2. Making Minutes To Midnight In the months that followed, we
struggled to find that truth. We got frustrated when the ideas
wouldnt come, sometimes chasing inspiration through 50 or 60
versions of a song just to end As this is written, the album is not
yet finished. No cover art has been chosen. We arent up at
something that sounded like the first idea we came up with. We
surprised ourselves through mixing and mastering the songs. It is
safe to say, however, that this will prove to be when a song came
together quickly and easily. We celebrated when each of us stepped
a different kind of album for us. The numbers already show it: our
other albums took three outside our comfort zone and performed or
wrote in a way that we never had before. 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 As the process comes to a close, at
the end of over a year of dedication, experimentation, and one
generated well over 100. Numbers aside, this album is different for
us on a deeper level. soul-searching, we believe that weve achieved
that which we were challenged to realize. This album defines not
only what we set out to create, but who weve become as a band. 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 In conversations with
many musicians and record makers, we often ask, What do you think
way: we wanted to create something that maintained the integrity of
the bands personality, makes a successful album? The answers range
from meticulous, tireless writing to dumb but pushed our
boundaries. Rick challenged us that no boundaries should exist
whatsoever in luck. In making Minutes To Midnight, we have learned
a lot about our answer: enjoy the our creative pursuit. process. We
hope you enjoy the songs. 3
3. 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 days 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 4
4. 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. 5
5. Bleed It Out One of the bands 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 6
6. 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 The
keyboard loop in Shadow Of The Day went through many different
changes during the songs 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. and the shadow after day will embrace the world
in grey and the sun will set for you 7
7. What Ive 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. 8
8. 6 9
9. 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 its 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 6 10
10. 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. 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 Valentines Day 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 Although it was finished
at the Laurel Studio, Valentines 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. so now you're gone and i was wrong i never knew
what it was like to be alone on a valentine's day 12
11. 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 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 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 Mikes 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.
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 13
12. 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. 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 14
13. 6 15
14. The Little Things Give You Away water grey through the
windows up the stairs chilling rain like an ocean everywhere 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. 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 16
15. 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 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 6 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
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 17
16. Linkin Park Thanks: Brad Thanks: Rob McDermott, Ryan
DeMarti, Trish Evangelista, Stephanie Luby, Danny Hayes, Mae Ho,
Lenna Leib and everyone at Davis, Shapiro, Lewit, and Hayes, This
special album is the product of boundless creative energy and
effort. I am deeply grateful to everyone who supported and
contributed to its Michael Oppenheim, Jonathan Schwartz, Monica
Cisek, Dana Miller, Amy Edgerton, Karen Ellison, Aurora Gallardo
and everyone at Gudvi, Sussman realization. I hope it means as much
to those who listen to it as it does to me. 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: Tom Whalley, Peter Standish, Jeff Ayeroff, Tom Biery,
Jennifer Bird, Brigette Boyle, Edgar Bronfman Jr., Brian Bumbery,
Luke Burland, Ron Cerrito, 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 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 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 Luke, Joe Maddern, Frank Maddocks,
Kathy Malloy, David May, Francesca Moro, Michael Nance, Bree
Nguyen, Judy Neubauer, Celine Noel, Diarmuid 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 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 deserve to be mentioned...thank you too. Winscott, Amy
Zaret, Yvette Ziraldo and everyone at Warner Bros. Records and
Warner Music Group. Joe Thanks: and Esmarelda, Ever Clothing, Cosa
Nostra, Josh Merrell and Liquid Graphics, my parents, my brother
and sisters and their families, Tommy Hate Thank you to all my
friends and family. Karen, Brenda, and Winston (I love you). Renson
Mateo and Mark Fojas (What Up Duggies). 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
www.suru-la.com www.nolenniu.com Lewis, David Mantel and everyone
at Zomba Music Publishing, Naveen Jain and the Sparkart crew, Jim
Digby, Mike Amato, Robert Long, Molly Mike Thanks: Brickson, Jason
Lemeire, Sean Paden, Brad Stonner, Ted Regier, Kevin McCarthy,
Dylan Ely, Ken Van Druten, Andrew Pen, Mark Wise, Pete Beattle
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 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, understanding my obsession with this
record, allowing me to give it the attention it needed to become
what it is. Love you guys. Edmund Monsef, Jason Monsef, Lindsay
Chase, Jason Gossman, Kathryn Pechenik, Mark Fiore, Matt Smith,
Kevin Ryder, Greg Watermann, Patricia Phoenix Thanks: Sullivan and
Kevin Sakoda. 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. Extra Special Thanks to the
Linkin Park street soldiers everywhere. We wouldnt be where we are
if it werent for your dedication. Rob Thanks: Linkin Park uses:
Ampeg, Antares, Audio Technica, Baldwin Pianos, DAddario strings,
Dean Markley bass strings, Digidesign Pro Tools and Hardware, I
would like to thank my family and friends for their continued love
and support. Im grateful to have all of you in my life. A special
thanks to: Allen Dimarzio, Dunlop, Ernie Ball Music Man basses,
Fender, Gretsch, Ibanez, Korg, Line 6, Mackie, M-Audio, Mesa
Boogie, Native Instruments, Paul Reed 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,
Smith, Pioneer, Pin-tech, Puma, Randall, Rane, Remo, Sans Amps,
Serrato, TC Electronic, Vater, Vestax, Waves and 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 6 linkinpark.com
warnerbrosrecords.com To join the music community in support of
global disaster relief, please visit www.musicforrelief.org 18
17. 6 w C2007 Warner Bros. Records Inc. Made in U.S.A.