Firstly was the song "Slow Motion", a controversial ballad written by Jenkins about a student shooting a teacher's son.

[12] While Jenkins insisted that the song was satirical parody,[13] and actually anti-violence, Elektra disapproved of the track being on the album, feeling it could cause controversy due to the proximity of the Columbine High School massacre, which had just happened in April of that year.

[10][16][17] A list of twenty songs were recorded during Blue's sessions, with Godtland instructing each member of the band to vote for their top fifteen.

), were an additional eight songs, "Walk with the Devil", "Alright Caroline", "Lipstick", "Light That Hits the Room/Separation", "Sorry", "Gorgeous", "No One Home", and "Pack a Halo".

[16][10] Conversely, Cadogan was the sole objector to the tracks "Never Let You Go" and "Deep Inside of You", which were not only included on the album, but eventually made singles.

[16] Elektra spokesman Joel Amsterdam revealed that "Horror Show", a track the band had recorded and released originally on the "How's It Going to Be" single and for the Varsity Blues soundtrack, was also in contention for the album, but ultimately left off.

[15] Cadogan subsequently sued Third Eye Blind for breach of contract, with a settlement of an undisclosed amount permanently ending the relationship.

[29] Cadogan mostly kept to low-profile projects, largely three solo albums: 12 Nights in Studio A (2002), Wunderfoot (2003), and Thousand Yard Stare (2006).

AllMusic's Stephen Thomas Erlewine praised the album for proving that they're "stronger and more serious than many of their post-grunge peers" and concluding that "there's not quite enough of it this time around to make Blue the equal of its predecessor, but it should be enough to please devoted fans.

Club writer Stephen Thompson agreed, noting that "its second half is particularly aimless and dire—but it's got its moments, particularly the sparkly, hitworthy single 'Never Let You Go' and 'Anything,' which opens the album with two minutes of pop joy.

"[33] In a mixed review from Spin, Mark Lepage remarked that the band were "lightweights trying their hooks out on the heavy bag", noticing influences from the Rolling Stones, U2, and Kiss.

"[37] Elysa Gardner of Entertainment Weekly noted Jenkins' lyrics and vocal delivery and Cadogan's guitar-work as standout elements of the album.