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Aug 15

LIMP BIZKIT – “Rollin’ (Air Raid Vehicle)”

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#889, 27th January 2001

Bizkit “Take my advice,” says Fred Durst on “My Generation”, “you don’t want to step into a big pile of shit.” Wise words. But shit comes in many forms. The spoor of Durst, the self-styled chocolate starfish, the anus, is compacted nuggets of resentment, pinched out rabbit-style in single form, delivered with a constipated grunt or haemorrhoidal yelp. Wes Borland, in skullpaint and bodystocking a guitar-FX Eno to Durst’s reverse Ferry, takes a contrasting approach, conjuring torrents of colonic sludge, shitrush splatter effects and bowl-cracking divebombs. In the parade of number ones, between a career-building film star and a girl group’s last-chance classicism, “Rollin’ (Air Raid Vehicle)” is more than a surprise, it’s a dirty protest. Back up, tell me what you’re gonna do now! Grit my teeth, reach for the imodium.

They’re an easy target. How bad is it really? “Rollin’” is one of the worse Limp Bizkit singles, because it moves away from their standard M.O. of reflexive bitterness, anger at a world that isn’t giving them what they want. They were good, I grant them, at packaging that up into noisy, hooky, usefully unspecific grievance bombs. “Nookie” – if ever a word signalled how old an intended audience was, that’s the one – is as targeted as they get. Otherwise they’re sticking up a finger to nothing, forever on the edge of a violent tantrum whose stakes we never know. Is that what being a 14 year old boy feels like? Sometimes. Often enough to win them an audience. Early adolescence – Durst was 29, but this doesn’t feel like grown-ups’ music to me – often means being promised a world and told, by your parents, your peers, your body, “not quite yet”. There will always be a market for catharsis: Limp Bizkit was one iteration. And it wasn’t just boys who responded – nu-metal in general had a mixed audience it never got credit for and barely respected, enough that fellow travellers Linkin Park could be derided as a “boy band”.

Durst strikes me as a goon though, a jock on the make, his self-pity dredged from nowhere deeper than his own reserves of entitled impatience. “Rollin’” finds Limp Bizkit in unusual, celebratory mode, on top of the world, not finding sullen fault with it. This is a grisly development: it means that on the verses Durst drops his low growl and raps in a higher voice, hatefully quavering and quacking. It’s an infuriating sound, and Borland’s music – an aggressive, inventive soup of riffs and lunges – deserves a lot better. But any music would. A gollumish peak arrives when he chides the haters: “you need some better beats and, uh, better rhymes”. It’s all in that “uh”, a condescending little chuckle from a man whose rhymes would shame a Five single. Hearing it, though Fred Durst is older than I am, the generation gap yawns in front of me; I become a retired Colonel spluttering over his port. The gall of the man! The effrontery!

It’s a ridiculous reaction, just what Fred would have wanted – he picked the name of the band to actively repel the curious, and paid a radio station to play their debut single a nerve-straining fifty times in a row. Trolling, button-pushing, and us-v-them posturing were apt games for a man whose records were such a sulky churn. Durst played them remorselessly, even after the wretched depths of Woodstock ‘99, when his band became the soundtrack for a weekend of searing heat, price-gouging, arson and ultimately rape. Were Bizkit to blame? No – start with the negligent organisers. But Durst’s asinine on-stage commentary – “Don’t let anybody get hurt. But I don’t think you should mellow out.” – exposed the limits of catharsis, “letting out the energy”, as he put it. Energy is cool and all, unless you’re in its way.

No shit stuck to Durst, or at least the people whose dollars mattered didn’t think he was a prick, even if the matter was settled for anyone else. The band carried on as before, spun the notoriety into “Rollin’” and “My Generation”, and the Chocolate Starfish And The Hot-Dog Flavoured Water album, their sales peak. “Rollin’” was a brag, a cry of triumph, for the ladies and the fellas and the people who don’t give a fuck. In Bizkitland, not giving a fuck was the highest known virtue. And yes, part of me wants not to give a fuck, to meet “Rollin’” on its own terms. Someone once played it at Club Popular – the trollish esprit du Durst manifest in the DJ booth. It was horrific, and hilarious, and the best way to hear it, as Borland’s propulsive hippo-rock drowned out Fred’s mewling.

