Astat

They soundcheck the PA system using recordings of previous shows.

That's the Cleveland Public Auditorium at the main convention center. The construction of the archways in the roof and the circular brooch patterns on the pillars in between the tiered seating sections are a dead giveaway, you can see them in the Periscope video. Compare to pictures here: https://www.google.com/search?q=cleveland+convention+center+public+auditorium&source=lnms&tbm=isch&sa=X&ved=0ahUKEwjtg8HYs4rOAhUM2SYKHQjbCtUQ_AUICigD&biw=1366&bih=631 (Also, I grew up in the Cleveland area and have been in that building numerous times, I knew it as soon as I saw the video)

Yeah, that was a big downside to the "new official" FM channel being a takeover of a fan-based channel - a lot of the videos on there weren't the highest-quality sources, and they never bothered to replace them with better ones. Numb/Encore's blocked in the U.S. too. Probably German-exclusive on that channel. The Blackbirds "video" is the context in which the song was presented in 8-Bit Rebellion - when you beat the game, you got that photo collage of studio stuff with Blackbirds as the background music as a reward.

They aren't credited as co-writers or co-producers on Things in My Jeep, so if there was instrumental input it was very minimal. That guitar part that comes in during the last section really sounds like something Mike would have done, though. DJ Exclusive's "Dretox" mixtape that was supposed to be a prelude to Dr. Dre's "Detox" album...which never came out. It was basically just an unofficial compilation of remixes.

Crawling wasn't played live at all in 2000, so if that set's correct, it has to be from sometime in 2001. I have a feeling these are both fake, though.

https://www.youtube.com/watch?v=PMScMitzdKc You can see the headstock/neck of the bass on the right side at 0:37 and 0:47. Camera just never pans far enough over to see whoever's playing bass. It's probably not Scott though, it's a 4-string bass with 2 tuning pegs on each side of the headstock. Scott played a Sadowsky bass with all 4 tuning pegs on one side.

Awesome performance by Joe - pushing play on that backing track and then standing there doing nothing like a BOSS.

It's a result of how circumstances played out in the years since the DMCA went into effect in 1998. That was at a time when the primary concern was peer-to-peer filesharing, and people couldn't have ever predicted the rise of streaming services or how to handle them in regards to copyright law. Creators want to get paid for their content being on these services, but the vast majority of the people who use them don't pay for premium accounts, so the only money that really comes in from free users comes from ad revenue...and it's damn near impossible to make a worthwhile amount of money off of ad revenue because so many people run ad blockers, and even the ones that don't rarely click on ads anyway. I think what people ultimately want is compensation for streams from non-premium accounts that isn't based on ad revenue...which yeah, would definitely make them more money, but I think ultimately if musicians and these companies worked together to convince more people to sign up for premium subscriptions, that would generate a better source of revenue for everybody involved, rather than it being another round of "Creator vs. Streaming Service."

They want a bigger chunk of the ad revenue, in most cases. Ad-based streaming services don't pay out crap to songwriters. The whole reason people re-negotiated with YouTube and started allowing their stuff to be posted was because they were basically told that between revenue sharing/royalty payments via the Content ID system and YouTube's upcoming premium service (YouTube Red), there would be a lot more money to be had in free streaming platforms. It just hasn't worked out that way...some of my LP-related YouTube videos are actually eligible for revenue sharing on my end, and I was surprised when I started making like 7 or 8 cents per ad click once I tried out the monetization feature. I know for a fact that the songwriters aren't getting anywhere near that much per stream of their work...I obviously don't mind being able to make a little bit of money doing what I'm doing, but I sure as hell shouldn't be making more than the people who actually wrote the damn songs in the first place. It's really screwed up.

