1. The Requiem (2:01) 
2. The Radiance (0:57) 
3. Burning In The Skies (4:13) 
4. Empty Spaces (0:18) 
5. When They Come For Me (4:55) 
6. Robot Boy (4:29) 
7. Jornada Del Muerto (1:34) 
8. Waiting For The End (3:51) 
9. Blackout (4:39) 
10. Wrectches And Kings (4:15) 
11. Wisdom, Justice, And Love (1:38) 
12. Iridescent (4:56) 
13. Fallout (1:23) 
14. The Catalyst (5:39) 
15. The Messenger (3:01)

Chester Bennington – lead vocals
Rob Bourdon – drums, percussion, backing vocals
Brad Delson – lead guitar, backing vocals
Dave Farrell – bass guitar
Joseph Hahn – DJ, keyboards
Mike Shinoda – keyboards, guitar, backing vocals

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 problem is, the subdued rhythms, riffs, and raps of A Thousand Suns wind up monochromatic, an impression not erased by the brief bridges between songs, sampled speeches, and easy segues, every element retaining moodiness without offering distinction. Brooding is a better vehicle for angst than rage for a group whose members are well into their thirties, but an album created on a grayscale is less than compelling for anybody lacking the patience to squint and discern the minute details. ---Stephen Thomas Erlewine, AllMusic Review

Zagorzałą fanką Linkin Park nie byłam nigdy. Nigdy też nie cieszyłam się z tego bardziej niż teraz. O ile "Minutes To Midnight" mogłoby się okazać drażniącym pstryczkiem w nos, o tyle "A Thousand Suns" byłoby już dla mnie solidnym kopniakiem w tyłek. To nie jest płyta dla fanów zafascynowanych "Hybrid Theory" bądź "Meteorą". To nie jest płyta dla wielbicieli "Somewhere I Belong", "Numb" czy "Faint". Pozostaje liczyć na tych, którzy są na tyle wytrzymali by bez większego kłopotu pokonać odcinek dzielący dwa pierwsze albumy od dwóch ostatnich i na tych, którzy dopiero teraz będą startować - bez oglądania się za siebie.

Słuchając "A Thousand Suns" trudno pozbyć się wrażenia, że panowie z Linkin Park albo zapomnieli, że całkiem nieźle potrafią grać na gitarach, albo zbytnio pokochali syntezator. Najnowszy album mocno przesiąknięty jest elektroniką i hip-hopem. Brakuje tu mocnego głosu Chestera, brakuje dawnej energii, która tuszowałaby niedoskonałości tej płyty. Jednak muszę przyznać, że to właśnie wokal i pozostałości muzycznej ekspresji, jakie Chester ocalił i wykorzystał przy nagrywaniu tego albumu, stanowią jedną z najmocniejszych stron "A Thousand Suns". Warstwa muzyczna cierpi od nadmiaru eksperymentów. Zdaje się, że Joseph Hahn dostał tym razem zbyt duże pole do popisu i niezwykle skrupulatnie je wykorzystał.

Jedni powiedzą, że Linkin Park się sprzedało. Inni, że dojrzewając wreszcie znaleźli swoją muzyczną ścieżkę. Ja powiem, że momentami cholernie ciężko się tego słucha. Większości zawartego na płycie materiału bliżej jest do eksperymentu niż do klasycznego utworu muzycznego. Momentami jest niezwykle melodyjnie, wręcz tanecznie, i zdawać by się mogło, że Linkin Park ma zamiar przebić się ze swoimi utworami aż do samego centrum klubowych parkietów. Z drugiej strony pojawiają się utwory, których kolejne odcinki zdają się być poszatkowane tępym tasakiem i pozszywane w całość przez niezdarną szwaczkę.

Trochę za dużo w tym wszystkim banalnie prostych bitów, niebezpiecznie ocierających się o imprezę techno. Singiel "The Catalyst" promujący "A Thousand Suns" miał w sobie całkiem niezły potencjał, który na wersji albumowej został druzgocząco zmarnowany. Miłym zaskoczeniem jest fakt, że w zamykającym album utworze "The Messenger" możemy usłyszeć dźwięk gitary akustycznej. Jednak nic nie poradzę na to, że zarówno ten utwór jak i "Iridescent" klimatem przypominają mi bardziej 30 Seconds To Mars aniżeli Linkin Park. Namiastką starych dobrych czasów mogą stać się dla niektórych "Wrectches and Kings" i "Blackout", kiedy to po przesłuchaniu ośmiu wcześniejszych utworów nagle okazuje się, że Bennington nadal potrafi porządnie się wydrzeć a utwory Linkin Park nadal mogą kipieć energią. Jednak skala 2:15 to trochę za mało.

