Astat

Seriously can't believe they're not even going to bother setting foot in the UK or mainland Asia on this touring cycle. That's even bigger BS than their so-called U.S. "tour" that was half a day's drive (or more) away from close to half the damn country. I know LP ditched traveling in the tour bus in favor of jet-setting everywhere a couple albums ago, but I never expected that they'd start touring so sparsely that their average fan has to do the same just to catch a show.

I completely forgot how legit Chester's screams were at that Melbourne show. Adrenaline mixed with the pain of a broken wrist will do that to you! Would've been the most epic thing ever if he pulled off the Given Up scream that night.

The only way I could see LP opening for Muse would be if it was at a big festival in England like Reading or Glastonbury, stuff like that. Muse are basically considered gods over there. I'd say Japan is a pretty neutral ground for both bands though. Also, food for thought: LP's playing Summer Sonic in the middle of August, after what's looking like it'll be at least a couple months off from touring, and we know they're going back into the studio a bit later this year. With these 2 shows likely being "on an island" between the end of this touring cycle and album #6, could we see a second new song debuted 7 years (SEVEN YEARS?! My god.) after QWERTY?

Kind of curious what ended up happening with the Grammys, I really doubt Chester would've just pulled that out of his ass during that LPU chat, so I'd imagine they were planning to and something didn't work out. Maybe they didn't want to interrupt rehearsals for Australia or something.

The Burning in the Skies solo is actually Brad on the album (Mike plays it completely different live). The reason they arranged the guitars like that for the live version is because Brad plays that clean fingerpicked part throughout most of the song, which Mike probably wouldn't be able to do and sing at the same time. I think the "Mike records most of the guitar parts" theory is a little bit exaggerated. At least on A Thousand Suns, there's a lot of stuff that Brad definitely played. Living Things is a bit harder to tell in most cases. I think Mike WRITES a lot of the guitar parts but they still use Brad a lot during the final recording stage. I'd imagine Mike writes some guitar stuff that Brad would be better at than him.

Breaking the Habit from Rock Am Ring 2004 was also on the Projekt Revolution 2004 sampler CD.

The idea for Collision Course was partially inspired by a mashup made by a DJ who went by the handle "al-b3" (his website is no longer around, unfortunately). He created 3 LP/Jay-Z mashups in early 2004 - Don't Stay vs. 99 Problems, and two versions of "99 Problems Closer" (One Step Closer vs. 99 Problems, one version had Jonathan Davis' verse from 1STP KLOSR in it, one didn't). 99 Problems Closer gained enough attention to receive airplay on numerous radio stations, and many people thought it was an official remix (or after Collision Course came out, many people thought it was a Collision Course demo).

LP is playing after Slayer? That's gonna be fun. Dublin 2003 revisited, anyone? Although it would be much worse if they were playing BEFORE Slayer...

First minute or so of this: http://www.youtube.com/watch?v=YT0da9w-wXI

All I know is he's a DJ and his first name is Ron. I'd assume he's from New York, given that Uniondale was his only guest appearance. I literally have never been able to find any info on this guy anywhere online. He's not the same "RiFF RaFF" that's more well-established. He's on Reanimation because he happened to call Mike asking when Joe Hahn was going to give him back his keyboard.

Same as what I voted for, plus No More Sorrow. Didn't miss NMS when it was first dropped, but there wasn't really a lot of "heavy" MTM material...I'd honestly prefer NMS over Given Up at this point. Given Up is awful these days.

"Iridescent" was actually the working title for a completely unrelated track that didn't make A Thousand Suns. They discarded the track, but kept the title and used it for another song. "Sold My Soul to Yo Mama" being included on that list is random as hell. How do you even have a "working title" for a song that's an instrumental save for some sampled vocals from Papercut and Points of Authority? Any song where the title is something that appears in the lyrics, particularly from the pre-Minutes to Midnight era, you can pretty much guarantee had another title at some point. "Crawling" originated from the song "Blue," which was released on LPU 11. I'm willing to guess it kept the title "Blue" until the lyrics were written, even though they're basically different songs. Pretty much the same deal with Stick and Move/Runaway. "Points of Authority" was another working title that was kept. It originated from "Oh No," but all they really re-used in POA from Oh No was the drum beat, and the title was conceived prior to the lyrics. Same can be said for the relationship between "Sad" and "Super Xero," although Super Xero did go through a title change once the song was done.

Ahh, okay. Yeah, I've got it figured out now. I knew Anything (To Find You) sampled Masquerade is Over, I didn't realize that sample also came from the original version of Who Shot Ya. So it's actually just because of the lyrical reference to Who Shot Ya, and not a direct sample. Forget the Monica song, it's completely irrelevant.

The Warner/Chappell Music catalog lists some rather interesting co-writers for Until it Breaks...in addition to the 6 members of LP, people with co-writes on that song include Herb Magidson (popular lyricist in the 1920s-1950s, best known for writing songs like "Midnight in Paris"), Allie Wrubel (songwriter from around the same period, best known for writing "Zip-a-Dee-Doo-Dah" from the classic film Song of the South), as well as Sean Combs (P. Diddy), Christopher Wallace (Notorious B.I.G.), and Nashiem Myrick (a popular hip-hop producer). Obviously, such a random assortment of co-writers on an LP song (2 long-dead showtune writers, 2 rappers, one of whom is also dead, and a producer who's never worked with LP) had me scratching my head...so I did some more research and came up with the following: Those same 5 co-writers (along with several others) are credited on a song called "Anything (To Find You)" by Monica, which was actually just released in 2011: This song features samples of the 1995 song "Who Shot Ya?" performed by P. Diddy and Notorious B.I.G. and produced by Nashiem Myrick, which explains their co-writing credits on the song. It also samples the 1971 song "(I'm Afraid) The Masquerade is Over" by David Porter, which is in turn based on a song called "Masquerade is Over" from way back in 1939, originally performed by Ambrose & His Orchestra, and written by...you guessed it, Herb Magidson and Allie Wrubel. So that explains why all of those co-writers are lumped together on Anything (To Find You)...but how did they all end up credited on Until it Breaks? I'm assuming there's a sample in there somewhere, but I haven't been able to pinpoint it.

