Astat

I Have Not Begun = the next Dedicated/Standing in the Middle. Mike has a history of debuting previously unheard verses in live settings and then putting the full versions of the songs on LPU CDs at a later date.

Eh, I'm a big enough asshole, maybe that means I HAVE a big enough asshole... I've got a lot of bills to pay though. I'm only bringing in between $400-$475 a paycheck and my rent alone is $550 a month. My girlfriend works too and that helps a lot, but money's still really tight. The company I work for is going to be closed for 10 days around Christmas too, that's not going to help.

Considering it was confirmed ages ago that it would be, probably not.

This obviously excites me. I don't care what lengths I have to go to or what kind of degrading things I have to do for cash, I'll find a way to be there.

Also, something else I want to clarify: "What I've Done (M. Shinoda Remix)" is NOT the same as the Distorted Remix! They're very similar versions of the same remix, but they aren't identical. The version we already had was 3:48 in length, this one is 3:40. There's one repeat of the bridge riff that's been cut out of this version, and a bunch of other subtle differences in the overall mix. Still the biggest "throwaway" track on the CD for sure, but the bottom line is that it's not identical.

This is a CD of demos. Most, if not all, of LP's demos dating from pre-2007 (a.k.a. over half of the tracks on this CD) started as instrumentals. Most of LP's demos never reach the "fully-finished song" stage. Vocals are nearly always the last part to be put on a finished song. Anyone bitching about the number of instrumentals on this CD (a.k.a. a large percentage of the posts in this thread) clearly hasn't paid any attention to the numerous times the band has explained their songwriting process over the years. How many totally finished tracks do you guys really think the band has lying around that they haven't already used for something? We're talking about a band that wrote over 150 song ideas for one album and ended up only recording final versions of about 17 of them. There's probably a good reason we only get stuff like Across the Line and Pretend to Be every once in a while.

Keep in mind, LP's on-stage setlist doesn't list Empty Spaces or The Radiance, so they only have 23 songs listed normally. If they dropped OSC, Crawling, Given Up, and NMS, their on-stage setlist would then have 19 songs on it. Instead of relying on opinions, I think it'd be more effective to point out that Matt Bellamy pretty much hits every note he sings perfectly every single night on stage. Muse makes far fewer mistakes on stage than LP does (even on their best nights), and their stage setup/light show is far more elaborate. I think judging the quality of a live band should be based on 1) how well they perform their material, and 2) how much the theatrical aspects of their performances set them apart from other bands. Muse easily trumps LP in both categories. Oh yeah, sorry, I forgot, we have to blindly believe that OMGZ LP IS DA BEST BAND AT EVERYTHING EVER! Sorry that some people refuse to turn a blind eye to the fact that there are bands out there that do certain things better than LP. This "any band that beats LP for an award sucks ass!" attitude displayed by you and so many other people makes me laugh my ass off every time. I guarantee you'd be talking shit about Kings of Leon or Ozzy if they had won too.

The Requiem is played exactly the same live as it is on the album. It's a straight playback of the original recording. The intro to Wretches and Kings is, more precisely, a mashup of the Mario Savio speech with the instrumental portion of The Radiance. The Radiance is essentially split into 2 sections during the show - the instrumental portion is used after The Requiem/during the intro to Wretches and Kings, while the speech by Oppenheimer is used later during the interlude between Numb and Breaking the Habit. The extended outro to Faint has been shortened a bit for 2010, and the extended outro to One Step Closer has been slightly modified as well (the big pause before the outro riff kicks in has been removed). There's a very subtle, but noticeable, keyboard transition between The Catalyst and The Messenger in the live shows. The Catalyst ends on a D root note on the keyboards, and Mike modulates it up half a step to an Eb to fade into the beginning of The Messenger. The Messenger is moved from the key of G to the key of Eb live, and the outro is extended, which also features some drumming by Rob that isn't present on the studio version. The extended outro to Given Up has one additional drum fill/guitar chord added to the end of it, Given Up normally ends on an E, then they add an F chord after that, since New Divide starts on an F.

I don't have too many "problems," save for a select few people who feel the need to call me out when I've done nothing to provoke them.

