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About OKCrew

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  • LP Shows Attended
    2004 Meteora World Tour @ The Forum, Inglewood, CA 2005 Music for Relief Tsunami Benefit @ Arrowhead Pond, Anaheim, CA 2005 Fort Minor Opening for Mos Def @ Gibson Amphitheater, Universal, City CA 2007 Jimmy Kimmel Live @ House of Blues, West Hollywood, CA (I caught Rob's drumstick!) 2017 Linkin Park & Friends Celebrate Life in Honor of Chester Hollywood Bowl, Los Angeles, CA (I had tickets to the OML show scheduled 5 days earlier)

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  1. Powerless and I’ll Be Gone would both be epic. Also why have they never performed with live strings? (Besides the Grammys or whenever Dave busted out a cello in the HT days)
  2. My guess it was a typo by Dave when creating the file and they kept it lol
  3. Yeah that’s why his review of OML was particularly annoying, because everything he said he wanted out of OML, was what THP was, which he refused to listen to lol
  4. I appreciate you unpacking everything there cuz there was a lot and I didn’t know where to start lol I think we’re all on the same page. We know instrumentals aren’t all Joe. We know Brad loves to produce (at some points even more than guitar). We know different contributions can look and sound different than what a bandmate’s conventional role is. But all of that doesn’t mean that it’s wrong to have wanted more Joe on THP, and that his presence wasn’t extremely limited in terms of actual sounds made on the album lol
  5. 💯 yeah in another thread someone reminded us Mike’s weird out-of-character messaging around the promo time which most definitely rubbed some folks the wrong way. One thing I also always thought was a mistake was the Radio Edit of GATS excluding Rakim. I love the song in it’s entirety, but 6 minutes is obv too long for radio, and if you were to cut anything for KROQ, I would have started with the extended intro/outro, not one of the greatest rap verses in rock history. 💯💯 i think Joe did some very minimal drum machine samples like at the end of KTTK and end of UIG, and i think the Summoning, but yeah his minimal presence was the one thing i coulda used more of, but was also used to it at that point
  6. 💯 💯 I thought Page’s voice was similar to Mike’s too lol AFN only makes total sense if you see it as LP’s nod to the New York Alt Metal scene of the 90s. Just like Tom, Rakim, & Daron, it sort of speaks to a “bucket list” of inspirations/collaborations they’ve probably always wanted to do, and it just like everything else in their catalogue, it’s def not for everyone which is okay
  7. I’m a nerd and need closure lol
  8. I only dug it up cuz I thought it would be poor form to create a new thread about a topic that already had a thread about it. I definitely respect where you’re both coming from though, and discussing it is a super fun distraction for me. Either way I understand how much or how little you wanna talk about it. I agree that Rob, Brad, & Dave (particularly Brad) seemed to be resistant to learn half the songs live, which was def a disappointment to me too. I can also see where Chester’s vocals can come off as “forced,” but the songs you mentioned were some of the only opportunities for him to let loose on that particular playing field in a long time, which was honestly just exciting for me. I think Chester was the one who even wrote the bulk of War but I could be wrong. I can also see where Mike’s raps may come off as “generic” too, but it legitimately excited me to hear him spit some flavor you might hear on a Black Hippy mixtape over guitar-driven rock. I think the lyrics piece is where we just simply disagree, which is fine. I was on board for the lines that were just braggadocios and fun on KTTK, and then was legitimately spoken to when it came to both the sociopolitical commentary of GATS, Rebellion, Wastelands etc., and the personal lyrics of FM, etc. Also the collabs were extremely exciting for me as well. The only one I was underwhelmed by was Tom. Finally I’m well aware of the taste diversity of the fanbase, but the one consistent criticism you would see since Meteora was a call for what THP ultimately was. That’s not to say even the majority of all groups from casual listeners to diehard fans hadn’t moved on from that, it just never went away, and that’s where I saw the irony
  9. I couldn’t find the official THP discussion (if there even is one), and what I wanted to say is too long for the chat lol: I hear this (THP was boring, etc.) from diehard, casual, and non-fans alike and i just don’t understand it. I thought THP was near perfect (I actually only wished they included turntables), but beyond that the album was what everyone claimed they wanted—a return to form with another 10 years of technical, musical, and lyrical prowess to elevate the sound. To me it’s some of Mike’s best rapping, some of Chester’s best screaming, and easily Brad’s best guitar playing, Rob’s besr drumming, and Dave's best bass playing. The lyrical content was a powerful blend of personal and political, and spoke to me on virtually every track. The only “disappointment” was Drawbar because of my really high expectations, and get where ppl would find that “boring”
  10. Good find with that press article! I just wanna add that the more I listen to it the more i like it. First of all, it’s incredibly bittersweet that that theme seems to be an exploration of cognitive processing during a time of so much turmoil at the macro level, and the conclusion of that processing is to simply just imagine that you’re saving the day because every other tangible option is out of your control. “If I’m pretending, why not write happy endings?” That’s super deep for pop, which is consistently Mike. Second, having Iann Dior do Mike’s doubles and ad-libs during Mike’s verses is a really fun stylistic choice and just speaks to how he continues to be one of our generations best collaborators. I can go on and on. There’s so many choices made in the music that sound to me like they were made simply out of love for the song itself, and it’s also cool to make out the Samantha Ronson influence in there as well. I give it 10/10 but I’m biased
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