Linkin Park Hybrid Theory Tracklist

• Linkin Park Hybrid Theory Songs Free Download

Hybrid Theory was the debut EP by Hybrid Theory, recorded and self-released in May 1999 (see 1999 in music). Later that year, the band changed its name to Linkin Park and signed to Warner Bros. Demos, Hybrid Theory 9-Track Demo or simply 9-Track Demo (as known by fans) is one of many CDs compiled by Warner Bros. Records to promote Linkin Park (Hybrid Theory at the time) before the release of their debut album.The CD contains demo versions of songs from the album.

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Linkin Park Hybrid Theory Songs Free Download

Hybrid Theory is the debut studio album by Linkin Park. Released on October 24, 2000, the album made Linkin Park a success practically overnight. Not only were they favorites on MTV due to presenting a 'tough' image, but their mainstream-friendly lyrics took Nu Metal to an area it had never gone before: pop radio.

The album went gold after five weeks, sold over 4.8 million copies in the US alone in 2001 (making it the best-selling album that year), and went Diamond in 2005. Overall Hybrid Theory sold over 30 million copies worldwide, making it the best-selling debut album of the 21st century. 'Crawling' won a Grammy Award for Best Hard Rock Performance, and the album was largely credited for making harder rock more accessible to a mainstream audience.

While it's not without detractors (largely due to the Nu Metal premise), it's widely considered to be an album that defines the Turn of the Millennium, especially the early years. The interplay between rapping and singing soon became a staple in mainstream hits, making it effectively a Trope Codifier for this genre. In a case of First Installment Wins, Hybrid Theory is still seen by most fans and critics as Linkin Park's best album.

Tracklist:

1. 'Papercut'
2. 'One Step Closer'
3. 'With You'
4. 'Points of Authority'
5. 'Crawling'
6. 'Runaway'
7. 'By Myself'
8. 'In the End'
9. 'A Place for My Head'
10. 'Forgotten'
11. 'Cure for the Itch'
12. 'Pushing Me Away'

Principal Members:

• Chester Bennington - lead vocals
• Mike Shinoda - lead vocals, rhythm guitar, keyboard, piano
• Brad Delson - guitar, bass guitar
• Mr. Hahn - turntables, sampling, programming
• Rob Bourdon - drums, percussion

I tried so hard, and got so far! But in the tropes, it doesn't even matter!