Intro w postaci "The Requiem" wita nas słowami: “God save us everyone/ Will be burn/ Inside the fires of a thousand suns". Przesłuchałam ten album z góry na dół, od lewej do prawej a nawet na ukos, ale do tej pory nie wiem kto tak naprawdę tu spłonie. O ile blask "Tysiąca słońc" raczej kariery Linkin Park nie spali, o tyle może ją solidnie poparzyć. Eksperymenty są ciekawe jeśli pozostawiają trochę miejsca dla korzeni. "A Thousand Suns" wszelkie korzenie wykarczowało do cna. ---Olga Kowalska, magazyngitarzysta.pl

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01. Fire
02. Crawl Back In
03. Too Late
04. Inside Of Me
05. Let Down
06. Give Me Your Name
07. My Suffering
08. Condemned
09. Into You
10. End Of The World
11. Walking In Circles
12. In The Darkness
13.Morning After (Bonus Track)

Chester Bennington - vocals
Amir Derakh - guitar
Ryan Shuck - guitar
Brandon Belsky - bass
Anthony Valcic -  keyboards
Elias Anda - drums

Linkin Park's Chester Bennington and his new band Dead By Sunrise. But the singer-songwriter is quick to stress that the name isn't simply a slogan or a neat word grouping - it comes from a real-life struggle he's still trying to reconcile.

"I'm a drinker," Bennington says. "And for far too long I was completely out of control, leading an existence and lifestyle that I'm definitely not proud of. There have been times where I literally thought, Oh my God, I might not wake up tomorrow - that's how bad it's been. So when I got this other group together, the name Dead By Sunrise stuck."

For Bennington, who has shared stages with Paul McCartney, Jay-Z and The Doors, among others, and who, along with Linkin Park, has sold over 50 million albums, the need to record a album of his own with a new band wasn't a mere vanity project - it was a necessity.

"I had to write these songs," he says. "I had to purge them from my system. Call it catharsis, therapy - they had to come out. Linkin Park is a terrific vehicle for me, but it's not the be-all and end-all. I have a lot of different shades and textures to what I do, and thankfully I found the right bunch of guys who could help me do this material justice."

"I don't want to say I'm more proud of this record than anything Linkin Park has done. But as the saying goes, 'This time it's personal'" Chester Bennington

Bennington is referring to ex-Orgy guitarists Amir Derakh and Ryan Shuck who round out Dead By Sunrise (the band performs live with bassist Brandon Belsky, drummer Elias Anda and keyboardist Anthony Valcic). On their debut album, Out Of Ashes, they crash their way through raging, harrowing rock (Fire, My Suffering) but they also slow things down for some surprisingly tender moments (Give Me Your Name, Into The Darkness).

"I don't want to say I'm more proud of this record than anything Linkin Park has done," says Bennington, " because obviously I'm very happy with all we've accomplished. But as the saying goes, 'This time it's personal,' and that's what this record really is for me. It's an accurate depiction of my moods and reflections, and I really dug deep to get it right." --- Joe Bosso, musicradar.com

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01 – Lost in the Echo
02 – In My Remains
03 – Burn It Down
04 – Lies Greed Misery
05 – I’ll Be Gone
06 – Castle of Glass
07 – Victimized
08 – Roads Untraveled
09 – Skin to Bone
10 – Until It Breaks
11 – Tinfoil
12 – Powerless

Personnel:
Chester Bennington – vocals
Rob Bourdon – drums
Brad Delson – lead guitar, additional vocals on "Until It Breaks", synth on "Lies Greed Misery"
Dave "Phoenix" Farrell – bass, backing vocals, synth on "Lies Greed Misery"
Joe Hahn – turntables, synth, samples, keyboard
Mike Shinoda – vocals, rhythm guitar, keyboard, piano, synth, strings and horns on "Castle of Glass"
+
Owen Pallett – strings on "I'll Be Gone".

