Hahninator

Researching threads with Peppe for Linkinpedia and it's funny how accurate this was lol Except it was ten songs and not even twelve.

I'll gladly do it if it means we just get one LP song, I mean I'm spending like $0 on LP this year at all until Mike sells CoronaJams (if he does) or LP drops a HT release. Ha.

Seems like there is a false start here before the song and the normal start of the song is a bit rough lol

At the Orlando and Nashville shows it clearly seemed to me that they were using pre-recorded vocal tracks/lipsyncing lead vocals at times.

It just seems so weird, if that was the case (I’m not saying it ISN’T; it likely is), that Chester / all of the band wouldn’t just get a writing credit on every song like every other album. I mean Chester has a writing credit on Session lmao. He was heated it got nominated for an award.

Phew, those remixes sound so bad.

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.

That's funny you mention that because the OML album has probably one of the best production sounds in the entire LP catalogue. The production quality and sound of each track is enormous. Crank it in the headphones and sonically it all sounds really fantastic, even the versions on the LP YouTube. You can tell whoever is responsible for the final sound really put a lot of work into it. It's refreshing compared to the deliberately raw sound of The Hunting Party. I will get into the production issues with Amends in another thread, but not in this one. Looking back at the One More Light album on my iTunes, quite a few of the songs have under 10 plays (Heavy, Good Goodbye, Battle Symphony, Invisible, Halfway Right) three years later. There isn't much replay value in a majority of the album for me and so inevitably, this is Linkin Park's weakest album for me. The Hunting Party is pretty close. For my personal tastes, the band peaked creatively with ATS and then slipped downhill with Living Things (a portion of which was composed of shortened ATS demos), further downhill with The Hunting Party, and even further downhill with One More Light. I personally enjoy Post Traumatic much more than those three albums. It's odd to me that after such a lengthy down time (canceled 2015 USA tour), all of 2016 off, etc, they came out with only ten songs. Mike wanted Place to Start to open it and we know they have other songs completed.... I'm just surprised the album was so short. Chester has two writing credits on the entire album - we are talking about the guy who is behind the Waiting For The End chorus (maybe the best in their catalogue?) and other highlights... I mean that just doesn't even make sense to me. Tracks like Halfway Right and Battle Symphony are some of the worst in the catalogue to me, alongside tracks like Lies Greed Misery, Hit The Floor, etc. Good Goodbye doesn't fit on the album at all as the only song with Mike's rapping, something the album actually lacks but with just GG on it, it feels so out of place. The "live from the genesis" verse is pretty good, and is leagues better than the two guest verses so I am surprised they cut it. I think the guests aren't noteworthy and actually contribute to the songs they are on being worse (Pusha, Stormzy, and Kiiara). Highlights: I do think Nobody Can Save Me is a fantastic track (loved seeing Mike play it on the Post Traumatic Tour), I love Talking to Myself as well (but it is better live), Sorry For Now is A+, and One More Light and Sharp Edges are great. So that's half the album, ha. You can't deny that the song OML is one of the best songs they have ever written. However, the weaker part of the album just drags it down so much and combined with how short it is, I just don't ever listen to it. Meanwhile, A Thousand Suns for me has had tremendous replay value in the past few years and I jam that album frequently. While the initial response to ATS was a huge backlash, the album aged extremely well and I think that OML is not going to age even half as well in seven more years. OML was an experiment with them to learn from other songwriters and I fully understand that (and even support it) but I know these guys can write better music solely on their own. With all that said, I thought the touring cycle was actually off to the best start since MTM. The small Chester and Mike shows were really cool and the band was in epic form on stage in South America and Europe. The European shows were next level for LP, playing the longest shows in the history of the band, changing the setlists to take some fan requests (APFMH, FTI, POA, SIB, etc), and I thought the set was structured well. While I think the album was not great, the touring cycle was a monster. While covering the tour and watching it show by show on YouTube I was shocked how many shows they would "hit a home run" in a row. Check out Rock Werchter into the next show in Sweden... some truly good LP stuff there. If you want to look at something positive that came from OML, it's that Mike can take some of these songs and sing them on future LP tours. Nobody Can Save Me, Battle Symphony, Invisible, Sorry For Now, Good Goodbye (some sort of mashup), and One More Light at the very minimum are able to be used for their new shows and I think that's very helpful.

Well, yes, there are two different things at play here. One - the album is extremely overproduced and I think that plays into the problem of the mixing being bad. The guests on the entire album are not very audible at all, but perhaps that was intentional. It's a shame with how quality the guest list is that they couldn't turn them all up a little bit. However, like I said, they may have not wanted to on purpose (to not draw attention to the guests). Two - Jaime was on the track just as a tribute to his dad, it wasn't a cash grab move to put him there to begin with - how could it be, when that was his dad? Although Sean is full of bullshit in many different areas, he is right when he says it was a good move to put Chester's son on a track as a nod to Chester. It's an assumption that GD made that Chester would have wanted his kids to sing on a song with him one day. And that's a pretty fair assumption to make, no matter who makes it, with Chester's track record of being SUPER pro-family (the good ones) and EXTREMELY supportive of all the children involved in his life. Remember, Draven was on a song too until he pulled back. Jaime stayed on, and did this music video too. I don't think any of those are negative things at all, those are actually some of the highlights of this project.

What? Did you not see that LP is releasing a HT20 release? Keep your Shinodabucks, the answer is in the HT thread already.

20 seems like a great number for LP to do it for each album. Lots of money there to be made, which is a driving force behind it all. I'd buy all of the editions.

Great album. LP surely doesn't have over 5 albums or so left in them, right? They need to work with these different producers. Brian Eno and Steve Lillywhite would be pretty good ones. Atticus probably would have synths rolling everywhere on ATS, like "fine" but full band LP form, ha. He makes good music with Trent. It's hard to imagine ATS in any other form, but Blackout would have probably brought down buildings if Atticus was involved ha. Yeah LP probably approached Eminem which is why Mike worded it that way. Just how it is sometimes, not everyone always wants to collaborate. The most likely time period could have been 2005, but remember that's the worst time in LP's career too so maybe the timing was bad on more than just one side. LP, Eminem, and 50 Cent were at least in talks for the summer 2005 stadium tour in the USA. I think LP's struggles with WBR plus the burn out from the million shows on the Meteora cycle really affected what could have happened in 2005. They could have done a Jay-Z tour in early 2005 for Collision Course right into a huge summer stadium tour with 50 Cent and Eminem. Then take 2006 off to make the album. Downside: We wouldn't have gotten The Rising Tied or the Fort Minor tour. Upside: We could have had two epic tours in 2005 and maybe LP would have collaborated with one of those artists. Who knows, but too hard to play the "maybe" game. The WBR stuff came at a bad time for LP because Collision Course deserved its own sold out arena tour.

$50k now that Chester passed. LP isn’t paying anyone $50k for an hour or less of footage when they have hours of their own rehearsal footage. They’re businessmen, they aren’t stupid. Ostrick blew it with the HT thing now because if he had a fair price he’d probably get an offer from someone.

The one thing they have never released from that era that would be cool to see is them in the studio recording some songs. In the End, Papercut, etc vocal sessions, guitar tracking, anything. Did they think at that time to film that stuff? Or only Meteora onwards?

Not available for me yet and I am in the USA.