• Album Filler: 'Runaway' was intended to be this, since the band largely viewed it as formulaic and unappealing. However, it became a rare fan-favorite, and the band continues to perform it live to this day.
• Angst: The album deals with one's personal angst.
• Anthropomorphic Personification: The sun and the moon in the beginning of 'A Place for My Head' exhibit characteristics of generosity and unreciprocated receiving, respectively:
  I watch how the moon sits in the sky in the dark night
  Shining with the light from the sun
  But the sun doesn't give its light to the moon assuming
  The moon's gonna owe it one
• Artistic License – Music: The music video for 'Papercut' features Brad Delson playing an acoustic guitar, when in reality an acoustic guitar is not used in the song (or at least, not audible).
• Big 'SHUT UP!': 'One Step Closer':
  SHUT UP WHEN I'M TALKING TO YOU! SHUT UP! SHUT UP! SHUT UP!
• Break Them by Talking: The theme of 'One Step Closer'.
  Everything you say to me, takes me one step closer to the edge AND I'M ABOUT TO BREAK!
• Crapsack World: In 'Forgotten':
  There's a place so dark you can't see the end
  (Skies cock back) and shocks that which can't defend
  The rain then sends dripping acidic questions
  Forcefully, the power of suggestion
  Then with the eyes shut, looking through the rust and rot and dust
  A small spot of light floods the floor
  And pours over the rusted world of pretend
  Then the eyes ease open and it's dark again
• Domestic Abuse: The video for 'Crawling' appears to feature this, as a man is shown creepily hovering over the female protagonist. It's unclear what their relationship is.
• Drugs Are Bad: The point of 'Crawling'.
  There's something inside me that pulls beneath the surface
  This lack of self-control I fear is never ending
  Controlling, I can't seem
• Fake Memories: 'Forgotten' mainly deals with whether or not the pain the narrator remembers is real, and how he should go about reconciling them either way.
• Heroic Self-Deprecation: Invoked to an extent in 'By Myself', which is about a person who does so much for the world but sees himself and others cynically:
  Don’t you know
  I can’t tell you how to make it go
  No matter what I do, how hard I try
  I can’t seem to convince myself why
  I’m stuck on the outside
• Hope Crusher: 'Points of Authority' is about a someone who injects their misery into others.
  Forfeit the game, before somebody else takes you out of the frame
  And puts your name to shame
  Cover up your face, you can't run the race, the pace is too fast
  You just won't last
• Hope Sprouts Eternal: The music video for 'In the End' shows a desolate landscape in the beginning, and as the song progresses, various greenery begins to sprout and rain starts to appear. At the end of the song, the camera pans out to show the lush landscape.
• I Just Want to Be Beautiful: The female protagonist of 'Crawling' wears dark makeup for most of the song. In the end, the makeup washes away, showing both her beauty and her newfound freedom.
• Instrumentals: 'Cure For the Itch', apart from the opening, is an entire solo dedicated to Mr. Hahn's DJ skills.
• Large Ham: Chester, though Shinoda is a more subdued variant.
• Leave Me Alone!: 'A Place For My Head':
• Legend Fades to Myth: 'Forgotten' refers to this obliquely, as memories of a distant, more happier time fade away as information becomes corrupted:
  A little piece of paper with a picture drawn
  Floats on down the street till the wind is gone
  And the memory now is like the picture was then
  When the paper's crumpled up it can't be perfect again
• Lighter and Softer: Compared to other Nu Metal acts at the time (Korn, Limp Bizkit, Slipknot etc.), their style was much more mainstream-friendly which got them pop radio airplay that the others didn't.
• Metal Scream: Chester is quite proficient at this, especially in 'Crawling'.
• My Greatest Failure: 'In the End' is about recounting one's personal failures:
  I tried so hard, and got so far
  But in the end, it doesn't even matter
  I had to fall, to lose it all
  But in the end, it doesn't even matter
• Neoclassical Punk Zydeco Rockabilly: This is what happens when you put rock, metal, hip-hop, and some IDM mixed with personal Angst in a blender.
• Non-Appearing Title: 'Points of Authority', 'Papercut', and 'Cure for the Itch'.
• Nu Metal: The best selling nu metal album by far.
• One-Word Title: 'Papercut', 'Crawling', 'Runaway', 'Forgotten'.
• Out-of-Genre Experience: 'Cure For The Itch' is Instrumental Hip Hop.
• The Paranoiac: The narrator of 'Papercut'. He's always blaming the voice inside of him for his mistakes, he wants to fight against everything that's controlling him, and he feels as though the sun betrays him by refusing to shine his light on him.
• Pun-Based Title: 'Cure for the Itch' is, fittingly enough, a solo dedicated to Mr. Hahn featuring plenty of scratching.
• Rap Rock/Rap Metal: Whenever Shinoda is involved.
• Rated M for Manly: As to be expected for a Nu Metal album, though it's considerably more pop-friendly than other examples.
• The Runaway: The appropriately titled 'Runaway' is about someone who wants to run away from everything.
• Sanctuary of Solitude: The video for 'Crawling' features the band in such a sanctuary, and the female protagonist often goes to this for comfort when the outside world caves in on her. In the end, when she is released from her depression, the sanctuary crumbles.
• Self-Titled Album: Double-subverted. Hybrid Theory wasn't the band's name when it was released, but it was the band's original name.
• Shout-Out: Whether or not it was intentional, the whale and the stone carvings in the 'In the End' music video look a lot like images found in Legend of Zelda.
• A Song in the Limelight: 'Cure for the Itch' is dedicated entirely to Mr. Hahn's DJ scratching, even dropping his name at the beginning.
  Folks, we have a very special guest for you tonight
  I'd like to introduce
  MR. HAHN!
• Song Style Shift: 'By Myself' features subdued rap verses and intense, screaming choruses.
• Surprisingly Gentle Song: 'My December', a song recorded a few months afterwards (though sometimes a bonus track), which gained popularity on the album's Reanimation remix, is much, much Lighter and Softer than the songs on this album. It's hard to believe that it was created during the Hybrid Theory era, since Linkin Park would distribute such songs later in their career.
  • The earlier outtake 'She Couldn't' as well, which resembles some of the mellower moments with Chester's previous group Grey Daze as well as later songs such as 'Shadow Of The Day'.
• This Is a Song: 'In the End':
  One thing, I don't know why
  Keep that in mind, I designed this rhyme
  (All I know)
• Vocal Tag Team: Chester and Mike go back and forth, the former mixing his singing with the latter's rapping. Furthermore, while Chester pours his emotion in his vocals, Mike is considerably more subdued. This provides a sort of yin-yang vibe in their vocal styles, as prominently exhibited with 'In the End'.

