"One More Light" Turns Three

[xxHybridXeroxx]

1 hour ago, Stranger said:

 

THP always better than OML. that's my opinion. OML is like an album where the label really wanted/force the band to do it after THP didnt do so well in the commercial market. gotta say WBR is the mastermind of everything. they literally make THP failed so badly by having worst marketing, tour and more. so, the band had no choice by following the order to make this pop rock record which most of the fans really disappointed. personally, the album is good but not better than the rest of their catalogue.

 

56 minutes ago, Comfortinthepanic92 said:

I was super into THP when it dropped, but to me even tho it was a "fuck the label we do what we want" type of album and I can understand  and respect the idea, to me it has aged horribly, it's my least fav in terms of Chester's vocals, he basically yells in some songs and I've got big problems with the first five.

KTTK and AFN might be my least fav LP songs to date  (alongside with HTF, Nobody's Listening and In Between), GATS has cool instrumentation but the verses are so formuliac and  lirycally it comes of as the stereotypycal "anti" song, except for the Rakim part that's cool, The Summoning is ok (quite useless but ok), War is fun but again, Chester basically yells "WAAAAAAAAR DESTROYERRRR", then from Wastelands on I like it (especially Rebellion and FM, amazing songs), ALITS is good but overrated IMO and the rap verse is out of place.

OML to me feels the opposite, I always felt they were all on board with the project and, even if it's not super creative in terms of music, it's super enjoyable, I remember liking every song upon the first listen sooo, yeah, it's very personal  

Plus, the fact that Chester took singing lessons (vocal coach or stuff like that, you know better than me) was something really effective on OML, I love his delivery on the title track, NCSM, BS (that bridge is awesome) and Halfway Right (probably my fav song) 

    

This is what's great about LP. Two different opinions and still you both are fans of the same band. 

[hahninator]

When I was listening to Post Traumatic this morning I thought, "why do I like this album so much more than the last 3 albums?" I think the Post Traumatic EP had a huge effect on us all... it's some of the most emotional work we've ever heard from Mike and it talks about Chester. Add that in with the fact that I love Mike rapping and have always enjoyed his solo stuff... that probably plays a big role. But it's just funny because Mike is the main songwriter in Linkin Park and we know some of the PT songs were actually Linkin Park songs.

 

1 hour ago, leftshoe18 said:

Mike has writing credit on all the songs and Brad has credit on 7 of 10. They've always been the main songwriters in the band so I'm sure that's pretty similar to the actual writing of previous albums (though they've always been just credited as written by Linkin Park). They worked with other songwriters but it's exaggerating to say they didn't write their own songs. They wanted to make a modern pop album (for some reason) and part of that process is working with other songwriters.

 

This is a good point. A really good point. It reminds me of Taylor Swift, who writes all of her songs in her entire catalogue, but she works with songwriters sometimes who also get some credit on the songs. But she is credited on every track because they all start with her on acoustic guitar or piano or vocal melody, and the songwriters/producers sometimes help her bring it to life.

 

1 hour ago, Stranger said:

OML is like an album where the label really wanted/force the band to do it after THP didnt do so well in the commercial market. gotta say WBR is the mastermind of everything. they literally make THP failed so badly by having worst marketing, tour and more. so, the band had no choice by following the order to make this pop rock record which most of the fans really disappointed. personally, the album is good but not better than the rest of their catalogue.

 

I am not sure what made you think this, but honestly that opinion is completely false... literally not true at all. And there has never been 1% of a hint in any direction that WBR is forcing them to make a certain style of music. WBR has no control over what LP does with the style of music they make or even what song they release as a single now, listen to Mike's comments literally this week how WBR was strongly opposed to Catalyst as a lead single for ATS but LP makes the calls and Catalyst was what was happening. Same for GATS, I'm sure.

 

The most "WBR pushes LP to do something" move we have ever seen is when MTM was finished, they thought it would be good for LP to have a big lead single as a comeback, so Mike and Chester quickly wrote What I've Done... one of their best/biggest songs. It's truthfully Mike is the master of everything with a nice dash of Chester and Brad, and WBR says "ok" to what the band does. I just watched an interview with Phoenix where he said the label fully trusts Mike to produce the LP albums now because his track record is so good with the band. LP made OML because LP wanted to make OML.

