Astat

110% guarantee that if you took a bunch of Post Traumatic songs and changed nothing about them other than having Chester sing on them, this guy would have thought they were the greatest thing ever. Also 110% guarantee that "demos we want to hear" applies to like, 3 or 4 specific songs/versions of songs, and that if literally any other demos were released from the archives, this guy would bitch about them not being the right ones.

Three main reasons: 1. Mike started collecting guitars (beyond the ones he typically used on stage up to that point) towards the end of the Meteora cycle. This was when he first acquired a couple Strats, a Telecaster, and a Les Paul. He ended up using Strats for some of the Fort Minor guitar work, and that carried over into some of the early Minutes to Midnight demos (Basquiat, Homecoming, Clarity, Debris, etc.). This happened to coincide with a period where Brad went a few months writing demos on piano and rarely picking up a guitar, so lots of Mike guitar work on demos = lots of Mike's guitar collection used for guitar parts. That sort of established the general tone of a lot of songs that ended up on the album, so they stuck with those kinds of guitars on some of the stuff that made the album too. 2. Ethan Mates, and to a lesser extent, Rick Rubin's involvement with the band starting with Minutes to Midnight. Ethan is a HUGE vintage guitar collector, and stuff from his collection has been used extensively on all of the LP records he's worked on. The orange Strat Brad started using on The Hunting Party was originally Ethan's, for example. Rick also had a bunch of gear that he either owned or rented at the mansion where they recorded Minutes to Midnight, so it put them in a situation where they didn't really need to bring a lot of their touring gear out of storage at Third Encore to use in the studio. If you look at studio photos from more recent years, you might see one of Brad's red soldier PRS's or one of the Rory Gallagher Strats hanging around, but the majority of the guitars they use on albums aren't actually theirs. 3. Strats have a much more upper mid-focused tone to them compared to guitars with humbuckers (particularly more modern-voiced stuff like PRS's). By the time the band got to A Thousand Suns, they were using a LOT more sub bass/808/low end synth-type stuff than they used on their earlier material. With so much more going on in the low end, it made sense to use guitars that naturally occupied a different frequency range.

A sports team wouldn't use photos of one of their players playing for another team to promote themselves. A movie wouldn't use footage of its lead actor from another movie to promote itself. A band shouldn't use photos/footage of its lead singer performing for another band to promote themselves. Particularly when said "other band" is one of the biggest rock groups of the last 20 years, and your dead singer is the only member of your band who isn't a fucking nobody.

I was talking to someone a few months ago who was in contact with someone trying to sell it, but nothing ever came of it. Maybe they didn't have it after all, who knows.

Yup. The "Oppenheimer Background Noise" and "Countdown" stems are mislabeled and have their filenames swapped, the "Backing Tracks L" track is missing, and what's labeled as "Pitched Countdown" is actually a duplicate copy of the full mix, so those stems are missing as well. For anyone who's curious, my current understanding of what's out there is the 8 tracks from Hybrid Theory we've had forever, most of A Thousand Suns (everything except The Messenger/a couple missing tracks in The Requiem/Robot Boy) and all of One More Light, plus Roads Untraveled and A Light That Never Comes. I have my suspicions that Leave Out All the Rest and Hands Held High are out there as well (based on the incomplete stems of the former that are floating around, and the really weirdly-mixed acapella of the latter that randomly popped up a while back), and I've heard Numb may be out there as well.

If they are, that's news to me. I was specifically even told that Messenger was "lost." Also Robot Boy is missing the piano tracks, and Requiem/Radiance has several mislabeled/missing tracks.

Lossless upgrade is out now. Properly mixed too, unlike the previous one (almost like this one was done by someone who knows their way around DAWs and multitrack sessions ).

LP: "We wrote 150 songs for MTM" Geki: "The like 5 unreleased songs I've heard in LPTV's/Making Of's are the only ones that actually exist"

White Noise is the odd one out, not Ammosick. White Noise was recorded specifically for the movie. It's based around the music box theme that runs through the entire film score.

Previous collab was just merch. LP's released plenty of merch lately. Probably means little in terms of the band's musical future. It's clearly a calendar... "Sun / M / Tu / W"

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.