Posts Tagged ‘Linkin Park’
Linkin Park Hires a New Co-Lead Singer, and I Have Thoughts…
In case you haven’t heard yet, Linkin Park has a new lead singer, or probably better explained as co-lead singer along with singer/rapper Mike Shinoda. They needed someone because their iconic lead singer Chester Bennington died seven years ago by his own hand, and most of Linkin Park wanted to play together again. (The exception was their original drummer, Rob Bourdon.) So they’ve hired a woman, Emily Armstrong, who fronted a group known as Dead Sara, to sing the parts that Chester would’ve sung had he still been alive.
Note that I did not say “to replace Chester,” as there’s no way to replace Chester Bennington. But Linkin Park wanted/needed someone to sing those parts, and Emily Armstrong can sing melodies and then scream in a heartfelt way. My guess is that Emily A. sings in a similar range to Chester, or at least is close enough that with some minor arrangements (perhaps changing the key signature and/or mode — as lots of groups use modes like Mixolydian, Lydian, Dorian, etc., in addition in order to better reflect a mood or feeling), Linkin Park’s songs can be rendered well enough for fans to appreciate them.
This is a big controversy because of two things. One, you can’t replace Chester; he had a unique set of skills, including an emotional awareness that was almost uncanny, that could never be reproduced by anyone else. Two, one of Chester’s sons, Jamie, is very unhappy about this. Jamie pointed out that September is International Suicide Awareness month, which seems disrespectful to him as his father Chester died by suicide.
That raises a good point: as Linkin Park had been working with Emily A., quietly, for months, why didn’t Linkin Park wait another month to drop this news? Or why not move it up into August? Why court this sort of drama when you don’t have to?
See, there was someone else, a musician — I can’t remember the guy’s name right now — who had reported about four, maybe five months ago that he’d heard that Linkin Park had hired a new female singer. Mike Shinoda and other Linkin Park members pooh-poohed this and said if there was any news to report, they’d report it themselves, thank you.
But the guy who reported this was a fellow musician. I knew at the time, being a musician myself, that something was undoubtedly going on even though the guy who’d said he’d heard Linkin Park had a new lead female singer backtracked pretty quickly once Mike Shinoda, et. al., basically said the man should mind his own business. Still, from that report, I figured Linkin Park was probably rehearsing, trying to lay tracks in the music studio, and figure out if a combo with some woman — who we know now to be Emily A. — was commercially viable.
That’s exactly what was going on, as we now know.
My thoughts on this are a bit mixed. First, it is hard for me to conceive of anyone singing the parts Chester sang so well and so distinctively. Chester Bennington was an integral part of Linkin Park, and as I said before, I do not believe he can ever be replaced. But second, as a musician, I know that the members of Linkin Park wanted to play again. It’s been seven years since they last played a concert in public, and most of them (Rob Bourdon, original drummer, aside) were itching to get out there and to perform.
I can’t blame any musician for wanting to perform, OK? That’s kind of what we do, providing we’re healthy enough to do it. Every performance, even of a well-known song like Linkin Park’s “In the End,” is a little different, because the energy of the crowd may be different. Or maybe one or more of the group members is feeling especially emotive. Or there’s some extra tenderness in a quiet musical interlude. Or the bombastic, up-tempo stuff seems to have extra fire one day, while the next, while still fun to listen to and hopefully fun for the group members to play, doesn’t quite meet that level of intensity.
This is true of any human music group anywhere in the history of time. Live music has variables to it, and can be extremely good one night, good the next, a bit off the third (though probably the audience won’t recognize it, the members of the group assuredly will know and feel like they let themselves down), and back to good the fourth night. It is just the nature of the beast.
As I’ve said before at my blog, there are such things as post-concert highs and post-concert lows. For example, I believe famous singer Chris Cornell may well have been dealing with a post-concert low before he called his wife and sounded so odd just a few hours before he took his own life. Audience members, from what I can recall at the time as he passed a couple of months before Chester did, said that Chris seemed frustrated, maybe a little unhappy, and his performance was not necessarily up to par. Again, some of this is the nature of the beast, and every musician worth his/her/their salt knows it. But it can be hard to remember, in the moment, that as wonderful as music is, and as wonderful as it is that some people get to live their dreams and make a living from music, that being a musical performer is not the sum total of everything we are.
