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| Page 1 |
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| Durst obsesses over Britney Spears, Angelina Jolie, Tyler Durden and himself ...
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| Page 2 |
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| Did Limp Bizkit rip off Jane's Addiction, Public Enemy and the Steve Miller Band? ...
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| Page 3 |
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| Fred admits he has love for the haters — well, some of them at least ...
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| Photos: 16 months with Limp Bizkit
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| Photos: Halle Berry and Durst on the set of "Behind Blue Eyes"
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| More Limp Bizkit photos
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A cover of the Who's "Behind Blue Eyes" provides perhaps the best capsulation of the modern-day Durst. "No one knows what it's like/ To be the sad man/ To be the bad man/ Behind blue eyes," he sings, drawing the ire of many Who fans who consider the song sacred ground. Durst may not have known the song's rank in the classic-rock canon — he even admits he's never listened to a Who album in its entirety — but that wouldn't have factored into his decision to make it is own. Durst's twist: leave out the original song's bridge, which showcased one of the Who's trademark rock-outs, and add a new verse of Durst-penned lyrics.
"[Rocking out] would have been too predictable," he said. "My reaction a few years ago would have been, 'This song needs to go somewhere.' ... Even my managers were like, 'I don't think this song is good. It's got a buildup, you have to go somewhere with it.' And I was like, 'F--- you guys.' My managers are still stuck on where I last took off. But [instead] I was reserved. And I wound up taking it to a more dreamier place — just what you don't expect."
The other striking trait of Results May Vary is the music. Save for the Who cover, it's all new material played by the band — bassist Sam Rivers, drummer John Otto, DJ Lethal and new guitarist Mike Smith — though parts will ring familiar with fans of the Fat Boys, Jane's Addiction, Public Enemy, old-school hardcore and even the Steve Miller Band.
"Let Me Down" starts with drumming that takes a cue from the Steve Miller Band's "Take the Money and Run," right down to its "whoo-hoo." "Head for the Barricade" borrows the Fat Boys' stuttering "Stick 'em." And old-school hip-hop is mined for "Gimme the Mic" and "Phenomenon," which appropriates Chuck D's "Bring the Noise" line "Once again back is the incredible" and rhymes it with "in-Fred-ible."
Durst insists he's not ripping anyone off — just paying homage. "That's using the tools of your life," he said, "the things that inspired and influenced us. Just because what you're writing makes you feel how something else made you feel, that doesn't mean you shouldn't do it. ... I've used references on all my albums. I've used Suicidal Tendencies, Eric B. & Rakim ... That's just the way I am. That's the hip-hop part of me. Hip-hop artists will go and take one line of their dopest verse and make it the hook of another song. Hip-hop builds off what comes right before it."
As Limp Bizkit continue to evolve, they move further away from their base. Some bands upped their hip-hop flava after Bizkit paved the way with 1997's Three Dollar Bill, Y'all, but Durst and crew have drifted toward rock and heavy metal.
"When we were first doing what we did, there was less than a handful of rock bands I knew of that had rock and hip-hop as the essence of what they were about," Durst recalled. "And it was really exciting then. It felt new and untouched. Then that became the norm for a couple of years. If there's one thing about Limp Bizkit, we're not about being part of the norm. We're about breaking new ground and finding new things in ourselves. And the ground we're touching now feels so much more evolved and new. Even though it's rock, it feels light years ahead of where we started out."
The move toward rock was just fine with Mike Smith, the replacement for founding member Wes Borland, who split two years ago. Filling his shoes was a lengthy ordeal fraught with the failure of a nationwide open audition, a range of tryouts and even Durst attempting to play guitar himself.
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Photo: MTV News
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