Astat

Rappers hardly ever just play the regular album versions of their songs live, they remix everything. The original run of Fort Minor shows was really an anomaly.

The only reason I'm NOT in favor of Papercut/LFY being separated is because it was listed as one song on the setlist. Otherwise, I'm completely with you on that one. Papercut (Shortened) > Lying from You (Shortened) IMO. WFTE/HHH is a bit different than what happens with COG/Kenji, the beat stays the same the whole time on WFTE/HHH and there's minimal change to the backing track (there's a synth in there that mimics the synth from HHH, but it's actually one of the WFTE synths that's had the order of the notes chopped up to fit the melody). The BIO mashups are just silly, those always incorporate music that's almost entirely based around BIO (APFMH and Sabotage are the only two major exceptions), and they always go back into BIO afterwards.

The guitar from Kenji is in there. So should we change all the Linkin Park setlists from this touring cycle and list every instance of one song flowing into another as one song? That's really not a good reason. Once Kenji starts, the COG stuff becomes more of a backdrop, and there's a bunch of stuff that comes in with the Kenji portion that wasn't present in the "COG only" portion. Mike remixed the beats to just about everything in this show and nearly every song flowed into the next. You have to split the tracks up somewhere. I think generally the printed setlist would be what we'd default to in a case like this, but I haven't seen one for the FM set.

Here's what I've got for a setlist + some notes: 01. Introduction (Remix) 02. Petrified (Ext. Intro) 03. In Stereo 04. It's Goin' Down 05. Dolla (Shortened, Mike on guitar - The guitar part Mike plays isn't anything close to the original The Ocean riff from Dolla, I THINK it might be mimicing the synth melody from In Stereo but I'm not totally sure) 06. Waiting For the End/Hands Held High (WFTE v1 > HHH v1 > HHH chorus > HHH v2, portions of the HHH synth melody were mixed in with the WFTE beat once HHH started) 07. Castle of Glass ("Re-remixed" version of M. Shinoda Remix from Recharged, shortened) 08. Kenji (Remix, beat features elements of Kenji and Castle of Glass remix) 09. Devil's Drop (Partially remixed w/added beat, Mike on guitar) 10. Cigarettes (Remix) 11. Until it Breaks (Shortened - no "Brad part" at end, Mike sings Chester's part, outro transition) 12. Where'd You Go (Remix, features portions of Until it Breaks beat mixed w/original Where'd You Go beat, sampled Holly Brook vocals on chorus w/Mike singing as well) 13. High Road (Mike sings chorus) 14. Believe Me (Remix, Mike raps Ryu's first verse, When They Come for Me v1 after first chorus) 15. Welcome 16. Remember the Name (Shortened) Most of the songs that aren't shortened/remixed have slightly different arrangements than the originals, but nothing too drastic. Yes, the guitar Mike plays is new. It's one of the new PRS S2 Singlecut Standards (pickguard + 4-knob configuration gives that away), looks like it's the McCarty Sunburst finish.

You absolutely HAVE to search by Songwriter/Composer on BMI if you want to get any kind of complete listing. A lot of songs don't have anything entered in the Artist field. Look at the entry for just about any LPU song, and it won't say Linkin Park on it. A.06 for instance: http://repertoire.bmi.com/title.asp?blnWriter=True&blnPublisher=True&blnArtist=True&keyID=11684185&ShowNbr=0&ShowSeqNbr=0&querytype=WorkID Also, it can take MONTHS for songs to be added to the BMI database sometimes. Other than The Catalyst (because it was the lead single), I don't think anything from A Thousand Suns showed up on there before the end of 2010.

In terms of news, both sites inevitably end up reporting the same stuff 90-95% of the time, it's just a matter of who gets to it first and how it's reported. I personally prefer LPL for news, they tend to be a little more objective while LPA hypes everything in a similar way to the official LP site. I think LPL is a little more well-informed with what they post too. LPA is incredibly cautious about media downloads/links, so you won't see a ton of audio/video released there like you do on LPL. LPL also has the better forum if you're looking for LP-related discussion (the attitude a lot of LPA members show toward the band is a HUGE turn-off for me). In terms of overall activity, I'd say they're about equal. Where LPA has LPL beat is mainly in their extended network of non-LP discussion, both on their forums and through their affiliation with AltWire.