 

1 hour ago, Comfortinthepanic92 said:

Plus, the fact that Chester took singing lessons (vocal coach or stuff like that, you know better than me) was something really effective on OML, I love his delivery on the title track, NCSM, BS (that bridge is awesome) and Halfway Right (probably my fav song) 

 

This is a great post. Like I said earlier, the production sound on the album is absolutely phenomenal. Chester's voice is crystal clear all over it and his delivery is honestly flawless. As Mike said live before, he sets Chester up (in a songwriting sense) to allow him to shine vocally in the best way. That's not exactly how he said it but that was the point he made. NCSM is an A+ track.

 

Regardless of what I think about the SONGS, Chester's delivery and singing on the album is very good.

 

[Somebodyangry]

3 minutes ago, Hahninator said:

When I was listening to Post Traumatic this morning I thought, "why do I like this album so much more than the last 3 albums?" I think the Post Traumatic EP had a huge effect on us all... it's some of the most emotional work we've ever heard from Mike and it talks about Chester. Add that in with the fact that I love Mike rapping and have always enjoyed his solo stuff... that probably plays a big role. But it's just funny because Mike is the main songwriter in Linkin Park and we know some of the PT songs were actually Linkin Park songs.

 

 

This is a good point. A really good point. It reminds me of Taylor Swift, who writes all of her songs in her entire catalogue, but she works with songwriters sometimes who also get some credit on the songs. But she is credited on every track because they all start with her on acoustic guitar or piano or vocal melody, and the songwriters/producers sometimes help her bring it to life.

 

 

I am not sure what made you think this, but honestly that opinion is completely false... literally not true at all. And there has never been 1% of a hint in any direction that WBR is forcing them to make a certain style of music. WBR has no control over what LP does with the style of music they make or even what song they release as a single now, listen to Mike's comments literally this week how WBR was strongly opposed to Catalyst as a lead single for ATS but LP makes the calls and Catalyst was what was happening. Same for GATS, I'm sure.

 

The most "WBR pushes LP to do something" move we have ever seen is when MTM was finished, they thought it would be good for LP to have a big lead single as a comeback, so Mike and Chester quickly wrote What I've Done... one of their best/biggest songs. It's truthfully Mike is the master of everything with a nice dash of Chester and Brad, and WBR says "ok" to what the band does. I just watched an interview with Phoenix where he said the label fully trusts Mike to produce the LP albums now because his track record is so good with the band. LP made OML because LP wanted to make OML.

 

 

This is a great post. Like I said earlier, the production sound on the album is absolutely phenomenal. Chester's voice is crystal clear all over it and his delivery is honestly flawless. As Mike said live before, he sets Chester up (in a songwriting sense) to allow him to shine vocally in the best way. That's not exactly how he said it but that was the point he made. NCSM is an A+ track.

 

Regardless of what I think about the SONGS, Chester's delivery and singing on the album is very good.

 

NCSM is awesome in terms of Chester's vocal performance. Also, maybe it's just me and I'm mad but Chester's delivery on OML reminds me of his prime with Grey Daze at times, I mean, listen to OML and listen to Soul Song, they are 20 years away on e from the other one but he shines on both 

[Stranger]

45 minutes ago, Hahninator said:

I am not sure what made you think this, but honestly that opinion is completely false... literally not true at all. And there has never been 1% of a hint in any direction that WBR is forcing them to make a certain style of music. WBR has no control over what LP does with the style of music they make or even what song they release as a single now, listen to Mike's comments literally this week how WBR was strongly opposed to Catalyst as a lead single for ATS but LP makes the calls and Catalyst was what was happening. Same for GATS, I'm sure.

 

The most "WBR pushes LP to do something" move we have ever seen is when MTM was finished, they thought it would be good for LP to have a big lead single as a comeback, so Mike and Chester quickly wrote What I've Done... one of their best/biggest songs. It's truthfully Mike is the master of everything with a nice dash of Chester and Brad, and WBR says "ok" to what the band does. I just watched an interview with Phoenix where he said the label fully trusts Mike to produce the LP albums now because his track record is so good with the band. LP made OML because LP wanted to make OML.

 

I'm surely thinking that way because i've seen other artists/bands out there that have to follow the specific requirements for album release. everything is in contract. for label, they wanna make profits. for the band, they wanna an art to be creative, delivered to fans. sometimes, both will not goes for the same way.

