I was wrong, Super fan edition have the same notes like CD+DVD, they are just spaced differently. I copied them directly from digital booklet.
Wake
This short song was created near the end of the album writing process. Since a great deal of the gear they were experimenting with was from the 70’s and 80’s, the band thought the drop of a turntable needle onto vinyl was the best way to start the album. The dualmeaning of the word “wake” seemed an appropriate introduction to the record.
Given Up
Many of the demos in the beginning of the album were quieter, more introverted songs. This song, originally entitled “21 Stitches,” was the first heavy song that the guys were sure would make the final cut. In it, the band found a new way to combine their new sound with the loud guitars that had been missing. To add a unique twist on the punk/industrial theme of the guitar, Brad added the sounds on the intro of this song: multiple tracks of claps – and keys jingling.
Leave Out All The Rest
The final version of this track is virtually the same as the first demo of the song. Very little changed between the first incarnation of the music, and the final version that appears on the album. The lyrics, however, were one place where the most work took place. The chorus of this song, working-titled “Fear,” went through over 30 lyric variations before arriving at this version.
Bleed It Out
One of the band’s goals on this record was to enjoy it. This track is one of the places that it is most evident. With its 80’s-inspired guitar and bass, roadhouse blues piano and clapping, Motown-style drums, irreverent death-party rap verses, and punk chorus, this song is a party (albeit a strange one) from beginning to end.
Shadow Of The Day
The keyboard loop in “Shadow Of The Day” went through many different changes during the song’s creation. For months, the song’s place on the album remained undecided; the band agreed that it wouldn’t make the album unless the right introductory sound was discovered. Dozens of options were created on piano, acoustic guitar, marimba, xylophone, and even electric banjo before finally writing the reversed/edited keyboard version that appears here.
What I've Done
At the end of over one year in the studio, the band felt that the album was finished. After initial listening, however, they were devastated to hear from friends that the album felt like it was missing a piece—one more song. The band was horrified. Many of the songs on the record had taken months to write, so throwing a new one together that could stand up to the rest was unlikely. To complicate matters, any further writing meant they might miss deadlines that had been set up for album release and touring. In spite of risks, the band decided to take this challenge of character. A little over a week later, the record was officially ready for release with the addition of “What I’ve Done.”
Hands Held High
Early in the writing process, Rick suggested the band experiment by contrasting together unexpected elements. For example, if a musical idea sounded like it needed rapping, he recommended Mike or Chester try singing over it. Likewise, because the instrumental idea known as “Song Q” sounded primed for melodic singing, Rick suggested the opposite be done. The song’s pipe organ and marching snare proved the perfect musical bed for two of the most inspired verses Mike had ever delivered. Ultimately titled “Hands Held High,” the song was completed by layering all six of the band member's voices together to create the sound of the men’s choir heard in the refrain.
No More Sorrow
While the band was recording at the Laurel studio, Rick suggested that Brad try adding ebow to “The Little Things Give You Away.” The ebow is a hand-held device that vibrates guitar strings by generating an electric pulse. Although Brad ultimately decided not to add ebow to “The Little Things,” his experimentation produced the introductory sound around which “No More Sorrow” was built. Originally titled “Ebow Idea,” “No More Sorrow” was loosely constructed that same night, though the band went back and cut the song live on their last day at Laurel.
Valentine's Day
Searching for a collective space to write and do pre-production, the band set up shop in a Hollywood rehearsal space known as the Korn Studio. There, the band hired engineer Ethan Mates to help them record rough song ideas. Although it was finished at the Laurel Studio, “Valentine's Day” retains most of the original music and vocals that were created at the Korn Studio. In fact, although the band experimented with re-recording most of their early demos, the earliest recordings were often chosen to make the album.
In Between
Rick encouraged the band to lay rough vocals on their demos as early as possible, believing that sometimes a sparse song can become great with the right vocal melody. “In Between” was a perfect example. The band connected with it immediately from the first demo. Even with just Mike’s vocal and a bass line, this song remained on the band’s “favorites” list, as many songs with a lot more production were voted off of the album. During the process, the band tried many different versions of this song, adding sampled drums, live drums, and other instruments, but finally returned to the simplest form, the form closest to the “seed.” At one point, Chester sang the song, but ended up voting for Mike’s vocal over his own.
In Pieces
This song began as a keyboard and beat loop, along with the staccato guitar in the second verse. In that early form, Chester put down a rough vocal, with words that came relatively effortlessly. The vocals that appeared in those early stages remained virtually unchanged throughout the growth of the song. As the song grew, it became obvious to the band that a special point of interest was needed in the bridge. On past albums, Brad had never been interested in doing guitar solos. With their encouragement, he dove head first into the bridge, creating a part that instantly energized the song.
The Little Things Give You Away
Many songs on previous LP albums began from demos by Mike and Brad. In the making of Minutes To Midnight, the band experimented with their writing process in an attempt to break comfortable patterns. This album saw all members of the band generating demos, or “seeds.” The seed for “Little Things” was from Rob Bourdon, based around the drum pattern heard in the bridge. The working title was “Drum Song.” Later, the vocals were finished after the band visited New Orleans following Hurricane Katrina.