One of three major royalty/licensing-collecting agencies for musicians in the United States. The other two are ASCAP and SESAC. Basically they're the people in charge of making sure musicians get paid when their music is used or played by a third party.

Yeah, this has to be something bizarre/unintended. BMI work numbers are sequential across all of the artists in the BMI database, based on the order in which they were filed with BMI. They currently have around 20 million songs in their database. The earliest entries in terms of LP-related songs are from Hybrid Theory. By Myself has a BMI number of 5,389,996 for example. In contrast, the most recent LP-related song on there is Darker Than Blood, which has a BMI number of 19,751,877. All of Curry's song entries have numbers that are still in the 7-digit range, rather than the 8-digit range, meaning they've been on file for quite a while already. This song's number is 9,734,762. To give an idea of when this song must have been filed with BMI, We Made It's BMI number is 9,721,085. So this song has been on file since sometime in 2008. It's obviously not a Linkin Park-related song, unless he sold it to LP and they're planning on covering it in the future (which I highly doubt). BMI does make mistakes from time to time. "Halo" from LPUX is incorrectly listed as "Hal" on there, for instance.

Why are people taking it as gospel that the Spotify playlist will be the setlist of the live show? I see MAYBE ten songs on there that Mike will actually play.

Hopefully the Welcome instrumental/acapella get a digital release of some kind too, getting a perfect vinyl rip is tough and with the way the vinyls are all unique, a lot of people probably won't want to open theirs up to rip them in the first place.

Ahh, yep. Didn't catch anything that sounded different in the first really low-quality video, but you can see Rob and Joe near the end of the one posted above. LP/band debut it is, then. Remember the Name is essentially the same arrangement as the portion typically played in Mike's solo medley (with the addition of an extra chorus repeat at the end), but it's played with the original tempo/key and lacks the additional samples found in the medley (the In My Remains synth, for instance). It's basically a shortened version of the original Fort Minor song now. RTN/Welcome is basically Mike's new solo spot in place of the medley. I feel like they may have just dropped Rebellion for time's sake. Just looking at the additions to this setlist, even without Rebellion, it feels significantly longer than the set for the last little run of shows.

Why is Welcome called a "full band debut?" Mike is performing it completely solo in the exact same fashion he did on Conan O'Brien. It should be listed as a Fort Minor performance during a Linkin Park set in the same way the DBS songs in the first encore of the LP set in 2009 were.

SO much better than the studio version...Mike actually sounds like himself.

...Well, looks like I've found what I'm doing this week.

I rarely agree with Castro, but I have to say, I'm not really feeling this song either. I do think it's got potential on the radio, it's very much in line with what's on the radio in terms of male-fronted rap these days. But holy crap, Mike's fake tough guy voice has GOT to go. It's embarrasing. Like, shuffle your feet, avoid eye contact, and lie about it when someone asks "Isn't that the dude from Linkin Park?" embarrasing. Mike's perfectly capable of writing good verses without slurring his speech like he just stepped off the streets of Chicago. He's a half Japanese, half white guy from a pretty well-to-do family in one of the nicer Los Angeles neighborhoods. Mike Shinoda is not gangsta, but he's good enough at what he does that he shouldn't have to pretend to be. The first Fort Minor record had a handful of good songs on it. This song is more cringeworthy than the worst song from that record, though.

No. All of the LP-related social media accounts are managed by the same people (in addition to the band members who post to them), and anything unauthorized would be dealt with in a matter of minutes. We already saw how swiftly they deal with this stuff when LP's Facebook was hacked a couple years ago.

