Astat

2010 - Michael Bublé Feat. Mike Shinoda - Unknown Title As far as I'm aware, this collaboration turned out to be the original version of "Damn" from the Reseda Beach sessions. This came from when the album was still tentatively called Rocket Surgery and Mike's level of involvement in the production wasn't fully known. Buble's vocals ended up not being used on the final version because of some record label crap. I still stand by my previous comments regarding Slip Out the Back's "strings version" and an alternate mix of the HTEP High Voltage, by the way.

Kind of pointless considering things change and band member's opinions differ. Chester said the same thing about Runaway during the ATS period, and they've played that song (or at least part of it) during the last two album cycles, even though the very idea of performing it is enough to make Chester violently angry because he literally hates the song THAT much.

He definitely drops down to the 3rd fret for the left hand part over the F5 chords on the studio recording: ALITS solo clip.mp3

Some sample they had laying around and decided to stick in the Figure.09 demo for whatever reason? I don't know, do you think there's some detailed origin story for every obscure sample in a Linkin Park song, particularly ones they've never talked about in interviews? These guys use some INSANELY obscure samples, the intro to Fuse comes from a Disney haunted house sound effects vinyl from the 1960s for crying out loud. Sounds like a bunch of school kids yelling to me, by the way. Probably one of Joe's random vinyl samples.

Xero. They were never called Super Xero at any point. They were called Xero 818 for a brief period, though (there's one show poster that referred to them by that name, and Brad mentions it during his UCLA commencement speech).

I can see GATS being physically demanding on drummers. A lot of the right hand parts throughout that one are just CRASH CRASH CRASH CRASH repeatedly for long periods of time, so I guess that could be rough on your shoulder. Plus we already knew Rob threw out his back recording that one in the first place. Guitar-wise, I can see the solo being a little bit of a strain on your fretting hand's wrist because there are a couple stretches that span 5 frets in there, but Brad's right wrist is the one that's been giving him problems, based on the KT Tape that he's been wearing a lot. All I can chalk that up to is his poor tremolo picking technique, he "flails" way too much with his right hand. Also probably part of why his solos at the end of Faint are so bad...

"It can count even if the member is on stage but he's not playing anything." - There are probably a LOT of 2007-present songs where this is true of Joe, lol. Given Up (Without Joe?) - I believe Joe occasionally left the stage for this one towards the end of the MTM period, but he doesn't typically do so. Shadow of The Day -Piano Version- (W/ Mike, Chester & Rob) - Assuming this is referring to the Shadow of the Day portion of the Ballad Medley, this is incorrect. Brad and Phoenix both come in with guitar and bass during the Shadow of the Day chorus part. Additions: Blackout (Instrumental) - Rob/Joe/Phoenix/Brad/Mike FRGT/10 - No Brad Big Pimpin'/Papercut - No Brad Izzo/In the End - No Brad My December (KROQ 2000) - Chester/Mike/Brad My December (Europe 2001 performances) - Chester/Mike/Brad/Joe

Changing guitars...? *Edit* Actually no, something more was going on there, looks like it was specifically with Mike/Chester. Maybe figuring out the in-ear monitor issue Chester seemed to be experiencing during Papercut. That's how Chester's screams usually sound these days. Also, can we please just start auto-banning anyone who says something to the effect of "lol what a shitty crowd" when there's a live stream? It happens EVERY FUCKING TIME one takes place, and I'm sick and fucking tired of explaining the crowd isn't mic'd over and over. Also, I love how the on-screen lyrics are uncensored, but the government makes the band censor themselves on stage. China's government is hilariously dumb.

There's also the whole issue of wider frets on guitars with longer scales. That's the whole reason Brad plays With You and Runaway on non-baritone guitars even though most of the strings are tuned lower than the tuning Don't Stay is in - he recorded those songs on a standard-scale 7-string and played them live that way for the first couple years of the band's career. So when he made the switch, he stuck with a regular-scale 6-string and ditched the high E string. He had just gotten his hands on one of the new Ibanez XL series baritone guitars when they were recording Meteora, so he ended up sticking with that model for live performances of the songs he recorded using that guitar. It's just a "feel" thing where you get used to playing a song on a particular type of neck, and changing to something different is kind of like re-learning the song again. But yeah, Brad had 4 of those guitars. One was donated to the Hard Rock Cafe in Denver, one was sold at the MFR auction that accompanied the Mayan Theatre show in August of 2011, and one was sold at the MFR auction for Typhoon Haiyan relief in 2013. That leaves one that isn't accounted for, but I really doubt the band still has it at this point.

Brad doesn't even own any of his extended-scale baritone guitars that he needs to play Don't Stay anymore. They sold/donated all of them during the ATS/Living Things era.

The StageLight Monthly Music contests have been going on every month for the last year, lol. I figured everybody knew about them?

Chester pretty much never gets the ALITS chorus lyrics right. Phoenix never played anything on Welcome, it's just Mike/Rob/Joe. At least I think Joe is up there at the end of the song. Why does Mike only play guitar on the ITE bridge for international shows? Furthermore, what's even the point?

Believe Me always lyrically seemed like something Mike would write to me anyway, or at the very least it's not consistent with SOB's usual style of lyrics. I wonder if he did all the lyrics on that one and just had Ryu and Tak record parts of them?

Yeah, live collaborations are generally not on LP's radar anymore unless it's something they plan themselves (like the Warped Tour appearance)...or if you happen to be a member of Of Mice & Men.

I think Mercedes-Benz is sponsoring the tour. They probably had a big "exclusivity stick" up their asses (in typical Mercedes-Benz fashion) and wanted control over the M&G system in exchange for the money for the tour.