So you can find contexts where “Rollin’” works, where its dump of noise and half-competent rapping is a vulgar virtue. Maybe the number ones list is one of those. But mostly it’s a painful chore, and that’s squarely because of the very dreadful Fred Durst. He’s the law of unintended consequences made flesh, the point where a bunch of 1990s ideas – House of Pain’s frat-hop, Rage Against The Machine’s spluttered fury, Kurt Cobain’s self-loathing, Black Francis’ screams and yelps, Beavis and Butthead’s wit – are driven first to their grim conclusion, then right over a cliff.

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Comments

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  1. 1
    Samantha C on 10 Aug 2015 #

    I LOVE this record, it is absolutely craptastic. Listen to it as a duet between Scrappy Doo and the big dog out of Tom And Jerry. I have never heard anything else by this group and I don’t want to.

  2. 2
    JLucas on 10 Aug 2015 #

    Even as a teenager myself, I could for the life of me understand how anyone took Fred Durst remotely seriously.

    Irredeemably dreadful. Is this the only Nu-Metal #1?* It was never really my genre but I wouldn’t have begrudged the far superior Linkin Park a chart topper. Most of the other stuff – Puddle of Mudd, Papa Roach etc – was truly abysmal however.

    *I can think of one forthcoming chart topper you could make an argument for, but I see that as more of a goth-pop Jim Steinman tribute with a nu-metal guest rap. The lines are blurry…

  3. 3
    Brendan F on 10 Aug 2015 #

    The most inexplicable entry in 1,001 Albums to Listen to Before You Die – needless to say I won’t be taking up their recommendation

  4. 4
    JLucas on 10 Aug 2015 #

    Let’s look at some nicer records, shall we?

    Rollin’ was the first two-weeker of 2001. The first week was relatively quiet with the next-highest new entry a chart debut and career peak of #6 for the much hyped Spooks with ‘Things I’ve Seen’ – a fantastic record that sadly didn’t really lead to much. They had a second hit with the only slightly less good Karma Hotel, then dropped off the face of the earth.

    In at #7 an already defunct All Saints, whose personal relationships fell apart spectacularly around the release of their second studio album, to such an extent that this video had to be shot to accomodate the fact that the Appleton sisters refused to be in the same room as Mel Blatt and Shaznay Lewis. Unlike the sublime Orbit-produced preceding singles, this is the handiwork of the group’s frequent collaborator Karl ‘K-Gee’ Gordon, and like most of his productions for the group it’s dated terribly.

    #9 a third consecutive top ten hit for P!nk, still a stranger to this blog but [SPOILER ALERT} not for long. Her first album saw her marketed as a sort of female Eminem, which was rather misleading. It sold pretty well, but a drastic image change for album #2 would really take her to the stratosphere.

    #11 Falling by Boom, an attempt to replicate the Steps/S Club formula just a couple of years too late. This was hyped to the high heavens in the pop mags of the time, but when it missed the top ten they vanished pretty much instantly.

    #14 something called Spaced Invader by Hatiras ft. Slarta John, a rare chart entry from this period I have absolutely no memory of whatsoever. I’m going to assume it was a dance song.

    #16 ATB ft. York – Fields of Love. Again, no recognition factor here, though both acts had previously scored much bigger hits.

    #24 Linkin Park, making their chart debut with One Step Closer. Would that the positions for this and Rollin’ could have been reversed…

    #28 Terrorvision, a mid-90s mid-chart staple making their final top 40 appearence, and the only one following their commercial apex ‘Tequila’.

    #29 Pistol Whip by Joshua Ryan. Again, no clue.

    #33 Madison Avenue’s third and final top 40 hit. I remember hearing a remix of this song out all the time, far more than their second hit ‘Who The Hell Are You?’, but obviously this wasn’t reflected in the chart position.

    Finally another club song at #34 but one I know well, a celebrated remix of Everything But The Girl’s ‘Wrong’ entitled Tracey In My Room. As you may perhaps have gathered, club music isn’t really my strong point but I really like this one – which I was introduced to by its inclusion on their Greatest Hits. Last appearance by them in the top 40 too, sadly.

  5. 5
    Ronnie on 10 Aug 2015 #

    > I LOVE this record, it is absolutely craptastic.

    I expect this will be a common sentiment in the comments. As far as ironic camp goes, nu-metal only has one better and that’s Papa Roach’s “Last Resort” (and perhaps “One Step Closer,” Linkin Park’s first and worst single).

