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So I always questioned the "17 songs" as being the definitive number of tracks that were recorded for MTM, as every time I saw it mentioned was from fans. Turns out, I was probably right to think that: http://www.lpassociation.com/forums/archiv...hp/t-23006.html http://www.linkinparkforums.com/showthread.php?t=13578 The 17-song quote comes from an October 2006 interview that says they had narrowed things down to "17-ish" songs. That was still 3 months before final tracking was complete, and a while before What I've Done would have been brought into the mix. Of those "17-ish" songs, we have no way of knowing which ones were ultimately "finished" over the next 3 months, or exactly how many songs "17-ish" even was. And reading through those two threads following the initial quote, as usual, people took it and ran with it, and now we somehow have "Linkin Park recorded 17 songs for Minutes to Midnight and 12 made the album" as an assumed "fact" 7 years later. There may be more Minutes to Midnight b-sides, there may not be. And if there are, there could be more than one. The bottom line is, we don't know EXACTLY how many songs from the Minutes to Midnight sessions reached "fully recorded and mixed" stage. It could be anywhere from 16 to 18 or 19.

Posted by Mike on Instagram almost a month ago.

Why would LP release video archive recordings when they just quit doing DSPs because nobody was buying them? The demand for this kind of stuff (in terms of people who would actually buy it) just isn't there.

No. "The Fog" was attributed to BITS because there's a point on Meeting of A Thousand Suns where Mike says something like "Let's listen to the five and see what we think," referring to a batch of five songs that the band was working on at that point. The song played immediately after that was BITS. Somebody misheard "the five" as "the fog," and we've had a non-existent working title floating around for 3 and a half years. "Violent Lullaby" comes from the "Chester's Lullaby" LPTV episode, where him and Mike are throwing around ideas for lyrical revisions to The Catalyst. Chester comes up with the phrase "violent lullaby," and Mike proposes the idea of "If the last two words of the song are violent lullaby, and the song title is Violent Lullaby..." basically saying that he thinks they should use that phrase in the lyrics because he thinks it'd be a good title for the song. Chester counters that with "If you're forcing words into the song just for the sake of a good song title, you're writing for the wrong reasons." LP fans being LP fans (taking everything literally, not understanding the concept of "context," etc...), people assumed that "Violent Lullaby" was the song's working title based on this. The lyric was never used in the song, the "song title" conversation was entirely hypothetical, and the song was never called Violent Lullaby. "Mikespiano" was a demo for both ATS and Living Things? I don't recall seeing that one mentioned more than once.

QWERTY actually was "written for the album," according to Mike, but obviously didn't stay in consideration for very long since it ended up on LPU 6. Both Pretend to Be and Not Alone are confirmed to have been "started" during the MTM sessions and finished later. In the case of Not Alone, it originally had different lyrics that were scrapped for the ones written after the Haiti earthquake. However, it's not known if those original lyrics were in place at the time of MTM's release, they could have revised it more than once after the album came out. The only other potential b-side that I can think of that we may already have would be Pale, they could have potentially considered including that on the album (possibly in place of Wake). I find it kind of unlikely though, as it's labeled as a 2006 demo, which would seem to put it more in the realm of QWERTY and Announcement Service Public, as a song that was dropped from consideration earlier in the process. My personal theory is that the 17th song is "Ammosick," as we know that one got pretty far in the process, and was subsequently revisited during the A Thousand Suns sessions. It could even BE a song on A Thousand Suns, as we don't have working titles for a few tracks. Burning in the Skies (no, the working title was not "The Fog"), Wretches and Kings, and The Catalyst (no, the working title was not "Violent Lullaby") all fit that criteria, although we know The Catalyst was written later, and I believe Wretches was too due to the presence of the Electro-Harmonix HOG, which was not in LP's arsenal during the MTM sessions. I also always thought BITS sounded like the most "MTM-like" track on ATS as well...so yeah, that's my theory. I have nothing to back it up.

Bruiser and Space Station were likely done in between ATS and Living Things. Bruiser uses some of the guitar MPC samples that were recorded by Mike and Brad when they did Wretches and Kings (they really milked that sample bank for studio work, parts of it wound up in Wretches, Bruiser, and Victimized). Bruiser was originally bundled with the Open Labs software that came with the Dell Linkin Park Edition PC in mid-2012, and I'd assume Space Station was part of that as well. The Loop Jams are just composed of existing samples from other tracks. Complementary was done a little later, when Stagelight was released. Song C/WWDK is a possibility, but no way of really knowing that for sure.

Did you lose your first one or something? Otherwise there shouldn't be any reason you'd "need" another one, the laminate that comes with the LPU membership doesn't get you entry to M&G's or any special privileges, it's purely a decorative thing.

