Review by Stephen Thomas Erlewine, All Music Guide
Released:
November 08, 2005
Label:
Geffen
Rating:
Styles:
Heavy Metal
Funk Metal
Alternative Metal
Rap-Metal
Rap-Rock
Post-Grunge
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, it's 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 2004's "Almost Over," to be precise -- but anything anybody remembers is here. There's their first single, "Counterfeit"; there's "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 Crüe's "Home Sweet Home" and the Verve's "Bittersweet Symphony" -- one of three new songs here -- that sounds as if it were recorded alone by Fred Durst on Apple's GarageBand application); there are the big hits "Nookie," "Break Stuff," "Rollin' (Air Raid Vehicle)," "My Way," and "My Generation"; and there's "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, it's aged incredibly quickly, sounding older than alt-rock hits from the mid-'90s -- but that's 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. [Greatest Hitz was also released in a clean version, which removes Durst's many profanities.]
Review by Stephen Thomas Erlewine, All Music Guide
Released:
September 23, 2003
Label:
Interscope
Rating:
Styles:
Hard Rock
Heavy Metal
Funk Metal
Alternative Metal
Rap-Metal
Rap-Rock
Post-Grunge
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 band's 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 and then, charmingly, . Finally, all the sessions and the turmoil were whittled down into one very long album called Results May Vary. Without Borland on the album, Limp Bizkit turns to frontman Fred Durst, who already dominated the band's personality and now must provide direction in addition to bravado. Durst doesn't come up with any new musical ideas, apart from slight hints of Staind and emo on the ballads, and he generally runs amuck, spewing bile at targets including Britney Spears, ranting about how she broke his heart. He complains about being picked on in high school and about radio and MTV playing the same old bands, and invokes icons like Kurt Cobain. Results May Vary would have been improved if the music had a fraction of Durst's anger (no matter how misguided it is) or had energy to match the clown jumping up and down and screaming in front. [Results May Vary was also released in a limited-edition set with a bonus DVD containing 35 edited minutes from the Bizkit's forthcoming home video, Poop. In effect, it's a sneak preview for something that the die-hard fans are going to buy anyway, so while it's nice for them to see it now, it'll be redundant when it comes out on video -- especially since the footage is just a lot of backstage horseplay, including lots of wearing of funny wigs.]
Review by Stephen Thomas Erlewine, All Music Guide
Released:
September 23, 2003
Label:
Interscope
Rating:
Styles:
Hard Rock
Heavy Metal
Funk Metal
Alternative Metal
Rap-Metal
Rap-Rock
Post-Grunge
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 band's 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 and then, charmingly, . Finally, all the sessions and the turmoil were whittled down into one very long album called Results May Vary. Without Borland on the album, Limp Bizkit turns to frontman Fred Durst, who already dominated the band's personality and now must provide direction in addition to bravado. Durst doesn't come up with any new musical ideas, apart from slight hints of Staind and emo on the ballads, and he generally runs amuck, spewing bile at targets including Britney Spears, ranting about how she broke his heart. He complains about being picked on in high school and about radio and MTV playing the same old bands, and invokes icons like Kurt Cobain. Results May Vary would have been improved if the music had a fraction of Durst's anger (no matter how misguided it is) or had energy to match the clown jumping up and down and screaming in front. [Results May Vary was also released in a clean version, containing scrambled profanities.]
Track #
Track
Time
Composer
1
Re-Entry
2:37
Otto, Limp Bizkit, Durst, Rivers
2
Eat You Alive
3:57
Otto, Smith, Limp Bizkit, Durst, Rivers
3
Gimme the Mic
3:05
Otto, Smith, Ball, Duncan, Limp Bizkit, Griffin, Durst, Barrier, Rivers
4
Underneath the Gun
5:42
Otto, Smith, Limp Bizkit, Durst, Rivers
5
Down Another Day
4:06
Otto, Limp Bizkit, Durst, Rivers
6
Almost Over
4:38
Otto, Smith, Limp Bizkit, Durst, Rivers
7
Build a Bridge
3:56
Otto, Limp Bizkit, Durst, Rivers
8
Red Light-Green Light
5:36
DJ Leathal, Snoop Dogg, Limp Bizkit, Durst
9
The Only One
4:08
Otto, Smith, Limp Bizkit, Durst, Rivers
10
Let Me Down
4:16
Otto, Limp Bizkit, Durst, Rivers
11
Lonely World
4:33
Otto, Smith, Limp Bizkit, Durst, Rivers
12
Phenomenon
3:59
Allen, Miller, Otto, William, Baker, DJ Lethal, Robie, Limp Bizkit, Durst, Rivers
13
Creamer (Radio Is Dead)
4:30
Otto, Limp Bizkit, Durst, Rivers
14
Head for the Barricade
3:34
Otto, Robinson, Smith, Wimbley, Morales, Limp Bizkit, Durst, Rivers
Review by Stephen Thomas Erlewine, All Music Guide
Released:
May 06, 2003
Label:
Universal
Rating:
Styles:
Hard Rock
Heavy Metal
Funk Metal
Alternative Metal
Rap-Metal
Rap-Rock
Post-Grunge
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 band's 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 and then, charmingly, . Finally, all the sessions and the turmoil were whittled down into one very long album called Results May Vary. Without Borland on the album, Limp Bizkit turns to frontman Fred Durst, who already dominated the band's personality and now must provide direction in addition to bravado. Durst doesn't come up with any new musical ideas, apart from slight hints of Staind and emo on the ballads, and he generally runs amuck, spewing bile at targets including Britney Spears, ranting about how she broke his heart. He complains about being picked on in high school and about radio and MTV playing the same old bands, and invokes icons like Kurt Cobain. Results May Vary would have been improved if the music had a fraction of Durst's anger (no matter how misguided it is) or had energy to match the clown jumping up and down and screaming in front. [This Japanese release includes bonus material.]
