New Old Songs [PA]

Performer: Limp Bizkit
Artist: E-40; Eightball; Xzibit; Everlast
Engineer: Eddie Sancho; Andrew Coleman; Paul Logus; Senator Jimmy D; Bosko
Producer: DJ Lethal; DJ Premier; Fred Durst; Josh Abraham; Limp Bizkit; Ross Robinson; Scott Weiland; Terry Date
Distributor: Universal Distribution

Notes: NEW OLD SONGS is a collection of Limp Bizkit remixes. Personnel: Timbaland (vocals); Grisha Dimnant, Paul Logus, Troy Van Leeuwen (guitar); Bosko (electric guitar, talk box, programming); Scott Storch (keyboards). Audio Mixers: Josh Abraham; Lethal; Michael Parnin; Paul Logus; Serban Ghenea; Bosko. Audio Remixers: DJ Lethal; DJ Monk; DJ Premier; Dub Pistols; Fred Durst; Track Mack; Josh Abraham; Mario Winans; Sean "Puffy" Combs; Senator Jimmy D; The Neptunes; Timbaland; William Orbit; Bosko; Butch Vig. Recording information: Bombay Entertainment Digital Studios, Los Angeles, CA; Daddy's House Recordings, New York, NY; Josh's Garage, Los Angeles, CA; Windmark Studios, Virginia Beach, VA. While Limp Bizkit scrambled to find a replacement guitarist for the vacancy left by Wes Borland, mastermind Fred Durst found a way to breathe new life into selected tracks from the band's canon. NEW OLD SONGS reads like a who's who of 2001's hottest DJ's. "Nookie" sounds funkier and possibly more compelling than the original, as manipulated by The Neptunes, while Timbaland puts a fresh spin on "Take a Look Around" with hip-hop help from MC's E-40 and Eightball. Limp Bizkit's own man behind the turntables (DJ Lethal) takes center stage with his cut-up version of "Break Stuff." Xzibit checks in with DJ Premier on "Getcha Groove On," while Durst tries his own hand at remixing with guest vocals by Everlast on "Faith/Fame." NEW OLD SONGS is a great introduction for hip-hop fans that find rap metal a bit hard to swallow, as these well produced remixes simultaneously appease hungry Bizkit fans.

Taking their musical cue from their friends in Korn, Limp Bizkit bottled the rage of metal and merged it with vocalist's Fred Durst's white-boy rapping skills. With the kind of rock-star excess missed by some in the mid-late 1990s (due largely to Guns N' Roses' MIA status during this time), Durst and company attempted to pick up the slack all by themselves.

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