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Making Minutes To Midnight
As this is written, the album is not yet finished. No cover art has been chosen. We aren’t through mixing and mastering the songs. It is safe to say, however, that this will prove to be a different kind of album for us. The numbers already show it: our other albums took three to six months to finish, this one took over 14; lyrics are usually written in about a month, this time we spent over six; we usually write an average of 40 song ideas to finish an album, this one generated well over 100. Numbers aside, this album is different for us on a deeper level. When we first met with our producer Rick Rubin, he asked us what we wanted this album to sound like. Going around the room, each of the six of us answered the question in a similar way: we wanted to create something that maintained the integrity of the band’s personality, but pushed our boundaries. Rick challenged us that no boundaries should exist whatsoever in our creative pursuit.
In the months that followed, we struggled to find that truth. We got frustrated when the ideas wouldn’t come, sometimes chasing inspiration through 50 or 60 versions of a song just to end up at something that sounded like the first idea we came up with. We surprised ourselves when a song came together quickly and easily. We celebrated when each of us stepped outside our comfort zone and performed or wrote in a way that we never had before. As the process comes to a close, at the end of over a year of dedication, experimentation, and soul-searching, we believe that we’ve achieved that which we were challenged to realize. This album defines not only what we set out to create, but who we’ve become as a band. In conversations with many musicians and record makers, we often ask, “What do you think makes a successful album?” The answers range from “meticulous, tireless writing” to “dumb luck.” In making Minutes To Midnight, we have learned a lot about our answer: enjoy the process. We hope you enjoy the songs.
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.
This short song was created near the end of the album writing process. The dual-meaning of the word “wake” seemed an appropriate introduction to the record.
wake in a sweat again another day’s been laid to waste in my disgrace stuck in my head again feels like i'll never leave this place there's no escape i'm my own worst enemy i've given up i'm sick of living is there nothing you can say take this all away i'm suffocating tell me what the f___ is wrong with me i don't know what to take thought i was focused but i'm scared i'm not prepared i hyperventilate looking for help somehow somewhere and you don't care put me out of my misery
Leave Out All The Rest
i dreamed i was missing you were so scared but no one would listen cause no one else cared after my dreaming i woke with this fear what am i leaving when i'm done here so if you're asking me i want you to know when my time comes forget the wrong that i've done help me leave behind some reasons to be missed don't resent me and when you're feeling empty keep me in your memory leave out all the rest leave out all the rest don't be afraid i've taken my beating i've shared what i made i'm strong on the surface not all the way through i've never been perfect but neither have you so if you're asking me i want you to know forgetting / all the hurt inside you learned to hide so well pretending / someone else can come and save me from myself i can't be who you are
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.
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.
here we go for the hundredth time hand grenade pins in every line throw 'em up and let something shine going out of my f_____ mind filthy mouth / no excuse find a new place to hang this noose string me up from atop these roofs knot it tight so i won't get loose truth is / you can stop and stare bled myself out and no one cares dug the trench out / laid down there with a shovel up out of reach somewhere yeah / someone pour it in make it a dirt dance floor again say your prayers and stomp it out when they bring that chorus in i bleed it out digging deeper just to throw it away just to throw it away i bleed it out
i bleed it out / go / stop the show choppy words and a sloppy flow shotgun opera / lock and load cock it back and then watch it go mama help me / i've been cursed death is rolling in every verse candy paint on his brand new hearse can't contain him / he knows he works f___ this hurts / i won't lie / doesn't matter how hard i try half the words don't mean a thing and i know i won't be satisfied so why try ignoring him make it a dirt dance floor again say your prayers and stomp it out when they bring that chorus in i open up these scars i'll make you face this i pull myself apart i'll make you face this i open up these scars i'll make you face this now
Shadow Of The Day
i close both locks below the window i close both blinds and turn away sometimes solutions aren't so simple sometimes goodbye's the only way and the sun will set for you the sun will set for you and the shadow of the day will embrace the world in grey and the sun will set for you in cards and flowers on your window your friends all plead for you to stay sometimes beginnings aren't so simple sometimes goodbye's the only way and the shadow after day will embrace the world in grey and the sun will set for you
The keyboard loop in “Shadow Of The Day” went through many different changes during the song’s creation. 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
in this farewell there's no blood there's no alibi cause i've drawn regret from the truth of a thousand lies so let mercy come and wash away what i've done i'll face myself to cross out what i've become erase myself and let go of what i've done put to rest what you thought of me while i've cleaned this slate with the hands of uncertainty for what i've done i start again and whatever pain may come today this ends i'm forgiving what i've done
One of the last songs finished for the album, the lyrics for this song were intended to work on many levels, including freedom, art, and death metaphors.