Linkin Park got pretty moody on 2010's A Thousand Suns, settling into a sulky electronica groove that pretty much screamed "growing pains" to anybody who listened closely. On its 2012 sequel, Living Things, Linkin Park attempts to graft guitars back onto their newly mature musical outlook, and the reintroduction of visceral force certainly helps give this album a pulse lacking on A Thousand Suns. It's hardly a step back to the old angst-ridden rap-rockers of the turn of the millennium, however. Admirably, Linkin Park revels in a near-middle-aged angst, letting their songs address adult concerns and giving their productions contours and texture; the additional noise isn't an expression of fury, it's used to enhance the drama. Generally, the songs feel sharper on Living Things -- there is definition to their structure, some of the choruses catch hold without too much effort -- but this album remains one of sustained mood, not individual moments. And in that regard, Living Things handily trumps A Thousand Suns: it doesn't stay still, it peaks and ebbs, flowing steadily between brooding and explosions of repressed rage, a fitting soundtrack for aging rap-rockers who are comfortable in their skin but restless at heart. --- Stephen Thomas Erlewine, Rovi

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1 	Nobody Can Save Me 	
2 	Good Goodbye    Featuring – Pusha T, Stormzy
3 	Talking To Myself 	
4 	Battle Symphony 	
5 	Invisible 	
6 	Heavy    Featuring – Kiiara
7 	Sorry For Now 	
8 	Halfway Right 	
9 	One More Light 	
10 	Sharp Edges 	

Chester Bennington - Vocals
Ross Golan 	Composer, Vocals (Background)
Jon Green 	ABass, Composer, Guitar, Vocals (Background)
Ilsey Juber 	Composer, Vocals (Background)
Kiiara 	Vocals
Pusha T 	Vocasls
Jesse Shatkin 	Composer, Keyboards
Eg White 	Guitar, Piano

One More Light, Linkin Park's seventh set, is a divisive and brazen statement from a band that already does not shy away from fearless experimental leaps. From the rap focus on Collision Course and the Fort Minor side project to the electronic A Thousand Suns and their remix albums, Linkin Park have balanced an empire built upon pain and angst with an admirable dose of cross-genre dabbling. Which is why One More Light shouldn't come as such a surprise. And yet, the album remains a jarring follow-up to 2014's muscular The Hunting Party and an overall curve ball in their catalog. Recruiting electronic pop producers like Julia Michaels, Justin Tranter, Jesse Shatkin, and RAC, Linkin Park made a pop album, which is sure to infuriate diehards who yearn for the days of "shut up when I'm talking to you." While it's unfair to fault them for not being pissed off anymore, the experience is not the same. For the first time, the band sounds happy and content. Though while they may be at peace, their creativity took a bullet. There's a bevy of bright tropical notes and even some "na na na" choruses, tones that are dime a dozen on pop radio. The group is effectively neutered on One More Light: there's no feral screaming from Chester Bennington, there are barely any riffs, and DJ Hahn has disappeared beneath the textured studio sheen. The closest they toe to "rock" is "Talking to Myself," which has discernable live drumming from Rob Bourdon and guitar licks from Brad Delson. Otherwise, One More Light is mostly concerned with triumphant anthems ("Battle Symphony" and "Invisible") and heartfelt confessions ("Sorry for Now" and "Halfway Right") that end up sounding like the Chainsmokers blended with Twenty One Pilots. Certainly, One More Light will find its defenders, but for fans of their past work, "Good Goodbye" with rappers Pusha T and Stormzy is the closest they come to "aggressive" and "inspired" (even if Shinoda sounds like G-Eazy). Oddly enough, the Kiiara-assisted lead single "Heavy" ends up being one of the only memorable earworms on the album, an undeniably catchy dose of radio-friendly pop that dares listeners to sing along. Here, Linkin Park actually lay out the entire plot of this endeavor by asking "Why is everything so heavy?" With the bandmembers all hovering around their forties, they've matured and fully expect fans to do the same, taking huge steps away from the nü metal that established them in the early 2000s. Objectively, that attitude is refreshing, but nonetheless a letdown. From their inception, Linkin Park connected through catharsis. However, many of the emotions presented here are fleeting. The issue isn't that it's a pop effort; indeed, they get points for a brave attempt so outside of their wheelhouse. The problem is that much of One More Light is devoid of that visceral charge that previously defined much of their catalog. It's a provocative challenge that ultimately fails to satisfy. ---Neil Z. Yeung, AllMusic Review

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Disc One (Main Disc):

01 Announcement Service Public
02 Papercut
03 Given Up
04 One Step Closer
05 Pts. of Athrty
06 Leave Out All the Rest
07 Somewhere I Belong
08 Bleed It Out
09 Lying From You
10 Shadow of the Day
11 Crawling
12 What I\'ve Done
13 Faint
14 In The End
15 Breaking the Habit
16 My December
17 From the Inside
18 Numb
19 In The End (Demo) (bonus Track)
20 Pushing Me Away (Piano Remix) (Bonus Track)
21 QWERTY (Bonus Track)
22 No Roads Left (bonus Track)

Disc Two (Live From Shanghai Disc)

