Limp Bizkit | ||
| Allmusic Biography : The rap-metal outfit Limp Bizkit was formed in Florida in 1994 by vocalist Fred Durst and his friend, bassist Sam Rivers. Rivers cousin John Otto soon joined on drums, and guitarist Wes Borland completed the original foursome (later supplemented by DJ Lethal). After Korn played the Jacksonville area in 1995, bassist Fieldy got several tattoos from Durst (a tattoo artist) and the two became friends. The next time Korn were in the area, they picked up Limp Bizkits demo tape and were so impressed that they passed it on to their producer, Ross Robinson. Thanks mostly to word-of-mouth publicity, the band was chosen to tour with House of Pain and the Deftones. The label contracts came pouring in, and after signing with Flip/Interscope, Limp Bizkit released their debut album, Three Dollar Bill YAll. By mid-1998, Limp Bizkit had become one of the more hyped bands in the burgeoning rap-metal scene, helped as well by more touring action -- this time with Faith No More and later, Primus -- as well as an appearance on MTVs Spring Break 98 fashion show. The biggest break, however, was a spot on that summers Family Values Tour, which greatly raised the groups profile. Limp Bizkits much-anticipated second album, Significant Other, was released in June 1999, and it and the accompanying video for "Nookie" made the group superstars. Significant Other debuted at number one and had sold over four million copies by years end, also helping push Three Dollar Bill YAll past the platinum mark. Durst, meanwhile, was tapped for a position as a senior vice president at Interscope Records in early July. However, in the midst of this massive success, controversy dogged the band following that summers performance at Woodstock 99. In the wake of the riots and sexual assaults that proved to be the festivals unfortunate legacy, Durst was heavily criticized for egging on the already rowdy crowd and inciting them to "break stuff." Not only was at least one mosh-pit rape reported during the groups set (in addition to numerous other injuries), but the ensuing chaos forced festival organizers to pull the plug in the middle of their show. Even though Limp Bizkits performance took place the day before the infamous festival-closing riots, the band was raked over the coals in the media, who blamed them for touching off the spark that inflamed a potentially volatile atmosphere. Undaunted, Limp Bizkit headlined that years Family Values Tour, with the newly controversial Durst grabbing headlines for periodic clashes with Bizkits tourmates. During the Napster flap of 2000, Durst became one of the most outspoken advocates of online music trading; that summer, Limp Bizkit embarked on a free, Napster-sponsored tour. All of this set the stage for the October release of the bands third album, Chocolate Starfish and the Hot Dog Flavored Water. Wes Borland left the band soon after, necessitating a long search for a replacement guitarist of comparable value; finally, after going almost three years without a new album, the band released a disappointing record, Results May Vary. Borland returned after its release, and the band issued The Unquestionable Truth, Pt. 1 in 2005, an album that was roundly ignored even if it was marginally better than its predecessor. The Bizkit then released Greatest Hitz, a 17-track career survey that included all the hits from their heyday. In 2009, the band went back into the studio to record with its original lineup. After a number a delays, the band eventually relesed their fifth studio album, Gold Cobra, in the summer of 2011. | ||
 | Album: 1 of 12 Title: Re-Arranged Released: Tracks: 5 Duration: 18:48 Scroll: Up Down Top Bottom 25% 50% 75% AlbumCover | 1 Re-Arranged (05:55) 2 N 2 Gether Now (03:56) 3 Crushed (03:26) 4 Faith (02:27) 5 Counterfeit (Phat Ass remix) (03:04) |
 | Album: 2 of 12 Title: Three Dollar Bill, Yall$ Released: 1997-06-24 Tracks: 13 Duration: 1:01:29 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Allmusic Wikipedia AlbumCover | 1 Intro (00:47) 2 Pollution (03:52) 3 Counterfeit (05:08) 4 Stuck (05:24) 5 Nobody Loves Me (04:27) 6 Sour (03:32) 7 Stalemate (06:14) 8 Clunk (04:03) 9 Faith (03:52) 10 Stinkfinger (03:03) 11 Indigo Flow (02:23) 12 Leech (demo version) (02:11) 13 Everything (16:26) |