Hands Held High
Early in the writing process, Rick suggested the band experiment by contrasting together unexpected elements. 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
turn my mic up louder i got to say something lightweights step it aside when we come in feel it in your chest / the syllables get pumping people on the street they panic and start running words on loose leaf sheet complete coming i jump in my mind and summon the rhyme i'm dumping healing the blind i promise to let the sun in sick of the dark ways we march to the drum and jump when they tell us that they wanna see jumping f___ that / i wanna see some fists pumping risk something / take back what's yours say something that you know they might attack you for cause i'm sick of being treated like i have before like it's stupid standing for what i'm standing for like this war's really just a different brand of war like it doesn't cater to rich and abandon poor like they understand you in the back of the jet / when you can't put gas in your tank / and these f_ _ _ _ _ _ are laughing their way to the bank / cashing the check asking you to have compassion / have respect for a leader so nervous in an obvious way stuttering and mumbling for nightly news to replay and the rest of the world watching at the end of the day in their living room laughing like what did he say
in my living room watching / i am not laughing / cause when it gets tense i know what might happen the world is cold / the bold men make action have to react or get blown into fractions ten years old / it's something to see / another kid my age drug under a jeep taken and bound / and found later under a tree i wonder if he had thought the next one could be me do you see / the soldiers / they're out today they brush the dust from bulletproof vests away it's ironic / at times like this you pray but a bomb blew the mosque up yesterday there's bombs on the busses / bikes / roads inside your market / your shops / your clothes / my dad he's got a lot of fear i know but enough pride inside not to let that show my brother had a book he would hold with pride a little red cover with a broken spine on the back / he hand wrote a quote inside: "when the rich wage war it’s the poor who die" and meanwhile / the leader just talks away stuttering and mumbling for nightly news to replay the rest of the world watching at the end of the day both scared and angry like what did he say with hands held high into a sky so blue as the ocean opens up to swallow you
No More Sorrow
are you lost / in your lies do you tell yourself i don't realize your campaign's a disguise replaced freedom with fear / you trade money for lives i'm aware of what you've done
While the band was recording at the Laurel studio, Rick suggested that Brad try adding ebow to “The Little Things Give You Away.” Although Brad ultimately decided not to add ebow to that song, his experimentation produced the introductory sound around which “No More Sorrow” was built.
my insides all turned to ash / so slow and blew away as i collapsed / so cold a black wind took them away / from sight and held the darkness over day / that night and the clouds above move closer looking so dissatisfied but the heartless wind kept blowing, blowing i used to be my own protection / but not now cause my path had lost direction / somehow a black wind took you away / from sight and held the darkness over day / that night and the clouds above move closer looking so dissatisfied and the ground below grew colder as they put you down inside but the heartless wind kept blowing, blowing so now you're gone and i was wrong i never knew what it was like to be alone on a valentine's day
no / no more sorrow i've paid for your mistakes your / time is borrowed your time has come to be replaced i see pain / i see need i see liars and thieves abuse power with greed i had hope / i believed but i'm beginning to think that i've been deceived you will pay for what you've done thieves and hypocrites no / no more sorrow i've paid for your mistakes your / time is borrowed your time has come to be replaced your time has come to be erased
Although it was finished at the Laurel Studio, “Valentine’s Day” retains most of the original music and vocals that were recorded during the writing phase. In fact, although the band experimented with re-recording most of their early demos, the earliest recordings were often chosen to make the album.