    I mean, this song, it just has so much energy, and it’s so blind to its own badness. If it is noticeably less enjoyable than other Limp Bizkit singles, it’s because it isn’t as unintentionally revealing as Durst’s more interesting songs like “My Way” or “Nookie.”

  6. 6
    JLucas on 10 Aug 2015 #

    Week two…

    Just missing out on a second #1 is Usher with the energetic Pop Ya Collar. I remember him promoting this heavily, and it did better in the UK than in his homeland, although his next single ‘U Remind Me’ was massive everywhere and really elevated him from borderline one-hit wonder to global superstar status.

    #3 Dr Dre and Snoop Dogg with The Next Episode. A chart peak for Dre as a lead artist, although I feel like ‘Still D.R.E’ and ‘Forgot About D.R.E’ are better remembered.

    #6 Played a Live (Bongo Song) by Safri Duo, one of the more distinctive dance hits of the year, and cleverly sampled (possibly unofficially) by Steps at the end of the year to give their reworking of Diana Ross’ Chain Reaction a contemporary sheen.

    #7 was the final chart appearance for Martine McCutcheon, with a serviceable but ultimately pointless run through Donna Summer’s ‘On The Radio’ – out-peaking the original by a whole 24 places. McCutcheon’s pop career burned out rather quickly, and a commercially disastrous album of musical theatre standards in 2002 – which yielded no chart singles – was her only subsequent recorded output.

    #9 Dario G with a wispy cover of The Cranberries ‘Dreams’. Perfectly serviceable, but not a patch on the original, or indeed Sunchyme.

    #11 Anastacia, staving off the threat of one-hit wonderdom that I was personally convinced she was doomed for with the bluesy ‘Not That Kind’. This sounds almost credible now, and it’s interesting that she didn’t really return to this style, instead carving out a lucrative career honking her way through eurofried pop-rock and light disco anthems.

    #12 Genius Cru with Boom Selection, the obligatory modest garage hit that we’ll see a version of in most weeks of 2001 and then never again, ever.

    #14 The inevitable disappointing second Baha Men single.

    #15 Boys by B.O.N. What an absolute treat this is. Dirty German pop that inexplicably made a mark in the UK. The flesh-heavy video stirred up some troubling feelings in my adolescent loins at the time.

    #19 Blood is Pumpin’ by Voodoo and Serano. Pass, though I recognise the name, I think they did a lot of remixes of pop songs at the time.

    #23 All I Do by Cleptomaniacs featuring Brian Chambers. I do actually remember this one, I thought it was a much bigger hit than this.

    #24 Oh No by Mos Def, Nate Dog and Pharoahe Monch, three critically adored rappers who never really became big chart stars in the UK, though Nate Dog appeared on a number of big hits for other artists – most notably the iconic ‘Regulate’ with Warren G and the slightly less iconic ’21 Questions’ by 50 Cent.

    And that’s the lot.

  7. 7
    lonepilgrim on 10 Aug 2015 #

    the video features the band on top of the Twin Towers – I have a vague memory of TOTP cutting to a live/mimed performance by the band from the same location but maybe its the video I’m thinking of. Slightly disturbing to see them in this context.
    FD fails to appear either cool or tough with his “Alright…..pardner. / Keep on rollin’ baby / You know what time it is” One phrase might work; all three suggest a man without a clue.
    The music itself is pretty compelling and the chorus memorable – but the singing sounds like an old man trying and failing to get down with the kids. Oh wait…

  8. 8
    Doctor Casino on 10 Aug 2015 #

    Oof! This isn’t their best number by a long shot, but it’s maybe their most energetic, and thanks almost entirely to Borland, sonically much more interesting than basically anything else on the Modern Rock chart at this date. Similarly incompetent grandpa-tries-to-rap rappers have fared better on Popular (if maybe with little quite so shameless as the “…right here!” tags padding out the rhymes), so I have to follow the review and agree that the big big weakness here is in Durst’s persona: mouth-breathing troll, shit-stirrer who intends nothing more than to rile you up and then coolly declare “hey man, I’m just saying! jeez, chill out” (while stroking the – inevitable – goatee).

    Obviously not a frontman for the ages, but marking this so low seems to give little room for their [i]worse[/i] songs, like the brooding and interminable “Re-Arranged,” or Durst’s portentous, heavily-played duet with the guy from Staind. At least this has a little bit of toe-tapping pep, and a chorus easily adaptable to the Hokey-Pokey.