| Three Dollar Bill, Yall$ : Allmusic album Review : With their major-label debut, Three Dollar Bill YAll, Limp Bizkit quickly rose to the top of the alt-metal subgenre known as "rapcore." Part of the reason the band stood out from their peers was their kinetic, frenzied energy. They might not have many original ideas -- they are largely an outgrowth of Korn, Faith No More, and the Red Hot Chili Peppers -- but they do the sound well. They have a powerful rhythm section and memorable hooks, most of which make up for the uneven songwriting. Then again, youre not looking for perfection on a debut -- youre looking for a promising sound, and on that front, Limp Bizkit deliver. | ||
 | Album: 3 of 12 Title: Significant Other Released: 1999-06-18 Tracks: 16 Duration: 1:02:52 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Wikipedia Allmusic AlbumCover | 1 Intro (00:37) 2 Just Like This (03:35) 3 Nookie (04:50) 4 Break Stuff (02:46) 5 Re-Arranged (05:55) 6 I’m Broke (03:59) 7 Nobody Like You (04:20) 8 Don’t Go Off Wandering (04:00) 9 9 Teen 90 Nine (04:36) 10 N 2 Gether Now (04:50) 11 Trust? (04:59) 12 No Sex (03:55) 13 Show Me What You Got (04:27) 14 A Lesson Learned (02:40) 15 Outro / Radio Sucks / The Mind of Les (07:18) 16 [silence] (00:05) |
| Significant Other : Allmusic album Review : Limp Bizkit made their reputation through hard work, touring the hell out of their debut album Three Dollar Bill YAll and thereby elevating themselves to the popularity status of their similarly rap-inflected, alt-metal mentors Korn. With their second album, Significant Other, they come close to reaching Korns artistic level; at the very least, its considerably more ambitious and multi-dimensional than Three Dollar Bill. Limp Bizkit, of course, hasnt abandoned their testosterone-overloaded signature sound, theyve just built around it. There are flourishes of neo-psychedelia on pummeling metal numbers and there are swirls of strings, even crooning, at the most unexpected background. All of it simply enhances the force of their rap-metal attack, which can get a little tedious if its unadorned. Not so coincidentally, the enlarged sonic palette also serves as emotional coloring for Fred Dursts lyrics. He broke up with his longtime girlfriend -- his Significant Other, if you will -- during the writing of the album, and his anguish is apparent throughout the record, as almost every song is infused with the guilt, anger, and regret that was churned up in the wake of separation. That, however, gives the impression that this is an alt-metal Blood on the Tracks. Its not. Nevertheless, it does have more emotional weight than Three Dollar Bill, along with more effective, adventurous music. More importantly, it balances these new concerns with trace elements of their juvenile humor along with the overpowering aggro rap-metal that is their stock in trade. Which makes it a rare artistic leap forward that will still please audiences that just want more of the same. | ||
 | Album: 4 of 12 Title: Chocolate Starfish and the Hot Dog Flavored Water Released: 2000-10-14 Tracks: 15 Duration: 1:15:08 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Wikipedia Allmusic AlbumCover | 1 Intro (01:18) 2 Hot Dog (03:50) 3 My Generation (03:41) 4 Full Nelson (04:07) 5 My Way (04:33) 6 Rollin’ (Air Raid Vehicle) (03:34) 7 Livin’ It Up (04:24) 8 The One (05:43) 9 Getcha Groove On (04:29) 10 Take a Look Around (05:20) 11 It’ll Be OK (05:06) 12 Boiler (07:00) 13 Hold On (05:47) 14 Rollin’ (Urban Assault Vehicle) (06:22) 15 Outro (09:49) |
| Chocolate Starfish and the Hot Dog Flavored Water : Allmusic album Review : Lets start with the title, not only the winner for the Billy Corgan award for ludicrous monikers, but a title, like Mellon Collie and the Infinite Sadness, thats a winking acknowledgement that the group knows what its stereotype is. Smashing Pumpkins knew everybody thought they were tragic romantics; Limp Bizkit know everybody believes theyre juvenile vulgarians, so theyre ready to prove em right. And how do they do that? With a title thats defiantly vulgar but, more revealingly, embarrassingly awkward. The scatological meaning of Chocolate Starfish and the Hot Dog Flavored Water is obvious to anyone whos graduated junior high, but it stumbles over its punch line, winding up as more bewildering than funny or offensive. But it doesnt stop there, or with the sickly cover art, since hot dogs and chocolate starfishes become lyrical themes on the album. Clearly, Limp leader Fred Durst takes some pride in his ass and dick joke, since he repeatedly uses it to illustrate the one theme of the album, namely how nobody understands