It’s the 25th anniversary of “Bleed American,” the double-platinum breakthrough that sent an effervescent triumph called “The Middle” to the Top 5 on the Billboard Hot 100.
The members of Jimmy Eat World have been celebrating the occasion by revisiting the album live front to back on a tour they kicked off with a sold-out show at Red Rocks Amphitheatre.
They’ll be in downtown Phoenix on Sunday, Sept. 6, playing the album in full at Chase Field as direct support for My Chemical Romance on a tour recognizing the 20th anniversary of “The Black Parade” with a full performance of that album.
I spoke to all four members of Jimmy Eat World earlier this year about the making of the landmark album that took them from Mesa’s Most Likely to the launching
pad of a sustainable career that found them building on that “Bleed American” momentum with integrity to spare while also adding more hit singles to the setlist.
To celebrate the lasting impact of that legacy, here’s one man’s unabashedly subjective countdown of what I believe to be their best songs, from the breakthrough hit a lot of super fans will tell you shouldn’t be here to far less ubiquitous treasures.
Happy birthday, “Bleed American.”
25. ‘Appreciation’ (2013)
You don't go to Jimmy Eat World looking for prom themes. By the time they got to “Damage,” their eighth album, singer-guitarist Jim Adkins had long since established himself as something of a modern master at dissecting what it means to fall in love and see that feeling slowly settle into something more like disappointment.
This is why “Appreciation” resonates the way it does. The man knows how to speak directly to those feelings. As to whether that’s a blessing or a curse, only Adkins can answer that question. On “Appreciation,” he's still holding on despite the fact that she just made his heart break in a way he hasn’t felt since he was just a kid. “You know I want time, I know you want space,” Adkins sings. “Gonna do what I can/ Hey, whatever it might take.”
“Appreciation” also bears another hallmark of their legacy — an arrangement that takes what would’ve been a great song either way and plays directly to its strengths until it's twice the song it could've been.
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24. 'Surviving' (2019)
This is the opening track to “Surviving,” Jimmy Eat World’s 10th studio album, built on an opening riff that just keeps going while everything changes around it is as textures are added and taken away for almost the entirety of the three-minutes track.
It disappears at one point for a Zach Lind drum break that’s equal parts “Wipe Out” and (insert your favorite Keith Moon freakout). But it comes right back, a work of minimalist genius of the sort that lands Keith Richards on those best guitarist lists. Which is to say, I’m a fan of that riff.
As for the lyrics? Album 10 is a reflective time in any band’s career and Adkins is prone to reflection, so of course he rises to the challenge with a song about the past and how “what you were before doesn't have to be you anymore.” As the singer-guitarist explained in an interview with DIY, “Your past is part of you. But it doesn’t have to define you. When you’re ready, you can move forward knowing your story is what you do, not what happens to you.”
23. 'Sweetness' (2001)
Their most-streamed song on Spotify not named “The Middle” was one of four “Bleed American” songs to hit the Billboard Modern Rock Tracks Top 20. They’re all here somewhere. This one peaked at No. 2, the album’s second-most-successful single. And there’s really no mistaking why that is. It’s an absolute anthem that rocks with a built-in audience participation hook (whoa-oh-oh-oh-oh-oh). That’s why 25 years later, it remains a highlight of their live performances.
What’s wild is that it could’ve been on “Clarity” but Capitol rejected it. Apparently, they didn’t hear a hit. Even Adkins had his doubts. As he told MTV at the time, “I almost didn’t bring it to the band because I was thinking to myself, ’I can’t just say nothing. I can’t just use all these sort of a-lyrical whoahs for this much of a song.’” But here we are, singing along after 25 years. What a dizzy dance.
22. 'Episode IV' (1996)
Signed to Capitol Records as fresh-faced kids from Mesa on the strength of a self-titled album on Phoenix’s Wooden Blue Records, Jimmy Eat World recruited Mark Trombino, who drummed for one of Adkins’ favorite bands, Drive Like Jehu, to handle production on “Static Prevails,” establishing the team behind their next two albums — “Clarity” and “Bleed American.”
“Episode IV” is among the mellower moments on that album, effectively pointing the way to the quieter highlights of “Clarity.” As Adkins once noted on X when it was still called Twitter, “‘Episode 4’ is probably the first song we wrote with no loud, saturated guitar sounds.”