By 2001, Linkin Park had swiftly and skillfully amassed legions of fans. On their low-key hilariously titled DVD Frat Party at the Pankake Festival, one unnamed shirtless fan sums up the band’s appeal: “They’re the shit because there’s nobody else that’s better than them.”

Statistically speaking, he was correct: The band’s debut, Hybrid Theory, sold nearly 5 million copies that year, bolstered by nonstop radio and MTV play, and became the best-selling album of 2001. Linkin Park seized the moment, landing the Ozzfest main stage that summer in the midst of a global tour. Nearly 90 shows across four continents: That’s a lot of time on the tour bus. How were these six young musicians — who blended hip-hop and electronic elements into their industrial hard rock — to spend it?

They kept working. Using a homemade mobile studio in the back of their bus, producer/songwriter Mike Shinoda, a ProTools surgeon, kept tinkering with Hybrid Theory and eventually recast its harshness as something more subterranean. The following summer, that patchwork came alive as the remix album Reanimation, released 15 years ago on July 30, 2002.

Reanimation plays like an alternate-reality Hybrid Theory, headphones music for staring out the bus window. Notably, it splices the band’s trademark broiling screams from Chester Bennington - who died on July 20 and whose raw vocals defined early hits “In the End” and “Crawling” -- for more rhymes. And not just from Shinoda, the group’s emcee, but via a cadre of underground rappers, the kind not likely on the radar of the prototypical Linkin Park fan in 2002. Jurassic 5’s Chali 2na, Pharoahe Monch, and The Roots’ Black Thought all feature on beats crafted by guest producers like Alchemist, Evidence, and DJ Babu. They inspired Shinoda; this is how he paid tribute.

From the beginning, Shinoda’s cerebral rhymes separated Linkin Park from their nu-metal peers. He opted for pensive menace (“Things aren’t the way they were before/ You wouldn’t even recognize me anymore”) instead of Fred Durst-style misanthropic party-starting. Behind the boards, Shinoda immediately proved himself a mechanic who understood and respected hip-hop: Listen to “In the End” for proof.

Then listen to how it’s transformed on Reanimation. Hear KutMasta Kurt’s reworked stuttering beat on “Enth E Nd” (for this album, even track titles get remixed). Hear how Motion Man’s rhymes nearly make Bennington’s essential hook an afterthought. Keep listening to experience Shinoda flex and talk s--it over the crackling, vinyl crate-born backbeat of “H! Vltg3.' By the time Chali 2na enters “Frgt/10,” it’s easy to forget this is a Linkin Park album at all. Its interlude-laden tracklist most resembles the big-scale hip-hop releases of that era, like The Eminem Show and Stankonia. Indeed, Reanimation is the sound of Linkin Park giving back to the genre they lifted from, as Dan Weiss wrote in a recent Stereogum remembrance.