let me apologize to begin with let me apologize for what i'm about to say but trying to be genuine was harder than it seemed and somehow i got caught up in between let me apologize to begin with let me apologize for what i'm about to say but trying to be someone else was harder than it seemed and somehow i got caught up in between between my pride and my promise between my lies and how the truth gets in the way the things i want to say to you get lost before they come the only thing that's worse than one is none let me apologize to begin with let me apologize for what i'm about to say but trying to regain your trust was harder than it seemed and somehow i got caught up in between and i cannot explain to you in anything i say or do or plan fear is not afraid of you but guilt's a language you can understand i cannot explain to you in anything i say or do but hope the actions speak the words they can for my pride and my promise for my lies and how the truth gets in the way the things i want to say to you get lost before they come the only thing that's worse than one is none
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. 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.
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.
telling me to go but hands beg me to stay your lips say that you love your eyes say that you hate there's truth in your lies doubt in your faith what you build you lay to waste there's truth in your lies doubt in your faith all i've got's what you didn't take
so i / i wont be the one be the one to leave this in pieces and you / you will be alone alone with all your secrets your regrets don't lie you promise me the sky then toss me like a stone you wrap me in your arms and chill me to the bone there's truth in your lies and doubt in your faith what you build you lay to waste there's truth in your lies and doubt in your faith all i've got's what you didn't take so i / i wont be the one be the one to leave this in pieces and you / you will be alone alone with all your secrets your regrets don't lie
The Little Things Give You Away
water grey through the windows up the stairs chilling rain like an ocean everywhere don't want to reach for me do you i mean nothing to you the little things give you away and now there will be no mistaking the levees are breaking all you've ever wanted was someone to truly look up to you and six feet / underwater i do hope decays generations disappear washed away as a nation simply stares all you've ever wanted was someone to truly look up to you and six feet / underwater i do all you've ever wanted was someone to truly look up to you and six feet / underground now i do
This song began from a demo by Rob Bourdon, based around the drum pattern heard in the bridge. The vocals were finished after the band visited New Orleans following Hurricane Katrina.
Linkin Park Is:
P H O E N IX M I KE S H I N O DA C H E STE R B E N N I N GTO N J O E HAH N
R O B B O U R D O N B RAD D E LS O N
A&R: Tom Whalley A&R Coordination: Liza Joseph and Trish Evangelista Marketing Director: Peter Standish Creative Direction by Frank Maddocks, Ellen Wakayama, Mike Shinoda and Joe Hahn Art Direction: Frank Maddocks and Nikos Constant Design: Frank Maddocks Artwork by Ekundayo (page 6), Phil Hale (page 8) and Usugrow (page 12) Produced and Curated by Nikos Constant for Span of Sunset, Inc. Artwork by Joshua Petker (page 9) Collage by Frank Maddocks Photos by James Minchin III (booklet cover, pages 11, 15, 17-18) Additional Photography by James Minchin III (page 10) Photo Manipulation by Frank Maddocks Studio Photograph by Joe Hahn (page 3) Photography by Frank Maddocks (pages 4-5, 7, 13-14, 16) Additional Photography by Edward Colver, Mike Shinoda and Ethan Mates (rehearsal photos page 2) Photo Manipulation by Frank Maddocks Worldwide Representation: Rob McDermott for Mad Mac Entertainment Management Team: Ryan DeMarti and Trish Evangelista Booking Agent: Michael Arfin for Artist Group International Legal: Danny Hayes for Davis, Shapiro, Lewit, & Hayes Business Managers: Jonathan Schwartz and Michael Oppenheim for Gudvi, Sussman & Oppenheim Worldwide Licensing and Merchandising: BandMerch
