Astat

I know, but short of being an industry insider who actually has access to Nielsen SoundScan numbers, the RIAA certifications are probably the best numbers we have to go on. The shipped vs. sold numbers are a lot closer these days than they used to be too, a lot of stores don't stock a ton of copies of one CD at any given time, except if it's a new release that's selling like crazy.

Going solely off of RIAA certifications, here are the U.S. numbers as of their most recent update (keep in mind, artists have to pay a fee to the RIAA to have their catalog re-certified, which probably why some of these albums haven't been re-certified in a long time - Meteora certainly didn't sell 4 million copies in its first year and then not break a million in the 9 years since, for example). Albums: Hybrid Theory - 10,000,000 (as of 1/7/2005) Reanimation - 1,000,000 (as of 9/6/2002) Meteora - 4,000,000 (as of 2/26/2004) Live in Texas - 1,000,000 (as of 11/29/2007) Collision Course - 1,000,000 (as of 7/19/2005) Minutes to Midnight - 2,000,000 (as of 11/15/2007) A Thousand Suns - 500,000 (as of 1/11/2011) Living Things - 500,000 (as of 4/3/2013) Singles (these only reflect digital sales): In the End - 500,000 (as of 8/18/2008) Numb - 1,000,000 (as of 10/1/2009) What I've Done - 2,000,000 (as of 11/13/2008) Bleed it Out - 1,000,000 (as of 8/25/2009) Shadow of the Day - 1,000,000 (as of 6/11/2008) Leave Out All the Rest - 500,000 (as of 10/5/2009) New Divide - 2,000,000 (as of 2/14/2011) The Catalyst - 500,000 (as of 8/3/2010) Waiting For the End - 500,000 (as of 4/7/2011) Burn it Down - 1,000,000 (as of 2/13/2013) Other: Frat Party at the Pankake Festival - 1,000,000 (as of 3/6/2002)

Chester plays it almost identical to Brad, I think Brad just plays it a little slower.

If there are multiple LP members involved, it should be in the LP section. No reason for this one not to be when all of the LPU Summit acoustic performances are.

How many different versions of this song are they going to do?

Huh, I had no idea Anaheim lossless was unusually rare. I don't have my external HD hooked up right now to check, but I'm pretty sure I've had that one for a while.

I don't really see why it would need two guitars. Mike would probably play keys. Step Up is a song that's always had one guitar part. I wouldn't look into that idea too much. Mike's probably just getting a second GGP for Lost in the Echo because he currently only has one guitar for that song. He actually used Chester's white GGP for the Mexico shows last year because his custom-painted one didn't make the trip with him. It's easy for the band to swap guitars between the A and B rigs because those two rigs constantly travel around the world anyway, but the C rig usually stays at their rehearsal studio and only gets used for local California shows and a few other random things (such as Mexico), so if Mike doesn't want to borrow Chester's guitar again at SSMF, he needs a second GGP built for him.

For the same reason IMR didn't last very long in the live sets: Because Linkin Park has a singer who can't pull off half the stuff he does in the studio in a live setting anymore. Skin to Bone wouldn't be particularly difficult to DO live, but it would be hard to PERFORM live. That song basically consists of a beat, a bunch of synth stuff, and vocals, so a "live" performance of it would probably just consist of Mike and Chester singing their vocals over an instrumental backing track while the rest of the band sits around doing nothing . It'd look really lame. Robot Boy is tough to do live because there are like 6 or 7 vocal parts in it. It has even more vocal layers than Hands Held High, which we already know was dropped because the band didn't feel like they could do justice to the vocal parts, so Robot Boy probably isn't even worth attempting.

If they play anything at the Sunset Strip/Asia shows that hasn't already been played this year, I will be truly amazed.

The beginning of Joe's "Blow Your Mind" interlude from 2001/2002 comes from this song: http://www.youtube.com/watch?v=Td33dhAA1Vc

Probably somebody just making stuff up. They seem to be referring specifically to LP doing a version of the ...which 1. seems like a hysterically terrible idea in comparison to doing a "big movie soundtrack" song like New Divide, and 2. Wasn't used in any of the Toby Maguire era Spider-Man movies as far as I can recall.

It was used for that entire Europe 2001 leg as far as I recall. Definitely multiple shows in the mid-2001 period. Yep. Already in the first post. *Edit* Noticed an error in the first post too. Dolla doesn't sample Funky Drummer by James Brown, it's actually Get It that does (it's where the "Get it!" voice comes from). The Sampler Mixtape version of Dolla DOES sample Five to One by The Doors, though (the "COME ON!" yell at the beginning). Note that this ONLY appears on that version of the song and is not present on the We Major version. And a couple more additions: -The line "it's not about the salary, it's all about reality and making some noise" in Remember the Name is a reference to the line "it's not about a salary, it's all about reality" from My Philosophy by Boogie Down Productions. -Petrified samples Good Guys Only Win In the Movies by Mel & Tim (the "horse neighing" noises in the Petrified instrumental come from that track).

