How many songs have linkin park

With the benefit of hindsight, its easier to understand it as an evolutionary step from a band with the daring to leave behind a formula with which they had conquered the world — and continued to win. The initial single for Meteora dropped to unheralded levels of expectation in early , with ravenous fans having waited two-and-a-half years for a proper follow-up to Hybrid Theory. In an era before streaming or even YouTube had properly taken off, a banner ran on Kerrang!

TV to let fans know it had arrived and would be on heavy rotation. Hell, it even managed to crack the UK Top 10 singles chart.

Perhaps not the best song on the record, it was nonetheless a towering musical statement with one foot in the high-angst of the Hybrid Theory era, while the other stretched forward, reaching for what was next.

A reckoning on guilt and self-loathing, it sees Chester attempting to come to terms with the demons of his past: namely a teenage abuse of methamphetamine, with its tendency to conjure hallucinations, anxiety and the unsettling sensation of something moving beneath his skin. Listening now, of course, its message is overloaded with poignancy. Why am I so uptight today? This was music overloaded with influence; with feeling; with world-beating ambition: the battering-ram opening statement from an outfit ready to take on the world right from day one.

On the other hand, though, this was the band at their absolute best, with a laser focus on world domination as those crunching guitars, scratched vinyls and earthquake drums layer up into a momentous whole — capable of levelling anything in their path. The second single from Meteora saw Linkin Park changing things up significantly. A seeming anomaly in the LP catalog, but really just an unusual consolidation of their undersold strengths: the band's burgeoning Coldplay aspirations mixing with their old-school hip-hop fascination and latent reggae toasting instincts passed down from '90s forefathers Not to mention a swipe of the "Runaway" piano plinks that must've left Kanye livid if they ever passed through his radar.

It was a little too confusing to be massive, but so were most of the best Linkin Park songs of this period. Traditionally, it was the very big things that gave Linkin Park away, as they seemed to lack the patience for the interludes and ballads of creeping quietude that made the more riotous songs on Nine Inch Nails albums land with such viciousness. M2M closer "The Little Things Give You Away" doesn't get there either, but there is a sense of restraint to its sinister grandeur that at least puts it in league with the best Brand New deep cuts, unfolding slowly enough that the title phrase doesn't even really make its presence felt until it builds as a chant nearly five minutes in.

If there's such a thing as Linkin Park for non-Linkin Park fans, it'd probably be this. Despite beginning with Mike Shinoda counting off "Here we go for the hundredth time The song was enough of a reflexive fist-pumper to cut through some of its musical contradictions -- becoming their second of three platinum-certified singles off the underrated Minutes to Midnight -- but a decade later, it still feels like the band at their most unsafe, and uniquely thrilling for it. It sounds like Linkin Park as produced by Porter Robinson , except that Robinson wouldn't even release his debut single for another year.

It's still pretty irresistible, though, even when it gets swallowed by static at the midway point and resumes with another ahead-of-its-time dubstep breakdown. Linkin Park's subsequent club excursions have never totally convinced, but "Blackout" shows how they could've been far more effective leading the EDM pack than following it.

LP at their most weaponized: "Points of Authority" wasn't even a proper single until its inferior Reanimation remix by the dude from Orgy , go figure was released in '02, but it stands as one of their early signature songs because it scorches at every turn: Shinoda's carnival-barking intro, Brad Delson's rumbling-belly fretwork, even Hahn's blisters-on-mah-fingers scratching.

The song whose half-time drum-n-bass beat made a lot of ears not previously attuned to Linkin Park perk up for at least three minutes. The song's skittering beat and wire-taut guitar picking made something inscrutable out of one of the band's most Incubus -like melodies, while the lack of any Mike Shinoda rapping was an early sign that the band would not allow themselves to be consumed by established formula. Bennington's repeated insistence of "I'm breaking the habit tonight" seems to show newfound fight for the often fatalistic frontman, until you listen closer and realize his solution for doing so is a permanent one -- his doom spelled out by his final "tonight" dissolving into the ether, a final futile shout.

Linkin Park never took more chances than they did on 's A Thousand Suns , an album that sounds like a band self-consciously trying to make their masterpiece and very nearly getting there. With its proggy structuring and remorseless forward drive, It won't be the first Chester song anyone thinks of today, but it might be the one that keeps him on their mind until tomorrow. No band ever need accomplish more than that on their debut single.

The first true about-face of Linkin Park's career came with this lighter-waver, whose coruscating guitars, soft bass rumble and fading-firework synths served as the zephyr lifting the most straightforwardly soaring vocal of Chester Bennington's career. It was a pretty big risk at a time when metal was still a mainstream enough proposition for a band to have something to lose by abandoning it, but Linkin Park had the melodic instincts to make it sing and the instrumental support to make it massive, the song letting in more light with each verse and chorus until the guitars push the blinds all the way open, bathing the chorus in glorious, undeniable sunlight.

Before abandoning their shiny reupholstered version of grunge's loud-quiet formula, Linkin Park perfected it on "Faint," of the most pulse-raising rock music of the '00s.

At the time, it was frequently mashed up with the similarly narcotic violins of Britney's "Toxic" -- just further proof that Linkin Park had the ammo to hold their own on pop's battlefield. You know that Limp Bizkit never even had a Hot top 40 hit? That Korn only had one, and if you can name it in fewer than eight guesses you probably work for Billboard? Linkin Park songs have featured in almost all the Transformers movies. According to the Billboard Hot charts, New Divide peaked the charts at number 1 and is one of the most popular Linkin Park songs of all time.

Following a similar trend as the earlier film, New Divide featured in the scenes following the climax. Iridescent is the only Linkin Park song that featured in two movies in the same year.

Iridescent is one of the most popular Linkin Park songs to date, according to the Billboard Hot charts. The song was produced into an exclusive Transformers track which proved to be equally popular among the fans and the audiences.

Another popular Linkin Park song that featured in a popular movie was Roads Untraveled. Just like in every other film, the song featured in the post-climax scenes of the film.

Roads Untraveled is a quieter song when compared to other Linkin Park tracks; thus, it is quite challenging to identify in the movie. Roads Untraveled is one of the Linkin Park songs that featured in a popular non- Transformers film.