Astat

I think now that we know what it is, the best avenue to pursue to get Tampa Finals might be one that I don't always suggest, which is to ask Mike about it. It worked for the VMA score tracks, I don't see why it wouldn't for something like this. He'd probably throw it up on his Soundcloud page if he noticed people talking about it. Just because it's registered doesn't necessarily mean it's out there anywhere ("Vegas Baby" on Joe's entry is a good example of that). There are a lot of songs that get registered and don't get released for a long time afterwards, if they get released at all. And yeah, "Nest" is the track on the Transformers: Revenge of the Fallen film score that uses parts of the instrumental of New Divide. That would make sense, especially considering there aren't a whole lot of results that turn up when you Google "Tampa Finals" along with things like "Mike Shinoda" and "Street Dreams soundtrack."

You guys do know that just because someone works for WMG doesn't mean they're privy to all kinds of insider information, right? This is in no way confirmation that Iridescent and Wretches and Kings are the next 2 singles. This guy honestly said nothing that nobody else couldn't have concluded on their own through some simple logic. -Iridescent and Wretches and Kings as the next 2 singles: Iridescent was listed on the sticker on the ATS cover, and W&K was the second full song the band released from the album before it came out. -WTCFM not likely as a single "but you never know": Since Iridescent and W&K are already more likely to be singles because of the previous question, that means there will probably only be one more single from the album, if they even do another one, and the band hasn't been giving any kind of additional promotion to any of the other songs on the album, so WTCFM isn't any more or less likely of a single than Burning in the Skies or The Messenger or any other full-length track on the album. -Wanting to play as much new material as possible on the US tour: ...It's not called the "A Thousand Suns World Tour" because they're going to come out and play a set chock-full of rarities. Derp. -DBS not doing anything new until at least 2012: You don't even have to factor in Julien-K to reach this conclusion. We all know LP's going to be touring for ATS at least until the end of 2011. -Nothing on Orgy: Orgy hasn't been signed with Warner for years...they severed ties with Warner/Reprise in like 2003. Punk Statik Paranoia was released on an independent label called D1 Records. -"Not 100% sure" on EP/new album/live DVD etc. type plans: You'd get this same non-answer from anybody you ask, including the band themselves. -No 20 Eyes: LMAO. Read what this guy said again: "If it's not officially released or leaked somewhere, nobody will ever hear it!" ...An official release or a leak are the only two methods by which music is EVER heard. Once again, derp. -No new DBS stuff until they decide to record: Derp for the third time. Why would they release a live CD/DVD for a band that doesn't have any kind of promotion going on right now and is effectively on hiatus at least until LP is done with their A Thousand Suns promotion? -No clue about LPUX: Not even the LPU has a clue what's going on with LPUX from what I can tell, so I'm not surprised he doesn't know anything either. Warner should hire me to do PR work for them, I can give non-committal answers too.

I actually just discovered this, apparently "Tampa Finals" is a track that Mike wrote for the soundtrack to Rob Dyrdek's film, Street Dreams: http://www.skatevideosite.com/skatevideos/...eams/soundtrack We knew ages ago that Lying From You (as well as Second to None) was on the soundtrack for this movie, but I never knew Mike did anything else for it. And knowing the plot of the movie, I'm guessing the track serves as background music during the finals in the competition in Tampa that takes place near the end of the movie. I'll try to track down more info/possibly a rip of the song. As for the Xero credits on NBA Inside Stuff, there's always the possibility that it could have been one of the Xero demo tape tracks used in a video montage on the show or as commercial bumpers or something. Remember, the Xero tracks themselves don't have entries on the BMI catalog since the band wasn't signed to a publishing deal at the time they were recorded, only the subsequent versions of them are found on there (Runaway and Forgotten, although the latter is still listed under the title "Rhinestone"). Any kind of musical piece used in a TV broadcast that isn't already listed under another entry has a generic "BG Cues" on the catalog, like Mike's VMA score tracks for example.

Anything I don't already have is cool with me.

I'm not hearing any samples of that song in I Have Not Begun...the beat is kind of similar and they're at about the same tempo, but the samples are clearly different.

The instrumentals sound fairly well-done, but the vocals are awful, as is the case with most LP tribute albums. And yes, Big Eye Music is the same label that the majority of the past LP tribute albums have been released on.

It essentially depends on when the band was signed. Warner owns the rights to every piece of music, released or unreleased, that LP has recorded since the day they signed with them. So the HT demos are out, all that really leaves is the Xero demo, the HTEP, and the 2-track By Myself/A Place for My Head demo that was self-released. Warner also retroactively acquires the rights to anything they re-release at a later date, so that rules out the HTEP, Reading My Eyes (even though it was a live version released on LPU 6, Warner would still obtain the rights to the musical composition), and probably the 2-track demo, Rhinestone, and Stick N' Move (since those songs were later revamped and released on Hybrid Theory). I seriously think the only existing track that might be "free and clear" to use would probably be Fuse. Are they going to enforce licensing on tracks like that? Probably not. That's why they've been freely available all over the Internet for so many years. But if you really want to get technical, Warner probably still owns almost everything.