It’s one of five songs on “Static Prevails” to feature guitarist Tom Linton on lead vocals (or seven if you count the two that feature both guitarists in the vocal spotlight). Is the title a “Star Wars” reference? I certainly hope so. If it is, it’s more a metaphor to represent a new hope Linton finds in a relationship. “We'll dance off-time to the songs we've never liked,” he sings. “And sing off-key, thinking it sounds all right.”
21. 'Sure and Certain' (2016)
This was the hit from “Integrity Blues,” their ninth album. Released in advance of the album, “Sure and Certain” peaked at No. 10 on Billboard’s Modern Rock Tracks chart, their seventh song to cross that threshold. And there’s no mistaking why that is.
The chorus hook is instantly accessible, and producer Justin Meldal-Johnsen knows exactly how much polish to apply, including a beautiful choral arrangement with Robin Vining and Courtney Marie Andrews adding to its many charms on backing vocals.
As Adkins has explained, it’s a song about how limiting the pursuit of perfection can be, preventing people from enjoying what they have while it’s still there to be enjoyed. Or, as it’s phrased on that singalong chorus, “Sure and certain, wander 'til we're old/ Lost and lurking, wonder 'til we're cold.” It’s a running theme in Adkins’ lyrics and this song expresses it beautifully.
20. 'Disintegration' (2005)
This is the song that welcomed listeners to “Stay On My Side Tonight,” the five-song EP they co-produced with Trombino after trying out a different set of ears and sensibilities on “Futures,” for which they recruited producer Gil Norton.
The fact this song shares a title with The Cure’s “Disintegration” album may not be intended as a tell, but there's a brooding post-punk sensibility at work here that could easily be traced back to The Cure while doubling down on the darkness of “Futures” as it simmers for nearly eight hypnotic minutes.
I have seen this song referred to as a “Futures” outtake, reportedly shelved, in part, because the lyrics felt too negative for that release. And to be fair, there is more bitterness than usual in that chorus, Adkins nearly seething as he sings “Wonder why I'm so caught off guard when we kiss/ I'd rather live my life in regret than do this/ What happened to the love we both knew? We both chased?” There's no mistaking that for "everything will be all right."
19. 'Goodbye Sky Harbor' (1999)
You could almost view this album-closing epic as Jimmy Eat World’s “Hey Jude” if the Beatles had thought to devote even more of that song’s running time to the “Na na na na-na-na na” part, which accounts for slightly more than half the record.
On “Goodbye Sky Harbor,” a “Clarity” highlight with lyrics inspired by John Irving's "A Prayer For Owen Meany,” we’re not even three minutes in before they've shifted into wordless outro mode, which goes on for another 13 minutes. What a mesmerizing use of 13 minutes that is, sounding nothing like the song suggested by that intro — a heavy guitar riff that could almost pass for Helmet.
The bulk of the song is a haunting instrumental loop designed to put you in a trance as different sonic elements assert themselves and disappear without a trace. This is their longest song by quite some distance, but it’s doubtful many listeners will want those 16 minutes and 13 seconds back.
18. 'Work' (2004)
This richly detailed portrait of an interoffice romance features backing vocals by the great Liz Phair, which certainly adds to the sexual tension as Adkins (or the character he’s playing) does his best to talk a colleague into doing something ill-advised, pleading “Can we take a ride? Get out of this place while we still have time?” on a singalong chorus that bristles with urgency.
Because the music video features interviews with high school seniors talking about getting out of town, it’s also been interpreted as a song about some mythic teen escape plan. But the first words out of Adkins’ mouth, after setting the tone with a shadowy guitar arpeggio, are “If you only once would let me/ Only just one time.”
In an interview with MTV, Adkins said, “‘Work' is about doing something you know you shouldn't be doing. ... It's about walking into an unhealthy situation on purpose. Which could mean it's about an interoffice romance.” This song peaked at No. 6 on Billboard’s Modern Rock Tracks chart, the second single from “Futures” to do so.
The first was “Pain,” which made it all the way to No. 1 but did not make our countdown of their finest work (although it is a strong contender).
17. 'Hear You Me' (2001)
The mournful nature of this waltz-time gem from "Bleed American" came at a horrible cost, inspired, as it was, by real-life tragedy. The song was written in tribute to Mykel and Carli Allan, two sisters who opened their home to touring musicians when they passed through town.
