LPLStaff

That's great. It's a shame the Petrified LA remix wasn't on the vinyl release but at least it's coming to streaming. Love Be Somebody, There They Go, and The Hard Way. Nice move!

This is like Dropped Frames 4. Nice to get more of the jams since he made so many. I think he really missed an opportunity to do a fourth great release at the time with One Hundredth Stream, Pool Party, Brooklyn Way, Gospel Choir, KarmaKon, Stinky Machine, etc - all those really strong ones he never got around to releasing. Did A Thousand Jams or Submarine ever come out? It is good Brooklyn Way is on here. Is this a way for him to get more of the jams out? Would love to see some of those other early ones mentioned above get out. I have a playlist of rips of them in iTunes to jam them but at least One Hundredth Stream should get a release.

That's exactly it. I don't think it feels off, though. He's doing something fun and enjoyable for himself. When he said "there won't be an album, but trust me on this" I was a little skeptical. Releasing the Crimson Chapter EP which is very similar to NIN's Closer to God Halo 9 release is pretty cool. It isn't crazy, it's exactly what NIN did and he talks about it in the interview how that inspired him to make it. And the live sessions are cool. All I'd really wish is he'd play a live show in the cities he's visiting... why not play to 500-1,000 in a tiny show in Sydney, LA, Berlin, London, Tokyo, etc? Just hook a laptop up with the keyboard and mic and he's good to go. Nothing feels off to me besides the fact that he kept saying the new music he made during COVID would be fun to play live and yet he still hasn't done it. If the route forward is EPs with new songs and remixes instead of a traditional album, that's completely fine. But let's get some shows going. I don't think he could do this during COVID, though. Like, you couldn't get to Europe, Japan, or Australia to record with other musicians. I agree he should have done some live shows during COVID over streaming but he was really uninterested in that for some reason which is a shame. Post Malone did an epic one, etc... there were some great shows. And he did the Happy Endings performance - why not a few more?

Already Over Sessions - Los Angeles is out and features performances of "Already Over" and "Faint!" Vocals: Bobby Amaru & Veda Lead Guitar: Mateus Asato Rhythm Guitar: Morgan F. Kennedy Keyboard: Nalu The Piano Man Bass: mynameisnotdrew Drums: Nate Mueller Studio: The Village, West Los Angeles Engineer: Ethan Mates Videographer/Editor: Mark Fiore Videographer/Photographer: Pavel Suslov What do you think?

We're working on the Crimson Chapter EP page - anyone see anything else we need to add? https://linkinpedia.com/index.php?title=The_Crimson_Chapter_EP Also have not gotten to Already Over and In My Head but that's coming soon. What should we do with Already Over Sessions?

He is in Tokyo doing that one today.

Great to see you Zap! Hope all is well - long time no see. We Major would be great. Guess they sold/distributed it in such a street way in 2005 that it's unlikely they ever release it officially again, right? Not even streaming.

Resale for this is all over the place already. Seeing $150 on eBay. Should have grabbed one. They should have made this for LPU members lol

What else is missing from the wiki page? What do we need to add? https://linkinpedia.com/index.php?title=The_Crimson_Chapter_EP

We host no illegal content that we are aware of, and if we did for some reason (inadvertently), we would remove it immediately. The site's purpose has never been to host copyrighted materials. Which is why we do not allow copyrighted material in the forums.

I agree that this is a cool release. Nice mix of instrumental, remix, and reinterpretations on the song. Wouldn't mind more EPs like this for songs if he doesn't want to do a traditional album - we could get even more music this way. If that's what Mike wants to do then that's a cool way to go about it. You can't compare this to LP - obviously Mike would release an LP album every 2 years if he could. The rest of the band isn't ready to continue is simply all that is.

It definitely is logical and fair to pay him for the publishing of the songs/demos for his performance on them. What isn't clear is, was he really even owed *any* money before the Hybrid Theory 20 box set? And if so, what does that look like? Him saying he wasn't paid a dime for 20 years.... what exactly was he even owed? Sure, some of the 99 stuff ended up on singles or EPs but is he even on that material? Was LP/the label even *wrong* for not paying him before HT20? It's going to come down to if he's on the HTEP songs or not, which should be a center point of the case. What exactly did he even play on? Not even we are sure about that and we archive a lot of information better than Kyle or LP does (in certain situations). And that's what the lawyers/label will try to figure out. He definitely does not deserve and will not get songwriter credits 23+ years later on these songs where songwriter credits were established from the early beginning of being combinations of Mike, Mark, Brad, Joe, etc. Questions I have: 1. Is Kyle really on the HTEP or not? What makes him in 2020 suddenly say he is, after saying he was not for 20 years? If so, then And One and Part of Me were on Songs from the Underground. Is there even any live bass on Dedicated? 2. Are fan club exclusives (sold for cheap) subjected to the same thing regular albums to the public are? Does the band get paid, or how does the band get paid, for pressing 1,000 HTEPs for the LPU only? A Decade Underground is another digital exclusive only for the LPU. 3. Does the band have records that can tell which exact songs Kyle recorded bass on? It is somewhere in-between what Linkin Park claims (just Could Have Been, but I understand their argument for only saying that song when he came back to them questioning them) and what Kyle claims (he is pretty off with his list and is wrong on at least 7 songs minimum, very likely more).