Of course, not everything on it sounds like a gift today. The album is marred by its inescapable 2002-ness. Remember the scratch-tastic X-Ecutioners, who collaborated with Linkin Park on the quintessential rap-rock time capsule “It’s Goin’ Down”? They’re here, though all they do is mash up Hybrid Theory riffs explored more creatively elsewhere on the album. “Kyur4 th Ich” suffers the same fate and ends up a stale remix of an already inessential track. If meticulous editing yielded Reanimation, these songs deserved prompt deletion.

The same goes for some of the set’s rock tunes -- which it does have, by the way. “By Myself,” a brutal, assaulting Hybrid Theory cut, does not require an update, and yet we get “By_Myslf,” which dulls its sharpest tool (Bennington’s scream) for more stodgy guitar noise courtesy of Deftones’ Stephen Carpenter. “Wth>You,” oppositely, doesn’t feel different enough from its source material.

However — and this is important! — Reanimation is likely the only album in existence to feature members of both Jurassic 5 and Staind. And while it certainly celebrates hip-hop, the nu-metal heavyweights that complete the guest roster are not to be overlooked. Aaron Lewis brings the syrupy “Crawling” rearrangement to its emotional climax. Korn’s Jonathan Davis lends his manic aggression to a gauzy, stretched-out “1stp Klosr.” Stephen Richards of Taproot offers a new vocal melody to “P5hing Me Aw*y,” which came to replace its namesake on future Linkin Park tours. Even Orgy’s Jay Gordon handles a remix himself (“Pts.OF.Athrty,” released as the set's lead single, with a music video that got heavy MTV2 play). Coupled with the rap features, these heavier numbers slapped Reanimation with a rigid rap-rock tag, and their success allowed Linkin Park a way to push their sound forward on 2003’s Meteora — and beyond.

If Reanimation was the batting cages, Collision Course, the 2004 JAY-Z/Linkin Park collaboration album, was Yankee Stadium. After proving they could work alongside rappers and that they understood the schematics of the genre (including its commercial staying power), Linkin Park was apparently contacted by Jay-Z for a potential team-up; shortly after, we got “Numb/Encore,” the Grammy-winning partnership that ultimately made both songs definitive. Collision Course signified rap-rock’s highest post-TRL peak, and helped keep JAY-Z in the spotlight even after his post-Black Album “retirement.”

It helped Linkin Park, too, in finding a sustainable course forward, as alternative metal relented to more melodic pop on the charts. 2007’s Minutes to Midnight embraced a softer musical palette (“Shadow of the Day” is one of Bennington’s finest performances), with electronic influences they’d continue to pursue up to and including on their latest album, One More Light. And since then, they’ve continued expanding their roster of hip-hop collaborators: This year’s “Good Goodbye,” featuring Pusha T and Stormzy, is certainly an EDM song and wouldn’t sonically fit on Reanimation, but it retains that album’s spirit of cross-genre partnership.

The post-Reanimation world also coincided with a rise in what journalist Simon Reynolds calls “record-collection rock” in Lizzy Goodman’s book Meet Me in the Bathroom -- that is, music made by those with a deep knowledge of multiple genres and niche history, made possible by the internet. Imagine a parallel universe where Vampire Weekend’s Ezra Koenig found inspiration in Nine Inch Nails instead of Talking Heads, then married that with his admiration of A Tribe Called Quest. You probably wouldn’t get Reanimation, but you might get something close to Meteora. You might also get an utter catastrophe.

And that’s the point. Fifteen years (and another remix LP) later, it’s clear: No one could’ve made this album, still the top-selling hip-hop remix album ever, except Linkin Park and their Rolodex of co-conspirators. That’s time very well spent on the tour bus.