I’ve had both post-concert highs and post-concert lows. They can be disconcerting, but the lows are worse by far than the highs. On those nights, I wonder why I even bothered to take up an instrument. (I don’t sing in public and am glad I don’t.) My hands felt a little off, maybe, or it was very hot outside and playing an outdoor concert was uncomfortable and unpleasant. Either way, it affected my performance for the worse. Because of that, I felt like I’d let down the audience, let down the group I was playing in, let down myself too, and just wished the ground would swallow me up, whole.
At any rate, getting back to Linkin Park and their new singer Emily A. — I think we should give the new-look and new-sound Linkin Park a bit of time to see how things go. I also think that as open-hearted as Chester B. often was, he’d not want to keep his bandmates from making music with someone else (even if it doesn’t feel easy for fans).
Finally, Shinedown’s lead singer Brent Smith posted on social media that he believes Linkin Park is doing what’s right for them. It sounded to me like Smith also believes fans should give the new version of Linkin Park time, and at least be open to listening to Emily A.’s vocals. (He spoke in a quite complimentary manner of Emily A., too.)
I think that’s a good position to take, and it’s one I can live with.
So, while I still wish that Chester was alive, singing his heart out, and playing/singing music to his heart’s content, I’m at least willing to listen to the new version. I make no promises yet as to what I think…but I will at least listen, and hope all goes well for them.
A Belated Appreciation of Chester Bennington
Last week, the first anniversary of singer Chester Bennington’s death passed. Bennington was the lead singer of Linkin Park, and had also sung in several other groups, including taking over as lead singer for Stone Temple Pilots after Scott Weiland. And I wanted to mark that anniversary at the time, but I wasn’t sure what to say.
See, Bennington fought life-long depression. He also fought against drug addiction, had been raped as a child, and had many different — and difficult — things crop up in his life. But he was not defined by his depression, or his addiction, or any of the other things; instead, he found a way to bring out his pain and share it — and in so doing, help assuage the pain of others.
Musicians do this, mind. Whether they’re singers or instrumentalists, musicians use what they’ve lived through to inform their art.
Chester Bennington did this better than any other singers in this era.
Mind, that wasn’t all Bennington brought to the table. He sang all sorts of different styles. His range was solid, his lung power was impressive, and he wasn’t afraid to do anything the music called for, including scream at the top of his lungs. He was a gifted performer, and made the audience feel with immediacy anything he wanted them to feel.
While I wish very much that Bennington was still here with us, what he left behind as a singer and musician was beautiful. And it should be celebrated that he lived, and created his art, and found excellent musicians and vocalists to work with (most especially Mike Shinoda), and did his best with what sounds like a remarkably difficult set of circumstances.
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Before I go, here are my five favorite Linkin Park songs (with Chester Bennington leads):
1) “The Little Things Give You Away”
2) “Pushing Me Away”
3) “Breaking the Habit”
4) “One More Light”
5) “One Step Closer”
My Musical Journey (A Collaboration with a Purpose Post)
Folks, World Music Day is later this month, June 21st to be exact. And the folks at Collaboration with a Purpose decided to write about what music is, why it matters, and why we care about it in our own words.
I’m a musician. If you’ve read my blog for any length of time, you likely know this. I play the clarinet, the saxophone, and the oboe. I also compose music, though mostly for myself, and tend to think first in music, and only later in words.
I’ve played instruments since I was ten or eleven years old. Music always called to me. I loved the sound of a saxophone in particular, and remember telling my Mom that I would play that someday. (When my teacher in graduate school, Dr. Fought, said to me that the saxophone sounded the most like a human voice, I agreed with him. Perhaps that’s why I insisted I’d play it.) Whether it was someone like Clarence Clemons wailing away with Bruce Springsteen’s E Street Band or later, jazz musician Art Pepper’s clear and beautiful sound with advanced and interesting harmonic and rhythmic melodies (yes, you can have it all!), I was hooked.
So why did I end up on the oboe first, then?