You know LPL's desperate for a setlist change when they're frantically voting for Don't Stay of all things. Awful song, hadn't sounded good live since 2004 and horrendously outstayed its welcome on the Minutes to Midnight tours.

I feel like it makes sense to be playing Welcome in the LP set while he's trying to promote it. Timing-wise, he's working around LP's schedule and kind of limited in terms of appearances he can make as Fort Minor. This is prime time to promote the song since it just came out, he can always do more FM solo shows later in the year after LP stops touring for a while (which he probably will). It also gives Chester a break during the show, which is probably intentional. Playing RTN feels really unnecessary though, he doesn't need to spend 6 minutes doing a mini-FM set in the middle of LP's show. At least with the solo medley it was mixed in with other LP-related stuff.

There was supposedly an eBay auction about 12 years ago where someone was selling a VHS tape of a Xero show that took place at the Lynus Brook Club in Los Angeles on August 10th, 1997. Those two songs were part of the setlist, which was as follows: 01. Rhinestone 02. The Team 03. Reading My Eyes 04. Untitled 05. Explode 06. Rhinestone (Part 2) 07. Now I See 08. Fuse There are three HUGE problems with this though... -Outside of discussion directly related to this supposed Xero show, there is no evidence anywhere on the entire Internet that the "Lynus Brook Club" ever existed. -Mark Wakefield is not credited as a co-writer of With You or In the End (while he is on other songs that originated during the Xero era - A Place for My Head, Forgotten, and Runaway), making the existence of Now I See/Untitled during the Xero era an impossibility. -The date of this show (August 10th) falls before the Whisky a Go Go show on November 14th where Xero opened for System of a Down, which has been confirmed to have been the band's first show. And on top of that, NOBODY who was part of the LP trading community back in 2003-2004 that I've talked to recalls ever seeing this eBay auction. There's an old LPA messageboard topic from 2004 that briefly mentions it being discussed on mIRC (how's that for a throwback?), so I've always figured somebody just made the whole thing up on there. Over a decade later, and this obviously fake show is STILL referenced on sites like Setlist.fm and LPA's Wiki. *sigh*

Thank you. Chester is an avid user of the fry screaming technique, which produces almost NO tension in the throat when executed properly. Purely a manipulation of air flow, and it's not even that loud. A singer with good mic technique can make a fry scream sound like the most intense thing ever, but the sound actually coming out might be about as quiet as his normal talking voice. I think in the early days Chester might have been "real screaming," for lack of a better word, which can produce a more aggressive sound, but it's harder to control it, it uses up your air a lot quicker, and it's just REALLY bad for your voice. Chester's voice is sounding more strained these days because he sings at the absolute top of his range more often. When the band stopped tuning their guitars down half a step on most songs post-Meteora, all of those G# and A notes Chester was singing in the old tuning suddenly became A's and Bb's. And then as time went on, they started writing stuff in keys that pushed him even higher, he has numerous high B notes all over songs from 2009-present, with a few C's mixed in. This is all without going into his falsetto register, by the way. The chorus of Crawling may be high, but it's 3 or 4 notes lower than some of the stuff Chester's done more recently. And unfortunately, singing more of those extreme high notes, particularly on a nightly basis (Given Up, New Divide, Waiting for the End...) has put enough of a strain on his voice that he struggles to hit stuff like the chorus of Crawling these days, when he used to sing those parts just fine a decade ago. And of course, there's always the fact that your voice just changes throughout your life no matter what you do with it. I don't sound the same as I did in my early 20s either...and that was only a few years ago for me.

The little lead guitar thing that's kind of quiet at 3:51? https://www.youtube.com/watch?v=eLheapeGk10 If so, I believe that was always Mike. They actually cut the length of the outro down on Projekt Revolution, and that part happened to be what was cut. So that little guitar thing was only ever played at the June shows. I always figured it was just a sample that Joe threw in there, never noticed you can see Mike playing it in the background as the camera pans past Chester. Guess I'll have to put that in my guitar tab. If you're referring to anything regarding the rhythm guitar stuff, Mike always doubled Brad on Wish, except he played everything an octave higher. So when Brad's playing an E5 at the 2nd fret on the low D string, Mike's playing one at the 7th fret on the A string, etc.

...Why the hell are we randomly deciding over a year after the fact that there was ANY legitimacy to this tracklisting? Knowing what the songs sound like now, it's easy to tell that the album would never have been sequenced that way in a million years, and Final Masquerade was seen on the studio board with Drawbar as its working title alongside all the other songs. Unless Drawbar/Final Masquerade weren't originally going to make the cut and then they swapped two other songs out for them, this tracklist HAS to be fake, because Drawbar/Final Masquerade never went by "The Hunt," "Viserion," or "March of the Dead." Yes, it was posted on an "official source" website (or at least it seems to have been, based on a screenshot that was never verified and could have easily been Photoshopped...). But so was this.

In terms of the person the song's based on, yes (although Kenji wasn't his name, Mike just used his own middle name for the sake of the song not being too personal about someone else). Mike's dad was 3 years old when they were in the camps. He was interviewed for the song, and I believe the woman who was interviewed is his great aunt.

I'm not going to call you a hater. More like a person who has no fucking clue what the business side of the music business is like. You don't have to buy a goddamn thing Linkin Park puts their name on, so why do things like this get your panties in such a bunch? You apparently think these guys should just be music-creating robots who aren't allowed to have any kind of corporate interests outside of the music they make, and shouldn't have any means of making a living one day when Linkin Park inevitably isn't a band anymore. If you're giving up on the band's music because of their business ventures, you never should have called yourself a fan in the first place.

I believe all the acoustic songs have their own entries in the List of Songs Played Live now, they're just mixed in with everything else.

Never noticed the Kenji beat coming in during the middle of COG, but you're right. Mashup it is, then.