Astat

Yeah, there have been a few singles over the years where the digital version had 3 tracks and the physical version only had 2. That live version of Let Down is from Hamburg.

Several 2005 interviews with Mike during the early "hype phase" for Fort Minor mentioned that he had remixed a track for U2. I've also never seen any confirmation that there was actually a demo for the part Chester sings in Until it Breaks. It's so short and has so little to it (vocals, piano, little bit of strings), it could have been something they came up with during the final recording phase to serve as a transition between Apaches and Foot Patrol, since the tempo changes there. If there was a demo of it, I can't see why they wouldn't have included it with the other 3 on LPU 13.

Not a bad choice. Wonder if it'll be a remix/different version.

Mike played keys on Change. Rob also played drums on the Ryan Giles track.

No different than A Thousand Suns+ or Living Things+. Welcome to 4 years ago. The DVD is probably going to be the Concert for the Philippines performance.

One of the beats from So Far Away was re-used on Soundtrack, so yes, they at least re-used a small portion of that song during the Meteora sessions. The weird thing is, the LPTV part that has that beat in it isn't identical to the released versions of So Far Away OR Soundtrack, lol.

Nope.

LMAO @ the concept of taking two years to put out an album being "rushing things." There was a time not too long ago where if a band didn't put out an album at LEAST once a year, it was usually because they had either broken up, or something catastrophic happened to them like a band member dying. The only reason albums take so long these days is because bands hardly make any money off of them thanks to the handful of greedy, rich CEOs who control the entire recording industry. Bands used to tour an album for a few months, now a typical cycle lasts 2+ years because bands would constantly lose money if they didn't tour as much as possible.

Link doesn't work for me, the play button is greyed out. Looks like they already pulled it from Spotify.

Those were more "alternate titles" than "demo titles." On LOATR in particular, they literally just had two titles they liked for one song after it was done, and they had to pick one or the other. NRL's title was probably just shortened because "No Roads Left But One" sounds really dumb as a song title...sounds like something Panic at the Disco would have used as a song title, except they probably would have put an ellipse or parentheses in it somewhere. "No Roads Left...But One" or "No Roads Left (But One)" lol.

It sounds like a Minutes to Midnight song with Meteora lyrics and Living Things synths on it. If you can't hear the synth work on this track, I would highly suggest you consider donating your ears to science. Someone else could probably put them to better use. Mike never specifically said they were getting away from the sound of their previous records. He said they were getting away from the sound of the initial demos the band worked on between Living Things and The Hunting Party, which supposedly sounded a lot like "indie pop" groups that are popular today - Fun, Vampire Weekend, Cvrches, etc...this song sounds nothing like those groups. That kind of sound would have been a pretty obvious evolution of the band's sound if you look at what you'd expect the "next step" to be after the last 3 records, but it's not like they're trying to discredit their previous work. About all that's been said regarding this record being different from previous Linkin Park records is that the songs are more guitar-driven, unlike a lot of the A Thousand Suns and Living Things material was. The general impression I've got of this record is "more consistently heavy Minutes to Midnight-esque material, with the addition of guest musicians on several songs." So far, I think that's been pretty accurate. Sometimes I think you guys were separated at birth. As for my thoughts on the song...I REALLY like this one instrumentally, but I still stand by my original statement that writing a rock song around a phrase as cliché as "you don't know what you've got until it's gone" in 2014 is cringe-worthy. Worst chorus on a Linkin Park song since Numb, and the rest of the lyrics aren't much better. Chester also sounds really strained again in spots on this one, particularly the part right before the second chorus.

All 7 strings were used on Runaway originally, although it isn't necessary for playing the song (there's one harmonic on the high E string, which can also be played on the B string). 7 strings were very much "in vogue" in the late 90s due to the success of Korn, and everybody was buying them. It's also entirely possible that Brad wrote other stuff on a 7-string in the early days that never ended up being used. Plus, tuning a regular 6-string B to B requires some extra setup work, you have to re-cut the nut to accommodate the thicker string gauges (since you're essentially "moving over" each string from a 7-string set and leaving off the high E), and you have to adjust the truss rod quite a bit to account for how different the string tension is. Brad literally owned two guitars when they first started touring for Hybrid Theory, so I'm sure it was MUCH easier to just take out a 7-string with a stock setup.

That's just a result of the rewinds from the We Major version being cut out of the version on The Gatalog. The "non-rewind edit" I made of that song years ago is also 4:33.

On the flip side, Step Up WAS referred to as "Step Up (1999 demo)" on all official releases following the HTEP. I have a hard time finding an appropriate term for the second version of High Voltage. I've always used the term "reprise" to refer to a song/theme from a song that is "brought back" multiple times during one piece of work. For example, Fallout reprises lyrics from Burning in the Skies, or the outro to Time by Pink Floyd is actually a reprise of Breathe (and is even referred to as "Breathe (Reprise)" in the liner notes of Dark Side of the Moon). I don't feel like that term applies to High Voltage because it's a song that was re-recorded as part of a different project than the original version. I also don't consider it a remix, because it doesn't re-use any audio from the original recording. On the flip side, I don't think it's appropriate to refer to anything on the HTEP as a "demo," because the band was already doing a bunch of demos at that time. The tracks on the HTEP were done as a commercial release, albeit a very limited one. I don't really have a problem with people referring to it as "High Voltage (Remix)" or "High Voltage (Reprise)" or whatever because I know what they're talking about regardless, but the most "correct" term I've come up with is just to refer to it as "High Voltage (2000 Version)." It's a remake of an older song that pretty much stands on its own. I also feel like for the purpose of the live guide, live performances of High Voltage should be referred to as "High Voltage (Live Version)," as that version even has some substantial differences to the 2000 studio version. I feel like they may have not completely "finished" the recording of the 2000 version once they realized it wouldn't be on the album (I always found it odd that there was hardly any guitar in the studio version but it's all over the live version), and the live version was the arrangement they had originally intended to use. That's just speculation on my part, though.