him, especially in Limp Bizkits year of success after 1999s Significant Other. He may occasionally attempt to frame his rage as us versus them, as on "My Generation," but he winds up bringing everything around to himself. Envision a Use Your Illusion where Axl Rose felt compelled to rewrite "Get in the Ring" for every song, just to make sure that you, dear fan, realize that hes persecuted and thank the lord above that youre there to understand him. And thats it. Theres nothing else to the record. If the band supported him with sheets of noise, terrifying guitars, monstrous rhythms, or even a hook every now and then, Dursts narcissism may have been palatable, but the group pretty much churns out the same colorless heavy plod for each song. Combined, Dursts self-pitying and the monotonous music give away that the band bashed Chocolate Starfish out very quickly -- its the sound of a band determined to deliver a sequel in a finite amount of time. Since Bizkit have never relied on song or studiocraft, it shouldnt come as a surprise that neither is in evidence here, but the problem is theyre fishing in a shallow pool. Previously, they had pent-up rage on their side, but here, the music sounds rote -- when it gets louder, it signifies nothing, it just gets louder -- and Durst can see no farther than his past year. That past year may have been a whirlwind of success and fame, but that doesnt stop him from dwelling on the people that have said bad things about him, nearly ignoring those who (somewhat justifiably) argued that he helped stoke the fires as Woodstock 99 in favor of the "critics that dont get it," which includes a whole song sniping at labelmate Trent Reznor. Now, undoubtedly, there are some fans that will empathize with Durst, but the question is, will it really resonate with them? After all, everyone feels rage after being dumped by their significant other, but does everyone live in a world where they feel like theyre attacked on all sides? Come to think of it, they do, but Dursts vision on Chocolate Starfish is so insular, its hard for anyone else, even his bandmates, to come inside. [Chocolate Starfish and the Hot Dog Flavored Water was also released in a "clean" version containing no profanities. This basically guts the record, especially "Hot Dog" where "f*cking up" is used upward of 50 times, but parents should be reassured that theres this option on the market. But they should consider this -- not one profanity is used sexually, its all an expression of rage or slang. After a while, the cursing isnt even noticeable, since its so omnipresent it winds up signifying nothing. Its just part of the midrange hum, like the drums and droning guitars.] | ||
 | Album: 5 of 12 Title: New Old Songs Released: 2001-11-30 Tracks: 16 Duration: 1:13:58 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Allmusic Wikipedia AlbumCover | 1 Nookie (For the Nookie) (03:55) 2 Take a Look Around (04:54) 3 Break Stuff (03:33) 4 My Way (The P. Diddy remix) (04:23) 5 Crushed (04:03) 6 N 2gether Now (All in Together Now) (04:05) 7 Rearranged (04:56) 8 Getcha Groove On (Dirt Road mix) (04:19) 9 Faith/Fame Remix (03:33) 10 My Way (04:28) 11 Nookie (Androids vs. Las Putas remix) (04:06) 12 Counterfeit (Lethal Dose Extreme guitar mix) (03:20) 13 Rollin’ (DJ Monk‐vs‐The Track Mack remix) (06:42) 14 My Way (DJ Premier Way remix) (04:37) 15 My Way (William Orbit’s mix) (06:33) 16 My Way (Pistols’ Dancehall dub) (06:24) |
| New Old Songs : Allmusic album Review : New Old Songs is the remix album from rap-rock superstars Limp Bizkit. The band gets a lot of criticism, some deserved and some not, for their songwriting skills. But as this album proves, they actually have a very solid formula that does not survive remixes well. Limp Bizkit does not accentuate their strong points through these remixes, which results in cute but meaningless shells of the original. The only thing that survives in most of these new mixes is Fred Dursts voice, which is without a doubt the most recognizable element of the group. But that means nothing when the music that puts across his point is taken away and replaced with rap beats. For example, the groups resident turntablist DJ Lethal has three remixes on the album. In each remix, he virtually eliminates all the music in exchange for generic hip-hop beats that make Dursts shaky lyrics sound that much worse. Even in his supposed "Lethal Dose Extreme Guitar Mix" of "Counterfeit," he only keeps a little of the original