guy comes to play on every outing and this one is no different. He turns another amazing, powerful performance. Just listen to his stellar work on A Sharp Knife. Since Arion has gone MIA, I think Brad is definitely the soul of this band.
In closing, it is far from their best, but still good enough to pick up, especially at $4.00. I think that it will grow on me, much like Out Of The Vein did. I think OOTV was a solid 3-star that worked its way to a borderline 4-Star. If nothing else, I am looking forward to Ursa Major getting better with repeat listens, which is more that I can say for the latest U2, which has gotten worse with each subsequent spin. Thanks for reading, hope you weren't too put off by the rambling.

I've always been a huge 3EB fan, so when I heard this album was out I could not wait to get my hands on it. Wow, was I disappointed. The eloquent and poetic lyrics that show up in all of 3EB's other albums does not show up here. The songs are based on trivial egotistical themes. The raw passion heard in earlier albums is turned into a corporate SELL OUT album. You only need to open the album and look at the photos to pick up on this. *tisk tisk*

Third Eye Blind has been my favorite band since their debut album. I couldn't wait to buy this when it came out. I went and picked it up and then I drove around in my car for the 45 minute CD duration because I couldn't wait to hear all the songs. It has been 6 years since Out of The Vein, and while I had heard some of the new material when I saw 3eb live a few months ago, I knew most of the CD would be new to me. Since purchasing Ursa Major I've listened to every track a couple times through and I can honestly say I only REALLY LIKE **TWO** out of the 12 tracks. The rest I barely even LIKE. I'm hoping they will grow on me, but honestly, the whole vibe in general is just unlike all other 3eb that I don't see it happening. I'm all about change, but this isn't even so much change as it is "half-assed-ness". Where is the Stephan Jenkins that wrote the achingly beautiful, sad yet triumphant Motorcycle Driveby? The poignant and haunting at times The Background? The outcast's anthem songs, like Wounded and Narcolepsy? The reflective heart-on-your-sleeve Good Man, the lovelorn, yet light Can't Get Away? Ursa Major really has nothing like any of these. Everything sounds forcibly manufactured, half hearted and in general just all over the place. The whole album lacks cohesiveness. Stephan Jenkins often launches into these rambling diatribes but they are themeless and lead nowhere. Just random spouting about a sprinking of hot-button issues.

The first two songs are the anthem-esque in-your-face type, and both sound like they were ripped out of the 90's. Can You Take Me is a prime example of my aforementioned lack of cohesiveness. Jenkins says "Lets start a riot, me and you, Cuz a riots overdue" and the lyrics are so all over the place and strange that it sounds like there's a riot in the song. Don't Believe a Word sounds like something the band Lit would have sung in the late 90's. The riffs are cliche and repetitive, and frankly its not something we haven't heard a thousand times before. About To Break is a song that sounded like it had potential but for me personally, it was just too much. It was trying to be all political, waxing about the dejected ones, those society frowns upon, etc. Essentially going on about how they're about to break, (like a fever), etc etc. I appreciate the sentiment but it was too over the top for my taste, and just sounded cheesy.

The only songs I really like on Ursa Major are Sharp Knife and Monotov's Private Opera. A Sharp Knife sounds unlike anything 3eb's done before. It is interesting and unique and has those signature Stephan Jenkin's lyrics a lot of 3eb fans have come to expect. The drums create this slow and steady anticipatory vibe throughout the song, like you can't wait to hear what comes next.

Bonfire, Summer Town, Water Landing, Dao of St Paul- These songs didn't stand out for me one way or the other. Bonfire was just ok, Summer Town was actually kind of cheesy--Stephan Jenkins is in his 40s, and I never thought I'd say this but sometimes I wish he'd just act like it. Stop it with these I'm a young college guy type songs, because you're not a young college party guy! With this lame sing-rapping crap, "stone cold rap superstar" garbage, give me a break. Its funny how his songwriting was more introspective and mature about 10+ years ago, and now it's just getting more and more immature.

One in Ten probably ties with Why Can't You Be for the title of Worst 3EB Songs EVER. One in Ten is so stupid that I can't even believe it made the record. I can't even believe Stephan Jenkins wrote it. It is a cliche little number about trying to "turn" a lesbian, and it sounds like something that would be sung drunkenly around a campfire. Why Can't You Be is a whiney self-indulgent disaster that just drones on and on and on. The lyrics are such that you actually have to rewind it a bit because you can't believe what you're hearing. Example: "Why can't you be like my water pic massager...a sweet reliable machine...a water pic massager is the purest love i've ever known" Really? Or how about the line "Sometimes a Blow---'s not enough" I would like to just pretend this terrible song doesn't exist.

On a positive note, Monotov's Private Opera is definitely worth listening to. This and A Sharp Knife are the albums best tracks for me. Monotov's Private Opera is an actual authentic 3eb song; heartfelt and simple, poetic without being cheesy. Stephan Jenkins actually sounds alive and passionate in this song, albeit sad/heartbroken. "It's you and only you and no one else. And I mean it, even when I'm talking to myself."

Overall I would give the record 2 and a half stars. It feels like 3eb felt pressure to appease their die hard fans and release something, new label or not. And maybe SJ ignored whatever writers block he was having, and just barrelled through. I don't know. But I know it was a sad day for me when I actually denounced an album from my favorite band.