Mark Wakefield has been a high-ranking manager at Velvet Hammer Music and Management Group for many years. He's had a bunch of different artists under his wing over the years - Taproot, AFI, Alice in Chains, Deftones, Cypress Hill, Scars On Broadway, etc.

Rob's drumming technique isn't exactly great from a physical standpoint. He's all slouched over and he moves his arms from the shoulders when he doesn't really need to (you should be able to reach everything on your kit by primarily moving your wrists and elbows, as long as your kit is set up in a manner that makes sense). Not surprised at all that he screwed up his back, although I am surprised that it happened to him before it happened to someone with even worse technique, like Travis Barker.

X-Ecutioner Style is censored (there are two different edits of it too, the album version reverses the two instances of "fuck," while the music video version replaces them with other sound effects). Most officially-released live tracks from 2006 and earlier fall into this category. Wish and One Step Closer from LPU 4.0, all of Live in Texas/LPU 3, the live version of Step Up from the Somewhere I Belong single, Reading My Eyes from LPU 6...LPU 5.0 was "censored" as well, but at least some of that was the band/Jay-Z modifying song lyrics to be appropriate for the televised performance. The phrase "no passion" on Big Pimpin'/Papercut is also randomly censored/muted on the Collision Course DVD (the camera is right on Jay-Z when it happens and you can see him say the words), so I guess that counts. The HTEP version of Step Up is also censored, which I don't believe anybody's ever pointed out before. In the second verse, right after Mike says "Top 40," there's an echo/backup vocal that says "fuck Top 40," with "fuck" muted out. Once you realize it's there from hearing Chester do it on the live version, it's totally obvious that they censored the studio version.

So what, this guy on Twitter signed up over 3 years ago, has posted over 22,000 tweets that included numerous breaking stories about upcoming iTunes releases (many of which were accurate)...and it was all some elaborate ruse to trick a bunch of Linkin Park fans? Sorry, but I'm inclined to believe this guy knows what he's talking about. He even said himself that it wouldn't necessarily be right at midnight tonight.

Not sure sbout final mixes of everything being done yet, but the band's last day in the studio was April 19th. Album is essentially done.

Even the multitracks available for BID and LITE don't offer a whole lot of options because they combined a lot of stuff into the same track in a lot of cases. The bass and low-end synth are one track on LITE, for instance.

...? Not sure how you're gathering that from that video. That's just Rakim.

-Turn up the string sample during the Papercut outro (check out the Smokeout 2003 performance, you can hear it really well there). -Keep the harmonies from the demo version in the APFMH chorus (they always sang them live anyway). -Make the higher harmony vocal during the last chorus of Pushing Me Away louder (you can only really hear it on the acapella). -Remove the party background noise from Bleed it Out, speed up the tempo slightly, beef up the guitars a bit, and maybe extend the outro (I think the "full" extended version should still be reserved for the live version - I've never liked drum solos on studio recordings). -Give Guilty All the Same more low end punch in general (kick/bass/low end of the synth parts), and polish the vocals a little more. -Put the guitar parts from the live version of High Voltage in the studio version (the "reprise"). -Re-release Hybrid Theory with High Voltage after Cure For the Itch like it was probably intended to be. And finally... -Give me the multitracks for Living Things so I can do the job that Manny Marroquin obviously didn't care to do. The mixing on that album is garbage. This includes the synth in In My Remains, the strings in I'll Be Gone, guitars being drowned out all over the album...basically turn down the vocals and all the droning synths/sampled drums, and I guarantee that album would sound eons better. I think the only songs on that album that are mixed "well" are Victimized, Skin to Bone, Until it Breaks, and Tinfoil/Powerless. Everything else has something that bugs me. The EBow thing is executed with different gear on the live version than the studio version, which is why it sounds different (the live version doesn't actually use an EBow at all). This. If the original studio versions had everything found in the live versions, we'd be bitching that they don't do anything different to the songs when they play them live.

Most likely scenario. I wouldn't mind if it WAS an update to LP Recharge. That game's been completely neglected by the band since ALTNC came out, and there's still a lot of stuff left that hasn't been added to it yet. The developers kept adding new Shop items and stuff for a while, but there's been nothing significant as of late. It'd be a shame if it ended up like 8-Bit Rebellion where they promised to keep it updated and never did.

It's just one of those things like...how many times does something get denied by the band/management only to end up being true? Especially around album release time, seems like it always happens at least once every cycle. Maybe not the case with this, but if not, it'll be something else. Already kind of happened with Chester saying the album title was in the teaser video (which turned out to be true - "The Hunting Party"), only for Mike to come back a day or two later and say they didn't have a title yet.

Yeah, a good chunk of this info was already reported in another recent interview: http://www.musicradar.com/news/guitars/bra...ew-album-596469