Born: 1996
Although rooted in alternative metal, Linkin Park became one of the most successful acts of the early 2000s by welcoming elements of hip-hop, modern rock, and atmospheric electronica into their music. The band's rise was indebted to the aggressive rap-rock movement made popular by the likes of Korn and Limp Bizkit, a movement that paired grunge's alienation with a bold, buzzing soundtrack. Linkin Park added a unique spin to that formula, however, focusing as much on the vocal interplay between singer Chester Bennington and rapper Mike Shinoda as the band's muscled instrumentation, which layered DJ effects atop heavy, processed guitars. While the group's sales never eclipsed those of its tremendously successful debut, Hybrid Theory, few alt-metal bands rivaled Linkin Park during the band's heyday.
Drummer Rob Bourdon, guitarist Brad Delson, and MC/vocalist Mike Shinoda attended high school in Southern California, where they formed the rap-rock band Xero in 1996. Bassist Dave "Phoenix" Farrell, singer Mark Wakefield, and DJ/art student Joseph Hahn joined soon after, and the band courted various labels while playing hometown shows in Los Angeles. Few companies expressed interest in Xero's self-titled demo tape, however, prompting Wakefield to leave the lineup (he would later resurface as the manager for Taproot). Hybrid Theory became the band's temporary moniker in 1998 as replacement singer Chester Bennington climbed aboard, and the revised band soon settled on a final name: Linkin Park, a misspelled reference to Lincoln Park in Santa Monica. With Bennington and Shinoda sharing vocal duties, the musicians now wielded enough power to distinguish themselves from the wave of nu-metal outfits that had appeared during the decade's latter half. Warner Bros. vice president Jeff Blue took note and signed Linkin Park in 1999, sending the band into the studio with Don Gilmore shortly thereafter.
Linkin Park titled their debut album Hybrid Theory, a tribute to the band's past, and released the record during the fall of 2000. "Crawling" and "In the End" were massive radio hits; the latter song even topped the U.S. Modern Rock chart while peaking at number two on the Billboard Hot 100, an example of the band's crossover appeal. Linkin Park joined the Family Values Tour and also played shows with Cypress Hill, leading the group to log over 320 shows in 2001 alone. Come January 2002, Hybrid Theory had received three Grammy nominations and sold over seven million copies. (Sales later topped ten million, earning the album "diamond status" and making Hybrid Theory one of the most successful debuts ever.) Despite their meteoric rise, however, Linkin Park spent the remainder of the year holed up in the recording studio, again working with producer Don Gilmore on a follow-up album. Meanwhile, the timely summer release of Reanimation helped appease the band's eager audience, offering remixed versions of Hybrid Theory's tracks.
A proper sophomore effort, Meteora, arrived in March 2003, featuring a heavier sound and stronger elements of rap-rock. Although the record spawned several modern rock hits, songs such as "Numb," "Somewhere I Belong," and "Breaking the Habit" furthered the band's crossover appeal by simultaneously charting on the Hot 100. Linkin Park once again supported the album with ample touring, including performances with the second annual Projekt Revolution Tour (the band's own traveling festival, which originally launched in 2002) and additional shows with the likes of Metallica and Limp Bizkit. Live in Texas was released to document the band's strength as a touring act, and the bandmates tackled various personal projects before beginning work on a second remix project.
Released in 2004, Collision Course found the band collaborating with king-of-the-mountain rapper Jay-Z, resulting in a number of mashups that sampled from both artists' catalogs. Collision Course topped the charts upon its release, the first EP to do so since Alice in Chains' Jar of Flies, and Jay-Z furthered his association with the band by asking co-founder Mike Shinoda to explore the possibility of a solo hip-hop project. He did, dubbing the project Fort Minor and releasing The Rising Tied in 2005 with Jay-Z as executive producer. Linkin Park then reconvened in 2006 to begin work on a third studio album, which saw Shinoda sharing production credits with Rick Rubin. The resulting Minutes to Midnight arrived in 2007, debuting at number one in several countries and spawning the Top Ten single "What I've Done." In 2010 the band teamed up with Rubin again to produce its fourth studio album, A Thousand Suns.