 

just wondering, why THP marketing worst than OML? i might think the label playing around with THP releases while OML, they pushed it futher because that's what they wanted. but maybe it's kind of nature thing in music world. to say WBR has no control, i dont know bout that because LP needs them instead of WBR need LP. they have a longtime deal.

 

just like how Metallica created St. Anger, getting backlash from the fans and they comeback with Death Magnetic but wasnt fully enough. finally with Hardwired, they back to the roots. maybe for LP,  they have plan to release a contrast album style after OML (could be rock album, electronic, idk) but eventually the plan has to be scrapped.

 

this is just my opinion. i love OML but it's not up to THP. if LP can go on their own just like Blackened Records, that will be fkin amazing.

Edited May 21, 2020 by Stranger

[Justin]

You're suggesting that WBR sabotaged THP. That's the kind of thing we would have heard about by now. Concerns about lack of marketing and support is exactly what prompted LP's original dispute with WBR 15 years ago. If they were willing to stand up to it then, when nobody knew if LP would be successful with MTM, they would have definitely made noise about it in 2013... by which point they were already an established legendary act.

 

Your last point, that OML isn't on the level of THP, is subjective. I enjoy OML as an album more than THP.

 

THP has some good songs, but sometimes I can't shake the feeling that the opposite of what you said is true. To me, THP feels more like the forced album, and OML is the one that feels more natural. THP happened because Mike got the itch to make a heavy record, and we know Chester was down to do something heavy, but it didn't sound like a logical progression to me. That album is like an outlier to me in some ways from their discography post-Meteora.

 

Even in the band members' interviews prior to each album, they seemed more excited and happy with OML to me than THP.

 

With all that said, this album is probably my 2nd least favorite overall. This sounds like a first step towards a new direction, but I personally wasn't a fan of bringing in outside songwriters to actually assist with lyrics. LP didn't need help with their lyrics. I understand the band wanting to work with others to get new ideas and learn from how other people go about their songwriting, but they didn't need people to actually write LP songs with them.

 

It's not a coincidence that SFN is one of the best songs on the album and it just so happens to be the only song written by one person.

Edited May 21, 2020 by Justin

[LPLStaff]

22 minutes ago, Justin said:

You're suggesting that WBR sabotaged THP. That's the kind of thing we would have heard about by now. Concerns about lack of marketing and support is exactly what prompted LP's original dispute with WBR 15 years ago. If they were willing to stand up to it then, when nobody knew if LP would be successful with MTM, they would have definitely made noise about it in 2013... by which point they were already an established legendary act.

 

Exactly.

 

Mike Shinoda, literally yesterday on his stream: "Every time we put out an album, in the moment, I was 100% happy with what it was. Because we were in the drivers seat, there wasn't anybody else telling us to put out music or whatever. You hear that sometimes about artists who labels are telling them "now is the time, what's taking so long?" or vice versa like "we don't like this yet, go back to the drawing board, do something else." We never had that relationship with the label, for us, they trusted our instincts and everything. We always got our record to the point where we loved it and then we delivered it and then they helped us put it out. Or they put it out and we helped them get it out there, however you want to look at that."

[OfficerDoofy]

6 hours ago, Hahninator said:

When I was listening to Post Traumatic this morning I thought, "why do I like this album so much more than the last 3 albums?" I think the Post Traumatic EP had a huge effect on us all... it's some of the most emotional work we've ever heard from Mike and it talks about Chester. Add that in with the fact that I love Mike rapping and have always enjoyed his solo stuff... that probably plays a big role. But it's just funny because Mike is the main songwriter in Linkin Park and we know some of the PT songs were actually Linkin Park songs.

 

 

This is a good point. A really good point. It reminds me of Taylor Swift, who writes all of her songs in her entire catalogue, but she works with songwriters sometimes who also get some credit on the songs. But she is credited on every track because they all start with her on acoustic guitar or piano or vocal melody, and the songwriters/producers sometimes help her bring it to life.

 

 

I am not sure what made you think this, but honestly that opinion is completely false... literally not true at all. And there has never been 1% of a hint in any direction that WBR is forcing them to make a certain style of music. WBR has no control over what LP does with the style of music they make or even what song they release as a single now, listen to Mike's comments literally this week how WBR was strongly opposed to Catalyst as a lead single for ATS but LP makes the calls and Catalyst was what was happening. Same for GATS, I'm sure.