Produced by Rick Rubin and Mike Shinoda
Engineer: Andrew Scheps, Ethan Mates, and Dana Nielsen Assistant Engineer: Phillip Broussard, Jr. Studio Production Coordinator: Stephanie Luby Album Production Coordinator: Lindsay Chase Recorded at The Mansion at Laurel Canyon Additional Recording at NRG Recording Studios Mixed by Neal Avron Assisted by George Gumbs and Nicolas Fournier Protools Engineer: Erich Talaba Mixed at Paramount Studios Mastered by Dave Collins at Collins Audio Lyrics and Vocals by Mike Shinoda and Chester Bennington Background vocals by Brad Delson, Mr. Hahn, Rob Bourdon and Phoenix All songs written by Linkin Park ©2007 Zomba Songs Inc./Chesterchaz Publishing/Big Bad Mr. Hahn Music/Nondisclosure Agreement Music/Rob Bourdon Music/Kenji Kobayashi Music/Pancakey Cakes Music/all administered by Zomba Songs Inc. BMI Lyrics Reprinted by Permission. All Rights Reserved. Strings on “Shadow Of The Day,” “The Little Things Give You Away,” “Hands Held High” and “Leave Out All The Rest” Arranged by David Campbell, Mike Shinoda, and Brad Delson All Strings Conducted by David Campbell Violins: Charles Bisharat, Mario DeLeon, Armen Garabedian, Julian Hallmark, Gerry Hilera, Songa Lee-Kitto, Natalie Leggett, Josefina Vergara, Sara Parkins Violas: Matt Funes, Andrew Picken Celli: Larry Corbett, Suzie Katayama Bass: Oscar Hidalgo
Linkin Park Thanks:
Rob McDermott, Ryan DeMarti, Trish Evangelista, Stephanie Luby, Danny Hayes, Mae Ho, Lenna Leib and everyone at Davis, Shapiro, Lewit, and Hayes, Michael Oppenheim, Jonathan Schwartz, Monica Cisek, Dana Miller, Amy Edgerton, Karen Ellison, Aurora Gallardo and everyone at Gudvi, Sussman and Oppenheim, Michael Arfin, Mike Ducharme and everyone at Artist Group International, Scott Thomas for X-Ray Touring, Dvora Vener Englefield, Kim Estlund, Myleik Teele, Lisa Taylor and everyone at BWR. Tom Whalley, Peter Standish, Jeff Ayeroff, Tom Biery, Jennifer Bird, Brigette Boyle, Edgar Bronfman Jr., Brian Bumbery, Luke Burland, Ron Cerrito, Lyor Cohen, Dale Connone, Charles DeFranco, Lisa DeLuca, Jen Disisto, Lori Feldman, Eric Franklin, Brad Gelfond, Susan Genco, Aaron Gershman, Rob Goldklang, Wendy Griffiths, Charles Hamilton, Tiffanie Hauger, Matt Heckman, Mike Jbara, Liza Joseph, Susan Leon, Liz Lewis, Nick Light, Heather Luke, Joe Maddern, Frank Maddocks, Kathy Malloy, David May, Francesca Moro, Michael Nance, Bree Nguyen, Judy Neubauer, Celine Noel, Diarmuid Quinn, John Reid, Mike Rittberg, Dan Rose, Shawna Samboceti, Devin Sarno, David Scherer, Rosaalie Shah, Andie Simon, Myra Simpson, Dion Singer, Hildi Snodgrass, Esther Somlo, Vicki Spicher, Rochelle Staab, Dave Stein, Felicia Swerling, Jeanne Verger, Ellen Wakayama, Jeremy Welt, Raena Winscott, Amy Zaret, Yvette Ziraldo and everyone at Warner Bros. Records and Warner Music Group. Jessica Bardas, Mona Kasim, Natalie So, Vicki Stepanenko, Elizabeth Baudouin, Connie Tsang, Pete George and the Machine Shop Marketing team, the LP Underground and the Linkin Park Street Team, Donn Delson, Rebecca Rubens, Amy Staupe and everyone at BandMerch, Brian Gardner, Marie Lewis, David Mantel and everyone at Zomba Music Publishing, Naveen Jain and the Sparkart crew, Jim Digby, Mike Amato, Robert Long, Molly Brickson, Jason Lemeire, Sean Paden, Brad Stonner, Ted Regier, Kevin McCarthy, Dylan Ely, Ken Van Druten, Andrew Pen, Mark Wise, Pete Beattle and all at NPB, Bruce Thompson, George Hundleby, Tom Robb and all at SPI, Seth Goodman, Jessica Sinkule, Dave Parker, Whitney Showler and Machine Shop Recordings, Casey Lewis, Annette Scott and all NRG studios, Third Encore, James Minchin III, Edward Colver, Jerry Johnson, DMB, Edmund Monsef, Jason Monsef, Lindsay Chase, Jason Gossman, Kathryn Pechenik, Mark Fiore, Matt Smith, Kevin Ryder, Greg Watermann, Patricia Sullivan and Kevin Sakoda. Extra Special Thanks to the Linkin Park street soldiers everywhere. We wouldn’t be where we are if it weren’t for your dedication.