chugging guitar. Most of these songs could have even survived the remix if the choruses, which are an important part of the Bizkit formula, retained their massive riffing and awesome production. But no, most of these songs are devoid of the "quiet verses/loud chorus" formula that has worked so well for them in the past, rendering Timbalands mix of "Take a Look Around" and the Neptunes take on "Nookie" quite limp indeed despite some great production ideas from the producers. And do not even bother with "Rollin" as remixed by DJ Monk and the Track Mack; it sounds like someone took a bad techno song and pasted Dursts vocals over it. There are still a few redeeming songs on the album. For example, Durst and Josh Abraham do a great remix of "Faith" by adding on bits and pieces of David Bowies "Fame" and a decent rap by Everlast. Also, DJ Premiers mix of "My Way" is quite impressive, keeping it much like the original except for some great scratching and samples. The best remix might be Butch Vigs version of "Nookie," which sounds more like Fatboy Slim with its thick beat and dirty keyboards. But three good tracks do not make an album, and this is a huge disappointment from a band that should know better. Fans of the band might enjoy this, but most other listeners will probably find this silly and needless. | ||
 | Album: 6 of 12 Title: Results May Vary Released: 2003-05-28 Tracks: 18 Duration: 1:17:49 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Wikipedia Allmusic AlbumCover | 1 Re-Entry (02:37) 2 Eat You Alive (03:57) 3 Gimme the Mic (03:05) 4 Underneath the Gun (05:42) 5 Down Another Day (04:06) 6 Almost Over (04:38) 7 Build a Bridge (03:56) 8 Red Light-Green Light (05:36) 9 The Only One (04:08) 10 Let Me Down (04:16) 11 Lonely World (04:33) 12 Phenomenon (03:59) 13 Creamer (04:30) 14 Head for the Barricade (03:34) 15 Behind Blue Eyes (06:05) 16 Drown (03:53) 17 Let It Go (05:10) 18 Armpit (03:54) |
| Results May Vary : Allmusic album Review : It took a long, long time for Limp Bizkit to get their follow-up to Chocolate Starfish and the Hotdog Flavored Water into the stores. First, guitarist Wes Borland, generally regarded as the bands musical force, up and left the band, and it took a long, long time to find a replacement guitarist. After a national talent search performed at Guitar Center stores, where candidates had to sign contracts that gave up their rights to anything original they played at their audition, Limp Bizkit settled on former Snot guitarist Mike Smith and recorded an album. Then scrapped it. Then they recorded another album. Then scrapped it. They were going through album titles, too -- it was called Bipolar then, charmingly, Panty Sniffer. Finally, all the sessions and the turmoil was whittled down into one very long, very bad album called Results May Vary. Part of its weakness stems from two perennial Limp Bizkit problems: for a metal band they sound, well, limp, and in Fred Durst they have the worst frontman in the history of rock. These two things plagued even their hits, but Borland at least gave the band some ideas. Without him, the band is left to flounder, and Durst, who already dominated the bands personality, not only has to provide the bravado, but he has to give it direction -- which is likely why it took so long for this mess to get released. Durst doesnt come up with any new musical ideas, apart from slight hints of Staind and emo on the ballads, but the album doesnt suffer from recycled musical ideas, since they were already doing that on Chocolate Starfish. No, it suffers from an utter lack of form and direction, from the riffs to the rhythms, and a surplus of stolen ideas. "The Only One" cops the opening of Steve Millers "Take the Money and Run," "Gimme the Mic" plagiarizes the Beastie Boys "Pass the Mic" down to rhyming "yall" with "yall" (but Durst adds a whole lotta "motherf*ckers"), while "Phenomenon" borrows from several rap songs, highlighted by Durst getting lyrics wrong. And this points out the biggest problem of Results May Vary -- Durst is running amuck, flattening down the production into a grey sludge, then writing inane lyrics that are shocking in their banality. Since Durst has ingratiated himself with Hollywood, inexplicably getting Thora Birch to concede to being berated to in the video for "Eat You Alive" and French kissing Halle Berry in the video for "Behind Blue Eyes," maybe hes not such a bad guy in person, but on record hes a mean, vindictive, hateful