Enema of the State is the third studio album by the American rock band Blink-182, released on June 1, 1999, by MCA Records. The band formed in Southern California, earning an early fanbase with their fast tempos, catchy hooks, and trademark irreverence. The band gained greater visibility after releasing their second album, Dude Ranch (1997), which featured the modern rock hit "Dammit". For its follow-up, the band recruited veteran producer Jerry Finn, who became a key creative partner and an important figure in defining their sound. It also marked their first recording with drummer Travis Barker, whose speed, precision, and versatility helped elevate their musicianship.
Recorded across their hometown of San Diego and Los Angeles over three months, Enema of the State introduced a cleaner, more melodic approach that contrasted with the band's rawer early work. Finn's glossy production emphasized tight arrangements, bright harmonies, and a polished pop sensibility that would become emblematic of mainstream pop-punk. Guitarist Tom DeLonge and bassist Mark Hoppus primarily culled stories from friends and autobiographical situations to craft summer-related tracks revolving around teenage breakups, suburban parties and maturity, as well as more offbeat subject matter such as UFO conspiracy theories. The cover art famously features adult film actress Janine Lindemulder in a nurse uniform; the title is a pun on the term enemy of the state.
Upon release, Enema of the State was a huge commercial hit, though some critics viewed the band's radio-friendly sound and goofy image as a departure from their grassroots, less polished sound. With more than 15 million copies sold globally, the album helped cement the band's status as one of the biggest rock acts of the new millennium. "What's My Age Again?", "All the Small Things", and "Adam's Song" became hit singles and MTV staples, generating heavy airplay. Widely regarded as a defining pop-punk record, Enema of the State has had a lasting impact on the genre and beyond; it helped reinvent the sound for a new generation and inspired countless artists, tributes, and accolades.
Background
Blink-182 emerged from the early 1990s San Diego skate-punk scene, forming in 1992 when bassist Mark Hoppus, guitarist Tom DeLonge, and drummer Scott Raynor began writing songs together, united by a shared enthusiasm for West Coast punk and irreverent humor. The trio developed a loyal local following through performances at venues such as SOMA and released their debut album, Cheshire Cat (1995), through Cargo Music. Extensive touring, including appearances on the Vans Warped Tour, expanded the band's audience beyond Southern California, particularly among skateboarding and surfing communities. By the mid-1990s, punk rock was breaking through on a national scale, aided by high-profile releases by bands like Rancid and Green Day. Blink-182 subsequently signed with MCA Records, which released their second album, Dude Ranch (1997). Its lead single, "Dammit", became a modern rock radio hit, substantially increasing the band's profile and touring commitments.
Throughout 1997 and 1998, Blink-182 spent much of the year touring internationally, performing at festivals, headlining long runs, and supporting larger acts. Although audiences continued to grow, the relentless schedule took a toll on the band's internal dynamics. By early 1998, tensions had intensified, particularly surrounding Raynor, whose personal issues and behavior on the road strained relationships within the group. He had initially become frustrated with the band's decision to sign with a major label rather than an independent punk label such as Epitaph Records. He began struggling with alcohol, which began impacting his playing. "One show he dropped his sticks 10 times," DeLonge recalled. citing He increasingly isolated himself from the rest of the band outside of performances. During the SnoCore Tour, a winter tour featuring Blink-182 alongside ska-punk outfit The Aquabats, morale deteriorated amid difficult travel conditions, mismatched audiences, and mounting disagreements. After he temporarily departed a subsequent tour, Aquabats drummer Travis Barker filled in with only minutes to prepare, learning the 20-song setlist in only 45 minutes. Barker quickly impressed Hoppus and DeLonge, completing the remainder of the tour while performing with both bands each night. Although he initially declined discussions about joining Blink-182 out of respect for Raynor, Barker expressed interest if the position became available, and Hoppus began contacting him regularly as it became clear a lineup change was approaching.
Unlike Raynor, whose playing emphasized traditional double-time punk rhythms, Barker brought exceptional technical ability and a broader musical vocabulary. His personality also complemented the band's dynamic, serving as a quieter foil to the onstage humor of Hoppus and DeLonge. Members of the Aquabats later acknowledged that Barker was a more natural fit for Blink-182 both musically and personally: "We should have looked for a new drummer right then because it was obvious what band he belonged in," admitted the Aquabats' Adam Deibert. Meanwhile, efforts to resolve the conflict with Raynor proved unsuccessful. Over the phone, Hoppus and DeLonge gave him an ultimatum to either stop drinking or enter inpatient rehabilitation. Raynor initially chose to leave the band before later agreeing to seek treatment, but Hoppus and DeLonge had already concluded that the relationship could not continue, and Raynor was dismissed in June 1998. In later years, Raynor acknowledged that the decision had been justified under the circumstances, while the remaining members expressed regret over how the dismissal was handled. Following his departure, Raynor continued performing with other groups and participated in charitable work.