  9. 9
    23 Daves on 10 Aug 2015 #

    Just watched the video for “Rollin'” for the first time in well over a decade (and certainly the first time I’ve actually opted to watch it). I presume it’s not supposed to be parodying anything else or actually supposed to be funny, but I’ve had something of a chuckle. Obviously Durst’s conversation to camera at the start of the video is supposed to be amusing, but I can’t quite tell if you’re supposed to wish you were him in such a marvellous situation, or the whole thing is deliberately cartoonish and everyone involved knows they’re being ridiculous. But the latter credits Durst with a self-awareness I doubt he actually has.

    The rest? A mix ‘n’ match mess of metal, hip hop and douchebaggery, the noise of a pie chart having a technicolour vomit. Durst actually isn’t that convincing as a jock, playing it like the kid on the fringes of the circle who has been given the benefit of the doubt and might be found out any minute.

    And… he actually slightly reminds me of he whose name must not be uttered for fear of gaining the wrath of the internet, Gary Glitter. Faintly naff, slightly too old and not quite right for his role, chanting a lot of rebellious slogans and making a sledgehammer racket. My older brothers were both heavily into Glitter as kids, and my parents were repulsed. “He’s awful! He’s ridiculous! He’s hilarious! How can you like this?!” And that’s how I felt about Durst in his time, that he was a slightly silly chancer with a couple of ideas he’d ripped off and misunderstood from other sources, living out his gang-leader fantasies. Trouble is, Bizkit were bloody everywhere for a little while, and the joke wore thin very fast, leading eventually to irritation (and my comparison ignores the fact that Glitter, to me at least, seemed more in command of a stage than Durst has ever had a hope of being).

    It’s safe to say that I never understood nu-metal. Some of my older metal-loving friends were delighted because its popularity meant that a lot of the rock clubs in London in the early noughties began to thrive again after a number of depleted years. But of course, none of them actually listened to or liked Limp Bizkit, Slipknot, or even Linkin Park, they were just quite happy to reap the benefits of metal’s increased exposure for that period. It cheered them up to see lots of younger people around. Seems like too high a price to pay to my ears.

  10. 10
    Chelovek na lune on 10 Aug 2015 #

    Superb review of a fairly dreadful record. Adolescent in a puerile, frat-boy, privileged way (as the video reference to a valet at the start does nothing to deny.)

    Just yuk. Maybe the sole good thing I can say about this is that it helps me appreciate the (astoundingly unbunnied, given how ubiquitious they eventually became) Red Hot Chili Peppers a bit more than they probably deserve: they were even older than Limp Bizkit, although not very much less adolescent most of the time, and did this broad funk-metal-watered-down sort of thing a hell of a lot better than this lot (having admittedly been at it for donkeys years already – oh socks on cocks in the 80s, how did Limp Bizkit fail to copy this too?)

    And as for all the artists with new entries this fortnight – it’s a crying shame we don’t get to discuss Anastasia at any point. At her best, she was fantastic, forthright and fearsome.

    A very generous (2)

  11. 11
    thefatgit on 10 Aug 2015 #

    I experienced nu-metal through my daughter’s shifting tastes. I must admit, some of it wasn’t entirely bad. System Of A Down, Papa Roach, Linkin Park and Korn were enjoyable on their own terms. Limp Bizkit seemed a little too…cartoonish, shall we say to be taken seriously. Ah, but should nu-metal be taken seriously at all? Perhaps that’s a little too broad a swipe. The target here is Durst, who is entirely deserving of the kind of ire directed at (insert G.O.P. Presidential candidate here).

    If I was pressed, I’d probably cite “Take A Look Around”, their Mission: Impossible II tie-in as their most tolerable song. Stuff like “Rollin’…” and “Nookie” are utter bobbins. However, the only redeeming factor is Wes Borland, who by being entirely his own invention, is a glimmer of brightness in the fug of your average frat-house kegger. For that alone, I’ll say (3).

  12. 12
    katstevens on 10 Aug 2015 #

    Great fun to do at karaoke: a song you literally cannot make any worse by drunkenly singing it yourself. I don’t *think* it was me that played this at Club Popular but if so I regret nothing.