Robin Finck plays guitar, not drums...he took over for Gilby Clarke for the last 5 songs. Not sure why both the list of band members here and the show page list him as playing drums. Joey Castillo played drums for the whole show. Kind of hoping this becomes a semi-regular thing for Chester, I miss the days when we could count on him doing a few Camp Freddy appearances every year. He always sounds great. I think the reason Bucket of Weenies sounded so bad was that other than maybe Sean, all of them were always absolutely trashed when they performed.

Assuming it was the literal president of WBR at the time, it would have been Phil Quartararo, who was the president from 1997 until Tom Whalley took over in 2001.

3 vouchers and 3 pairs of tickets for me. Huh. Absolutely nothing in the state of Minnesota on the list of eligible events, though. I'll keep checking back periodically.

I was one of the people who opted in to the class-action lawsuit, so I received legal correspondence emails throughout the process. Scratching my head about the free tickets being added, because all the information I ever received was that you'd get one voucher for $2.25 for each transaction you made with Ticketmaster during the period covered by the lawsuit. Never heard anything about free tickets.

BTW, "Blasko" doesn't have a C in his stage name.

!!!!!!! Hole in the Sky is hands-down my favorite Black Sabbath song in their entire discography. This is awesome.

If they're really scraping the bottom of the barrel THIS bad at this point (we all know there's better stuff in the vault, but it's becoming clear that they can't/won't release a large portion of it for whatever reason), I feel like it's probably about time that they went back to the 6-track EP format of the first 6 LPU CDs. I'd take that and knocking the price down a bit over stuff like this coming out every other month. I'll be honest, I haven't found a single LPU track to actually be memorable since LPU 13. It's been a really bad dry spell...

No, it IS "Hot Karl." Jensen Karp = Hot Karl. People need to do 30 seconds of research before making posts and/or editing thread titles.

The 2003 UK tour version of Nobody's Listening sampled "The Seed 2.0" by The Roots/Cody ChesnuTT. There's some other stuff in there too...I want to say part of it might come from the beat to 50 Cent's "In Da Club," but I'm not totally sure.

http://lplive.net/wiki/db/releases/live-around-the-world-series While Blackout is labeled as being from Hamburg 2011 on the A Thousand Suns: Live Around the World release, the recording is in fact from Sydney 2010.

The demo version of Points of Authority comes to mind as an example of this.

Probably depends on which remixes needed multis and which ones didn't. Like on Frgt/10, the beat is all new and the only sampled stuff is Chester's vocal from the original, so they probably just used an acapella making that one.

Seems like there are probably CD-Rs of all of the Hybrid Theory multitracks out there somewhere...probably what was sent out to the artists doing remixes for Reanimation. Hmm...

Bumping this one for an obvious edit: Hurry (alternate/extended mix) The last 20 seconds or so deviate a little bit from what's heard on the LPU 15 version of the track, sounds like it goes back through another repeat of the chorus guitar riff from So Far Away, where the released version of the track goes straight to the bridge section. They probably just edited the track down a little bit when they released it. Also: I don't know if I've mentioned this before, but this little joke song is also commonly referred to as "Nondisclosure Agreement" by a lot of people. I guess either "title" works, but it might be a good idea to try to settle on one. *Edit* I guess I'm just going to keep working through these videos even though this project seems dead at the moment... This is just one of the sampled drum beats from In the End. I feel like some of the other "unknown" beats in this video might be from Coal and/or Pods too? Not 100% sure. Same can be said for some of the beats in Episode 7 (Meteora Photo Shooting).

Good catch on the Sugarhill Gang beat sample, but we already established that the vocal sample comes from High Power Rap by Disco Dave and the Force of the Five Emcees/Crash Crew (which was later quoted in the song you posted): https://www.youtube.com/watch?v=bOXoyST9ux8 If you speed up the High Power Rap intro it sounds way more like what Joe used.

I don't know that they actually were, but the version of Blackbirds released with 8-Bit Rebellion is 100% identical to what's heard on the Making of Minutes to Midnight, and it got live strings put on it...so that was a finished song by default, and it's not like they had anyone else mixing their material on that album.