In 1997, Mykel, Carli and their sister Trysta lost their lives in a car crash while traveling on an icy stretch of highway to a Weezer concert. The title is a phrase the sisters used to end the newsletters they sent out to the Weezer fan club.
The members of Jimmy Eat World met the sisters at an ill-attended pre-fame gig and were offered a place to sleep. As Adkins recalls in the opening verse, his vocal suitably subdued and riddled with emotion, “There’s no one in town I know/ You gave us some place to go/ I never said thank you for that/ I thought I might get one more chance.”
It’s a beautiful, heartbreaking tribute that builds to a positively breathtaking crescendo with Rachel Haden of That Dog adding backing vocals, organ and piano to the magic and a chorus that hits like a prayer (“May angels lead you in”).
16. 'Coffee and Cigarettes' (2010)
Now, this is a song about getting the hell out of Dodge after finishing high school, expressed in no uncertain terms. As Adkins sings in the opening, “It’s what every townie kid dreams of.” “Coffee and “Cigarettes” crashes the gate in a hail of distorted guitar chords, reasserting their punk roots on their seventh studio release, “Invented," produced by Trombino.
It’s one of five songs on “Invented” to feature guest vocalist Courtney Marie Andrews, who subsequently joined the touring band for a year or two. On “Coffee and Cigarettes,” Andrews takes the vocal spotlight, trading lines with Adkins on the second verse of an electrifying rocker whose chorus in tinged with nostalgia for the way things used to be (“Of all the things I think I’ll miss, there’s staying up with you, coffee and cigarettes”).
The album’s second single, this one peaked at No. 23 on Billboard’s Modern Rock Tracks chart.
15. 'The World You Love' (2004)
Lind sets the pace over swirling keyboards to open this highlight of “Futures,” the album that followed “Bleed American” and built on the momentum of that breakthrough when it peaked at No. 6, a new high, on the Billboard 200.
The prevailing tone of “Futures” is much darker than that previous release, but “The World You Love” is open to interpretation, as dark as you want it to be — if you want it to be — but also possible to hear more as call to rise above the things that leave a guy like Adkins (or the character he’s playing here) ending the opening verse with “I'm looking for a nice way to say, ‘I'm out.’ I want out.”
Even the shimmering chorus arrives at a delicate balance of hope and disenchantment. “Don't it feel like sunshine after all?” is a fairly optimistic way to start a chorus, but those words are quickly followed by “The world we loved, forever gone.” That’s when he hits you with a line that may have more to do with how you hear this song than anything: “We're only just as happy as everyone else seems to think we are.”
I choose to base my own interpretation on the way he ends the final verse: “It doesn't seem there's hope for me/ I let you down/ But I won't give in now/ Not for any amount.” That sounds suspiciously like hope to me.
14. 'Polaris' (2004)
There’s a cinematic quality to Gil Norton’s production on this atmospheric post-punk track from “Futures,” especially the haunted shimmer of that crystalline guitar sound.
As with many of their hardest-hitting songs, it concerns a doomed relationship as told from the perspective of a narrator who seems resigned to the inevitability of losing what they had while clearly still in love. The title refers to the brightest star in the night sky, positioning the person he’s resigned himself to losing as his guiding light.
Adkins sets the scene here with an aching, near-whispered delivery of “I'll say it straight and plain/ I know I've made mistakes” in an opening verse that concludes with the heartbreaking plea “But please answer the door.” He ends each chorus with an anguished “When you go, I'll let you be/ But you're killing everything in me.” The most soul-crushing moment, though, may be “I feel that when I'm old, I'll look at you and know the world was beautiful.”
13. 'Blister' (1999)
Tom Linton was Jimmy Eat World’s primary lead singer in the early days, a role that shifted over time as Adkins came into his own as a lyricist. This is the only track on “Clarity,” their third full-length release, to feature Linton in the vocal spotlight. And he definitely rose to the occasion, his voice the perfect vehicle to complement the youthful punk abandon on display here.
He invests the line “And how long would it take me to walk across the United States all alone” with so much personality, it elevates the whole proceedings, especially the way his voice cracks just enough to rate a smile on “walk across.” And he sounds every bit as perfect on the line that follows: “The West Coast has been traumatized and I think I’m the only one still alive.”
