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Because strings are the absolute last thing recorded for LP's albums, they do them after vocals are done even. If a song got to the point of having strings recorded for it, it was a totally finished song otherwise. BTW, only 4 of the 6 string songs made the album (Leave Out All the Rest, Shadow of the Day, Hands Held High, TLTGYA), No Roads Left was one of the other 2. LP has been "pop" since Hybrid Theory. Saying you want a "full version" of Lockjaw makes about as much sense as saying you want a "full version" of Session or Wake...what we have IS the full version. I don't get why it's so hard to fathom that some songs are recorded with the intent of being instrumentals.

That's not the song that's being discussed here. They're talking about the one that shows Rob playing piano in one of the LPTV 2007 episodes, it was an MTM song that didn't make the cut. Bottom line regarding the 6th strings song: There's a 25% chance that we'll get it on LPU9. There are 4 fully completed MTM b-sides that haven't been released, and that's one of them.

Yep, it's a backup. Brad has 2 of the Rory Gallagher Strats, and up until 2008, he just used one as a backup for the other, but on the summer European tour when they started using multiple rigs for different shows, the second Rory Gallagher Strat became his main Strat in the second rig, so he had to get a new backup (he has a backup for every guitar he uses). Since they don't typically have many guitar problems on stage, it's pretty rare to see any of the backups make appearances - the silver Strat has shown up once, he used a silver PRS on In the End at Skive 2008 which must have been a backup, and 2 of Mike's backups to his main PRS have shown up a couple times, once on NMS on Road to Revolution (Phoenix also used it on LOATR at that show), and once on NMS at Epicenter '09.

No idea. Lots of shows have been recorded but not released - all the 2007 shows prior to Projekt Revolution, Australia 2007, Europe in the summer of 2008, and the 2009 shows that didn't have DSPs. They don't record "for the DSP" necessarily, they've just been recording every performance since Pooch came on board in the beginning of 2007. The only planned DSP shows that wound up not happening were Jones Beach 2007, Epicenter '09, and the canceled Asian shows at the end of 2008. Yes, the choir sang the "amen" parts, and that was audible on the webcast, but you couldn't hear them during the intro.

Already talked about it via PM, but for anybody else viewing this thread who's interested, that guitar isn't new. http://linkinparkguitar.webs.com/bradsguitars.htm - 5th one from the bottom, I posted this on my site back in March, and Brad's been using that guitar as a backup since mid-2008. It's only been seen live twice (that I'm aware of), once on the previously mentioned ending of New Divide from the Tokyo Summer Sonic '09 show, and once on Bleed it Out at Berlin 2008.

There's a webcast recording, but both the audio and video quality are terrible. Also, the children's choir singing "O Little Town of Bethlehem" over the intro is essentially inaudible, the only way we ever found out what they were actually singing was from a video that KROQ posted of them practicing it at the soundcheck. The show was professionally recorded/mixed by Pooch and Dylan like they would do for a DSP, and some of the songs from that mix were played on the radio in the days following the show, but I don't believe any recordings of them exist.

I still think the Transformers 2 premiere one sounds the best. Some of the extended intros towards the end of the '09 tour were cool, but I haven't found a particular performance from any of the DSPs that I don't have some kind of complaint about.

Surprised nobody's posted this yet, there's a new LPTV episode that shows Chester finishing vocal tracks for Out of Ashes, Inside of Me in particular.