 

The most "WBR pushes LP to do something" move we have ever seen is when MTM was finished, they thought it would be good for LP to have a big lead single as a comeback, so Mike and Chester quickly wrote What I've Done... one of their best/biggest songs. It's truthfully Mike is the master of everything with a nice dash of Chester and Brad, and WBR says "ok" to what the band does. I just watched an interview with Phoenix where he said the label fully trusts Mike to produce the LP albums now because his track record is so good with the band. LP made OML because LP wanted to make OML.

 

 

This is a great post. Like I said earlier, the production sound on the album is absolutely phenomenal. Chester's voice is crystal clear all over it and his delivery is honestly flawless. As Mike said live before, he sets Chester up (in a songwriting sense) to allow him to shine vocally in the best way. That's not exactly how he said it but that was the point he made. NCSM is an A+ track.

 

Regardless of what I think about the SONGS, Chester's delivery and singing on the album is very good.

 

You’re actually mistaken about MTM and WID. Mike said that when they completed the album, FRIENDS close to him told him that it felt like it was missing a piece, it was missing one more thing. So he wrote it in a night and brought it to the band the next day and Chester quickly laid vocals on it, etc. Read the MTM superbook which has longer song facts and bonus facts all throughout, even longer than the CD/DVD book one. The label actually wanted LOATR as the big single. It was also one of two songs (the other being TLTGYA) that the band sent out to mixers at first, that was confirmed in the MTM super book. Makes sense if they were looking at it as the single at the time. They were also talking about it a lot and Mike said they worked very hard on the song because they knew it would be a single from the beginning, as did Rick Rubin. WID is a fantastic song but it wasn’t the label that forced Mike to write it. That’s been a common thought for a while but it’s not really true, Mike wanted to write it because of what people were telling him. They had full creative control during MTM, just like ATS, THP, etc. And Joe also said once it came out nicely because it sort of bridged the old style with the new. 
 

EDIT: Also, a bonus fact. I’ve seen people in the past refer to Mike on the ATS DVD saying ‘‘I’m not on some WID shit’’. He was referring to the fact that he couldn’t just go write a huge song like he did with WID, because he said ‘’that’s all I’ve got’’. Like he had exhausted all options and that’s all he had to work with. Like he worked hard is what he meant. Watch it in the context of the DVD. 

Edited May 21, 2020 by OfficerDoofy

[Justin]

7 minutes ago, OfficerDoofy said:

You’re actually mistaken about MTM and WID. Mike said that when they completed the album, FRIENDS close to him told him that it felt like it was missing a piece, it was missing one more thing. So he wrote it in a night and brought it to the band the next day and Chester quickly laid vocals on it, etc. Read the MTM superbook which has longer song facts and bonus facts all throughout, even longer than the CD/DVD book one. The label actually wanted LOATR as the big single. It was also one of two songs (the other being TLTGYA) that the band sent out to mixers at first, that was confirmed in the MTM super book. Makes sense if they were looking at it as the single at the time. They were also talking about it a lot and Mike said they worked very hard on the song because they knew it would be a single from the beginning, as did Rick Rubin. WID is a fantastic song but it wasn’t the label that forced Mike to write it. That’s been a common thought for a while but it’s not really true, Mike wanted to write it because of what people were telling him. They had full creative control during MTM, just like ATS, THP, etc. And Joe also said once it came out nicely because it sort of bridged the old style with the new. 
 

EDIT: Also, a bonus fact. I’ve seen people in the past refer to Mike on the ATS DVD saying ‘‘I’m not on some WID shit’’. He was referring to the fact that he couldn’t just go write a huge song like he did with WID, because he said ‘’that’s all I’ve got’’. Like he had exhausted all options and that’s all he had to work with. Like he worked hard is what he meant. Watch it in the context of the DVD. 

 

If WID wasn't on the album, I would think LOATR would be the next best choice for lead single.

 

Also I referred to that recently. I haven't seen the DVD in a long time, but I always thought he meant "We're doing some really different, experimental stuff, nothing like the past or what people are expecting us to come out with on this album." You may be right, though, because if my memory is correct he said that while clicking through a bunch of different small demos for the band. So in that context, I could see him meaning it more in the way you said it.

[OfficerDoofy]

Just now, Justin said:

 

If WID wasn't on the album, I would think LOATR would be the next best choice for lead single.