I think they needed oboists, as it’s difficult to play well. (One of the common sayings, at least among musicians, about the oboe is that “it’s an ill wind that nobody blows good.”) And no one was going to tell me I couldn’t play a difficult instrument…that’s where psychology came into play, I suppose. (But I was only eleven, at most. You can see why this might appeal?)
I learned all sorts of things about the oboe. It has a beautiful sound if played well, a distinctive one, and for whatever reason, the sound I could get was a bit lower than most, tonally — this is very hard to explain in words, so bear with me — and a bit closer to the sound of an English horn, according to a few of my music teachers.
Personally, though, I think the reason my sound on the oboe was a little different was because I wanted to play the saxophone. And I wanted my oboe playing to be different, interesting, and memorable; I learned how to play jazz on the oboe, even, as there was one musical group — Oregon — that had a jazz oboist.
“But get to picking up the sax, Barb! That’s what we want to hear about…”
Yeah. Well, I wanted to play in jazz band. But they didn’t have arrangements for a jazz oboe player. And my band director, Mr. Stilley, believed that I could pick up the sax in a month or so. The school had an awful alto saxophone available to play; it was held together by string and tape. But I didn’t let this stop me, and I did indeed learn how to play the sax in a month as some of the skills I already had were transferable.
Then, I took up private lessons with two different instructors: one for the oboe, one for the sax. I found out quickly that the alto sax was the instrument most classical musicians play. Most of the good repertoire, including the Jacques Ibert Concertino da Camera and Paul Creston’s Sonata for Alto Saxophone and Piano, was written for alto rather than tenor, baritone, or soprano saxophones. And of course I learned these pieces, along with one that later became one of my favorites, Alexander Glazunov’s Concerto for Saxophone and Orchestra.
I found that while I loved jazz, I loved classical even more. There were so many different ways to say things in classical music. From Robert Schumann’s Unfinished Symphony to Paul Hindemith’s Symphony for Band in B-flat, from Cesar Franck’s Symphony in D Minor to Beethoven’s Ninth Symphony (and it’s famous “Ode to Joy”), there were so many, many different ways music could be expressed.
And then, there was Debussy, Haydn, Mozart, Bach, Bernstein, Brahms, and the one composer I sometimes loved, sometimes hated: Gustav Mahler. (Mahler’s music can be beautiful. It can make me laugh. And it can make me scratch my head and go, “What the Hell?”)
I listened to jazz, too. And pop music, as I found along the way that I rather liked the diverse influences Alice in Chains, Soundgarden, and even Linkin Park brought to the table. (Linkin Park in particular was a very big surprise, as they combined some aleatoric elements along with rock-rap and solid music theory, with not one but two singers: the late Chester Bennington with his soulful voice that could turn to a scream in an instant and Mike Shinoda, who could rap or sing, depending on what was needed from him.) And Creed, too…something about them hit me, emotionally, and I understood why they became popular on the one hand quickly, and didn’t last on the other.
The best of music evokes emotion, no matter what genre you play or sing or hear. Whether it’s Alice in Chains’ “Rotten Apple” or Soundgarden’s “Fell On Black Days” or Linkin Park’s “In the End” (or, much later, “One More Light”), or the second movement of Franck’s Symphony in D Minor, or Elvis (my mother’s personal favorite, and for all his fame, a truly underrated emotional stylist), or Art Pepper’s flights of fancy while playing “Over the Rainbow,” it is all about emotion.
See, words can only take you so far. Music, with all its complexity, all its chords, all its harmony, all its rhythm, can take you much farther.
It’s because of that, and my own, personal journey, that I decided my hero and heroine in CHANGING FACES were both clarinetists and both would use music as a way to survive incredible pain. Because music can describe things words cannot, music is able to heal a great deal more than words.
And that, I think, is why World Music Day is so important.
So do let music heal you, or inspire you, or at least give you the soundtrack to whatever you’re doing/writing/learning at the time. And let me know what music you move to, in the comments!
Also, please go take a look at my fellow collaborators, who’ve also written interesting takes on the subject (links will be posted as they go up, as per usual):
Nicolle K. — Intro Post
Nicolle K. (coming soon)
Sadaf Siddiqi — “A Musical Tribute”
Mylene Orillo
Sonyo Estavillo
Barb Caffrey's Blog 