Nirvana - Nevermind
1. "Smells Like Teen Spirit" – 5:01
2. "In Bloom" – 4:14
3. "Come as You Are" – 3:39
4. "Breed" – 3:03
5. "Lithium" – 4:17
6. "Polly" – 2:57
7. "Territorial Pissings" – 2:22
8. "Drain You" – 3:43
9. "Lounge Act" – 2:36
10. "Stay Away" – 3:32
11. "On a Plain" – 3:16
12. "Something in the Way" – 3:50
I got it at least the most wanted album:
Minutes To Midnight
Band: Linkin Park
3.Leave Out All the Rest
4.Bleed It Out
5.Shadow of the Day
6.What I've Done
7.Hands Held High
8.No More Sorrow
12.The Little Things Give You Away
1.Wake - The opening track, is an ominous-sounding instrumental that kicks off with the aforementioned needle crackling, picks up a fog of spacey keyboards, then slowly builds steam before erupting into the band's near-trademark guitar crunch. The din quickly fades away into a series of handclaps and the multi-tracked sound of keys jingling, an impromptu backbeat that signifies the beginning of next song.
2.Given Up - Which showcases Bennington's newfound lung capacity (wailing "What the fuck is wrong with me?!?!") and the capable guitar work of Brad Delson, who summons a firing squad's worth of machine-gun guitars.
3.Leave Out All the Rest - Is a big-boned ballad, all dreamy electronics and heavy-hearted cello, with Bennington's falsetto floating above it all.
4.Bleed It Out - The album's first "WTF?" moment, beginning with the sound of MC Mike Shinoda descending a flight of stairs, then entering a raucous live room and beginning to spit lyrics. The room sounds (various laughing and trash-talking) are slowly drowned out by a juke-joint piano line and the cadence of handclaps, all of which raves up to the chorus — Bennington snarling "I bleed it out!" — and then continues to build into a genuine stomper."It's a song that rides the line of what you might expect from us," Bennington said of "Bleed." "It's got rapping on it and a real big chorus, but it's also got these great Motown drums and a real party vibe to it. So it's something different too. It's fun."
5.Shadow of the Day - Another nü-ballad, kicking off with heart-pumping electronic drums and fuzzy bass, throwing in a wave of shoe-gazing guitars and then bending into a keyboard outro that sounds like something out of "2001: A Space Odyssey" (or Coldplay's X&Y).
6.What I've Done - The bombastic first single picking up from a series of synth stabs straight out of the "Halloween" movies and then rocketing off on Linkin Park's electro-guitar frippery.
7.Hands Held High - And then, just as you're starting to wonder where the heck Shinoda is in all this, "Hands Held High," a somber track highlighted by a rattling drum cadence and a creaky pipe organ, comes in. Sonically, it's unlike pretty much anything the band has done before, and lyrically, it's one of the most upfront statements LP have ever made: a full-blown attack on GW Bush, complete with Shinoda decrying the state of the country — gas is too expensive! — and mocking Bush's "stuttering and mumbling for the nightly news to display."
8.No More Sorrow - Bennington raging against "hyp-o-critsssssss!
9.Valentine's Day - Seems to hint at Bennington's 2005 divorce.
10.In Between - Another melancholy track featuring Shinoda belting over a cello line and a big blossom of a chorus.
11.In Pieces - Starts with steel drums, then wobbles a bit on some electronic boom-blip and heats up thanks to a face-melting solo courtesy of Delson.
12.The Little Things Give You Away - Midnight closes with "The Little Things Give You Away," which Bennington singled out as "the pinnacle of what we can achieve as a band" (see "Linkin Park Finish Apocalyptic Album, Revive Projekt Revolution Tour"). And rightfully so. Full of mentions of "water gray through the windows" and "levees ... breaking," the song is clearly a condemnation of the government's reaction in the wake of Hurricane Katrina ("Generations disappear/ Washed away/ As a nation simply stares"). But in perhaps the biggest display of maturity on an album full of mature moments, Linkin Park don't ever let the song morph into a full-blown assault, instead letting its subtler moments — a gently strummed acoustic guitar line, a rippling drum-and-bass exercise midway through and a disarmingly affecting vocal harmony at the end — speak volumes that no amount of power chords can.
Bleed It Out is definetly the best song on this album that remineds of the old Linkin Park.