Apparently. It has the original synth and some other stuff in it but the majority of it was re-recorded in a rather amateur fashion. This is the version on the CD, the guitar and synth solo were clearly re-recorded, some of the synth in the verses is missing/wrong/re-recorded, and it sounds like a lot of the rest of it was pieced together from the samples from that Burn it Down game that was on LP.com for a while: https://www.youtube.com/watch?v=7S4h6N9oAZs

The Burn it Down instrumental on the Burn it Down Remixes CD is fake.

I want to say he actually ended up adding a download link to the Iridescent instrumental in that Youtube video description at some point before it was deleted. The file I have definitely isn't a Youtube stream rip, but I don't recall acquiring it from anywhere else either. I'm pretty sure it was linked in the description to that video. I'm on the fence about the BIO/WID/SOTD ones, it seems almost TOO coincidental that they're the same songs that were used in Guitar Hero/Rock Band, but the levels sound "right" compared to what you normally get when combining stems from those games, like Jonas said. Then again, maybe someone just spent a lot of time fixing volume levels and such to make them sound right. I'd basically consider that an official instrumental regardless, it's really just lacking the final mastering that would be done after all the tracks are combined. As far as track lengths go, I've noticed that the speeds of songs in Guitar Hero/Rock Band tend to vary VERY slightly from the actual album versions. I encountered this when I was recording my guitar cover for One Step Closer, I used the stems when I was doing the recording since I already had them on my computer, but when I went to mix my guitar track with the album version, I ended up like .2 seconds off-sync by the end of the track. Had to do some VERY careful time compression to get it to sound right without re-recording the whole thing! I'd share my raw guitar tracks, but doing so would make it a lot more obvious where I cheated and overdubbed stuff that I didn't play right in one continuous take I'd need a BIG premium cloud storage account of some type that could handle several hundred uncompressed .wav files and the ensuing bandwidth from downloads.

That's a synth that mimics Brad's tapping part (or a sample of the tapping part itself that's been run through some additional effects). It's there during the outro on the album, it's just really low in the mix. It's one of the samples included in the second LP StageLight pack.

It is. The source of it is completely unknown though, literally just popped up on a random Youtube channel a few years back (and has long since been deleted). Post I made about it on LPA: http://www.lpassociation.com/forums/showthread.php?t=41458&p=1346599&viewfull=1#post1346599

The audio from 3:24 onwards isn't from Rock in Rio, the transition is very obvious. It's presumably the audio from rehearsals.

Some of those mid-tempo songs are among the hardest for Chester to sing (Burn it Down, New Divide, Breaking the Habit).

Drop Ballad Medley, Runaway, and the Darker Than Blood intro to BID, and add Final Masquerade and APFMH. BOOM. Instant improvement. Move WFTE somewhere higher up in the set too and have APFMH between Faint and WID. This set is SO CLOSE to being good, lol.

Band gets older, band's fans get older, people are generally opposed to change/new things and start to either universally criticize or outright ignore new material the band puts out. Band's newer albums don't sell as well as their old ones did, band's newer singles don't perform as well as their old ones did, and the new songs the band does add to the live set don't get nearly the reception their "classics" do. When the general opinion of the average fan at a Linkin Park show is "Everything after Minutes to Midnight sucks, I'm hoping they play In the End, Numb, and What I've Done...what, they have a new album out? I had no idea," why the hell WOULD they go to the trouble of playing as much of their new material as possible? The people who DON'T spend time on Linkin Park fan forums like we do either don't like most of the new material or don't even know it exists. There were people IN THE FRONT ROW with me at Carnivores last year who were saying things like "The only good song on the new album is that You Don't Know What You've Got Until It's Gone song," and when I called them on their bullshit and asked them to even name another song title from the new album, they couldn't come up with one. These aren't just the "average fans" anymore, these are the people dropping almost a hundred bucks a ticket on a show and waiting outside the venue for hours to be up front. People on sites like this don't realize that they are in a TINY minority segment of the band's overall fanbase. Unless Linkin Park randomly pulls another crossover top 10 hit single (as in pop chart success, not the rock charts) out of their ass at some point, they're firmly cemented in "heritage act" territory by now. I think that's been the case ever since they started playing the majority of Hybrid Theory again at the start of the Living Things cycle.