  13. 13
    mapman132 on 10 Aug 2015 #

    I never hated Limp Bizkit as much as some people, but I wouldn’t call myself a fan either. This is their worst single of the ones I’ve bothered to listen to (with the possible exception of “Nookie”), and seeing it atop the UK chart for not just one but two weeks was baffling. Slow sales weeks? Curiously it was also their biggest US hit at a whopping peak of #65. Despite two #1 albums I guess they didn’t get much airplay away from modern rock stations…so no US Top 40 appearances. Meh.

    I never saw the video until yesterday – didn’t even realize the WTC was so prominently featured.

  14. 14
    Seb Patrick on 10 Aug 2015 #

    On every Limp Bizkit record I hear, I can only imagine Wes Borland rolling his eyes in a Gromit-esque fashion at the thundering arsehattery of the man yelping in front of him. I can’t actually fathom how the two of them ever ended up in the same band in the first place.

    As this was my just-before-university period, I knew far too many people who liked LB at the time, although to be fair to them, even most of them had grown weary of them by the time of this album and single. “Last Resort” is probably a more hilariously bad track (with its even more hilariously bad “But moo-oooom, I don’t want to clean my room!” video), but at least there was a vague sense of earnestness to it. Linkin Park were pretty unbearable sonically but again, didn’t quite have the absolute twat factor of Durst. Puddle of Mudd were probably the only ones who were even worse than LB.

    Someone mentioned System of a Down above, too: always a bit unfairly lumped in with the nu-metal lot by virtue of putting their most commercial-sounding album out in 2001 (and having a lead single from it that played on MTV2 on a constant loop), but they really were pretty bloody great in their early days, and were unfortunate that all of this stuff kicked off just as they were getting big themselves.

    Oh, and as I understand it, Limp Bizkit basically only existed because Fred Durst was the tattoo artist of yer man from Korn, and badgered him to help get his records out there. Imagine being responsible for inflicting both Korn *and* Limp Bizkit on the world.

  15. 15
    katstevens on 10 Aug 2015 #

    Don’t drag Korn into this Seb! They are the nu-metal ABBA to LB’s Brotherhood of Man.

  16. 16
    flahr on 10 Aug 2015 #

    Maybe Fred Durst should start a new group called Absolute Twat Factor.

    I can imagine this being more tolerable if, as Tom aludes, it was low metal growl all the way through; as it is this isn’t even obnoxious, it’s just bad. I like the sleeve though.

  17. 17
    Tom on 10 Aug 2015 #

    I should point out that this is one of those reviews that marked itself. When you’ve built your intro around scatological metaphors the only way to go is a number two.

    (Anything between 2 and 4 seems a fair reflection of Wes Borland’s efforts to make this interesting. I have a good deal of sympathy with the so-bad-its-good line too but if my marks started taking that into account the barbarians would soon be at the gate…)

  18. 18
    lmm on 10 Aug 2015 #

    Wow, I’m always surprised by what brings out the hate here. I knew there was a Nickelback-style memetic hatred of Durst but I didn’t think people meant it (then again all the Woodstock ‘99 stuff was before my time).

    Musically this was fun at the time and it’s more fun now (partly that I’m less bothered by the lack of melody). Back up, back up, tell me what you gonna do now. I’m not going to claim it’s a work of genius (unlike Linkin Park), but it’s everything the charts are about.

  19. 19
    Andrew Farrell on 11 Aug 2015 #

    The sleeve is definitely “one of these things isn’t like the others”.

    I don’t know that I like like this, but I definitely prefer it to anything else by them – compared to Take A Look Around’s “I know why you want to hate me, because hate is all the world has ever seen lately”, I greatly prefer happy Fred to sad or angry Fred. Though I’d prefer neither, and just to be left with that sad parping noise on the track that haunts me (some kind of synth?).

  20. 20
    Andrew Farrell on 11 Aug 2015 #

    Since we will fortunately never see him again, a note on Fred Durst’s nadir. There is a saying that “a teaspoon of fine wine in a barrel of sewage is a barrel of sewage – a teaspoon of sewage in a barrel of fine wine is a barrel of sewage – such is entropy”. Later in 2001, Fred was that teaspoon of sewage in the Artists Against Aids’s cover of a Marvin Gaye classic: “Somebody tell me What’s Going On? / We’ve got human beings using humans for a bomb”.