Most Signature Guitar Riff One Step Closer - Have to agree here, the intro guitar riff is one of those things that just jumps out at you. There are more technical guitar tracks on the album (A Place for My Head, Forgotten), but this is the most memorable riff. Most Signature Drum Track A Place For My Head - Again, I agree. Rob covers pretty much his entire kit on this song, which isn't something he does a whole lot. This is also one of those songs that doesn't have a lot of those snare ghost notes/drags that Rob likes to do, which just make his drumming sound too busy and overly thought-out most of the time. Lots of cool fills, the verses have a cool stuttering pattern, lots of stuff that really isn't found in most of his other work. Most Signature Bass Line Forgotten - Not played by Phoenix on this recording, but probably originally written by him in the Xero days, this song is one of the rare cases of the guitar and bass playing two completely independent parts in an LP song, the verses in particular stand out. Most Signature Hahn Track With You - While the Dust Brothers may have programmed some of the beats on this song, Joe's input makes this song...well, a song. A lot of the samples that Joe plays live can actually be attributed to Mike on the studio recordings (see: In the End, most of Cure for the Itch other than the scratching), but Joe puts his signature touch on this one. Most Signature Rap Track A Place for My Head - One thing that's been missing from a lot of Mike's verses since Hybrid Theory is the use of metaphors. This song is a great example of a lyrical approach that he needs to use more often. The relatively fast pace of his delivery on this one is noteworthy as well. Most Signature Singing Track Crawling - The fact that Chester has pretty much never been able to replicate the tone on the album version of this song live speaks volumes about what a vocal workout it is. Least Signature Guitar Riff By Myself - Look at me, I can play 4 powerchords for 3 and a half minutes! This song has always been the weakest link on this album, and I think the horribly unimaginative guitar part is part of why. I can't believe, with how many different demo versions this song went through, that Brad never came up with anything better. Least Signature Drum Track Pushing Me Away - Agreed on all counts here, Rob pretty much sticks to one pattern through the whole song. Open up the hi-hats and hit the crash cymbal on the downbeats for the chorus, and there's your verse/chorus "variation," pretty much. Least Signature Bass Line With You - I almost gave this one to By Myself, but the bass really carries the second verse in that song, even though it just plays one note. However, on this song, the bass literally just doubles the guitars the entire time and never strays away for even the most basic fill. Least Signature Hahn Track Pushing Me Away - Very little sample-based stuff in this song whatsoever. Least Signature Rap Track Crawling - I decided not to count One Step Closer and actually use something that has some rapping from Mike in it. Obviously different songs call for different amounts of rapping, but Mike's one line on this song doesn't really add much (the song would honestly sound just as good without it), and the bridge section that was removed from the demo version was actually fairly interesting compared to the pre-chorus line that was kept. Least Signature Singing Track Runaway - Very, very uninspired melodies on this song, and not a particularly good delivery from Chester either. Best Overall Track A Place for My Head - I think in terms of lyrics, vocal delivery from both Mike and Chester, and instrumental input from the entire band, this is the most well-rounded track on the album.

I think it was something they recorded themselves, actually. The unedited version has that line that goes something like, "A hybrid, that's what it's all about." The voice also sound very similar to Celph Titled when he's talking on the phone in Respect 4 Grandma, and we know Mike was friends with the SOB/Demigodz crew before Hybrid Theory came out, so I have to wonder if that's where it came from.

I have no idea where it comes from, but the full, unedited quote was used as an interlude at some LP shows in 2001. The version at the beginning of High Voltage is just a small, edited clip.

We'll probably just get to hear Chester sing Paradise City for like the 10th time. It was cool the first time, but after that, meh.

You clearly haven't seen very many LP-related performances then.

I just love how this album release is such a disjointed mess that the members of the band don't even have a fucking clue what's on the various editions. -Bonus tracks that according to the band, we're supposed to get with the album, which we aren't -No lyrics in the booklet -An official band website listed on official merchandise...which doesn't even exist -A live session recorded on BBC Radio 1 almost a week ago with absolutely no information on when/if it will air It speaks volumes about how the promotion for this release has been handled, that the most reliable source of Dead By Sunrise-related information is their guitarist's fucking Twitter page. Until DBS's management gets their shit together, I'm not buying this album. I held out until release date, hoping they'd straighten this mess out, and they've made no discernable effort to do so.

I'm assuming Mike? The only reason it's ever been attributed to Rob is because TheKen did a remake of it with the title "Rob's Solo." Most people mention Rob in some manner when referring to this song because the only time you hear it is when it shows him tracking drums for it.

It's clearly not.

