Astat

I'm with you on that, I'd much rather hear some unheard studio stuff from that period. Unpopular opinion perhaps, but I don't think DBS was particularly good live. The vocal production was so layered on the album that they couldn't really pull a lot of it off live, and Ryan's voice never blended very well with Chester's when he tried doing harmonies. My Suffering was always a jam because it was so straightforward, but a lot of the other songs didn't translate well.

They certainly COULD just release stuff without Chester, but given the circumstances, why would they want to? It's the first LPU after his passing, it'd feel wrong to not include him, but like we saw with the OML Live listening session with Mike, it's still really hard to spend the amount of time listening to Chester's voice that would be necessary to do justice to the idea. Or, going with a completely different theory, I wouldn't be surprised if Warner basically put the vaults on lockdown after Chester died because the future of the band immediately became a big question mark, and they wanted to "protect their future investment potential" or some disgustingly corporate line like that.

I'm fairly sure the sentence "Fort Minor is Mike Shinoda" was used, verbatim, in some promotional material during the initial FM run in 2005, lol.

Thoughts on why I think Mike is performing these shows under his own name instead of Fort Minor: Playing solo shows under the Fort Minor moniker already got sort of convoluted in terms of "what exactly IS Fort Minor at this point," and adding Post Traumatic (and any other music Mike may come out with in the near future) would only make it worse. In terms of studio output, it's different. Fort Minor is Mike's hip-hop solo project. It has a general stylistic thing going on, and Welcome made sense as a Fort Minor track. Mike can ultimately release anything he wants under the Fort Minor moniker though. The problem with live shows, particularly with Mike doing them as a solo artist, is he has to pull music from a lot of different sources to fill out a set (he has to shorten and/or heavily alter songs to work around the absence of all of the guests from The Rising Tied and We Major, and there are some songs that just don't make a lot of sense for him to play by himself). With the "comeback" shows, there were Fort Minor songs, there were Linkin Park songs, and there were songs like It's Goin' Down and Devil's Drop that were from other projects entirely. With Mike now having solo output legitimately released under his regular name that will presumably become part of the live show...at what point is it really still "Fort Minor?" When I go back and watch those few solo Fort Minor shows, I get a completely different vibe from watching Fort Minor shows from 2005-2006. I think the only reason Mike even went out under the Fort MInor name at that point was because he had just released a single under the Fort MInor name, but effectively, those were Mike Shinoda solo performances just like these upcoming shows will be.

I have a very strong feeling that we'll be getting more solo music from Mike between now and when these shows take place.

Dude. I've been quite vocal about OML being my least favorite Linkin Park album. Even after a couple tracks grew on me, and even after Chester died, that still hasn't changed. I haven't encountered anyone jumping on me for it, and I probably have just as many people in this community who dislike me as you do. There's a way to express just about any opinion around here and not get shit on for it.

The cymbal swelling sound about halfway into the song is probably sampled from a drum track Rob recorded for something else.

This show: http://lplive.net/shows/db/2007/20070908 was part of Rolling Stone's 40th anniversary celebration: https://ohnotheydidnt.livejournal.com/15201564.html and https://www.rollingstone.com/music/pictures/rolling-stones-40th-anniversary-celebration-in-las-vegas-20070910/rolling-stone-40th-anniversary-party-incubus-25795109

Should we make a show page for the Good Mythical Morning appearance somewhere? Not sure if it would be under the main LP page or the Guesting page, but it was filmed on April 18th, 2017 and aired on May 11th, if that helps. I suppose since we don't have real titles for any of the joke songs it might not be something that's feasible...

Jeremy's thanked in one of the album booklets, I just forgot to look to see if he was there lol. Googled to make sure it was him. I was doing some research for Chester's guitar page on my site and watching a ton of Ballad Medley performances for like two days straight, lmao.

Jeremy Nielsen is the full name of Mike's former guitar tech who filled in for Brad in Japan in 2012. I think we've just known him by his first name forever. Mike also did the Let It Go piano outro to the Ballad Medley at this show, it's not noted: http://lplive.net/shows/db/2015/20150825 *Edit* He did it at this show as well, first four shows of the European tour all had it: http://lplive.net/shows/db/2015/20150822

