Making Minutes To Midnight
In the months that followed, we struggled to find that truth. We got frustrat wouldn’t come, sometimes chasing inspiration through 50 or 60 versions of
As this is written, the album is not yet finished. No cover art has beenupchosen. at something We aren’t that sounded like the first idea we came up with. We surp through mixing and mastering the songs. It is safe to say, however, thatwhen this will a song prove came to betogether quickly and easily. We celebrated when each
a different kind of album for us. The numbers already show it: our other outside albums our took comfort three zone and performed or wrote in a way that we never ha
to six months to finish, this one took over 14; lyrics are usually written in about a month, this the an process comes time we spent over six; we usually write an average of 40 song ideas to As finish album, this to a close, at the end of over a year of dedication, expe
believe that we’ve achieved that which we were challeng one generated well over 100. Numbers aside, this album is different for soul-searching, us on a deeper we level. album defines not only what we set out to create, but who we’ve become as When we first met with our producer Rick Rubin, he asked us what we wanted this album to
In conversations with many musicians and record makers, we often ask, “W sound like. Going around the room, each of the six of us answered the question in a similar
makes a successful way: we wanted to create something that maintained the integrity of the band’s personality,album?” The answers range from “meticulous, tireless w but pushed our boundaries. Rick challenged us that no boundaries should luck.” existInwhatsoever making Minutes in To Midnight, we have learned a lot about our answer: enjoy the our creative pursuit.
process. We hope you enjoy the songs.
Given Up 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.
Wake 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 fuck 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 The final version of this track is pretending / someone else can come and virtually save me the from myself same as the first demo i can't be who you of are 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 fuckin 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 i bleed it out / go / stop the show dug the trench out / laid down there choppy words and a sloppy flow with a shovel up out of reach somewhere shotgun opera / lock and load yeah / someone pour it in cock it back and then watch it go make it a dirt dance floor again mama help me / i've been cursed say your prayers and stomp it out death is rolling in every verse when they bring that chorus in candy paint on his brand new hearse i bleed it out can't contain him / he knows he works digging deeper just to throw it away fuck this hurts / i won't lie / doesn't matter how just to throw it away hard i try i bleed it out 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 The window keyboard loop in “Shadow Of The Day” went through many different your friends all plead for changes you to stay during the song’s creation. Dozens of options were created on piano, sometimes beginnings aren't so simple acoustic guitar, marimba, xylophone, and even electric banjo before finally sometimes goodbye's thewriting only way the reversed/edited keyboard version that appears here. and the shadow after day will embrace the world in grey and the sun will set for you
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 in my living room watching / i am not laughing / cause feel it in your chest / the syllables get pumping when it gets tense i know what might happen people on the street they panic and start running the world is cold / the bold men make action words on loose leaf sheet complete coming have to react or get blown into fractions i jump in my mind and summon the rhyme i'm dumping ten years old / it's something to see / another healing the blind i promise to let the sun in kid my age drug under a jeep sick of the dark ways we march to the drum and taken and bound / and found later under a tree jump when they tell us that they wanna see jumping i wonder if he had thought the next one could be me fuck that / i wanna see some fists pumping do you see / the soldiers / they're out today they risk something / take back what's yours brush the dust from bulletproof vests away say something that you know they might attack you for it's ironic / at times like this you pray cause i'm sick of being treated like i have before but a bomb blew the mosque up yesterday like it's stupid standing for what i'm standing for there's bombs on the busses / bikes / roads like this war's really just a different brand of war inside your market / your shops / your clothes / my dad like it doesn't cater to rich and abandon poor he's got a lot of fear i know like they understand you in the back of the jet / when you but enough pride inside not to let that show can't put gas in your tank / and these fuckers are my brother had a book he would hold with pride laughing their way to the bank / cashing the check a little red cover with a broken spine asking you to have compassion / have respect on the back / he hand wrote a quote inside: for a leader so nervous in an obvious way "when the rich wage war it’s the poor who die" stuttering and mumbling for nightly news to replay and meanwhile / the leader just talks away and the rest of the world watching at the end of the day stuttering and mumbling for nightly news to replay in their living room laughing like the rest of the world watching at the end of the day what did he say 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
Valentine’s Day