01 One Step Closer
02 Lying From You
03 Somewhere I Belong
04 No More Sorrow
05 Papercut

"The biggest misconception about us is that we're just a rock band," describes Linkin Park's guitarist Brad Delson. "We think our music is a cross-section of many genres; a hybrid of what the six of us have grown up on." The title of the band's debut album and its original band name, Hybrid Theory, describes both the six-piece's artistic goals and its approach to making music. Linkin Park's sound, a melting pot of heavy alternative rock, hip-hop, and electronic flourishes, is utterly their own, an accomplishment strengthened by the band's remarkably powerful, organic songwriting. But almost everything about Linkin Park has been unforced, including their Southern California origins. ---linkinparkweb.yaia.com

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1 	Keys To The Kingdom 	3:38
2 	All For Nothing     Featuring – Page Hamilton	3:33
3 	Guilty All The Same    Featuring – Rakim	5:56
4 	The Summoning 	1:00
5 	War 	2:11
6 	Wastelands 	3:15
7 	Until It's Gone 	3:53
8 	Rebellion    Featuring – Daron Malakian	3:44
9 	Mark The Graves 	5:05
10 	Drawbar    Featuring – Tom Morello	2:46
11 	Final Masquerade 	3:37
12 	A Line In The Sand 	6:35

Chester Bennington 	Vocals
Rob Bourdon 	Vocals (Background)
Brad Delson 	Producer, Vocals (Background)
Dave "Phoenix" Farrell 	Vocals (Background)
Joe Hahn 	Vocals (Background)
Page Hamilton 	Guitar, Vocals
Daron Malakian 	Guitar
Rakim 	Vocals
Mike Shinoda 	Producer, Vocals 

More than a decade ago, Linkin Park sold a couple zillion records by making better-than-Bizkit rap metal and collaborating with Jay Z. They've since wandered the emo wilderness, and singer Chester Bennington is now also fronting Stone Temple Pilots. But on Album Six they're back with a retro-neo-aggro sound that would've been too intense for modern-rock radio in 1999. Tom Morello guests on guitar; the mook-punk yowler "Guilty All the Same" features oldschool rap god Rakim. Even pushing 40, these dudes can still bring it like backward-ball-cap warriors hopped up on Mountain Dew and Dad's fourth divorce. ---Jon Dolan, rollingstone.com

"I didn't want to scream any more," Linkin Park's Chester Bennington told the Guardian in 2011, explaining the nu-metal giants' unlikely stylistic detour towards political electronica. Just three years on, the scream is back, along with the guitars, as Bennington, rapper Mike Shinoda and guests ranging from Rage Against the Machine's Tom Morello to rap pioneer Rakim deliver furious blasts against war, oppression, apocalypse and other very bad things.

Shinoda's desire to make a (rather expensively produced) punk rock record and Bennington's more ethereal electropop segments don't always make comfortable bedfellows, but Rob Bourdon's terrific drumming means the energy never lets up. Cliches abound ("You don't know what you've got until it's gone"), but the piano instrumental Drawbar is lovely, and Rebellion places western pop's "imitations of rebellion" within a global context. Linkin Park certainly know their audience, and here delicately navigate the gulf between their own aspirations and a fanbase who will celebrate the band's loud return to rocking hard. --- Dave Simpson, theguardian.com

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1 	Somewhere I Belong 	
2 	Lying From You 	
3 	Papercut 	
4 	Points Of Authority 	
5 	Runaway 	
6 	Faint 	
7 	From The Inside 	
8 	P5hng Me A*wy 	
9 	Numb 	
10 	Crawling 	
11 	In The End 	
12 	One Step Closer

Chester Bennington – vocals
Rob Bourdon – drums
Brad Delson – lead guitar
Joe Hahn – turntables, sampling, programming
Dave "Phoenix" Farrell – bass
Mike Shinoda – vocals, rhythm guitar, keyboard

Live in Texas features material recorded during Linkin Park's Summer Sanitarium jaunt in 2003. It draws equally from the band's two studio albums, including past hits from Hybrid Theory and some soon-to-be's from the 2003 follow-up, Meteora. This makes it essential for any LP completist, but the casual listener might do well to steer toward the studio material. Vocalist Chester Bennington and MC Mike Shinoda play off of each other well enough, and their supporting players deftly recreate the layered, processed sound that has come to define Linkin Park. But this also works against the band, because their cool professionalism makes Live in Texas sound somewhat sterile. Sure, there's the usual stage chatter like "I wanna see your hands!" and "Alright, let's do this people!" -- there's even an encouraging pep talk before "Pushing Me Away," dedicating the track to "all the musicians in the house." But besides some impressive harmonies on that cut, as well as the undeniable closing trio of "Crawling" (in lean and mean, stripped-down form), "In the End," and "One Step Closer," Linkin Park doesn't generate very much energy on Live. Bennington seems to struggle with the melody to "Somewhere I Belong," and at times the band seems lost inside its own sound. The buzzing, processed guitars separate from the percussion while the samples and vague turntablist scratches seem like a studio loop on reset. This kind of nitpicking shouldn't matter to LP fanatics; Live in Texas will likely serve as a their memento of the tour. But it's clear that top shelf production and mixing plays a significant role in making Linkin Park's albums so powerful. As a final comment on the record's sanitized feel, a random F-word from Shinoda is edited out of the final, fading cheers. [Limited versions of the album came with a bonus CD featuring additional music and video footage.] --- Johnny Loftus, AllMusic Review