 

Also I referred to that recently. I haven't seen the DVD in a long time, but I always thought he meant "We're doing some really different, experimental stuff, nothing like the past or what people are expecting us to come out with on this album." You may be right, though, because if my memory is correct he said that while clicking through a bunch of different small demos for the band. So in that context, I could see him meaning it more in the way you said it.

Yes, they were looking through tons of demos he had made because Rick didn’t feel attached to anything or something. He played different ones. He then said something like ‘’I’m not on some WID shit and if that is what Rick is looking for, like I can’t, that’s all I got’’. People thought he was calling WID shit but he wasn’t. He’s referring to how people felt like MTM needed one last song (Mike said people close to him after hearing the full album) and he went home and wrote it and it became a big hit. He’s saying he can’t do that again, like he’s burnt out basically and he has been working hard with the ATS stuff. That’s all he meant by it. 

[SFNL14]

To me THP sounds like an album that was heavy just for the sake of being heavy. They forced themselves to make the songs heavy for some reason, maybe to please the fans or whatever. The result was not that great, so they were probably like fuck it, if heavy isn't going to work anymore, we'll try something else entirely, which I guess resulted in OML. But I don't have any proof for all of this, its just the feeling that I have.

[JZLP-NaughtyNottingham]

16 hours ago, Comfortinthepanic92 said:

, I always felt they were all on board with the project 

Phoenix, Rob, Joe & Chester were like studio musicians, they weren't involved in OML at all

It was all about Mike's control obsession.

 

Also watch the promo performances, the rest of the band was nowhere to be found. 

 

To me Mike & Brad used LP as a brand for OML

 

No respect for the rest of the guys. 

[Somebodyangry]

Ok but I always felt they were more comfortable doing OML than THP. As SFNL14 said, THP always sounded forced and heavy for heavyness sake to me, and some songs just feel empty, best example being KTTK that is basically Victimized extended version with a cool guitar solo.

[Justin]

It's ok to be cynical as long as you're talking about Mike being a dictator in LP and playing favorites with Brad to make OML.

Don't you dare say a cross word about Grey Daze though. Money is the last thing on their mind. All they want to do is honor their friend.

[JZLP-NaughtyNottingham]

48 minutes ago, Justin said:

It's ok to be cynical as long as you're talking about Mike being a dictator in LP and playing favorites with Brad to make OML.

Don't you dare say a cross word about Grey Daze though. Money is the last thing on their mind. All they want to do is honor their friend.

 

Just listen to Post Traumatic, almost every damn song is about losing control of everything. 

 

[7Up]

11 hours ago, JZLP said:

Phoenix, Rob, Joe & Chester were like studio musicians, they weren't involved in OML at all

It was all about Mike's control obsession.

 

Also watch the promo performances, the rest of the band was nowhere to be found. 

 

To me Mike & Brad used LP as a brand for OML

 

No respect for the rest of the guys. 

Idk why they didn’t just list ‘’Linkin Park’’ as the writers next to the other people. On every other of their main 7 albums, they listed Linkin Park I’m pretty sure, instead of individual members for every song. But it’s weird that you have interviews with Chester talking about what TTM is about, about relating to how Talinda must have felt when he was battling his demons, but yet he doesn’t have writing credits. I think the entire band did contribute. Especially Chester. In fact, I’m almost positive that Mike always ran lyrics by Chester, it’s been shown in like 1000 different LPTV’s and LPUTV’s. Mike and Brad have been the primary writers forever I’m pretty sure, even more so Mike. You also have examples of Joe suggesting they get a female artist to feature on Heavy, etc. I’m not saying OML is my favorite album but it’s not fair to specifically say the rest of the band didn’t write anything. I mean Chester did contribute largely to Heavy and HW. It’s only a 10 song album. Chester sings on literally every track, even Invisible which I think he does backing stuff. 
 

and BTW, Post Traumatic is amazing and isn’t only about losing control. Mike talks about grief and tons of other emotions. And yeah losing control because he’s also a human too. What’s wrong with this guy Jz

[Coizu]

I have no experience with that stuff myself, but I would assume that the whole song writing credits thing gets way more complicated and formal once you include that many other writers so the band can't just be like "oh by the way, we are also going to add every other band member as a song writer. Deal with it".

[GlassCastles]

1 hour ago, JZLP said:

 

Just listen to Post Traumatic, almost every damn song is about losing control of everything. 