idiot, spewing undirected bile at undeserving targets. Here, a prominent target seems to be Britney Spears, who unceremoniously dumped the dude after an affair that lasted less than a week, since she wasnt all that thrilled that he revealed her pubic hair grooming on the Howard Stern show (what a guy!). Now, hes hurt and ranting about how she broke his heart, unaware of his own culpability in the affair. But thats par for the course for Durst, who stumbles through life without realizing the consequences of his actions, then whines about how nobody understands him. Here, he complains about being picked on in high school, not realizing that his blustering aggression makes him a bully (and thats not even accounting for how he unwittingly incited violence and destruction at Woodstock 99). Then, he complains several times about radio and MTV playing the same old bands, willfully ignoring that hes whored himself out to MTV numerous times and that his band received their radio breakthrough by paying to get their songs played. He invokes icons callously -- "ease your pain/like a melody from Kurt Cobain" -- most notably on a boneheaded cover of the Whos "Behind Blue Eyes," turning it into a Staind song with a Speak & Spell on the bridge ("B-I-Z-K-I-T. Say it") and adding insult to injury by misspelling Pete Townshends name in the credits. And this isnt even counting the embarrassing Apple plug in the liner notes, or the Fight Club reference in the artwork, the obviousness of which suggests that Durst would be one of the brainwashed legions chanting "his name is Robert Paulson" instead of thinking for himself. Like before, some of this could have been palatable if the music had a fraction of his anger (no matter how misguided it is) or had some energy to it instead of just being murky emoting. But since the music has no melody, hooks, or energy, all attention is focused on the clown jumping up and down and screaming in front, and long before the record is over, youre left wondering, how the hell did he ever get to put this mess out? | ||
 | Album: 7 of 12 Title: The Unquestionable Truth, Part 1 Released: 2005-05-02 Tracks: 7 Duration: 29:44 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Wikipedia Allmusic AlbumCover | 1 The Propaganda (05:16) 2 The Truth (05:28) 3 The Priest (04:57) 4 The Key (01:24) 5 The Channel (04:41) 6 The Story (03:56) 7 The Surrender (03:59) |
| The Unquestionable Truth, Part 1 : Allmusic album Review : First things first: of course its better than Results May Vary. How could it not be? But lets not get ahead of ourselves -- Charmbracelet is better than Glitter, Generation Swine is better than that pseudo-industrial Mötley Crüe album without Vince Neil, but that doesnt mean youd want to listen to any of them. But The Unquestionable Truth, Pt. 1 -- whose title threatens a sequel and suggests a concept album -- is certainly a comeback of sorts for Limp Bizkit. Surely, the return of prodigal guitarist Wes Borland to the fold has something to do with it, since this isnt just harder and heavier than Results May Vary, it has actual riffs, which were in short supply on that 2003 debacle. But this isnt quite the party-hearty violence of Significant Other, either: this is a deadly somber, bitter, angry record, one that intentionally shuns fun. Not that Limp Bizkit have ever been all that fun to listen to in the first place; theres something about their plodding, jerky rhythms, hook-deficient riffs, and Fred Dursts rage-addled, chipmunk squeak that seems contemptuous of the very notion of a good time, even if Significant Other provided the soundtrack to many frat keggers at the turn of the century. That was a long time ago, though, and those 20-year-old kids are in their mid-twenties, not quite ready to revisit the adolescent angst that fueled the first two Bizkit albums. Never to fear -- Durst has grown up, too. Hes now 34 and a new father and hes finally discovered the outside world, keeping the "you did this to me" rants and "what a bitch fame is" laments to a minimum. Instead, hes writing about corruption in the church (nice timing, considering this was released just a couple weeks after the election of Pope Benedict XVI), the quest for truth, and the evils of mass media, particularly E! True Hollywood Story. Some might say that there are bigger problems in 2005 than the tyranny of E!, but its a start. Similarly, the music is a step in the right direction -- its more ambitious, dramatic, and