It also would have been the single most stupid decision any LP-related act has ever made. Canceling a performance for 45,000 fans in the arena and 5 million television viewers (most likely the single biggest promotion DBS has recieved so far) at the last minute because you can't play your instruments live? Any publicity is good publicity.

You say that like it was their decision. It most clearly was not, and almost never is in these kind of situations. They probably had a choice of playing to a backing track, or not playing at all.

Why is it "not a smart move" if it's something so commonplace that virtually every band that's ever been big enough to be on a televised performance in the first place has done it at some point? It's no worse than fixing mistakes in the DSPs, really.

DBS has an official website, it's just not up yet.

This happens FAR more frequently than you probably realize. Tons of bands use backing tracks for televised performances, sometimes fully lip-synced, sometimes with live vocals over a canned instrumental. There are a variety of reasons that this can happen, sometimes the locations where televised performances are recorded aren't set up to handle a full live band setup (they don't have a large PA system/board that can handle very many inputs, stuff like that), sometimes the station just wants the band's performance to be better than usual (both by sounding better and the band being able to put more energy into their performance since they don't have to worry about playing their parts correctly - win/win situation for the TV station), and sometimes it's almost a form of censorship - they don't want a band to "sabatoge" the performance. Nirvana was notorious for doing this, when they played Top of the Pops, they were forced to play to a backing track, but Kurt convinced the station to let them do live vocals...and this was the result: http://www.youtube.com/watch?v=dtehDIWrX5U

I think the only MTM demos Mike sang originally that were changed to Chester later on were TLTGYA and LOATR. Maybe Valentine's Day too.

I must be the only person that thinks the studio version destroys the 2005 acoustic version. The bridge has not been "massacred" to anywhere near the extent you guys are claiming it was, in fact it's almost identical except they swapped out one continuous solo from Amir for a dueling guitar part that switches back and forth, and there's like one measure that was cut out between the chorus and the bridge. Not to mention that Chester is just horrendously off-key on the acoustic version. I would seriously be embarrassed that that performance was shown on a national TV broadcast if I was him. One of his worst vocal performances ever IMO, and that's saying a lot considering how critical I've been of him the past couple years.

I don't really see the cost of the Premier Pass going up either, it's already $80, which gets you everything in the Bonus Pass (which is $35) plus the plaque. They probably won't drop the price since they know people will buy it, but I don't see why it should go up, a $45 difference is already plenty (and a lot more than a new vinyl record normally sells for). I'm already leaning towards getting the Premier Pass this year anyway, but I'll totally be sold if it turns out the vinyl has something different on it than the CD.

We don't know if that piano version of New Divide was ever actually recorded. And the "new song" is...well, new. It's not going to be She Couldn't. The newsletter says they're from all 3 studio albums and we don't have any from Meteora or Minutes to Midnight, so... "Hits" can honestly mean anything. It's not like they're going to come out and say that a song WASN'T a hit and say something negative about it. I'd say demos of any song from the 3 albums are fair game. I guarantee that there won't be a studio version of RME, PMA piano, or an extended version of Lockjaw on there. They wouldn't have released Lockjaw in the first place if it wasn't finished. There are already in-studio recordings of PMA piano (Walmart Soundcheck, Stripped Music), it's not like a multitracked recording of it would make it any better/different than what we've already heard. And the band has said several times that they see no point in re-recording old songs. However, Chester's said that his audition tape for the band was him singing along to instrumental versions of the Xero tape songs, so perhaps those versions exist somewhere (though I doubt we'll get any of them). Where did he say that? Every reference I've seen the band make to MTM b-sides seems to indicate that there are a few finished, but unreleased tracks that they'd like to release at some point. Wake was never called Armada, Armada was a different seed. The seed for Wake was "WAKE Album Intro Idea," as seen in the seeds folder on the Making of Minutes to Midnight. Fire in the City wasn't really a demo for Given Up either, it was a different song that was scrapped, and parts of it were later used in Given Up. No Roads Left was also alternately titled "No Roads Left But One."