linkin park
Hybrid Theory
| Linkin Park Hybrid Theory Release Date 2000 10 24 Label Warner Bros. Linkin Park originally called itself Hybrid Theory and has retained that phrase for the title of its debut album. The "hybrid" in question is one of rap and metal. The guitars and drums lock into standard thrash patterns, over which singer Chester Bennington and rapper Mike Shinoda alternate in furious expressions of rage and frustration. &"One Step Closer," the track released to radio in advance of the album's release, is a typical effort, with lyrics like "Everything you say to me/Takes me one step closer to the edge/And I'm about to break." |
Tracks:
| Title | Composer | Time | |
| 1 | Papercut | Linkin Park | 3:05 |
| 2 | One Step Closer | Linkin Park | 2:36 |
| 3 | With You | Dust Brothers [1], Linkin Park | 3:23 |
| 4 | Points of Authority | Linkin Park | 3:20 |
| 5 | Crawling | Hahn, Shinoda, Bennington, Delson, Bourdon, Farrell, Wakefield | 3:29 |
| 6 | Runaway | Linkin Park, Wakefield | 3:04 |
| 7 | By Myself | Linkin Park | 3:10 |
| 8 | In the End | Linkin Park | 3:36 |
| 9 | Place for My Head | Linkin Park | 3:05 |
| 10 | Forgotten | Linkin Park | 3:14 |
| 11 | Cure for the Itch | Linkin Park | 2:37 |
| 12 | Pushing Me Away | Linkin Park | 3:12 |
Download: Linkin Park - Hybrid Theory http://hotfile.com/dl/20570553/b0fcb2a/LP_-_HT_mp3s.su.rar.html Linkin park Reanimation 
Tracks:
Download: http://hotfile.com/dl/99543114/76c42ef/linkin-park-reanimation-2002-up-by-sharq.rar.html |
Linkin park
Meteora
| Linkin Park Meteora Release Date 2003 03 25 Label Warner Bros. Perhaps if the cut-'n'-paste remix record Reanimation hadn't appeared as a stopgap measure in the summer of 2002, Linkin Park's second record, Meteora, would merely have been seen as a continuation of their 2000 debut, Hybrid Theory, instead of a retreat to familiar ground. Then again, Reanimation wasn't much more than a way to buy time (along with maybe a little credibility), so it's unfair to say that its dabbling in electronica and hip-hop truly pointed toward a new direction for the group, but it did provide a more interesting listening experience than Meteora, which is nothing more and nothing less than a Hybrid Theory part two. Which isn't to say that Linkin Park didn't put any effort into the record, since it does demonstrate that the group does stand apart from the pack by having the foresight to smash all nu-metal trademarks -- buzzing guitars, lumbering rhythms, angsty screaming, buried scratching, rapped verses -- into one accessible sound which suggests hooks instead of offering them. More importantly, the group has discipline and editing skills, keeping this record at a tight 36 minutes and 41 seconds, a move that makes it considerably more listenable than its peers and, by extension, more powerful, since they know where to focus their energy, something that many nu-metal bands simply do not. (It must be said that there will surely be consumers out there that will question paying a 19.99 retail for a 36-minute-and-41-second record, though some may prefer getting a tight, listenable record at that price instead of a meandering 70-minute mess.) So, it must be said that Meteora does deliver on the most basic level -- it gives the fans what they want, and it does so with energy and without fuss. It's also without surprises, either, which again gives the album a static feeling -- suggesting not a holding pattern for the band, but rather the limits of their chosen genre, which remains so stylistically rigid and formulaic that even with a band who follows the blueprint well, like Linkin Park, it winds up sounding a little samey and insular. Since this is only their second go-round, this is hardly a fatal flaw, but the similarity of Meteora to Hybrid Theory does not only raise the question of where do they go from here, but whether there is a place for them to go at all. |
Tracks:
| Title | Composer | Time | |
| 1 | Foreword | Linkin Park | :14 |
| 2 | Don't Stay | Linkin Park | 3:08 |
| 3 | Somewhere I Belong | Linkin Park | 3:34 |
| 4 | Lying from You | Linkin Park | 2:55 |
| 5 | Hit the Floor | Linkin Park | 2:44 |
| 6 | Easier to Run | Linkin Park | 3:24 |
| 7 | Faint | Linkin Park | 2:42 |
| 8 | Figure.09 | Linkin Park | 3:18 |
