Polski opis

Jest to teledysk promujący płytę "Results May Vary" - "Eat You Alive".
Czwarty album w dorobku tej amerykańskiej grupy rodził się długo i w bólach. Najpierw odszedł gitarzysta Wes Broland, którego - mimo usilnych poszukiwań - długo nikt nie zastąpił, aż w końcu wybór padł na Mike'a Smitha (eks-Snot). Już z nim ponownie nagrano cały materiał, dlatego wielokrotnie zmieniano datę premiery płyty, pojawiło się również kilka "przecieków" dotyczących tytułu płyty i problemów, jakim muzycy musieli sprostać podczas jej nagrywania. Ostatecznie trzy lata po premierze poprzednika "Chocolate Starfish and the Hotdog Flavored Water" (tylko w USA ponad 7 milionów nabywców!), album dotarł do sklepów. Znalazło się na nim 16 utworów, nagranych głównie w Los Angeles. Wśród nich jest m.in. cover kompozycji "Behind Blue Eyes", z repertuaru angielskiej grupy The Who. Freda Dursta i kolegów gościnnie wsparli m.in. znany raper Snoop Dogg, a także Brian "Head" Welch z grupy Korn. Producentami całości są natomiast Durst i Terry Date (Deftones, Soundgarden). Na pierwszym singlu ukazało się nagranie "Eat You Alive". Album ukazał się także w wersji z dołączoną płytą DVD, zawierającą 35 minut materiału (wywiady, zdjęcia zza kulis, fragmenty koncertów), pochodzącego z pełnowymiarowego DVD "Poop".
źródło: muzyka.interia.pl

 English description

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 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 band's 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 doesn't come up with any new musical ideas, apart from slight hints of Staind and emo on the ballads, but the album doesn't 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 Miller's "Take the Money and Run," "Gimme the Mic" plagiarizes the Beastie Boys' "Pass the Mic" down to rhyming "y'all" with "y'all" (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. ... Read More
source: allmusic.com