"6.14.1997" was a joke. Chester was just making fun of Joe's demos all being titled based on the date they were created.

LP/management would have had to provide a Papercut acapella for that mashup, which isn't something that's publicly available. I'd consider it official for that reason. You're right about David Banner though, production of that mixtape was all by Vlad and Rock Raida (with the exception of the D12 vs. Mobb Depp vs. Queen track, which was done by Green Lantern). I'm also not entirely sure which members of the X-Ecutioners were actually involved in X-Ecutioner Style.

He's not playing the drum part anywhere close to how it's played in the song. He throws a lot of his own interpretation in there, like he does with all of his drum covers. He completely skips the double kicks when they appear, playing eighth notes where Rob plays sixteenths (to be fair, the double kicks aren't very audible in the full mix, but they're clear as day on the stems). I doubt there's a human being on earth who can play sixteenth notes at 200 BPM with a single pedal.

Well, we obviously know of one person in this thread who has zero experience recording vocals in a studio environment...

Rakim's verse is 24 bars long (technically 48, but for the sake of matching BPMs to other raps, I think it's much easier to cut the BPM down to 100 and double the length of each bar in this case). Mike tends to rap in 8 or 16-bar groups, but he has done some 12-bar verses as well. You'd probably have to put two verses together to fill it out. The first thing that comes to mind that fits within those parameters is if you combined both verses from In Stereo.

I take back what I said about the Project Spark mix of GATS, all of that stuff is actually in the regular version of the song, the mixing is just different (in much the same way as the Guitar Hero/Rock Band multitracks are - the songs are musically the same, but the volume levels of the different elements are way different than they are in the regular mix).

And more accurately, the "guitar" and "bass" tracks are more like "guitar/electronics" and "bass/synth/keys." The guitar at the very beginning of the intro is also found in the drum track too (Mike mentioned in an interview that the intro was the regular riff run through a small amplifier and recorded with a single microphone, so those first few seconds of the song are probably all on one track on the Pro Tools session).

The guitar and bass tracks don't sound remotely "bad quality" to me...

So do people still think there are no electronics in this song? Kind of annoyed that they're mixed in with the guitar and bass tracks though. Kind of hinders the "remixability" of the stems. And I think I just invented a new word.

They haven't really ruled out there being a "regular" GATS video at some point, people just seem to be jumping to that conclusion.

If anything, the title "True Chainz" is intentionally making fun of 2 Chainz. No way would LP have him on a track, he's easily one of the two worst emcees in the history of mainstream music, along with Juicy J.

Yeah, definitely a different mix. The whole song has a weird "underwater" kind of tone to it that may not be intentional (the audio on the WID music video on LP's Youtube channel is all fucked up too and has been since the day it was uploaded - Youtube does weird shit to the audio depending on the encoding of the original file), but the levels are also a lot different, there's an additional vocal part an octave below the melody during the second verse, and Rakim's last "you're guilty" line echoes a lot longer on this version. *Edit* And yep, stems for the song should definitely be available on Project Spark. Unfortunately I don't have an Xbox One or a device that runs on Windows 8 (nor do I ever intend to own either one), so I won't be taking part in this. I guess it's up to other people to get the stems...hopefully this doesn't turn into another Guitar Hero/Rock Band stems type situation where it takes over a year for them to actually get "out there."

4th track down is "Line in the Sand (Odyssey)." And the last one is definitely "Mark the Graves (Plato)." *Edit* And yep, song title above everything else is "Until It's Gone," no visible working title for that one though.

Doesn't say anything about it coming from High Voltage, just that Mike re-tuned some of his existing MPC piano samples while creating My December. If you pitch shift the High Voltage loop down to My December's key it still doesn't sound anything like it. High Voltage is also a 4-note sequence that repeats twice per bar using 3 pitches, while My December is a 16-note sequence that repeats once every two bars using 4 pitches.

No it isn't. Same note pattern, but different key, and one is a piano while the other is a synthesizer loop. That's like saying the guitar in From the Inside is sampled from Faint just because it uses the same chord progression.

The instrumental is basically a bunch of FL Studio stock samples with some compression and reverb thrown on them: http://music.tutsplus.com/tutorials/how-to...tudio--audio-63

It fascinates me that the Believe Me sample seems to be "rediscovered" every couple years and so many people seem to have never known about it...yet I've had the Orchestra Strings 08 file on my external hard drive since somebody posted it on the Fort Minor message board in December of 2005. Not to mention that Mike talks about it in nearly every Fort Minor-era interview that mentions Believe Me.