my insides all turned to ash / so slow are you lost / in your lies and blew away as i collapsed / so cold do you tell yourself i don't realize your campaign's a disguise a black wind took them away / from sight replaced freedom with fear / you trade money for lives and held the darkness over day / that night i'm aware of what you've done and the clouds above move closer While the band was recording at looking so dissatisfied no / no more sorrow the Laurel studio, Rick suggested but the heartless wind kept blowing, blowing i've paid for your mistakes that Brad try adding ebow to “The your / time is borrowed Little Things Give You Away.” i used to be my own protection / but not now Although Brad ultimately decidedyour time has come to be replaced cause my path had lost direction / somehow not to add ebow to that song, his i see pain / i see need a black wind took you away / from sight experimentation produced the Although it was finished at the Laurel i see liars and thieves abuse power with greed and held the darkness over day / that night introductory sound around which Studio, “Valentine’s Day” retains most “No More Sorrow” was built.i had hope / i believed of the original music and vocals that and the clouds above move closer but i'm beginning to think that i've been deceived were recorded during the writing phase. looking so dissatisfied you will pay for what you've done In fact, although the band experimented and the ground below grew colder with re-recording most of their early as they put you down inside thieves and hypocrites demos, the earliest recordings were but the heartless wind kept blowing, blowing often chosen to make the album. no / no more sorrow so now you're gone i've paid for your mistakes and i was wrong your / time is borrowed i never knew what it was like your time has come to be replaced to be alone your time has come to be erased on a valentine's day
In Between 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 Rickwith encouraged the band to lay rough vocals on their demos as let me apologize for what i'm about to possible, say early as believing that sometimes a sparse song can but trying to be someone else great with the right vocal melody. “In Between” was a become was harder than it seemed perfect example. Even with just Mike’s vocal and a bass line, this and somehow i got caught up in between song remained on the band's “favorites” list, as many songs with a lot more production were voted off of the album. 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
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 so i / i wont be the one appeared in those early stages remained virtually be the one to leave this unchanged throughout the growth of the song. in pieces and you / you will be alone telling me to alone go with all your secrets but hands beg me to stayregrets your your lips say that you love don't lie your eyes say that you hate you promise me the sky there's truth in your liestoss me like a stone then doubt in your faith you wrap me in your arms what you build you lay and to waste chill me to the bone there's truth in your lies doubt in your faith there's truth in your lies all i've got's what you didn't take in your faith and doubt 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 This song began from a demo by Rob Bourdon, chilling rain based around the drum pattern heard in the like an ocean bridge. The vocals were finished after the band everywhere visited New Orleans following Hurricane Katrina. 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
L i n k i n Pa r k I s :
PHOENIX MIKE SHINODA CHESTER BENNINGTON JOE HAHN Produced by Rick Rubin and Mike Shinoda
A&R: Tom Whalley Liza Joseph and Trish Evangelista Marketing Director: Peter Standish
A&RDCoordination: ROB BOURDON BRAD ELSON
Creative Direction by Frank Maddocks, Ellen Wakayama, Mike Shinoda and Joe Hahn Art Direction: Frank Maddocks and Nikos Constant Engineer: Andrew Scheps, Ethan Mates, All andsongs Dana written Nielsenby Linkin Park ©2007 Zomba Songs Inc./ Chesterchaz Design: Frank Maddocks Publishing/Big Bad Mr. Hahn Music/Nondisclosure Agreement Assistant Engineer: Phillip Broussard, Jr. Artwork by Ekundayo (page 6), Phil Hale (page 8) and Usugrow (page 12) Produced and Curated by Ni Artwork by Joshua Petker (page 9) Collage by Frank Maddocks Music/Rob Bourdon Music/Kenji Kobayashi Music/Pancakey Cakes Studio Production Coordinator: Stephanie Luby Music/all administered by Zomba Songs Inc. BMI Lyrics Reprinted by Album Production Coordinator: Lindsay Chase Photos by James Minchin III (booklet cover, pages 11, 15, 17-18) Permission. Recorded at The Mansion at Laurel Canyon All Rights Reserved. Additional Photography by James Minchin III (page 10) Photo Manipulation by Frank Ma Additional Recording at NRG Recording Studios Studio Photograph by Joe Hahn (page 3) Strings on “Shadow Of The Day,” “The Little Things Give You Away,” Mixed by Neal Avron Photography by Frank Maddocks (pages 4-5, 7, 13-14, 16) “Hands Held High” and “Leave Out All The Rest” Arranged by David Assisted by George Gumbs and Nicolas Fournier Additional Photography by Edward Colver, Mike Shinoda and Ethan Mates (rehearsal photos page 2) P Campbell, Mike Shinoda, and Brad Delson Protools Engineer: Erich Talaba Mixed at Paramount Studios Worldwide Representation: Rob McDermott for Mad Mac Entertainment All Strings Conducted by David Campbell Management Team: Ryan DeMarti and Trish Evangelista Mastered by Dave Collins at Collins Violins: Audio Charles Bisharat, Mario DeLeon, Armen Garabedian, Julian Booking Agent: Michael Arfin for Artist Group International Hallmark, Gerry Hilera, Songa Lee-Kitto, Natalie Leggett, Josefina Legal: Danny Hayes for Davis, Shapiro, Lewit, & Hayes Vergara, Sara Parkins Violas: Matt Funes, Andrew Picken Lyrics and Vocals by Mike Shinoda and Chester Bennington Business Managers: Jonathan Schwartz and Michael Oppenheim for Gudvi, Sussman & Op Larry Corbett, Suzie Katayama Bass: Oscar Hidalgo Background vocals by Brad Delson, Mr. Hahn, RobCelli: Bourdon and Phoenix Worldwide Licensing and Merchandising: BandMerch
Linkin Park Thanks:
Brad Thanks:
special album is the product of boundless creative energy and effort. I am deeply grateful to ever Rob McDermott, Ryan DeMarti, Trish Evangelista, Stephanie Luby, Danny Hayes, Mae Ho, Lenna Leib This and everyone at Davis, Shapiro, Lewit, and Hayes, realization. I hope means as those who listen to it as it does to me. Michael Oppenheim, Jonathan Schwartz, Monica Cisek, Dana Miller, Amy Edgerton, Karen Ellison, Aurora Gallardo and it everyone at much Gudvi,toSussman 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.