    Fortunately the Dupri R&B version is entirely missing that, and frankly something of a delight: https://www.youtube.com/watch?v=H_hy8ngsq44

  21. 21
    Andrew Farrell on 11 Aug 2015 #

    Haha pedantry of the highest order: it’s “You better get some better beats and, uh, get some better rhymes” and I am really rather fond of it as a (dismissive, dickish) line.

  22. 22
    Andrew Farrell on 11 Aug 2015 #

    This is also available as Rollin(Urban Assault Vehicle) – zero Borland but extra Swizz Beats, DMX, Method Man, and Redman, from the soundtrack to the Fast & the Furious. The most you can say about it is that Fred Durst sounds genuinely geeked to be sharing a track with them.

  23. 23
    Tom on 11 Aug 2015 #

    Weirdly enough, I am fond of Durst’s mind-boggling contribution to What’s Goin’ On in the same way you’re fond of the better beats line. WE GOT HUMANS USING HUMANS FOR BOMBS! Not that this is the right place for the 9/11 conversation quite yet, but Durst’s mouth-flapping shock at least felt like an honest response. (Even though, of course, it wasn’t one at all – recorded before the event!)

  24. 24
    Doctor Casino on 11 Aug 2015 #

    My favorite thing about them is how [i]un[/i]-shocking their music is. Always thought it was hilarious that the big payoff was decades-old slang, “my way or the highway!” as if Fred’s irritated teen persona had suddenly flipped over and suddenly started quoting Dad laying down the law. My roommate and I kept hoping they would keep trying to mine dated slang, to climax in “Let’s Blow This (Popsicle Stand),” wherein “Let’s blow this” would be slowly intoned over spooky noodling, followed by Fred squeaking out “LET’S BLOW THIS POPSICLE STAND!” as the chorus kicked into gear. Sigh….

  25. 25
    Tom on 11 Aug 2015 #

    He’s a bit of a Bill Haley figure in a way – definitely my reaction to him at the time was “oh come on, who are you trying to kid?” but the kids (some proportion of the kids) seemed to love him. Though I’m slightly wary of the straw man figure of the Teenage Boy Who Takes Fred Durst Seriously – even though I use him a little in the review, I’m a bit unsure he ever actually existed.

  26. 26
    Doctor Casino on 11 Aug 2015 #

    He very definitely existed! I knew a guy that seriously repped for Durst, even met him once after a show (and reported positively that he was very chill and friendly with the fans).

  27. 27
    Doctor Casino on 11 Aug 2015 #

    (I was also a teenager who liked their singles enough to still try and defend them at 33. Was never remotely tempted to buy the album though!)

    I also note incidentally that the UK seems (based just on the charts) to have been largely spared the popularity of Kid Rock, who (before the full emergence of Staind, Linkin Park, et al) was probably the main competitor, besides Korn, for the Bizkit demographic. Again in the spirit of imagining things far worse than “Rollin'” I have to wonder how “Bawitdaba” – whose video features a pointless cameo from Mr. Durst! – “Cowboy,” or “American Bad-Ass” would fare here.

  28. 28
    weej on 11 Aug 2015 #

    I had only previously heard this as a ten-second clip of the chorus used as entrance music for The Undertaker in his brief “American bad-ass” biker incarnation. Though I thought the change of clothes didn’t work, the music seemed, well, ok. It’s only on hearing the rest of the track for the first time today that I can understand why people hated it.

    Nu Metal (along with skateboarding, tattoos, piercings and hating pop music) seemed like a huge shift at the time. When I started university in 1998 it wasn’t even a thing, but with this new student intake in 2000 it seemed like the only thing going. Limp Bizkit seemed to have more in the way of pop aspirations than most of their contemporaries, and Nookie was ok – though obviously this is entirely down to Wes Borland and DJ Lethal. Fred Durst looked and acted like a tool at all times, but this didn’t seem particularly notable. The fact that he was Senior Vice President of A&R at Interscope, that was something else.

  29. 29
    mapman132 on 11 Aug 2015 #

    Chart side note: While Limp Bizkit was selling lots of records and creating a large hatedom without ever having an official US Top 40 hit, the similar sounding nu metal group Crazy Town managed a US #1 with their first chart entry “Butterfly” and then never appeared on the Hot 100 again. Once again Billboard works in mysterious ways….

  30. 30
    Ronnie on 11 Aug 2015 #

    > even though I use him a little in the review, I’m a bit unsure he ever actually existed.

    Seconding Doctor Casino’s confirmation: He was very, very real.

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