Much of the music on the album was written while Jenkins was suffering through an extended period of depression in late 20. Jenkins revised and tweaked lyrics for the album through April 2003 - a month prior to the albums release - at which point he had settled on the final 14 song tracklist. Īs of May 2002, Jenkins reported that they had almost 26 completed songs, and had narrowed it down to 12 songs they felt would make the final tracklist.
Per Jenkins in 2002, this iteration of the song credited Durst with writing the chords, Jenkins with writing the melody and lyrics, and Salazar with writing the bridge the final version of the song that made the album lacks a Durst performance or writing credit. Jenkins reported the song featured Durst on guitar and Jenkins on vocals, with a "funky" sound atypical of either band's work. Jenkins had visited Durst while he was recording Chocolate Starfish in 2000, and the two had co-written a track together in between Limp Bizkit recording sessions. Jenkins spoke about a Third Eye Blind collaboration with Durst in 2000, after Durst invited Jenkins to collaborate on their 2000 album Chocolate Starfish and the Hot Dog Flavored Water, although neither collaboration ever surfaced. The song "Misfits" initially started as a collaboration between Jenkins and Limp Bizkit frontman Fred Durst. performing backup vocals Jenkins noted that "his voice is so hilarious because it sounds like it's doubled and compressed, but it's not." Jenkins and Salazar were motived to work with him after having attended a live show of Andrew W.K.'s, and coming away from the experience equal parts baffled and impressed by his style of music. Their collaboration was titled "Messed Up Kid". was still set to be on the album less than two months before the album's final release date. A scrapped collaboration with hard rock artist Andrew W.K. The single "Blinded" was originally titled "When I See You". Jenkins originally wanted the album to be titled Crystal Baller, after the song of the same name, but it was renamed to Out of the Vein because the other members hated the name. The material went over many changes before finally being released. 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. Out of the Vein was originally scheduled to be released in early 2002, but was delayed several times before its release in May 2003. This is a new beginning." Jenkins reported having written over 40 songs for the album as of August 2001, just prior to starting the recording process for the album. Frontman Stephan Jenkins felt that Out of the Vein would mark "a new period for the band", and added that "The first two albums were like two parts of the same piece.
The other alterations, such as IV/IV (♭VII) or minor iv, are extra embellishments on this essential plagal motion.Out of the Vein was recorded at the group's own Mourning Wood Studios in downtown San Francisco and at Skywalker Sound. In all of these examples, the sense of forward motion is created by the harmonic motion from IV to I. In the version of “Hey Joe” by Jimi Hendrix (1966), the verse consists of three iterations of the plagal motion in a descending-fourths pattern, which results in the progression ♭VI–♭III–♭VII–IV–I, in the key of E major.Įxample 8. The “applied IV” chord can be used in sequence, similar to the descending-fifths progression in common-practice music. The most famous instance of the double-plagal progression is likely the coda from “Hey Jude” by the Beatles ( Example 7).Įxample 7. This is perhaps more simply explained as ♭VII–IV–I. The “double-plagal” progression (Walter Everett’s term) is an expansion of the plagal progression discussed above to include the IV/IV chord prior to the IV chord. Green Day, “Wake Me Up When September Ends” (2005). “Wake Me Up When September Ends” by Green Day ( Example 6) exhibits both of the tendencies discussed above: motion from IV–iv–I and a sense of nostalgia and sentimentality in the lyrics.Įxample 6. Indeed, even in pop music, musicians typically use this progression in conjunction with lyrics that suggest sentimentality. Both authors consider this gesture to invoke a sense of nostalgia and sentimentality. Kent Williams and Frank Lehman as a “plagal sigh” in Golden Era American popular song and Classic Hollywood film scores, respectively. The “plagal sigh” schema, IV–iv–I, includes the scale-degree voice-leading la–le–sol (\hat) creates an especially strong pull to the tonic.Many songs simply use the two-chord vamp I–IV (very common in R&B and soul music).Blues-based schemas all include some kind of plagal motion.