Barker's arrival reinvigorated the band, whose members viewed his musicianship as motivation to improve their own performances. As "Dammit" continued receiving significant radio airplay throughout 1998, Blink-182 graduated from clubs to theater-sized venues during a fall headlining tour, laying the foundation for the commercial breakthrough that followed with their next studio album.
Recording and production Pre-production
Prior to developing the album, the band’s principal songwriters, Tom DeLonge and Mark Hoppus, had already begun composing new material. One early song that later appeared on Enema of the State was "Mutt". An initial version was recorded with the band's previous drummer, Scott Raynor. Inspired by DeLonge's surfer roommate Benji Weatherly, the track was created to accompany Weatherly's surf footage in the 1998 film The Show. Later that year, the band were approached about appearing in the raunchy teen comedy American Pie—a project whose irreverent tone closely aligned with the band's image.
For their cameo appearance, the group chose to revisit "Mutt", recording a second version with new drummer Travis Barker. For the session they enlisted producer Jerry Finn, a veteran figure in punk and alternative rock production. Finn had previously mixed Dookie by Green Day—a landmark commercial breakthrough for pop-punk—and had since worked with acts such as Rancid, Jawbreaker, and more. The trio regarded Finn as well beyond their reach and were impressed that he had taken an interest in producing them. Satisfied with the outcome of the session, the band decided to bring Finn on to produce their next album. The remainder of the material for Enema of the State was developed throughout the band's tours that year, where early versions of songs such as "Dumpweed" and "Aliens Exist" were tested live. The first song they wrote with Barker in the band was "Dysentery Gary".
In October 1998, the group decamped to DML Studios to begin pre-production. The modest studio, tucked away in a retail plaza in Escondido, lacked air conditioning. Studio owner Don Lithgow recalled in 2001 that the band’s growing popularity had noticeably changed the atmosphere of their sessions: "All the kids wanted autographs [...] They’d unlock the doors and let kids into the studio, which most bands would never do." Barker drove daily from his residence in Riverside to participate in the writing sessions. According to the band, the core material for the album was completed in roughly two weeks. Although Barker contributed to the development of the songs, and acted as an arranger, only Hoppus and DeLonge received songwriting credits, as Barker was still considered a hired musician rather than a formal member of the band at the time. Among the songs demoed but ultimately left off the album were the unfinished instrumental "Life's So Boring" and "Man Overboard", which addressed the band's split with Raynor. The latter was fully recorded but initially left incomplete as the band struggled to finalize its lyrics.
Recording The record label allocated a $300,000 recording budget for the album. The recording process for the album was completed over a period of four months, and production was handled at several production facilities in southern California, including Signature Sound and Studio West in San Diego, Big Fish Studios in Encinitas, and Conway Recording Studios and The Bomb Factory in Los Angeles. The first step was to record drums, which were tracked at Chick Corea's Mad Hatter Studios in L.A. in January 1999. After completing his drum tracks, Barker was largely absent from the remainder of the recording sessions, having left to tour with the Vandals. Afterwards the band tracked guitars, bass and vocals. Finn came with an array of instruments, amps, and effects; previously the band were forced to rent such equipment. Finn was not afraid to critique the young band, delivering sharp feedback that ultimately helped them improve. Hoppus credited Finn with knowing a great deal about punk rock music, but also helping the band establish a more pop-inspired sound. The band had so much fun with Finn that there were days when very little work was accomplished: "Recording can get pretty monotonous, but at least we could laugh with Jerry," recalled Hoppus. "A pretty typical day would involve multiple takes for one part of one song, and then everyone would get naked and jump on Jerry." The band chose "never to work with anyone else again," and Finn would produce their next three releases. For Barker, the album was "fueled by black coffee and Marlboro Lights"; he was hopeful for the album as the band were well-rehearsed and no time would be wasted. According to Barker, the album's title stemmed from DeLonge, who was worried about his diet at the time and using enemas.