If I could choose one song to soundtrack the apocalypse for me, I’d go with “Blister.” At least I’d go down smiling. The second of two songs Capitol released as singles from “Clarity," it didn’t chart, but it certainly feels like a hit.
12. 'If You Don't, Don't' (2001)
One of several tracks on “Bleed American” to reap the benefit of having Rachel Haden lend her voice to the proceedings, this yearning portrait of what happens when you fail to follow through on how you’re feeling is blessed with a power-pop hook as contagious as anything this side of that other song on “Bleed American” that introduced them to the mainstream.
It also hits all the right lyrical notes. In the opening verse, Adkins sets the scene with a vivid snapshot of the time he almost acted on his feelings. “We once walked out on the beach,” he sings. “And once I almost touched your hand / Oh how I dreamed to finally say such things then only to pretend.” That’s good writing.
My favorite part may be the final chorus, where Adkins exclaims, “cause I need this now, yeah, need this, need this” with all the urgency required.
11. 'A Sunday' (1999)
Is the glockenspiel intro meant to make me think of the celesta part that sets the tone for “Sunday Morning,” the breathtaking ballad that gets “The Velvet Underground & Nico” off to such a lovely start because the song is called “A Sunday?” Because if it is, that’s a brilliant arrangement decision.
And if it isn’t? Well, I'm pretty sure it isn't. But it’s still a brilliant arrangement decision, as are the haunting Hammond B-3 organ part, the strings that usher in the bridge and the whisper-to-a-scream dynamics that mess with the formula so that the chorus is the quiet part (at least until the song build to a climax, where the chorus also gets to be the loud part).
Regardless of intent, this melancholy breakup ballad definitely has that Sunday morning vibe in spots, which suits the lyrics. And the air of utter desperation in those vocals suits the lyrics even better, especially when Adkins hits the line, “Now as I drive back, there's thirty-six less hours/ I have to change the course I send myself.”
10. ‘Bleed American’ (2001)
From its opening riff to its screaming conclusion, the title track that opens “Bleed American” is as electrifying a punk-adjacent rocker as Jimmy Eat World had released at that point, powered by Lind’s relentless show of force on drums. As Rick Burch told me for a recent story on the album, “We wanted to come out swinging. Come out banging.”
That they did. They also came out sounding angrier — or more on edge — than ever, Adkins setting the scene with a snarl of “I'm not alone 'cause the TV's on, yeah/ I'm not crazy 'cause I take the right pills every day.”
This was the album’s lead single, which appeared to be a wise decision until the terrorist attacks of Sept. 11 knocked it straight out of rotation at modern rock radio, where the single peaked at No. 18 before stations yanked it lest it be mistaken for insensitivity on their part in that climate. That's why they also temporarily changed the album title to “Jimmy Eat World,” restoring the album’s original title in 2008.
9. 'Just Watch the Fireworks' (1999)
This is not the ballad they envisioned. It was Trombino's suggestion to try it as more of a mid-tempo rocker. It sure does start off feeling like a ballad, though, with a tender lead vocal from Adkins, who sets the scene for this bittersweet ode to a love so all-encompassing it hurts with “Here, you can be anything and I think that scares you” as chiming guitars complete the mood.
That's when the rhythm section kicks in, Rick Burch complementing Lind’s commanding beat with a propulsive post-punk bassline as the guitars chime away. A tasteful string arrangement makes it entrance later as it builds to an electrifying, Adkins vowing “I’ll stay up as late as it takes" in a tortured howl suggesting that perhaps the conversation did not go the way he wanted.
Clocking in at slightly more than seven minutes, it’s the second-longest song on “Clarity,” the unassuming masterpiece that made the coming breakthrough that much more rewarding when it happened, establishing Jimmy Eat World as heroes in the emo world, regardless of how little interest these guys have in being classified as emo.
8. 'Big Casino' (2007)
Adopting the name of his side project, Go Big Casino, as a song title, Adkins sings of fame from the perspective of an aging narrator whose self-awareness leads to lines as self-effacing as “There's lots of smart ideas in books I never read/ When the girls come talk to me, I wish to hell I had.” But he’s still dreaming of that moment when he finally gets that ticker-tape parade he feels is rightly his.
