LPLStaff

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.

Last night in Los Angeles, Mike made his first appearance on a live stage since September 8, 2019's final show of the Post Traumatic Tour in Nagoya, Japan. He appeared as a surprise guest with grandson at the Wiltern Theatre in LA, singing on the songs "Riptide" and "Half My Heart." Mike produced "Riptide" and mentored grandson through the process of that song in 2019, and "Half My Heart" was co-written and produced by Mike with grandson. It is featured on the new grandson album from 2023. This was Mike's first guest appearance since August 26, 2018 when he joined Sum 41 at Leeds in England for their cover of "Faint" by Linkin Park.

Can't tell a difference in the songs unfortunately. A release of the album in demo form would have been cool, though.

Whatever it is called or not called, Mike absolutely needs to play some shows. Still don't understand why he doesn't capitalize on all of these one-off singles he releases like fine, Happy Endings, In My Head, etc and play LA or NY. Literally just an LA venue if he wants to do something fun. He said he couldn't wait to get back on stage to play some of those tracks and yet here we are with 2023 halfway done and zero shows announced still. Surprised he didn't do a TV performance for one of them too. But is it really that difficult to play one small headline solo show? He doesn't even need Dan and Matt.

We have been waiting for a while for the band to update their verified lyrics for Meteora|20 songs on Genius, and it looks like they have had a plan all along. Genius has just posted a video of Mike talking about the "Fighting Myself" official lyrics and meaning. The description reads: "Linkin Park's Mike Shinoda stopped by the GENIUS studio to discuss the band’s latest hit “Fighting Myself." Although it's new to the world, the track is actually 20-years-old. "This is a demo that we barely finished," Shinoda tells GENIUS of the song that includes his signature rapping and Chester Bennington's powerful vocals. "Then it got put on a hard drive and left there." It was left on that hard drive until the band started piecing together their beloved album "Meteora's" 20th anniversary release. Now, "Fighting Myself" isn't just on a hard drive anymore. On today’s episode of VERIFIED, find out what inspired the cut and why it's representative of the "Hybrid Theory" model that Linkin Park embodies so well." A little more context from Linkinpedia... the song wasn't fully finished in 2002 - Mike's comments about "barely finished" run contrary to what he has said about the song previously. He indicated the track didn't have a fully completed chorus and in the multitracks his manager found, he picked through vocal takes to build a chorus and to build the ending of the song up. In one sense, it was "barely finished" because he was able to take what was recorded by Chester to finish the song in 2022, two decades later, but it was not a song that was just wrapped up in 2002 and thrown on a hard drive in a ready-to-release form - a significant amount of work had to be done on it to get it ready for Meteora|20. Mike wanted to re-record the vocals but the band convinced him not to, and to keep the song in its original form. In another sense... it was "barely finished" in 2022 because it was pure luck the session still existed with Chester's vocals on it as Mike only had a version without any Chester vocals / chorus. Maybe we will get a video for "More the Victim"!

Jonathan Slye, CEO of Blue Ridge Rock Festival, has posted an exclusive snapshot for his game plan for 2024 for his festival, held at the Virginia International Raceway in Alton, VA. In the Facebook group "BLUE RIDGE ROCK FESTIVAL FAN ZONE" with over 40,000 members, he has released his list of what his "game plan" is for 2024 and says that much of the artist bookings are already in motion. To kick it off, he mentions System of a Down and how he would like to get them, but goes on to list a number of acts: Korn, Avenged Sevenfold, Bring Me the Horizon, Alice in Chains, Godsmack, Deftones, Incubus, Judas PRriest, Breaking Benjamin, Weird Al, Volbeat, Mike Shinoda & Friends, Sum 41 (farewell), and more. His post reads, "As promised, here is the Fan Zone exclusive snapshot at what my game plan is at the moment for 2024. Much of this is already in motion given where you all have taken sales to for Blue Ridge this year. This plan is what I would call "subject to fan approval" as that is what matters here at Blue Ridge. So, take a look below and weigh-in in the comments! At Blue Ridge this year we are also working on perks/exclusive 2024 ticket pricing for those in attendance." There are several interesting things about this list that he says is in motion - first, Blue Ridge Rock Festival is known for booking a lot of artist reunions and getting exclusive one-off shows. Next, what exactly is "Mike Shinoda & Friends"? Is this simply Mike, Dan, and Matt, or is it something like Mike with other artists? Any Linkin Park members like Phoenix? Festivals are booked very far in advance, as we've seen announcements for Linkin Park 7+ months before festivals actually happen and undoubtedly contracts are discussed, offers are made, and more well before that. For example, Andy Copping was already in discussions with Linkin Park's camp in July 2017 for the band to headline Download Australia in March 2018. But where did he get the name "Mike Shinoda & Friends"? Has Mike/his team put it out there that he will be touring under that name in 2024 in order to get some festivals already booked and on the table? Or is this just simply wishful thinking by Jonathan Slye? It seems unlikely he would just make that artist name up, but anything is possible. He added in his post: "Note: The following is just a snapshot. As always, I focus on the overall body of work to give you something throughout your entire day's at Blue Ridge. With that in mind, I have included a lot of the top targets for midcard and undercard as well. Lastly, I did not include any names from this year's lineup, but there will be some repeats (as always) from top performing/requested bands that are playing this year." We have quite a long time until this festival announces its 2024 lineup, but the fact that the name "Mike Shinoda & Friends" is mentioned as he's already putting things in motion for 2024's festival may give us some potentially good news. Mike Shinoda has not performed live since September 8, 2019, almost four years ago already.

This is all correct, except Fighting Myself wasn't even finished in 2002. It didn't have the Chester vocals in the song itself, but they were in the session / multitracks. So when you say Mike said "we cleaned the mix", you are correct because he mixed it fresh in 2022 - that's right. But that song wasn't done enough at the time to mix properly by 2002 standards, if it didn't have Chester on it. You could argue that it's a "new mix" from how Mike had it set up in ProTools or whatever at the time, sure haha