Chester Thanks:
My wife Talinda aka the hotness, without you life just wasn't as much fun and I wouldn't have the be
children Jaime, Isaiah, and Tyler. They are the most loving and supportive family a man could a Tom Whalley, Peter Standish, Jeff Ayeroff, Tom Biery, Jennifer Bird, Brigette Boyle, Edgar Bronfman Jr., Brian Bumbery, LukeDraven, Burland, Ron Cerrito,
Lyor Cohen, Dale Connone, Charles DeFranco, Lisa DeLuca, Jen Disisto, Lori Feldman, Eric Franklin, K.,Brad Sean Gelfond, and Thora Susan Dowdell Genco, and Aaron the entire Gershman, Club Tattoo family, Andy, Grace, and Travis Hong, Henry Nic
Rob Goldklang, Wendy Griffiths, Charles Hamilton, Tiffanie Hauger, Matt Heckman, Mike Jbara, Liza Joseph, and Esmarelda, Susan Leon, Ever LizClothing, Lewis, Nick Cosa Light, Nostra, Heather Josh Merrell and Liquid Graphics, my parents, my brother
you're motha f'ing man, The Cosmopolitan Las Vegas, Camp Freddy, Bucket Of Weenies, To Luke, Joe Maddern, Frank Maddocks, Kathy Malloy, David May, Francesca Moro, Michael Nance, BreeChurch Nguyen, Judy the Neubauer, Celine Noel, Diarmuid to beSimon, mentioned...thank youDion too. Singer, Quinn, John Reid, Mike Rittberg, Dan Rose, Shawna Samboceti, Devin Sarno, David Scherer, Rosaalie deserve Shah, Andie Myra Simpson, 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.Joe
Thanks:
Thank you to all my friends and family. Karen, Brenda, and Winston (I love you). Renson Mateo and Ma www.suru-la.com www.nolenniu.com 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
Thanks: Lewis, David Mantel and everyone at Zomba Music Publishing, Naveen Jain and the Sparkart crew, Mike Jim Digby, Mike Amato, Robert Long, Molly
Mom, Dad,Pen, Jay, Mark Corey,Wise, Mark, Dub, S.O.B., Pam, Chris, Sof, Carolyn, Russell, my family, and my f Brickson, Jason Lemeire, Sean Paden, Brad Stonner, Ted Regier, Kevin McCarthy, Dylan Ely, Ken Van Anna, Druten, Andrew Pete Beattle obsession with this record, and all at NPB, Bruce Thompson, George Hundleby, Tom Robb and all at SPI, Seth Goodman, Jessicaunderstanding Sinkule, Dave my Parker, Whitney Showler and allowing me to give it the attention it needed to become Machine Shop Recordings, Casey Lewis, Annette Scott and all NRG studios, Third Encore, James Minchin III, Edward Colver, Jerry Johnson, DMB,
Phoenix Thanks: Edmund Monsef, Jason Monsef, Lindsay Chase, Jason Gossman, Kathryn Pechenik, Mark Fiore, Matt Smith, Kevin Ryder, Greg Watermann, Patricia Sullivan and Kevin Sakoda.
God, Linsey (I love you, we make a great team!), Regan, Mom, Dad, Vicky, Tyler, Joe and Anne (and of
and Braeunigs, Beau and Bella. Last, but not least my compatriots, Bradford, Chaz, Mikey, Rob, and Joe Extra Special Thanks to the Linkin Park street soldiers everywhere. We wouldn’t be where we are if it weren’t for your dedication.
Rob Thanks:
I would like to thank my Pro family and friends for their continued love and support. I’m grateful to have a Linkin Park uses: Ampeg, Antares, Audio Technica, Baldwin Pianos, D’Addario strings, Dean Markley bass strings, Digidesign Tools and Hardware,
Agler, Allen Agler, Native Allen Agler, Nessi, my mom and dad (Patty and Greg), Dr. D, Ben (Nu!!), LT, my band Dimarzio, Dunlop, Ernie Ball Music Man basses, Fender, Gretsch, Ibanez, Korg, Line 6, Mackie, M-Audio, Mesa Boogie, Instruments, Paul Reed
as aWaves musician, of our fans, street team and Linkin Park Underground members. In loving memory of: Smith, Pioneer, Pin-tech, Puma, Randall, Rane, Remo, Sans Amps, Serrato, TC Electronic, Vater, Vestax, and all Zildjian. 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
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