It's actually the original Mothra theme song, sung by Yuji Koseki: The only "Godzilla" part is actually the roar sound effect at the beginning and end. Not sure which Godzilla theme it comes from (one of the older ones, obviously), but it's the same one as at the beginning of this video:

Gacela of the Dark Death is Joan Baez's recording of it, specifically. Really not sure what you mean by "Cure for the Itch, soundcheck outro" on Love Ridden...the Love Ridden concert intro was a separate track completely that was used to open numerous shows in late 2000/early 2001. They had already quit using Cure for the Itch by that point. There's also the Summer Sanitarium tour intro, which samples Dead Skin Mask by Slayer and uses dialogue from the movie Cromwell. The line "Record industry rule 4,081: Question my intentions and your whole world is done" in Stick N' Move is a reference to the line "Industry rule number 4,080: Record company people are shady" from Check the Rhime by A Tribe Called Quest. Be Somebody by Fort Minor reuses/references a couple lines from Freestyle by DJ Vice (which Mike was featured on).

The 1stp Klosr sample likely wasn't "taken" from Pokemon: The First Movie, as the sound effect in question is likely a stock sound effect. I've heard it used in a couple other things like TV commercials. Cure For the Itch Skull Snaps - It's a New Day Beside - Change the Beat (Female Version) KYUR 4 TH ICH Linkin Park - Points of Authority Nobody's Listening Jay-Z - Brooklyn's Finest (Reference) Session Beside - Change the Beat (Female Version) When They Come For Me Linkin Park - Points of Authority (Reference) Lauryn Hill - Lost Ones (Reference) Notorious B.I.G. - Mo Money Mo Problems (Reference) Big Daddy Kane - Raw (Reference) Public Enemy - My Uzi Weigh a Ton (Reference) Wretches and Kings Public Enemy - Bring the Noise (Reference) It's Goin' Down James Brown - Funky President Big L - Put it On Green Lantern Intro Das EFX - Real Hip Hop Also, the "We Major" vocal sample found in numerous tracks on We Major (and the mixtape title itself) comes from Shook Ones Part II by Mobb Depp.

The BTH instrumental clip is nowhere near 2:26, that's a looped version somebody made (you can tell because the string parts in the "second verse" don't change). It's maybe a minute and a half tops.

Those are just the regular string parts without the rest of the instrumental parts accompanying them. Not a different version, just a chunk of the multitrack. There's another one of Cigarettes on one of the other menus on the same DVD.

It sounds kind of like they may have used the same drumbeat from So Far Away in that instrumental...which was already reused for Soundtrack. Pretty weird if that's the case, given that that would mean there are two Meteora demos using the same drumbeat from a song that was already discarded for the previous album...unless it's a Fire in the City/21 Stitches-like situation where that ended up evolving into Soundtrack? I could also be totally wrong and it's not even the same drumbeat.

There is absolutely NO legal precedent that would prevent the three remaining STP members from performing with Chester, nor is there one that could block them from performing songs originally written/performed with Scott Weiland. That completely goes against the way pretty much every law regarding music royalties works. The only thing Weiland MIGHT have a chance at accomplishing is oreventing them from using the "Stone Temple Pilots" name, and even then, all they'd have to do is append "with Chester Bennington" to the end of it to get around it, as that's technically not the same band name. Look at what happened with Sublime, which is now Sublime with Rome. There's also no scenario where a venue could be sued for booking this version of STP for a show. So why, exactly is the current STP lineup such an "unsure" thing? Literally the only thing Scott Weiland can do is force them to add 3 words to the end of their name (which it sounds like they're already electing to do with the press release for this show), and make them pay him a bunch of money to play without him.

Rock The Mullet Actually Cure for the Itch. The unknown instrumental in that same episode sounds REALLY familiar to me, but I can't figure out why.

I love re-watching these old LPTVs anyway, so I have no problem going through full episodes.

Gonna start helping you out with this a bit. LPTV Season 1: The Writing Process PTS.OF.ATHRTY instrumental ends at 1:54 (not a different version, by the way). 02:00-02:11 is a completely different (unknown) instrumental track. This is From the Inside, not Lying From You... Didn't find anything to add/correct for The Studio I.

Or they're just attempting to quell the bitching.

At the rate their touring cycles have been declining, they'll probably release an album, play a show in Los Angeles and a show in New York, then go on a big mainland European tour (skipping the UK, of course) because that's the only place they really seem to care about doing a comprehensive tour of anymore, do a one-off show in Tokyo because OMG MIKE'S HALF JAPANESE, play a song at some awards show on TV along the way, and call it a touring cycle. 30-ish shows, maybe play 4 songs off the new album total. ...Yeah, I'm not bitter at all!

Be glad it's one relatively obscure song and not an entire "live album" that was recorded that way. You'd be surprised how many bands are guilty of that.