It blows my mind to see The Black Keys mentioned in the same sentence as bands like the rest of the ones on that list. It wasn't all that long ago that they were a little garage rock band from Akron with no money that was playing the same kind of venues my old band was playing. Never crossed paths with them though, even though we were from the same area. LP are legends in my eyes. The only reason they're not widely regarded as such is just because of the die-hard music industry snobs who think older is automatically superior. There are still plenty of people out there that love to hate on 80s bands, and it's really only within the last few years that 90s bands have finally started to get the credit they deserve by historians. All in due time.

Mike said he'd LIKE to play Until it Breaks...never said anything that remotely suggested it would actually happen. Picture comes from Sean Paden's Instagram account with the caption "Be back to rehearsals soon." That's an older photo that he just happened to post now, rehearsals haven't actually started yet. You're also forgetting In My Remains and The Little Things Give You Away in terms of songs Mike plays keys/guitar on (ones that he uses a Strat on, anyway - he also played keys/guitar on In Pieces and Valentine's Day).

Live 8.

Could possibly be that they just aired a previously recorded performance of the song on CD USA too.

Probably because the only time they ever did release demos with rough vocals (Fear/Drum Song), everyone bitched about how they wanted demos with real words instead. A lot of the "instrumental" demos we've gotten on the last 3 LPU CDs, particularly ones from MTM or later, probably had scat vocals on them that they purposely muted out because of the overwhelmingly negative reaction to Fear and Drum Song.

http://lplive.net/shows/20040130.php - "Alliant Energy Center" isn't the name of the venue itself, but the overall complex it's part of. The arena itself is the Veterans Memorial Coliseum. http://en.wikipedia.org/wiki/Alliant_Energy_Center

I REALLY doubt CFTI was actually played at that show - it wasn't played at any other shows around that period. Whoever reported the setlist probably got one of Joe's other instrumental interludes confused with CFTI. Wouldn't be the first time people don't know WTF they're hearing at a live show...shame there's no recording of that performance to figure it out, but I'd bet good money that it was that Joe routinely played towards the end of sets around that period (the video is also from the show the day before the one in question).

That's a really fast ride cymbal pattern that I'd assume Rob played on the album but it isn't done by him live. I'd assume Joe, Brad and Phoenix are both playing their regular instruments during the heavy parts of the song so Joe's the only one available to trigger it, unless it's one of those things they just use a backing track for.

Rob triggered samples that I know of: Papercut - that little "DA-da-DA-da-DA" fill before the second chorus is done on Rob's pads. Points of Authority - the metallic "baseball bat hitting a metal pipe" type sound is done with a rim-mounted trigger on Rob's snare. Crawling - all the digital percussion in the verses uses Rob's two main pads as well as his "digital kick" (second bass drum pedal to the right of his main one that hits a trigger pad on the ground). A Place For My Head - "DUN DUN" synth samples done on pads. Faint - intro and breakdown (during the soft section Mike sings before the last chorus) both use pad samples. Figure.09 - intro samples done on pads. Shadow of the Day - intro/first verse "snare" sample played on pads. Waiting For the End - tough call on this one, Rob's clearly playing along to the sampled drums from the album version, but I can't figure out if he's triggering the samples with his kit or he's just doubling a backing track. Blackout - military-style snare drum parts in the intro done on pads. Iridescent - the "snare" in the verse percussion part is a pad sample. Wretches and Kings - the "hi hat" sample in the intro/first part of the first verse is a pad sample, and the big "boomy" tom fill before the choruses uses that big rack of 5 extra pads that were added on the ATS tour (those were originally added specifically for W&K, as Rob's since downsized from 5 extra pads to 3). The Catalyst - intro percussion done on pads, the "synth drum" part that comes in starting with the second verse uses the digital kick as well as the rim-mounted snare trigger. Lost in the Echo - entire song uses a combination of live drums and sampled ones, so he's all over the place on that one, particularly during the verses. In My Remains - verse percussion done on pads. Burn It Down - Rob uses a digital cymbal on this song, I'm not sure specifically what sound it triggers though. The "snare" during the verses is also a pad sample. Lies Greed Misery - pads and digital kick used throughout the majority of the song, the only live drums are in the chorus and outro. Castle of Glass - intro percussion done on pads. Victimized - the "double bass" part from the studio version is played on Rob's pads live (Rob doesn't have a double kick, plus it's a sampled bass drum part anyway). New Divide - digital kick used during the first verse. I'm SURE I'm missing some too.

- Chester was introduced as a solo act and performed alone, and as far as I'm aware The Messenger was the only song he did (no collaborations with other artists). There's plenty of video from the show.

Yeah, it's mentioned on numerous other websites. It was actually the MusiCares MAP Benefit concert (the same event Chester did The Messenger at in 2011), which should probably be added to that show's info page. http://imagecollect.com/picture/camp-fredd...benefit-concert There are quite a few Camp Freddy shows that aren't listed on their site. Pretty much any of the private parties they play are never archived (they usually announce them as news on the site prior to them happening, but never add them to the tour ate archive).