| 9 | Breaking the Habit | Linkin Park | 3:16 |
| 10 | From the Inside | Linkin Park | 2:55 |
| 11 | Nobody's Listening | Linkin Park | 2:59 |
| 12 | Session | Linkin Park | 2:25 |
| 13 | Numb | Linkin Park | 3:09 |
Download:
Linkin Park
Minutes to Midnight
| Linkin Park Minutes to Midnight Release Date 2007 05 15 Label Warner Bros. Linkin Park's debut sounded tense, nervous, and wiry -- rap-rock without the maliciousness that pulsed through Limp Bizkit. But it had been a full seven years between Hybrid Theory and Minutes to Midnight, and many fans who were getting their driver's licenses in 2000 were now leaving college and, along with it, adolescent angst. So Linkin Park jumped headfirst into maturity on Minutes to Midnight, which doesn't really rock, it broods. Still, the band demonstrates the chops they need to rock, and sound comfortable doing it. |
Tracks:
| Title | Composer | Time | |
| 1 | Wake | Shinoda, Linkin Park, Bennington | 1:40 |
| 2 | Given Up | Shinoda, Linkin Park, Bennington | 3:09 |
| 3 | Leave out All the Rest | Shinoda, Linkin Park, Bennington | 3:29 |
| 4 | Bleed It Out | Shinoda, Linkin Park, Bennington | 2:44 |
| 5 | Shadow of the Day | Shinoda, Linkin Park, Bennington | 4:49 |
| 6 | What I've Done | Shinoda, Linkin Park, Bennington | 3:25 |
| 7 | Hands Held High | Shinoda, Linkin Park, Bennington | 3:53 |
| 8 | No More Sorrow | Shinoda, Linkin Park, Bennington | 3:41 |
| 9 | Valentine's Day | Shinoda, Linkin Park, Bennington | 3:16 |
| 10 | In Between | Shinoda, Linkin Park, Bennington | 3:16 |
| 11 | In Pieces | Shinoda, Linkin Park, Bennington | 3:38 |
| 12 | Little Things Give You Away | Shinoda, Linkin Park, Bennington | 6:23 |
Download:
Linkin Park
A Thousand Suns
Linkin Park
Thousand Suns
Release Date 2010 09 13
Label Warner Bros.
Continuing their slow crawl toward middle age, Linkin Park opt for moody over metallic on A Thousand Suns, their fifth album. A clear continuation of 2007’s Minutes to Midnight, A Thousand Suns also trades aggression for contemplation, burying the guitars under washes of chilly synthesizers -- a sound suited for a rap-metal band that no longer plays metal but hasn’t shaken off the angst, choosing to channel inward instead of outward. So few rap-metal bands have chosen to embrace their age -- they fight against it, deepening their technical chops while recycling ideas -- that it’s easy to admire Linkin Park’s decision not to shy away from it, even if their mega-success gives them the luxury to pursue musical risks. The subdued rhythms, riffs, and raps of A Thousand Suns maintain a brooding mood, a feeling that is sustained via the brief bridges between songs, sampled speeches, and easy segues.
Thousand Suns
Release Date 2010 09 13
Label Warner Bros.
Continuing their slow crawl toward middle age, Linkin Park opt for moody over metallic on A Thousand Suns, their fifth album. A clear continuation of 2007’s Minutes to Midnight, A Thousand Suns also trades aggression for contemplation, burying the guitars under washes of chilly synthesizers -- a sound suited for a rap-metal band that no longer plays metal but hasn’t shaken off the angst, choosing to channel inward instead of outward. So few rap-metal bands have chosen to embrace their age -- they fight against it, deepening their technical chops while recycling ideas -- that it’s easy to admire Linkin Park’s decision not to shy away from it, even if their mega-success gives them the luxury to pursue musical risks. The subdued rhythms, riffs, and raps of A Thousand Suns maintain a brooding mood, a feeling that is sustained via the brief bridges between songs, sampled speeches, and easy segues.
1. The Requiem
2. The Radiance
3. Burning In The Skies
4. Empty Spaces
5. When They Come For Me
6. Robot Boy
7. Jornada Del Muerto
8. Waiting For The End
9. Blackout
10. Wretches And Kings
11. Wisdom, Justice, And Love
12. Iridescent
13. Fallout
14. The Catalyst
15. The Messenger
2. The Radiance
3. Burning In The Skies
4. Empty Spaces
5. When They Come For Me
6. Robot Boy
7. Jornada Del Muerto
8. Waiting For The End
9. Blackout
10. Wretches And Kings
11. Wisdom, Justice, And Love
12. Iridescent
13. Fallout
14. The Catalyst
15. The Messenger
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