Review by Stephen Thomas Erlewine, All Music Guide
Released:
April 25, 2000
Label:
Interscope
Rating:
Styles:
Hard Rock
Heavy Metal
Funk Metal
Alternative Metal
Rap-Metal
Rap-Rock
Post-Grunge
Limp Bizkit made their reputation through hard work, touring the hell out of their debut album Three Dollar Bill Y'All 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 Korn's artistic level; at the very least, it's considerably more ambitious and multi-dimensional than Three Dollar Bill. Limp Bizkit, of course, hasn't abandoned their testosterone-overloaded signature sound, they've 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 it's unadorned. Not so coincidentally, the enlarged sonic palette also serves as emotional coloring for Fred Durst's 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 churned up in the wake of separation. That, however, gives the impression that this is an alt-metal Blood on the Tracks. It's 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. [The import edition comes with a bonus disc that features several remixes, including versions of "Break Stuff," "Faith," "Nookie," and "N 2 Gether Now."]
Deluxe pressing of Fred Durst's hit Floridan rap/ metal/ punk group's 1999 album 'Significant Other' with an 8 track bonus disc featuring the 4th single from the record, 'Break Stu...
Review by Stephen Thomas Erlewine, All Music Guide
Released:
September 28, 1999
Rating:
Styles:
Hard Rock
Heavy Metal
Funk Metal
Alternative Metal
Rap-Metal
Rap-Rock
Post-Grunge
Limp Bizkit made their reputation through hard work, touring the hell out of their debut album Three Dollar Bill Y'All 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 Korn's artistic level; at the very least, it's considerably more ambitious and multi-dimensional than Three Dollar Bill. Limp Bizkit, of course, hasn't abandoned their testosterone-overloaded signature sound, they've 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 it's unadorned. Not so coincidentally, the enlarged sonic palette also serves as emotional coloring for Fred Durst's 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 churned up in the wake of separation. That, however, gives the impression that this is an alt-metal Blood on the Tracks. It's 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. [The Japanese release features the same songs as the standard release.]
Review by Stephen Thomas Erlewine, All Music Guide
Released:
June 22, 1999
Label:
Interscope
Rating:
Styles:
Hard Rock
Heavy Metal
Funk Metal
Alternative Metal
Rap-Metal
Rap-Rock
Post-Grunge
Limp Bizkit made their reputation through hard work, touring the hell out of their debut album Three Dollar Bill Y'All, 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 Korn's artistic level; at the very least, it's considerably more ambitious and multi-dimensional than Three Dollar Bill. Limp Bizkit, of course, hasn't abandoned their testosterone-overloaded signature sound -- they've 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 it's unadorned. Not so coincidentally, the enlargened sonic palette also serves as emotional coloring for Fred Durst's 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 churned up in the wake of separation. That, however, gives the impression that this is an alt-metal Blood on the Tracks. It's 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. [Significant Other was also released in a "clean" version, which contained no profanities or vulgarities.]
Review by Stephen Thomas Erlewine, All Music Guide
Released:
June 16, 1998
Label:
Interscope
Rating:
Styles:
Alternative Metal
Rap-Metal
Rap-Rock
Heavy Metal
Funk Metal
Post-Grunge
With their major-label debut, Three Dollar Bill Y'All, 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, you're not looking for perfection on a debut -- you're looking for a promising sound, and on that front, Limp Bizkit deliver. [Three Dollar Bill Y'all was issued in a "clean" version with all profanity removed.]
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