 

Yup, cause losing one of your best friends and trying to make sense of everything in the wake of that reads the exact same as wanting to dictate to others and feeling like you must always be in charge. You really are an expert of analysis, truly. I'm genuinely not sure at this point if you actually believe half of what you say on here or if you just like being contrarian to stir the pot.

 

20 minutes ago, graveguard said:

I have no experience with that stuff myself, but I would assume that the whole song writing credits thing gets way more complicated and formal once you include that many other writers so the band can't just be like "oh by the way, we are also going to add every other band member as a song writer. Deal with it".

And this is exactly it. Songwriters basically get paid from a different pot than performing artists/labels. Writing something entirely in-house and then splitting it equally among the band members is pretty common. Having other writers on the project and still splitting everything equally among band members who didn't actually write on the songs/letting them double up is very, very uncommon and downright disrespectful to the other writers.

[Somebodyangry]

Even if I’m not a huge fan of PT, I think it’s unfair to compare it to the LP albums because of the circumstances that surround the making of the album, and because it was made by Mike alone in like less than a year. 
With that said, I think that criticism, if expressed with the right tone and words, is legit even for PT, and I find myself to agree with JZLP on the fact that I don’t feel much connection with some songs on the record and their lirycal content 

 

[sordomuda]

12 hours ago, SasstielExperience said:

Yup, cause losing one of your best friends and trying to make sense of everything in the wake of that reads the exact same as wanting to dictate to others and feeling like you must always be in charge. You really are an expert of analysis, truly. I'm genuinely not sure at this point if you actually believe half of what you say on here or if you just like being contrarian to stir the pot.

 

And this is exactly it. Songwriters basically get paid from a different pot than performing artists/labels. Writing something entirely in-house and then splitting it equally among the band members is pretty common. Having other writers on the project and still splitting everything equally among band members who didn't actually write on the songs/letting them double up is very, very uncommon and downright disrespectful to the other writers.

you got the point but that means the rest of the members really didnt contribute in the writing process from what i understand. 
 

For me OML is the album that I like very much but I dont love. I dont listen to it very often as a whole, i tend to listen my fave songs from it on repeat sometimes though. And I like pop music as well so its not the case that I only listen to hard rock music and i call this album shit because its pop. I dont want to sound repetetive as someone Here above but the chipmunkfest in every song really bothers me haha. 
i literally always forget how Halfway Right goes lol. Good Goodbye is a bad song for me, I dont care about the guests as well. I wish they have kept the original version with Mike only. Live version sounds much better though. Talking to myself is a bop. One More Light is a masterpiece. NCSN a really good song as well. Battle Symphony i kinda like as well. I love Sharp Edges live even though its a very simple song. Also I am team Invisible over SFN (weird, ikr)

my complain is that I wish it had like two more songs (WAYW would be awesome, I love this song) plus one song with Mike rapping. Not like a typical rappy song but just a pop song with him rapping ha!

[Somebodyangry]

7 minutes ago, sordomuda said:

you got the point but that means the rest of the members really didnt contribute in the writing process from what i understand. 
 

For me OML is the album that I like very much but I dont love. I dont listen to it very often as a whole, i tend to listen my fave songs from it on repeat sometimes though. And I like pop music as well so its not the case that I only listen to hard rock music and i call this album shit because its pop. I dont want to sound repetetive as someone Here above but the chipmunkfest in every song really bothers me haha. 
i literally always forget how Halfway Right goes lol. Good Goodbye is a bad song for me, I dont care about the guests as well. I wish they have kept the original version with Mike only. Live version sounds much better though. Talking to myself is a bop. One More Light is a masterpiece. NCSN a really good song as well. Battle Symphony i kinda like as well. I love Sharp Edges live even though its a very simple song. Also I am team Invisible over SFN (weird, ikr)

my complain is that I wish it had like two more songs (WAYW would be awesome, I love this song) plus one song with Mike rapping. Not like a typical rappy song but just a pop song with him rapping ha!

A pop song with Mike rapping like Welcome ? Because I consider Welcome straight garbage, hated that song and the similar sounding Prove You Wrong since day one 🤪🤪sorry just my opinion 

[GlassCastles]

23 minutes ago, sordomuda said:

you got the point but that means the rest of the members really didnt contribute in the writing process from what i understand. 

