Astat

If the best marketing angle Grey Daze can come up with to justify her involvement in a project that, again, they're supposedly limiting to "people Chester was close to" is something as straw-grasping as "Chester was in the car with Sean and said he really liked Lost on You," I'm quite confident that she never played a more significant role in his life. Straw-grasping is a good term for this project in general, actually. They either couldn't afford or convince the people Chester was actually close to (the rest of the Julien-K and Kings of Chaos/Camp Freddy crew, the STP guys, Richard Patrick, etc.) to jump on board, so they went out and got people like "guitarist in a band Chester toured with in 2004 who said shitty things after he died" and "singer Chester made a passing comment about liking one time" and "replacement guitar player in a band whose singer Chester was close to but would cost to much money to get on the record." I mean christ, the actual guitar player in Grey Daze is some guy who got hired to be a backup guitarist for the reunion show and was in the band for what seemed like 5 minutes before Chester died, meanwhile their original guitar player Jason Barnes (who was, y'know, someone Chester actually had history with) is completely M.I.A. from the final project even though he was involved at some point early on. Did they fire him? Did he decide to bail? Does it matter? Neither answer is a good look for them. Ryan, Jamie, and Marcos are the only collaborations on the record who were actually significant people in Chester's life in 2017.

"We kept collaborations limited to people Chester was close to" "Here's a song featuring a conveniently-named singer who Chester never met or even mentioned publicly while he was alive, he told Sean he liked one of her songs once though!"

Telling fansites to remove their old albums and then refusing to re-release them alongside this updated project, while falsely claiming WB "scrubbed Grey Daze from the Internet" Selling CD-R copies of the original Grey Daze CDs for $500 a pop and then claiming other people were making fakes Stealing images from photographers and then claiming they "found them on the Internet so it's okay" Passing the blame for their own unethical actions seems to be Grey Daze's M.O.

I'm 100% convinced this is exactly why they got her to feature on a song. They want people to buy the album thinking it has a Linkin Park feature on it.

Release two songs with guest musicians on them and don't bother to mention said guest musicians when doing so. A+ promotional work, lol.

See you next week!

It's mastered louder in general (at least compared to the 9-track demo rip I have), but it doesn't really sound like the mix is otherwise different. Vocal/instrumental balance is a little different but that's to be expected with a different vocal track anyway.

The whole track is identical except for the vocals and one of the scratch samples.

True, the "hoo-hah" sample thing in the chorus is a bit different. The core guitar/bass/drum stuff is all the same though, and it sounds like the samples in the bridge are too. I feel like they kept the same main instrument tracks when they were revising demos early on and only re-tracked live instruments as they needed to.

Now that this is floating around, I just want to point out the interesting fact that the instrumental track on this version is identical to the Hybrid Theory-era demo with Chester. They probably started recording demos as soon as they got their Zomba deal and used those as the base tracks for future demo revisions (similar to how the various Esaul/Super Xero demos have identical or very similar instrumental tracks and different vocals). I'm willing to bet there are similar demos with Mark for Slip and Esaul.

That's how much he wanted before Chester died. Ostrick's asking price has a lot to do with his own perception of his success too. He was just getting started in his career when he did Lockout, but he went on to produce the 24: Conspiracy series and a bunch of stuff for Shark Week on Discovery. He basically thinks that because he's had a successful enough career to have a Wikipedia page, his work is worth whatever he says it is. I also think it's possible that he doesn't actually have the footage anymore and doesn't want to admit it, which is why he keeps jacking the price up every time we start getting close to what he asked last time.

To be fair, it's on a "promotional use only" disc. And apparently with stuff like She Couldn't and the DBS demos being such a problem along with Adam's "yeah it'd be great if people wouldn't post that stuff either" statement in response to questions about demo CDs and stuff like that, apparently that's enough to make it off-limits for whatever reason. Throw it on the "stuff we aren't supposed to have for arbitrary reasons" pile along with the multitracks, What Are You Worth, She Couldn't, the DBS demos, Hybrid Party of A Thousand Things, etc...thankfully we found all the Rapology stuff when we did or else it probably wouldn't have been allowed either. ...Holy fuck do I ever hope that whatever legacy I leave behind when I'm dead won't become so convoluted that it prevents the release of music I had nothing to do with.

Y...you DO realize your name doesn't change until AFTER you get married, right?