aggressive, built on pummeling verses and stop-start choruses. Its kind of like a stab at neo-prog alt-metal, only not nearly as bizarre and interesting as that would suggest, because this is, after all, Limp Bizkit, who are hidebound by their awkward, sluggish, thuggish attack. And, lest you forget, theyre also held back by Durst, still the most singularly unpleasant, absurd frontman in rock. Not for nothing has his name become a synonym for "worst" in the blogosphere: Durst doesnt seem to have any sense of perspective or sense of self. He opens "The Priest," his song about the church, with the immortal line, "It could be the absinthe talking," and then wallows in weird moral relativism: "I see priests molesting children/I see terrorists blowing up buildings/I see someone in rage killing Dimebag on-stage." He rails against radio and entertainment TV, blissfully ignorant of the fact that those are the tools that gave him his fame. He quotes Aldo Nova, and not ironically. He writes bewildering lines like "the hipsters that dont hip anymore." He claims that he "dont like the whores that try to f*ck you for your game," just weeks after his home sex tape, recorded on his cell phone, spread all over the Internets. He does this and much, much more in the span of 29:43. So at least he doesnt overstay his welcome. And truth be told, there is a certain fascination in hearing Durst flail about, particularly now that the music is somewhat better -- never has someone been so earnest and well-intentioned in his utterly clueless idiocy. But the man himself puts it best: "You hate that Im a tic/A motherf*cking tic youre finding hard to forget!!" Yes, Fred, its hard to forget you, but that still doesnt erase the fact that youre still Durst in every possible sense of the word. | ||
 | Album: 8 of 12 Title: Greatest Hitz Released: 2005-11-04 Tracks: 18 Duration: 1:17:36 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Wikipedia Allmusic AlbumCover | 1 Counterfeit (04:48) 2 Faith (02:26) 3 Nookie (04:26) 4 Break Stuff (02:46) 5 Re-Arranged (05:55) 6 N 2 Gether Now (03:55) 7 Take a Look Around (05:20) 8 My Generation (03:41) 9 Rollin’ (Air Raid Vehicle) (03:34) 10 My Way (04:33) 11 Boiler (05:44) 12 Eat You Alive (03:57) 13 Behind Blue Eyes (04:30) 14 Build a Bridge (03:56) 15 Why (04:05) 16 Lean on Me (04:27) 17 Home Sweet Home / Bittersweet Symphony (04:01) 18 The Truth (05:24) |
| Greatest Hitz : Allmusic album Review : Six months after Limp Bizkit released The Unquestionable Truth, Pt. 1 to near universal apathy -- which is what can happen when you release an album without any promotion -- the band rushed out the compilation Greatest Hitz, a generous 17-track stroll through the past. Frankly, its hard to imagine how this collection could have been executed better. While this may not contain anything from The Unquestionable Truth, Pt. 1 -- which is actually kind of too bad, since it was a much better album than its 2003 predecessor, Results May Vary, but a cardinal rule of hits (or hitz) albums is that they should contain songs that people actually heard -- it does contain every major MTV or active rock hit the group had. Two minor charting singles are MIA -- 2000s "Crushed" and 2004s "Almost Over," to be precise -- but anything anybody remembers is here. Theres their first single, "Counterfeit"; theres "Faith," the first of their never-ending series of embarrassing covers, is here, along with their worst ("Behind Blue Eyes") and their latest (a monumentally silly medley of Mötley Crües "Home Sweet Home" and the Verves "Bittersweet Symphony" -- one of three new songs here -- that sounds as if it were recorded alone by Fred Durst on Apples GarageBand application); there are the big hits "Nookie," "Break Stuff," "Rollin (Air Raid Vehicle)," "My Way," and "My Generation"; and theres "Take a Look Around," their contribution to the Mission Impossible 2 soundtrack, which is less forgettable than the three selections from Results May Vary. None of this has aged well -- as a matter of fact, its aged incredibly quickly, sounding older than alt-rock hits from the mid-90s -- but thats almost beside the point, because this does its job well, and listeners who want to have some Limp Bizkit in their collection will find this to provide them with more of what they want than any other Bizkit dizc. | ||
