GlassCastles

1. El Rey Demonio (Shortened; Transition Ending w/ 'Faint' v1) 2. Faint 3. Wretches And Kings (Ext. Outro w/ 'Skin To Bone' Recharged Verse) 4. Rebellion (Ext. Bridge w/ 'A Place For My Head' v1) 5. Castle Of Glass (Experience Version; 2017 Ending w/ 'A Light That Never Comes' v1) 6. Invisible 7. Numb (2021 Version) 8. When They Come For Me 9. Good Goodbye (Live Version) 10. Until It Breaks (Shortened (Through Chester's Verse)) 11. Waiting For The End/Hands Held High (Apaches Intro w/ 'Until It Breaks' v3) 12. Sorry For Now (Ext. Bridge w/ 'High Voltage' v1) 13. Roads Untraveled 14. Burning In The Skies 15. Nobody Can Save Me 16. Iridescent 17. Heavy 18. Leave Out All The Rest (2017 Version) 19. In The End (Pause Version) --------------------------- 20. One More Light 21. What I've Done (2021 Version) 22. Running From My Shadow 23. Papercut 24. Bleed It Out (Ext. Bridge w/ 'The Catalyst' Sing-A-Long; Ext. Ending w/ 'The Messenger')

I've told this story on here a few times I think, but I met Chester back in 2014. The meet and greet rules were repeated no fewer than 5 times and within seconds of Chester coming out, he broke every single one lol. No hugs? "Bring it in man of course I'll give you a hug". No personal selfies? "You wanna take a selfie? Of course!" Don't ask them to sign more than one item? "I'll sign as many things as you brought my man". When he got to me, he gave me a hug and told me my hair was badass. That nobody else's expectations or standards mattered as long as I was happy with who I was. It's a nice message that I feel like bears repeating.

I don't know guys, imagine Linkin Park getting political? They could never

I can get him not wanting to do a proper live release. He said a lot that the shows were meant to be an experience in the moment and a release could dilute that. But yeah, the Soundcheck Sessions release was weird, especially since he said a few streams ago that part of the issue with a live release was that he played LP songs in the set and the rights could get messy... but 60% of the only solo live release he's done is LP songs lol

Nothing Makes Sense Anymore, World's On Fire, Hold It Together, Can't Hear You Now, and Promises I Can't Keep are among my favorite things associated with LP. I'd take any of those over a ton of big "fan favorite LP tracks" any day of the week. RFMS, WAIF, PTS, Over Again etc. are all great too. Throw in shit like Kenji, Slip Out The Back, and The Hard Way from FM... Easily all A+ songs IMO

I don't know, even there I'd still say it's mostly great songs. I'd argue most of his bad/mediocre solo music came from TRT. PT had maybe 3 songs I wouldn't consider great/A+: About You, CAL, and Lift Off. Plus Fine absolutely bangs. Yeah none of the stuff he's throwing together on stream has been A+, but he's making these tracks in less than 3 hours. I'd be SHOCKED if they were lol

https://www.youtube.com/user/linkinparktv/about

8,724,763,147 views to be exact

You're gonna be waiting a while lol. WID, COG, and ND (the next three closest ones) aren't even halfway there yet

They need to make music with the sound of whatever they want.

You're quickly reaching Jze levels of "repeating the same joke over and over"

You're acting as if people on here never critique the mixing/production of LP's stuff. Living Things suffers from a lot of the same problems as this (the vocals just kind of sitting atop a wall of noise that's hard to actually make anything out of), and probably the most common thing said about that album is how awful the production is (and it is truly bad). I can promise you that if this was Linkin Park - Amends and it was exactly the same, I would dislike it just as much as I do now.

Disregarding all the drama and how I feel about Grey Daze as people, I don't like this album. That's not to say there aren't positives to it. Syndrome and Soul Song were pleasant surprises and I actually really liked what they did with In Time. The instrumental is really dope and the contrast between Chester's aggressive vocals in the chorus and how subdued the track is actually works pretty well IMO. Apart from those three, though, there's nothing here I could ever see myself going back to. For the most part, the production is an absolute mess and B12 holds a special place as the worst thing any member of Linkin Park is attached to.