Overall, the performances are good. There are a few things I have to nitpick about though: -The previously mentioned mistake when Chester's guitar part first comes in after the chorus on Sharp Edges. I get that Sharp Edges might not be an easy song to just fix a mistake on during editing, since it isn't played to a click...but in that case, why not just use one of the other performances of the song where that part WASN'T screwed up? You could even keep the same speeches before/after the song, nobody would know the difference. -The drum break during the bridge of Burn It Down and Mike's backing vocals on New Divide being completely absent. Ethan and Josh have worked on those songs for YEARS. They know them. How do omissions like this get through to the final product? This is on par with that one DSP where they accidentally released Given Up with Chester's vocals muted out for half the song in my opinion. -The most mind-fuckingly inexcusable thing I think I've ever heard on a live release: The fact that they fixed HALF of Chester's lyrical mistake on Nobody Can Save Me, but not the whole thing! If this album's supposed to be 1. a means of honoring Chester, and 2. a documentation of the One More Light tour, how the FUCK does a lyrical mistake by Chester on a song from One More Light make it onto the release, ESPECIALLY when they obviously went to some trouble patching the rest of the song together from multiple performances AND they literally fixed a lyrical mistake on the line RIGHT BEFORE the one they left alone?! And Brad helped supervise this? How does Mr. In-House Co-Producer not know his own band's songs that he helped write AND produce well enough to catch stuff like this, particularly on the OML songs? He should know the new material well enough that nothing slips through, and Ethan and Josh should know the old material well enough that nothing slips through. I don't get what their endgame was with the level of production on this...you either leave stuff completely untouched and release an "honest" live album, or fix everything that's easily noticeable. They fixed a bunch of stuff, probably to the point of nitpicking over things most people wouldn't notice, yet left glaring mistakes alone in other places. Also, hearing Invisible just fade out without going into RTN/WFTE is the biggest buzzkill ever. I don't mean to sound like I hate the record or anything, I mean hell, they made a live version of Battle Symphony actually sound good. It's VERY well-done outside of four "WTF" moments. But they're BIG "WTF" moments.

3 guitar parts in the first chorus, 2 of them are sampled off the album. London footage confirms that what Jon's playing doesn't match up with either of the parts that aren't what Brad plays. They used some of the London performance, but muted Jon out completely.

The only thing in NCSM I can identify as being from London is the lyric flub (it's also not the FULL lyric flub - Chester botched two consecutive lines at London, but only one here). Jon's guitar is not present in the mix whatsoever, and even if the vocals at the end are from London, the music is at least partially from somewhere else because Chester completely stopped playing guitar when he messed up at London, yet his guitar part continues without incident here. I literally think the lyric screwup might be the only thing from London on this recording...which begs the question of why they dubbed a wrong lyric into an otherwise fine performance?!

This would be cool to find, it'd be the earliest footage of Phoenix with the band.

Wow, never realized what a trainwreck the transition after the first chorus was at that performance, Chester comes in a full beat late with his guitar part and is so out of sync with Brad that they have to loop through the chord progression again just to find the downbeat so Chester can start the second verse. Embarrassingly unsuitable for a live release and I'm absolutely stunned that they didn't fix it...

Julien-K doesn't own the rights to DBS's song catalog...

LPU 2.0 CD wasn't released until like February even though LPU launched in November. Supposedly Warner was so uptight about leaks from the Meteora sessions that they prevented the release of the CD for several months just because of the presence of A.06, even though it had already been established that it wouldn't be on the album. Because they see the value of being part of a community, particularly in the wake of everything that's transpired over the last four months, instead of just being an empathy-devoid, "I only endorse the existence of what I think the band owes me" pseudo-fan like you?

FYI, the LPU CD song selection/manufacturing process always takes at least a couple months. Even if the Hollywood Bowl show gave them enough strength to start going through demos looking for ways to honor Chester (because you know they'd want the CD to feature him heavily), there just wouldn't have been enough time to do it. I think we'll eventually get some LPU music in the first half of 2018, either as a CD or as a download thing.

I wouldn't quite jump the gun on assuming there will be a CD with LPU 17 yet, given the circumstances. Good to know it's continuing though.

Bass is a tad different than the guitar tunings. Papercut, One Step Closer, Points of Authority, Crawling, By Myself, and Pushing Me Away are tuned Db Ab Db Gb. A Place for My Head and Forgotten are Eb Ab Db Gb. With You, Runaway, and In the End are on a 5-string in standard BEADG tuning.

Only gripe with the new mix is they buried Ilsey's guitar solo on TTM/All Along the Watchtower. Boooo.

Predicting they pull a Live in Texas for LPU this year and the CD is just tracks that weren't on the live album. Something like: 01. The Catalyst 02. Wastelands 03. One Step Closer 04. Castle of Glass 05. Waiting for the End 06. Breaking the Habit 07. Somewhere I Belong 08. Points of Authority 09. Papercut 10. Faint

They never stopped recording every show, even after the DSP program was discontinued. Every show from 2007-present was recorded.

There were zero LP live performances for the entire LPU 15 calendar year. LPU 5 got the Japan 2006 shows and nothing else. It's not unprecedented.