The band was/is trying to pay him for royalties just on released work that he recorded, so performance royalties or mechanical royalties as people call it. But, he does not have writing credit on the songs. That is a different situation. Mike, Chester, and Brad wrote Could Have Been, for example. Just because you record on something doesn't mean you get a songwriting credit. I don't know how easy it is going to be for either side to come up with proof on these songs. You can already see the band offered to pay him for a batch of songs, then Kyle wants to know more about it and then claims he was on MANY more (some of which is just not true), then LP says "well we can only prove you are on Could Have Been", essentially. Kyle himself is who claimed the bass on the Hybrid Theory EP was dubbed over with other bass that was not his. What exactly makes that statement of his false now, as he claims? Kyle is also suing for songwriter credits, according to the article, unless the article is wrong. There is absolutely no way he is going to win that. I had assumed the Stick N Move demo was from March 2000 at NRG (post-Kyle) due to the HT20 book and Jeff's book. But, our LPLive chat says it may be from January 2000 when they were recording tracks to get ready to go to NRG, because Don does not have a production credit on it (something he would likely get if this version was from NRG). So, either way, it's post-Kyle. If we can poke holes so easily through some of the songs Kyle claims, then I suspect it is going to be easy for their legal team to do even more. More so, what proof exists he played on song A versus song B? My question is, because Slip was recorded with Mark and with Phoenix on bass before he left, then how would Esaul be any different with Chester? Wouldn't the instrumentalsbe reused?The Slip we have is Phoenix. Isn't Esaul the same instrumental with Mark and with Chester? Aka the LPU Rarities version - the one with the early early lyrics. I think Kyle is wrong on this track. While Mike widely (and incorrectly) claims Chester joined in 1998 versus 1999, he would know much more about the bass situation than any fan or Kyle himself would. Remember how much detail he went into just about the HT bass during the HT20 interviews? He knows this stuff, especially if he sits down and looks at multitracks, notes, etc he has. As far as what is owed, I wonder what the fan club situation has to do with it for the LPU reissue of the HTEP. He genuinely may not be owed anything for the LPU release - it depends what the legal deal is with fan club exclusives vs public releases. Remember there are obscure releases in the catalog too - Songs from the Underground has And One, Part of Me, and Dedicated. Is Kyle really on the HTEP? He says he was not and now suddenly changes his mind. Does Dedicated have live bass? Etc. It's going to come down to a track-by-track situation. The short version of this is - if we are able to sit here and off the top of our head poke holes all over this argument from Kyle, then with the LP stash of proof, there is likely even more evidence to prove more of this wrong. The truth is somewhere in the middle. Did he record on more than just Could Have Been? Well yeah, he was their bassist in 1999 so he's on demos. Is it the entire list he is suing about? No shot. Does evidence/a record exist of the exact player on every song? Unlikely, as this was 1999. Does Mike know way more about this than anyone since he was the one running the operation? Yes.

Isn't it a matter of songwriting credits vs performance credits and the latter is not guaranteed based on what was done at the time? Was LP just trying to be kind and extend a hand out of kindness to offer him something? He for sure is not a legitimate songwriter on any of these songs. Is he truly entitled to anything at all on these? Maybe not - seriously. The case will be interesting to follow. But one thing is for sure, what he is claiming in his lawsuit on specific songs... that information is not correct. Likewise, LP may have been incorrect in what they claimed he played on too. Have not dug into the exact songs yet. LP is likely to be more correct than Kyle is, though, just because they are the actual band lol

Fort Minor has posted, "Announcing 3 new Deluxe Edition vinyl variants of The Rising Tied, available on December 15th, featuring 4 bonus tracks: "Be Somebody," "There They Go," "The Hard Way," and "Welcome" + Exclusive Fort Minor merch drop all available for pre-order now at https://store.mikeshinoda.com/" FM has released three different vinyl sets of the album, a hoodie, a tshirt and a hat. Quantities are moving fast as vinyls are already selling out.

Sold out already.

Mike has confirmed there is no new album coming. He will also not be playing shows any time soon.

It's not exclusive to RSD. They are getting it first, then it will be made available elsewhere. But the question is - how long will that take? It will be very expensive at first with the resale until they do that.

While in Australia for his new era promotion, Mike found time to step on stage a familiar venue to him, Sydney's Enmore Theatre, to guest with G Flip. Mike came out and sang on "The Worst Person Alive" by G Flip and added a bit of Linkin Park's "In the End" to the song as well. The Enmore Theatre is home to the famous show where Linkin Park fans broke the floor of the venue in 2001 while touring for Hybrid Theory, and Mike returned in 2006 to headline it with Fort Minor and tell the story of that night. This guest appearance follows Mike guesting with grandson in June in Los Angeles. Two guests spots in a year... maybe some Mike Shinoda shows are coming...?

It was too emotionally intense for him (which is why he didn't keep touring the world for it). Wanted it to be an in-person connection, etc.

Since Mike has Xero live footage, he probably has HT band live footage too, etc. So, it's realistic that that information (not the recordings) can be given to us one day. Mike has been nothing but extraordinarily kind to us (and all fansites) over time.

A great cause - thanks for sharing. Will post this on socials. Going to enter as well!

There was no crowd at this, this was a studio performance.

Those were taken from a separate soundboard audio source the band/label has, most likely. The VHS is terrible quality.