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1 	Unfortunate (Unreleased Demo 2002) 	2:06
2 	What We Don't Know (Unreleased Demo 2007) 	3:39
3 	Oh No (Points Of Authority Demo) 	2:05
4 	I Have Not Begun (Unreleased Demo 2009) 	3:06
5 	Pale (Unreleased Demo 2006) 	5:00
6 	Pretend To Be (Unreleased Demo 2008) 	3:56
7 	Divided (Unreleased Demo 2005) 	3:39
8 	What I've Done (M.Shinoda Remix)     Remix – Mike Shinoda	3:40
9 	Coal (Unreleased Demo 1997) 	3:38
10 	Halo (Unreleased Demo 2002) 	3:42

LP Underground X: Demos is the eleventh CD released by Linkin Park to their fanclub, the LP Underground. It was released on November 17, 2010 to coincide with the release of LPU 10. The album contains ten demos, ranging from the Xero days to the early A Thousand Suns sessions.

A few months before the release of LP Underground X: Demos, Linkin Park released A Decade Underground, which was a compilation CD that included everything from Songs From The Underground, as well as "Across The Line" and "Pretend To Be", the latter of which was included again on LP Underground X: Demos.

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1 	Papercut 	3:05
2 	One Step Closer	2:36
3 	With You	3:23
4 	Points Of Authority 	3:20
5 	Crawling 	3:29
6 	Runaway 	3:04
7 	By Myself 	3:10
8 	In The End 	3:36
9 	A Place For My Head	3:05
10 	Forgotten	3:14
11 	Cure For The Itch 	2:37
12 	Pushing Me Away 	3:12

Drums, Backing Vocals – Rob Bourdon
Guitar, Bass, Backing Vocals – Brad Delson
Sampler, Backing Vocals, Artwork By [Line Art] – Joseph Hahn
Vocals – Chester Bennington
Vocals, Sampler, Computer – Mike Shinoda
Bass [Additional] – Ian Hornbeck (tracks: 1, 9, 10)
Bass [Additional] - Scott Koziol (track: 2)
 

Linkin Park originally called itself Hybrid Theory, a name they retained for the title of their debut album. The "hybrid" in question is the overly familiar one of rap and metal, to which the group has little new to add. 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." It might be easier to believe in all this angst if the group members didn't take such pains to thank their families in the lengthy acknowledgments in the booklet, followed by an extensive list of product endorsements. But even without the fine print to undermine its sincerity, Linkin Park sounds like a Johnny-come-lately to an already overdone musical style. ---William Ruhlmann, AllMusic Review

Hybrid Theory to debiut Linkin Park. Pięciu kalifornijczykom udało się przyrządzić całkiem smakowitą potrawę. Przy jej sporządzaniu korzystali z ciężkich hardcorowych gitar, hip-hopowych wokali i szczypty elektronicznych bitów. Powstała skrząca się pomysłami, pełna energii płyta, muzycznie mieszcząca się gdzieś na przecięciu stylów Deftones, Nine Inch Nails, Apex Twin i The Roots. Wokaliści (a jest ich w Linkin Park trzech) udowadniają, że potrafią wyjść daleko poza konwencję hardcorowego krzyku i hip-hopowych recytacji. Produkcją zajął się Don Gilmore, znany ze współpracy z Eve 6, Lit i Pearl Jam. ---merlin.pl

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1 	Iridescent (Live) 	5:04
2 	Waiting For The End (Live) 	4:10
3.  Rolling In the Deep (Live)  	4:24	play
4 	The Catalyst (Live) 	5:41
5 	Papercut (Live) 	3:15
6 	Bleed It Out (Live) 	5:20

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.

On iTunes Festival London 2011 Linking park performed a live concert in which audience was presented with some of their best songsincluding the famous song by Adele “Rolling in the deep”.

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