In a singalong chorus that feels like sunlight breaking through the clouds in a dynamic shift that makes the most of their decision to bring in “Nevermind” producer Butch Vig, Adkins tells us, “I'm the one who gets away/ I'm a New Jersey success story/ And they'll say, ‘Lord, give me a chance to shake that hand.’”
Adkins says he wrote this song about someone who feels they never got their shot in life, and you can definitely feel that in his nuanced portrait of the quest for something more. Released as a single in advance of “Chase This Light,” their highest-charting album, this one peaked at No. 3 on Billboard’s Modern Rock Tracks chart, their biggest hit since “Pain” became their second No. 1 on that same chart.
7. 'Kill' (2004)
Built on a haunting acoustic guitar riff, it opens on Adkins alone at the hotel bar, obsessing. “Well, you're just across the street,” he begins. “Looks a mile to my feet/ I want to go to you.” He knows he’s in a hopeless situation, but he just can’t walk away.
“I can picture your face well from the bar in my hotel,” he continues. “I wish I'd go to you/ I'll pick up, put down the phone/ Like your favorite Heatmiser song goes, 'It's just like being alone.'" The line that really sums up what this song is all about while also speaking to one of Adkins' most enduring strengths, though, is “Sorry, but I can't just go turn off how I feel.”
Among the more intriguing things about this “Futures” highlight is that Adkins wrote it partly as a challenge to see if he could write a song without repeating any lyrics, which he does come surprisingly close to accomplishing here. But you don't need to know that to enjoy the song for what it is.
6. ‘For Me This is Heaven’ (1999)
Guitar arpeggios chime to hypnotic effect as Adkins gets hung up on thoughts like “You can lose yourself in your courage” and “When the time we have now ends” instead of just enjoying what there is to be enjoyed in what the title tells us is heaven for him. “And this is what she said gets her through it,” he sighs. "If I don't let myself be happy now, then when? If not now, when?"
That sounds a lot like the advice he would go on to offer in his own voice two years later on “A Praise Chorus.” But there's a whole different energy driving this breathtaking "Clarity" highlight, blessed with one of Adkins’ most emotionally naked vocals and an expertly deployed piano adding to the magic as the song builds to a mesmerizing climax, Adkins asking one last time, “Can you still feel the butterflies? Can you still hear the last goodnight?”
5. 'The Middle' (2001)
The first step in putting together a countdown of Jimmy Eat World songs — for me at least — is dreading the inevitable backlash from a certain subset of their biggest fans who don’t believe this irrepressibly contagious piece of power-pop perfection should be mentioned in the same breath as some absolutely brilliant song they love with all their heart that never found that kind of audience.
To which I say, "I get it. You roll deep. And that’s to be admired."
I’ve just never had a problem with my favorite artists also doing something that connects on such an epic scale that people who may only know them for that one song can appreciate them on some level. There are people who enjoy "Song 2" by Blur but think it's called "The Woo-Hoo Song." That doesn't change the way I feel about that record.
It’s OK to like the hit, especially when it’s something as contagious and yet heartfelt as “The Middle,” wherein Adkins reassures a listener “in the middle of the ride” that it just takes some time and “everything will be all right, all right.”
There’s a reason this became their breakthrough single and has gone on to be streamed more than a billion times. How massive is “The Middle”? Well, it peaked at No. 5 on Billboard's Hot 100, topped the Modern Rock Tracks chart and went on to inspire a cover by Prince, who dusted it off at his post-Oscar bash in what Rolling Stone declared a "true-to-the-original" rendition.
If Prince can see the genius in this perfectly constructed pop song? Who are we to place ourselves above it?
4. 'Table for Glasses' (1999)
This breathtaking ballad ushered listeners into “Clarity," inspired in part by a performance art piece Adkins witnessed and found fascinating without necessarily knowing what it meant to represent and in part by listening to slowcore legends Low.
It was originally earmarked for a side project he had in mind for songs that seemed a bit too quiet for Jimmy Eat World. When that side project never materialized, it was fair game for “Clarity,” an album that found them pushing the experimental envelope.
The arrangement builds to a gorgeous crescendo with Lind on vibraphone, tubular bells and glockenspiel while Susie Katayama supplies a haunting cello part and delicate harmonies support Adkins' lead vocal. Much of what he sings, describes the actual performance piece, which “happens too fast to make sense of it.” But “Table for Glasses” is more about his own relationship with art, including music.
