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2
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.
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 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 in a sweat again

another day’s been laid to waste
Wake in my disgrace
stuck in my head again
This short song was created near the end of the album feels like i'll never leave this place
writing process. The dual-meaning of the word “wake” there's no escape
seemed an appropriate introduction to the record. 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
 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
 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
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
f___ 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

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 The keyboard loop in “Shadow Of The Day” went through many different
your friends all plead for you to stay changes 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 the only way 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
 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.

8
6
9
 Hands Held High
Early in the writing process, Rick suggested the band experiment by contrast-
ing 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
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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
10

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 More Sorrow Valentine’s Day
are you lost / in your lies my insides all turned to ash / so slow
do you tell yourself i don't realize and blew away as i collapsed / so cold
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
no / no more sorrow looking so dissatisfied
i've paid for your mistakes but the heartless wind kept blowing, blowing
your / time is borrowed
your time has come to be replaced i used to be my own protection / but not now
cause my path had lost direction / somehow
i see pain / i see need a black wind took you away / from sight
Although it was finished at the Laurel
i see liars and thieves abuse power with greed and held the darkness over day / that night
Studio, “Valentine’s Day” retains most
i had hope / i believed
of the original music and vocals that
but i'm beginning to think that i've been deceived and the clouds above move closer
were recorded during the writing phase.
you will pay for what you've done looking so dissatisfied
In fact, although the band experimented
and the ground below grew colder
with re-recording most of their early
thieves and hypocrites as they put you down inside
demos, the earliest recordings were
but the heartless wind kept blowing, blowing
often chosen to make the album.
no / no more sorrow
i've paid for your mistakes so now you're gone
your / time is borrowed and i was wrong
your time has come to be replaced i never knew what it was like
your time has come to be erased to be alone
on a valentine's day
12
 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 Rick encouraged the band to lay rough vocals on their demos as
let me apologize for what i'm about to say early as possible, believing that sometimes a sparse song can
but trying to be someone else become great with the right vocal melody. “In Between” was a
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

13
 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
6
15
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

16
 Linkin Park Is: A&R: Tom Whalley
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 Coordination: Liza Joseph and Trish Evangelista
Marketing Director: Peter Standish

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
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

6
17
 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.
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.
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
Brad Thanks:
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.
Chester Thanks:
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.
Joe Thanks:
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
Mike Thanks:
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.
Phoenix Thanks:
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.
Rob Thanks:
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.
linkinpark.com warnerbrosrecords.com
To join the music community in support of global disaster relief,
please visit www.musicforrelief.org
18
 w
C2007 Warner Bros. Records Inc. Made in U.S.A.
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