PTS.OF.ATHRTY destroys Points of Authority in every way imaginable. Other than By Myself, Points of Authority is probably the most uninteresting song on Hybrid Theory from an instrumental standpoint.

The solo in The Catalyst is Joe. Mike plays the long sustained chords (like what you hear during the intro) throughout the entire first part of the song until the piano part comes in.

I think that was in the LPU chat Mike did right after LPU9 launched.

One other thing I just noticed, Rob has 2 different tambourines now (easy to see on the picture of him from the Zurich DSP). He uses one on Bleed it Out and the other on Iridescent. Not sure what exactly is different about them, but you can tell by looking at them that they're different, so I'd imagine they're voiced differently.

I hear those sliding noises too, I actually wondered about that when the album first came out, but the band was pretty up-front about any kind of unusual instrumentation they used on other songs on that album, and they talked about the sparse instrumentation on that song in particular numerous times ("consisting of little more than Mike's vocal and a bass line" was the description of the seed in the MTM booklet). I think if it was guitar, Brad would choose to play that part live instead of the simple harmonic line in the choruses, as it's a much more dominant part. If anything, it might be a copy of the bass part that comes in during the second verse that's been run through some effects to make it sound synth-y. It's always possible that they just pasted those sliding noises into the song too, as you can hear a loop of a few of them over the last note of the song.

No. An E-Bow doesn't sound anything like a traditional stringed instrument like a violin, it's just an infinite sustain device for the guitar (which is meant to sound like what would happen if you played a guitar with a violin bow, a la Jimmy Page). Those definitely sound like programmed/keyboard strings.

We actually had some information from management before the NYC show took place stating that there wouldn't be a DSP released of it. Pooch might not have been informed of that, the show was recorded just like the rest were (and the "DSP" type mixes were used for the handful of proshot videos on Myspace), so he probably just assumed that it would be released like the rest of them. Bingo. There's a lipstick camera on Mike's mic stand that gets projected up onto the screens when he holds it out over the crowd.

They've been mixing a few songs differently since the start of the 2009 tour, and that's one of the more noticeable changes they've made - they turned the guitars way down in LOATR and brought up the keyboards. One other change I can remember off the top of my head is they've brought up Rob's drum part in the verses of No More Sorrow. As a side note, Brad stays off stage for most of LOATR, even though he plays guitar in the first 2 choruses. Instead, he walks out at the same time Phoenix does for the last chorus. I think he started doing that sometime in '08.

Why is London Night 2 available but Night 1 isn't? That part is a combination of Mike/Chester on the album. They do it the same way live, but Chester's part is way more dominant on the album version (it's the opposite of what happens on the second repeat in the first verse, Chester comes in there but is way quieter than Mike). On the live version, they keep them at about the same volume through the whole song.

No live strings on ATS.

That first video's been around forever - I distinctly remember that "34th measure of Lying From You" joke that Rob makes. I believe that was released on the Meteora World Tour player after the tour ended (remember all those pop-up players LP.com used to have for every new tour?).

I recall reading one interview where Chester said something to the effect of "that stuff's probably floating around on the Internet somewhere." Obviously it's not and there's no known source that would have it, but I wouldn't totally rule out that it might surface someday.

They had that artwork as the "cover" for all the A Thousand Suns songs they've played too. At least since I started listening, Iridescent, Given Up, The Catalyst, and Robot Boy.

They've actually only played 4 Linkin Park songs out of the 24 songs they've played since I started listening.

This is still the first time it's aired, it was already announced here, and it was even specifically mentioned that it wouldn't be airing until later. Ergo, it's still news-worthy. *moves back to News*

So in a span of 3 songs, I've heard NWA, Mars Volta, and Pink Floyd. I very much approve.

I think the fact that Pale is dated as 2006 while What We Don't Know and Across the Line are both dated as 2007 rules that out. The 2006 date puts it more in line with stuff like Announcement Service Public and QWERTY. The band has said Pretend to Be originated from a Minutes to Midnight demo but they went back and re-recorded it later on. I suppose it's possible that it was one of the final tracks, but I doubt it.

Mike said that Across the Line was the last track cut from the album - if it had been a 13-track album, it would've been on there. So that's definitely one of the five. I think the "going back and finishing" of various demos that the band has referred to with tracks like Blackbirds and Across the Line just amounts to doing the post-production work on them that never happened the first time around because they were cut before the mixing/mastering stage. The performances themselves probably haven't been altered at all. Across the Line, No Roads Left, and Blackbirds are definitely 3 of the 5. I'd say What We Don't Know probably is too (it has the sonic character of everything else from the MTM sessions), but the timeframe of its recording hasn't been firmly established at this point.