I have been a close follower of the band since 1997. I saw them in concert twice, and I even touched Stephen Jenkins' hand once. I guess you could call me obsessive. I waited 5 long, painful years for this album to come out. When it was released, I almost cried. Jenkins' lyrics feel contrived, and they have lost every bit of truth they once told. Everything so holy about Out of the Vein is now nostalgia of a lost time. I refuse to put anything from this album on my iPod, with the exception of 'Why Can't You Be'. I would much rather live in the past and continue to listen to the good stuff.
I miss the days when Third Eye blind songs where inspiring and truthful. I hope Stephen will stop trying to show off his political side. By writing about his liberal views, he is sinking down to the level of a politician. Third Eye Blind made their mark early on, but if they continue to deliver this crap they are putting out now, they are dead to me.

Jenkins comes back to the fold with Ursa Major and upon listening to the album 2 times completely it is not his best work,two many slow songs and did not live up to the expectations,also reading the lyrics thoroughly it does not contain that many political comments as presented by viewers.3/5 ain't bad but could have been better.

I was a fan of 3EB's first two albums and was pleasantly surprised with Out of the Vein. I didn't even know they had a new album coming out, but when I saw it at Target the other day I bought it immediately. After a couple of listens the only thing I really felt about the album was that it's sad this is what they've come to. Stephan's lyrics, especially, seem to be circling the drain. In the past he's walked the line between heartfelt honesty and fratboy with an acoustic guitar trying to be sensitive. Here I can't help but feel like he's fallen off to the latter. The guy's 45 years old and seems incapable of describing relationships in terms other than random sexual encounters and hanging out at parties. It's hard to take a guy seriously when he's writing about trying to "flip butch chicks again." He even has a whole song about being at a bonfire and letting a girl wear his "duct taped vest." My friends and I all thought "10 Days Late" was kind of funny at the time that Blue came out, but we were 15 back then. And the lines in OOV about catching Charlize in the shower and wanting to go down on her for an hour weren't as cringe inducing because they were balanced out with the other songs on the album. Here Stephan seems to have reached a point of unintentional self parody with mentions of BJ's and a woman preferring her water massager.

Musically, there's nothing really bad to be found on Ursa Major. There just seems to persist a lack of the kind of the kind of dynamic changes that made their older albums listenable from start to finish. After repeated listens I still have trouble remembering much about the songs. I haven't even listend to OOV in a year or more, but I can easily remember a lot of the melodies and instrumentation from it. To me none of the songs on this disc have the kind of propulsive rhythms or standout guitar parts of OOV tracks like "Blinded" or "Crystal Baller." On the other side of things, the acoustic songs lack any of the melodicism or complexity that made tracks like "Forget Myself" or "Wake For Young Souls" so memorable. For me this album just feels like one that could have been made by any number of other, less talented bands; which, after a 6 year wait, is kind of disappointing.

Much like their self-titled debut, I find this album in most regards extremely average. Their music is, as always, slightly above average pop, and Stephen Jenkins is a good-not-great singer and songwriter. But the more I listen to this, the more apparent it becomes that a lot of heart and emotion really did go into this album. Where I was immediately impressed by the strong hooks on songs like Bonfire, Summertown, and Water Landing, now I'm struck with the sense of loneliness and desperation that permeates the entire album. Summertown remains an easy listen, but lines like "after Halloween, everything starts fading, I'm losing everyone, I go down like the sun... My whole life is a summer town" really hit home and resonate with me. Similarly, once forgettable tracks like Why Can't You Be now carry a punch as a sad examination of everything we wish a lover could be in a failing relationship.

I'm not sure why any of this is a surprise to me, as this is exactly the experience I've had with their previous albums, but it is comforting to know this music has more staying power than what would naturally come with any decent pop album. There's really a lot to cling to and love here.

Hard to believe it's been six years since 3EB's last album. They've been one of my favorite bands since they came out with their self-titled, and what's always made them distinctive is Stephan Jenkins' amazing voice and Tony Fredianelli's awesome guitar riffs. Their ability to create great alt-rock and heart-wrenching music has always moved me. The first four songs on Ursa Major (Can You Take Me, Don't Believe a Word, Bonfire, and Sharp Knife) are some of their best work since ST and Blue -- I must have listened to this album a dozen times in the last four days, and those four songs still haven't gotten stale.

And then they decided to crap the bed with "One in Ten". I mean, seriously, 3EB, do you think we want to listen to an acoustic song about bisexuality with horns, banjo, and piano? It's like they had a killer jam session with the first four songs, and then decided to take some sleeping pills for the rest of the album. That's part of the reason I've listened to this album so much since I got it -- I'm still trying to make myself like the last half of the album, but besides "Dao of St. Paul" where they put the guitar back in Fredianelli's hands, I'm just left wanting more.

Out of the Vein had more cohesiveness than Ursa Major, and I would give 3EB a pass on this effort if they hadn't taken six years between albums. Self-titled was their debut with the all of their signature songs, and I definitely loved Blue because they were trying to stretch themselves creatively. Just wish they had kept up with that trend on the last two albums.