As it builds to that majestic climax, the lyric “Lead my skeptic sight” is answered by Adkins’ own counterpoint vocal singing “Not asking of me anything/ Saying nothing about what it means/ Without anybody telling me how I should feel.”
3. ‘A Praise Chorus’ (2001)
The Promise Ring’s Davey von Bohlen joins in the fun on this spirited ode to the healing power of rock ‘n’ roll, with lyrical references to songs by Tommy James and the Shondells, Madness, Bad Company (or possibly The Kinks — please let it be The Kinks), They Might Be Giants, Motley Crue and two songs by The Promise Ring.
It’s brilliantly constructed, from the reckless abandon of buzzsaw guitars and machine-gunning bass on the verses, where Adkins gleefully stutters his way through the lyrics like the Roger Daltrey of a later generation, to the introduction of the Hit Parade, where they start singing “Crimson and Clover."
It’s a joyous celebration of what it means to be a music fan that effortlessly answers the singer’s demand that you “kickstart my rock ‘n’ roll heart.” But it’s also an ode to living in the moment and enjoying life for what it is sung by a narrator who ends each chorus with “I want to fall in love tonight.” And you will fall in love, if only with the moment. Or the song itself.
The fourth and final single from their breakthrough album, this one peaked at No. 16 on the Billboard Modern Rock Tracks chart.
2. '23' (2004)
This richly orchestrated ballad brings the “Futures” album to an atmospheric finish with a seven-minute meditation on the importance of not letting life pass you by — of taking ownership of your own role in where life takes you — in the context of familiar territory for Jimmy Eat World: A breakup song. “You'll sit alone forever if you wait for the right time,” Adkins sings. “What are you hoping for? I'm here, I'm now, I'm ready. Holding on tight.”
It’s also written in the context of a narrator who tells us he'll be turning 23 (although Adkins himself turned 29 shortly after the album’s release and was still clearly feeling those lyrics). That's some pure emotion in his vocal, trembling its way through lines as vulnerable as “No one else will know these lonely dreams/ No one else will know that part of me” like a young Robert Smith while the song itself wear its love of The Cure like a crown (or a crown perched on top of a fright wig).
That may be why "23" stills resonates with listeners too old to remember their 23rd birthday. Or maybe it’s because we’re all still prone to waiting for the right time when we know should just do something.
The strings that do so much to give this song its sense of gravitas were added as an afterthought when the band and producer Gil Norton realized they had 30 minutes left in the session they had booked to track the strings on "Drugs or Me,” arranger Jake Davies transcribing a synth part for strings before the clock ran out for those session musicians.
1. 'Lucky Denver Mint' (1998)
This was the first we heard of “Clarity,” released as the album’s lead single in January 1999 after first showing up on a self-titled EP released on Fueled By Ramen two months prior to the album.
It was already a hit at KROQ, a taste-making station in Los Angeles, before it shipped to radio, having charmed its way into rotation when an A&R rep leaked the track to KROQ, bolstering confidence in the album at Capitol Records, their actual label, whose lack of enthusiasm for Jimmy Eat World at that point is the stuff of legend.
It starts and ends with one of Lind’s more memorable drum parts, a skittering earworm looped and digitally processed by Trombino. The last 50 seconds or so are all about the beat. So give the drummer some.
But it wouldn’t have been a hit at KROQ if the song between those beat excursions hadn't been blessed with a pop hook as contagious as anything they'd managed to that point, powered by churning guitars that make their entrance as dynamically as anything this side of “Smells Like Teen Spirit" as Adkins takes himself to task after a night of unsuccessful gambling in Vegas with “You’re not bigger than this/ Not better/ Why can’t you learn?”
The single never charted, but it did bring in plenty of airplay and a placement on the soundtrack to “Never Been Kissed,” a rom-com with Drew Barrymore starring as a journalist gone undercover as a high school student.
Ed has covered pop music for The Republic since 2007, reviewing festivals and concerts, interviewing legends, covering the local scene and more. He did the same in Pittsburgh for more than a decade. Follow him on X and Instagram @edmasley and on Facebook as Ed Masley. Email him at ed.masley@arizonarepublic.com.
This article originally appeared on Arizona Republic: Best Jimmy Eat World songs of all time. Their greatest hits and more