Saying an album was not one of the worst decisions of the band's career because it was commercially successful is not the same as saying it's good/better because it was commercially successful

They could try and work out a deal with the songwriters to pay them a flat fee since it's not being released in a very public way and therefore probably won't bring as much money in as an actual proper release would (this would essentially function the same as a work-for-hire contract, just done after the fact). But more likely, they would just get paid the songwriting royalty they'd get paid if it was released normally. LP/their management registers all the songs (even LPU demos) with BMI, and that's who's actually responsible for ensuring songwriters get paid for their contribution. It'd presumably work exactly the same, but management would probably have to manually report the sales (assuming they don't already) since it's not being distributed through any of the public services (Spotify, Apple Music, Tidal etc.).

Genuine question for you. Is it actually possible for you to show you like something without trashing something else?

I'll be having no Things In My Jeep slander on the forums

Yeah whenever artists do this kind of deep dive into the production of their tracks, most people love it even if they're not producers/musicians. Maybe treat it like art streams where he does it every once and a while in between the CoronaJam streams. People could redeem ShinodaBucks to request specific songs. I think it'd be cool.

The other factor is not all services process tracks at the same speed. Spotify and Apple Music are usually pretty fast (within a week at most), but it's typically expected to give a few weeks of lead time so all the big services get the tracks and can post them at the same time.

You mean Hold It Together? Yeah, he said they filmed a video for it but the hard drive that all the footage was on got stolen, so it never got released

I mean, they just wanted to try something new. I don't really understand the sentiment that "outside collaborators = bad". There's a purist argument to having everything done solely by you/your band, but I've always thought bringing in third-parties to work with brings new ideas to the table and can take songs in new directions that they might not have gone in otherwise. They basically had the exact same songwriting process for 20 years or so. Why not flip it up for an album and start with lyrics and bring in outside collaborators. Like you said, it's not like the band just performed songs other people wrote for them. The usual songwriters in the band were still in the room for the entire album. It's also not like they replaced Joe or Phoenix with Jon Green or Ilsey Juber. They probably wouldn't have been helping with that part of the process anyway. They did get credit on BMI, so they probably are getting songwriting royalties. But again, it'd be in poor taste to have all these outside songwriters bundled in with 3-5 other people who didn't actually help write the songs. Like, "Why do these guys get the same credit I do when I actually did the work", ya know?

One shitty remix project at a time my dudes... But yeah, these are downright awful. The original was bad, but I'd be ashamed to have my name attached to these.

There's a very good chance they didn't contribute much to the writing of the other albums too. The Messenger was entirely Chester, Mike, and Brad, but all 6 members have a writing credit. CFTI is basically all Joe with some help from Mike, but all 6 members have a writing credit (except for Phoenix cause he only got credit on the Xero era songs for HT). If you told me 90% of the band's catalog was written by exclusively Mike, Brad, and Chester with Joe, Phoenix, and Rob just playing the parts Mike wrote for them/maybe giving them their own flair, I'd believe you. Until OML, they'd pretty much just slapped all their names on every song they released cause it was basically all in-house so if that's how they wanted to split the songwriting royalties/credit, they could with no issue. Once you start bringing in third-parties, though, you have to look at who's actually contributing to the writing process and credit them as such; both for actual royalties and just as an etiquette/respect thing.

Yup, cause losing one of your best friends and trying to make sense of everything in the wake of that reads the exact same as wanting to dictate to others and feeling like you must always be in charge. You really are an expert of analysis, truly. I'm genuinely not sure at this point if you actually believe half of what you say on here or if you just like being contrarian to stir the pot. And this is exactly it. Songwriters basically get paid from a different pot than performing artists/labels. Writing something entirely in-house and then splitting it equally among the band members is pretty common. Having other writers on the project and still splitting everything equally among band members who didn't actually write on the songs/letting them double up is very, very uncommon and downright disrespectful to the other writers.

Well I see you haven't changed at all