https://www.discogs.com/Various-New-Music-Sampler-1999/release/14398990

So I've been doing some research about the Camel Cigarettes Sin City tour, and I've figured out a few things. First of all, the Albuquerque show was not the first date of the tour, it was just the first one BOW played. This was a pretty sporadic "tour" throughout the late summer/fall of 2005 that seemed to be more of a corporate sponsorship of already-booked tour dates rather than a tour that Camel booked themselves (similar to how there were additional partners at certain Projekt Revolution shows in 2007/2008). It seems that these dates weren't heavily advertised with Camel sponsorship, likely due to strict consumer laws regarding tobacco sponsorships and commercials in the United States. Here are the dates I've managed to track down, and who played them: 9/24/05 - Sonar (Baltimore, MD) (Kings of Leon headlined, also listed as a date on KOL's Aha Shake Heartbreak tour) 9/29/05 - Trocadero Theatre (Philadelphia, PA) (The Faint headlined) 10/16/05 - BB King's Blues Club & Grill (New York City, NY) (The Faint headlined) 10/17/05 - Desert Sands Motor Hotel (Albuquerque, NM) (Not sure if BOW or Black Maria was technically the headliner here) *10/24/05 - ? (Grand Rapids, MI) (Likely a cancelled BOW performance but the tour still played the date - see more info below) 10/26/05 - New Daisy Theater (Memphis, TN) (Spoon headlined - Lestat mentioned this date previously) 11/3/05 - Austin Music Hall (Austin, TX) (Modest Mouse headlined) 11/5/05 - The Meridian (Houston, TX) (Modest Mouse headlined) 12/4/05 - Rain in the Desert @ Palms Resort & Casino (Las Vegas, NV) (Camp Freddy headlined) As you can see, there's no consistent headliner for these gigs, and I haven't actually been able to find any evidence that any bands played more than a couple gigs on the tour at all, as a headliner or otherwise. Also you can clearly see that this isn't routed in any logical way like you'd route a tour where you expect the same lineup to play in multiple cities (NYC to Albuquerque overnight? Uhh no). I'm going to go out on a limb and say that the Grand Rapids date was supposed to be another BOW date on this tour, meaning they didn't play it. I found this article about some of the burlesque performers who were on the tour, and it mentions that they performed "from Albuquerque and Grand Rapids to Richmond and Charlotte": https://www.riverfronttimes.com/stlouis/aerial-erotica/Content?oid=2456468 This also means the tour had dates in Richmond and Charlotte that I haven't found dates for. Given the fact that this tour had a constantly rotating cast of headlining acts, seemed to be booked in collaboration with other bands' tours, and wasn't routed in a way that would lend itself to the same lineup playing more than a couple shows in a row (I also doubt they just managed to get bands like Spoon and Modest Mouse on short notice to cover for BOW getting kicked off the tour), I feel like BOW was only ever going to be on the tour for a week at most, and it's entirely possible that the Albuquerque and Grand Rapids shows were the only ones they were ever booked for in the first place. Sean's whole "getting kicked off an entire tour" story was most likely just a big ol' rockstar-level exaggeration for the sake of having a cool story.

IIRC it was something Chester had discussed doing with them when they were planning the reunion show, but they didn't start work on it until after he passed. A lot of stuff was supposed to happen during the gap between the September and October dates of the U.S. tour. Grey Daze was going to rehearse without Chester while he was on tour and then he'd join them for the last couple weeks before the show, there were supposed to be some surprise Dead By Sunrise shows towards the end of the year too. As far as I can tell they basically started over with all the songs and just kept Chester's original vocals. Even those had a lot of work done them, they did pitch manipulation to change melodies and stuff in some spots. It's a very similar project to how a lot of the stuff on Reanimation was handled.

White Noise is the only song on the Mall soundtrack that Chester had any involvement in. All the other vocals are Mike.

Fallout/Roads Untraveled was either completely tape or Mike might have done the vocoder vocals from offstage like he used to do with The Requiem. Mike played guitar on the live version of Tinfoil, btw.

Can someone look further into whether this is legit or not? I haven't seen an instrumental of Slow Ya Roll mentioned on Linkinpedia or any lists I've seen, but this sounds pretty clean to me (I admittedly rarely listen to the song though):

Yeah, that's typical. Each track was presumably bounced as stereo with its pan settings intact, and then the resulting stereo tracks were split into dual mono files. So anything that's hard panned to one side (as is typical when you're looking at one half of a pair of double-tracked guitar parts) would end up only having audio on one side. That's why some of the drum parts and other stuff are way louder in one channel than the other too. Outside of the "dry lead vocal" tracks everything has its final pan and effects settings that appear in the album mixes, the mixes just haven't been mastered. Personally I've just been keeping the stereo tracks and combining/tossing the mono ones with all the multitracks that have come out, makes the file list less of a headache to scroll through and find what you're looking for.

Backing up to this, seems like the people mentioning these particular songs (at least COG, I haven't actually seen anything about UIG) were basing their evidence off of fanmade piano stems that they may or may not have created themselves. Empty Spaces/When They Come for Me and Iridescent multitracks also leaked (and were deleted pretty quickly).

That looks to me like someone had an original case but burned their own copy of the disc.

Website was LPConcerts.com. It was a browser-based mashup thing sponsored by Verizon that had clips from several of the mainstage Projekt Revolution 2007 bands (but primarily LP). The mashup list was as follows: Bleed It Out vs. Makedamnsure Bleed It Out vs. Papercut Bleed It Out vs. Passion's Killing Floor Bleed It Out vs. What I've Done Faint vs. Killing Loneliness Given Up vs. Crawling Given Up vs. In the End In the End vs. Crawling In the End vs. Mama Leave Out All the Rest vs. Given Up What I've Done vs. Numb You'd basically just pick whatever sounds you wanted to mash together from Song A and Song B in each group and that combination would play back in your browser. Each mashup had the song pair's key and BPM adjusted accordingly to make them fit together (so even when a song was featured multiple times, the corresponding clips for each mashup would be different). If you were a U.S. college student, you could submit your mashups to a contest where the winner would get a private LP concert for their school. A girl from the University of Las Vegas won and this was supposed to be the show, but it was cancelled: https://lplive.net/shows/2008/20081006

Nope. Not sure who actually made it but it's been around since 2005 or 2006.

It was definitely added to BMI very recently, BMI work numbers are chronological based on when they were added to the database. Songwriters/their representatives can submit material to ASCAP/BMI at any time though, doesn't have to be when the song is released. I have stuff from years ago that I've just submitted to BMI within the last few months. Some of the non-album LP stuff on BMI was added years after it was released too.