A microphone used for a specific effect failing to work isn't something that I would call part of "playing live" or the "live experience." I doubt any seasoned touring musician would think so, either. If the band screws up, that's one thing, but technical difficulties are a different beast entirely. The entire point of the DSPs is that they're supposed to be comparable in quality to any official live album. If I was recording a live album and something screwed up like that, I'd sure as hell want it fixed. I'd just rather cut the entire song out of the recording than have it in there without that vocoder effect, that's the main point of interest of that interlude in the first place. Not fixing it would be just as bad as being like "oh, Brad's guitar didn't work for the entire duration of One Step Closer. Oh well, leave it the way it is!" People don't pay 10 bucks for shit like that to be allowed to let slide. These are supposed to be professional recordings, and leaving stuff like that alone just comes off as lazy.

Long story short: The full multitracks for the 6 DLC tracks aren't out there yet, or haven't been shared if they are. The ones for Bleed it Out are though, and the "acapella" tracks of the 6 DLC songs (a.k.a. with the drum/bass/guitar tracks taken out) are going around as well.

I don't see how an album that's been out less than two months and already gone Gold in 7 countries and Platinum in 2 more, while producing 2 singles that made it to the top 10 on the Billboard Rock Songs chart (the first single going to #1 on that chart and also cracking the ever-elusive Top 40 on the Hot 100), can be "doing shitty." Songs with well-defined choruses: Burning in the Skies When They Come For Me Wretches and Kings Iridescent The Catalyst The Messenger Songs where Mike sings more than Chester: ...The Requiem and Fallout? That's seriously all I can think of. There are plenty of songs where Mike and Chester sing together or trade parts back and forth, but none where you can really say Mike sings more than Chester does.

I really think if they're going to keep swapping between the Papercut/Messenger set and the LFY/LOATR set, they need to change the order around a bit for the latter. LOATR right in the middle of the encore makes no sense IMO, totally out of place. I was okay with it at first, thinking it was just a temporary thing to please some people who were complaining, but that song is definitely not an encore-caliber track.

True, but those kind of songs still seem to manage to come around every once in a while. Hey There Delilah by Plain White T's and I'm Yours by Jason Mraz are a couple more recent ones I can think of. Granted, those aren't by "big rock bands," but they're still relatively similar styles of songs.

This really isn't news, lol. SDC was performing 6th Street Bridge live before PR08 even started. It was established probably over 2 years ago in the LP community that it was an actual song of theirs. Also, I'm pretty sure there were more than 2 intros they used during the tour, and they weren't setlist-specific. I seem to recall they started off the tour just using one intro, they didn't debut another one until about 5 shows in.

I see no reason to believe that any song is "100%" out as a single. Whether or not it's currently being played live doesn't make a difference (Breaking the Habit, Crawling, and Numb were all songs that debuted live long after their respective albums came out). Song structure clearly doesn't make a difference either, they released a 5:42 song as their leadoff single from the album for crying out loud. When They Come For Me has a chorus. It just doesn't have any lyrics in the chorus. And that hasn't stopped songs like Self Esteem by The Offspring from becoming radio hits. So what if Blackout isn't mainstream at all? Neither was The Catalyst. There are so many potential hit singles on this album, I have no idea where they'll go from here. I think Iridescent is a lock to be a single at some point. When They Come For Me has a ton of potential. Burning in the Skies probably has the broadest appeal of any song on the album (except maybe Waiting For the End, but that's already a single). The Messenger could easily blow up as the next "feel-good acoustic ballad from a big rock band" song a la Good Riddance/Swing Life Away. Robot Boy could cross over into Top 40 territory if they wanted to release that as a single. I seriously think the only 2 non-obvious choices for singles on the album are Wretches and Kings and Blackout. Blackout is probably the hardest track on the album to warm up to if you didn't like it right off the bat, and Wretches and Kings just seems like a second-rate When They Come For Me in a lot of ways, although it still has some commercial appeal and might do well as a single anyway.

I highly doubt they'll ever play the song in its original key live. It's kind of in the same category as No Roads Left is with Mike, it would probably totally wreck Chester's voice to attempt the original version live. It's not like they just took it down a half step to ease the strain on his voice a bit, they dropped the song all the way down from the key of G to the key of Eb. In its original key, The Messenger has the highest note Chester's ever hit on record - a high C (a half step higher than the peaks in Given Up's choruses and the long "goooooot" near the end of Waiting For the End). Unless they do a one-off performance of the song on a TV show that isn't in the middle of a tour or something like that, it's probably not a good idea for Chester to even attempt that song. Anyway, I like the live version a bit more than I did originally, but I think it could be tweaked around a bit. The studio version is a bit on the rushed side, but I think the live version is too slow. It would probably liven up a bit too if they took it up to the key of E, I've been messing around with a version of it in E and I think it sounds pretty good.