 | Album: 9 of 12 Title: Rock im Park 2001 Released: 2008-03-31 Tracks: 15 Duration: 1:08:38 Scroll: Up Down Top Bottom 25% 50% 75% Wikipedia AlbumCover | 1 Hot Dog (04:01) 2 Show Me What You Got (04:13) 3 Break Stuff (04:16) 4 The One (05:14) 5 Livin’ It Up (06:29) 6 My Generation (04:33) 7 Re‐arranged (05:10) 8 Master of Puppets (01:42) 9 Faith (02:25) 10 Full Nelson (04:44) 11 My Way (04:22) 12 Nookie (06:49) 13 I Would for You (05:22) 14 Take a Look Around (05:54) 15 Rollin’ (Air Raid Vehicle) (03:24) |
 | Album: 10 of 12 Title: Collected Released: 2008-07-07 Tracks: 14 Duration: 1:04:19 Scroll: Up Down Top Bottom 25% 50% 75% AlbumCover | 1 Pollution (03:49) 2 The Propaganda (05:16) 3 Build a Bridge (03:56) 4 The Story (03:51) 5 Rollin’ (Air Raid Vehicle) (03:34) 6 Livin’ It Up (04:24) 7 Show Me What You Got (04:27) 8 Behind Blue Eyes (04:30) 9 Getcha Groove On (04:29) 10 Nobody Like You (04:20) 11 Stuck (05:13) 12 Re-Arranged (05:55) 13 Counterfeit (05:08) 14 The Truth (05:24) |
 | Album: 11 of 12 Title: Gold Cobra Released: 2011-06-24 Tracks: 13 Duration: 49:38 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Wikipedia Allmusic AlbumCover | 1 Introbra (01:20) 2 Bring It Back (02:17) 3 Gold Cobra (03:53) 4 Shark Attack (03:26) 5 Get a Life (04:54) 6 Shotgun (04:33) 7 Douche Bag (03:42) 8 Walking Away (04:45) 9 Loser (04:53) 10 Autotunage (05:00) 11 90.2.10 (04:18) 12 Why Try (02:51) 13 Killer in You (03:46) |
| Gold Cobra : Allmusic album Review : Coming to the conclusion that The Unquestionable Truth was so powerful it never needed the promised second volume, Limp Bizkit went on hiatus during the back half of the 2000s, with leader Fred Durst finding far more critical acclaim as a film director than he ever did as a singer. Despite these grudging hosannas, Durst felt compelled to reunite the Bizkit, to wipe away the memories of the bungled prog of The Unquestionable Truth and the Wes Borland-less "Repeat as Necessary," to find a way to tap into the anger that started the whole ball rolling. A tough task for any band, but apart from dabbling with Auto-Tune -- the quivering electronic vocal effect that gets skewered on “AutoTunage” -- Limp Bizkit is intent on rolling back the clock and returning to the full-throttled attack of Three Dollar Bill Y’All. If the band is determined to act as if the last 15 years never happened, Durst is determined to act as if he’s 15, still slinging grievous arrows at anybody who may have gotten in his way. Context counts and adolescent angst is a bit harder to stomach coming from a grown man than it is from a twentysomething, particularly if that adult is a millionaire who now looks a bit like Michael Stipe’s heavier brother. Durst still can’t stop himself squawking whenever he’s angry, and he’s angry often: he’s mad about Auto-Tune, he’s mad about the douche bags in Beverly Hills, he wonders why he should try, he thinks you should get a life and prepare yourself for a “Shark Attack.” Minus a detail or two, it’s the same set of grievances he’s been peddling since the beginning, the similarities so striking it’s surely as intentional as Bizkit hauling out their pre-millennial metallic grind, acting as if the W years never happened. Sure, as sheer sound, it’s executed well -- more assured, musical, and, well, professional than any of their other albums, their age lending them a dexterity absent in their hits -- but the deliberate retro-rage begs the question: who exactly is this music for? Is it intended to hook in a new batch of frustrated sputtering teens or is it for dejected, disappointed adults who have yet to shake adolescent resentments? Safe money is on the latter, but that only suggests that all this rage is a calculated act, that Limp Bizkit -- whose members are far smarter than their art, as any interview with Durst or Borland proves -- only acts this way because it’s all they know how to do or because it sells…at least it did at one time. | ||
 | Album: 12 of 12 Title: Icon Released: 2011-07-19 Tracks: 11 Duration: 48:00 Scroll: Up Down Top Bottom 25% 50% 75% Allmusic AlbumCover | 1 Counterfeit (05:08) 2 Faith (02:26) 3 Nookie (04:26) 4 Break Stuff (02:46) 5 Re-Arranged (05:54) 6 Take a Look Around (05:20) 7 Rollin’ (Air Raid Vehicle) (03:34) 8 My Way (04:33) 9 Eat You Alive (03:57) 10 Behind Blue Eyes (04:30) 11 The Truth (05:25) |
| Icon : Allmusic album Review : Universals 2011 compilation Icon rounds up 11 Bizkit basics -- including "Counterfeit," "Faith," "Nookie," "Break Stuff," "Rollin’ (Air Raid Vehicle)," "Behind Blue Eyes" -- providing a good overview of the leading rap-metal outfit of the 90s. | ||