OfficerDoofy

At what part does he start talking about the Houdini House? Anyone have a time stamp? Would be very appreciated. 

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. 

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.