The DSPs actually aren't a direct board recording like a lot of other bands release. LP's entire performance is captured in a giant multitrack Pro Tools session, then Pooch and Dylan go through the whole show and remix/edit it, then split up the tracks accordingly. It's essentially the same process you'd go through mixing an album, except with about twice as much material, and a much tighter time frame to get it done! But that's why LP's DSPs take a week or so as opposed to bands like Metallica who put their live recordings up within a day or two - most bands just take a direct board feed, throw a normalizing preset on it to balance out the volume, split the tracks, and upload it. LP actually goes through the process of mixing each show like they would for an official live CD.

From the original LPUX announcement email that was sent out on August 23rd: LOL @ double dosage of fail. Not only did they fail to meet the release timeframe that they set themselves, they didn't even manage to announce the CD tracklisting, which was supposed to happen even before that. Sometimes I give the benefit of doubt with release dates, but this is clear-cut, black and white. They said October, October's over, and there's no LPU launch or CD tracklisting.

Except for that pesky little fact that the band has stated numerous times in the past that they don't mind if people distribute the DSPs freely. Mike even posted a thread on the old LPMB dedicated to doing so.

Also, a bit of insight into whether or not APFMH was planned: That song is in Eb guitar/bass tuning, which is a tuning the band's only used on a few songs over the years (APFMH, Somewhere I Belong, Easier to Run, Forgotten, and some pre-HT stuff like Part of Me, Step Up, Carousel, and Fuse). As a lot of you are probably aware, they use a bunch of different guitars over the course of a show so they never have to change tunings between songs. Normally that wouldn't cause an issue with APFMH, as Somewhere I Belong was always in the setlist up until this tour. Now that SIB has been dropped though, Brad most likely doesn't have a guitar tuned to Eb in his touring rig. So basically, if it was planned, they probably would have had the guitar/bass techs re-tune one of Brad and Phoenix's backup instruments to Eb prior to the show, just so they could play that song. If it wasn't planned, they either would've had to re-tune between songs (unlikely, considering the song's positioning between two drop-tuned songs, Crawling and One Step Closer), or they would've had to figure out how to play the song drop-tuned on the spot, which is possible, but also somewhat unlikely if you ask me. I don't have a definitive answer, but I'd say it was probably planned.

Good point there. I may have even had something similar to say about Set X/Set C around that time, I don't remember, lol. But I think that was a bit of a different situation for a couple reasons, one being that Set X wasn't quite as heavy on new album material as the current set is, and Reading My Eyes actually replaced another song that a lot of people wanted to see dropped at the time (Don't Stay). As similar as X and C were, there was some tweaking that went on there (taking TLTGYA out of the encore, replacing Don't Stay with RME, changing up some of the intros/outros). Adding APFMH to the current set isn't really "changing" anything, it's just a bonus on top of what's already there. It's a nice treat on its own, but it doesn't really change anything else about the set.

Depends on who actually owns the trademark of the name "Orgy." If it's solely registered to Jay (or if the other members sold their portion of the rights to him at some point), it's really up to him. If not, expect there to be lawsuits if he ends up continuing as Orgy with another band.

I couldn't have said it any better myself. Woohoo, they brought back A Place for My Head...again...and people do a total 180 on their opinion of the setlist. A Place for My Head is not the end-all, be-all of Linkin Park's live repertoire (it's one of their better live songs, but you'd think it puts the entire rest of their catalog to shame by the way some people worship it), and the perceived quality of their performance should not revolve solely around whether or not one measly song gets played.

I think the band should be given the benefit of the doubt as far as rotating setlists goes at this point, they haven't played live in over a year and they have an entire album's worth of material that they're still getting acquainted with on stage. Nobody complained about the non-rotating setlists for the first couple months of the MTM touring cycle...oh wait, that's because they had never done it at that point, so nobody expected them to. It's just as ridiculous to expect the band to always rotate their setlists as it is to expect them to always do anything else (close shows with One Step Closer, make the same kind of music every time they do a new album, etc.). Hey, everybody seems to think LP should just go back to being the same band they were in 2004, and they didn't rotate their setlists then, so maybe they're taking the advice of their fanbase! You guys should be excited!