There's a very good chance they didn't contribute much to the writing of the other albums too. The Messenger was entirely Chester, Mike, and Brad, but all 6 members have a writing credit. CFTI is basically all Joe with some help from Mike, but all 6 members have a writing credit (except for Phoenix cause he only got credit on the Xero era songs for HT). If you told me 90% of the band's catalog was written by exclusively Mike, Brad, and Chester with Joe, Phoenix, and Rob just playing the parts Mike wrote for them/maybe giving them their own flair, I'd believe you. Until OML, they'd pretty much just slapped all their names on every song they released cause it was basically all in-house so if that's how they wanted to split the songwriting royalties/credit, they could with no issue. Once you start bringing in third-parties, though, you have to look at who's actually contributing to the writing process and credit them as such; both for actual royalties and just as an etiquette/respect thing.

[sordomuda]

1 hour ago, Comfortinthepanic92 said:

A pop song with Mike rapping like Welcome ? Because I consider Welcome straight garbage, hated that song and the similar sounding Prove You Wrong since day one 🤪🤪sorry just my opinion 

i meant a very rappy song would not fit the album like i dont know Lift Off or so imo. Thats why GG is out of the place on the album a little imo but they were also mixing different genres in their albums so maybe they would create something. Anyway what i meant is that his signature rap was on every album of theirs thats why it is missing in OML. at least I miss it haha. 
 

1 hour ago, SasstielExperience said:

There's a very good chance they didn't contribute much to the writing of the other albums too. The Messenger was entirely Chester, Mike, and Brad, but all 6 members have a writing credit. CFTI is basically all Joe with some help from Mike, but all 6 members have a writing credit (except for Phoenix cause he only got credit on the Xero era songs for HT). If you told me 90% of the band's catalog was written by exclusively Mike, Brad, and Chester with Joe, Phoenix, and Rob just playing the parts Mike wrote for them/maybe giving them their own flair, I'd believe you. Until OML, they'd pretty much just slapped all their names on every song they released cause it was basically all in-house so if that's how they wanted to split the songwriting royalties/credit, they could with no issue. Once you start bringing in third-parties, though, you have to look at who's actually contributing to the writing process and credit them as such; both for actual royalties and just as an etiquette/respect thing.

thats a very valid point. But i think the issue that is bothering most of the fans is not that only Mike and Brad contributed to it (we been knew like you said) but that they took people outside the band to write for them. Personally i dont mind it on one album. Its not like they do it on every album or they got lyrics and music ready, done by someone else and just went to the studio to record it with no contribution like some of the main artists out there. 

[Somebodyangry]

16 minutes ago, sordomuda said:

i meant a very rappy song would not fit the album like i dont know Lift Off or so imo. Thats why GG is out of the place on the album a little imo but they were also mixing different genres in their albums so maybe they would create something. Anyway what i meant is that his signature rap was on every album of theirs thats why it is missing in OML. at least I miss it haha. 
 

thats a very valid point. But i think the issue that is bothering most of the fans is not that only Mike and Brad contributed to it (we been knew like you said) but that they took people outside the band to write for them. Personally i dont mind it on one album. Its not like they do it on every album or they got lyrics and music ready, done by someone else and just went to the studio to record it with no contribution like some of the main artists out there. 

Hmmm I agree with Gg being fun but a bit out of place (the chorus is great tho) but this makes me think even more that another rap song would not fit on the album, instead I would have loved another song with more Chester-Mike interaction like the ending of SFN 

[sordomuda]

19 minutes ago, Comfortinthepanic92 said:

Hmmm I agree with Gg being fun but a bit out of place (the chorus is great tho) but this makes me think even more that another rap song would not fit on the album, instead I would have loved another song with more Chester-Mike interaction like the ending of SFN 

Yes another rap song would destroy the concept of the album i just meant his rapping way of singing haha. btw are you a fan of heavy? No shade just judging by your nick. 

[Somebodyangry]

1 hour ago, sordomuda said:

Yes another rap song would destroy the concept of the album i just meant his rapping way of singing haha. btw are you a fan of heavy? No shade just judging by your nick. 

I created this profile when the song dropped, and I love that line, so the nick stayed the same for 3 years. 
As of now, 3 years later, I really like the song lyrics as an insight on depression, and really like the live version of the song with just Chester. The studio version is pretty meh, not my least fav LP song but not great