This special album is the product of boundless creative energy and effort. I am deeply grateful to everyone who supported and contributed to its realization. I hope it means as much to those who listen to it as it does to me.
My wife Talinda aka the hotness, without you life just wasn't as much fun and I wouldn't have the best dance partner ever, you de baste! My children Jaime, Isaiah, Draven, and Tyler. They are the most loving and supportive family a man could ask for. Ryan Shuck and Amir Derakh, Julien K., Sean and Thora Dowdell and the entire Club Tattoo family, Andy, Grace, and Travis Hong, Henry Nicholas, Level 7, everyone at Etnies, Jade Howe and Esmarelda, Ever Clothing, Cosa Nostra, Josh Merrell and Liquid Graphics, my parents, my brother and sisters and their families, Tommy Hate Church you're the motha f'ing man, The Cosmopolitan Las Vegas, Camp Freddy, Bucket Of Weenies, Todd Morris, and anyone else who feels they deserve to be mentioned...thank you too.
Thank you to all my friends and family. Karen, Brenda, and Winston (I love you). Renson Mateo and Mark Fojas (What Up Duggies). www.suru-la.com www.nolenniu.com
Anna, Mom, Dad, Jay, Corey, Mark, Dub, S.O.B., Pam, Chris, Sof, Carolyn, Russell, my family, and my friends, too many to name. Thank you for understanding my obsession with this record, allowing me to give it the attention it needed to become what it is. Love you guys.
God, Linsey (I love you, we make a great team!), Regan, Mom, Dad, Vicky, Tyler, Joe and Anne (and of course Gabe and Makena), all the Farrells and Braeunigs, Beau and Bella. Last, but not least my compatriots, Bradford, Chaz, Mikey, Rob, and Joe...thanks guys and great work.
Linkin Park uses: Ampeg, Antares, Audio Technica, Baldwin Pianos, D’Addario strings, Dean Markley bass strings, Digidesign Pro Tools and Hardware, Dimarzio, Dunlop, Ernie Ball Music Man basses, Fender, Gretsch, Ibanez, Korg, Line 6, Mackie, M-Audio, Mesa Boogie, Native Instruments, Paul Reed Smith, Pioneer, Pin-tech, Puma, Randall, Rane, Remo, Sans Amps, Serrato, TC Electronic, Vater, Vestax, Waves and Zildjian. I would like to thank my family and friends for their continued love and support. I’m grateful to have all of you in my life. A special thanks to: Allen Agler, Allen Agler, Allen Agler, Nessi, my mom and dad (Patty and Greg), Dr. D, Ben (Nu!!), LT, my band mates and Rick Rubin for helping me grow as a musician, all of our fans, street team and Linkin Park Underground members. In loving memory of: Manny and Mildred Yellen, Doug McFadden, Rob Maynor and Josie.
For Linkin Park Fan Club info, please send a self-addressed, stamped envelope to: LP Underground P.O. Box 36915 Los Angeles, CA 90036 www.LPUnderground.com
linkinpark.com warnerbrosrecords.com To join the music community in support of global disaster relief, please visit www.musicforrelief.org
C2007 Warner Bros. Records Inc. Made in U.S.A.
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