Rolling Stone - 1/4/01, p.113
Included in Rolling Stone's "Top 50 Albums of 2000" - "...Durst is more fun than a barrel of Yosemite Sams as he explores his 2 favorite topics: the world and why it sucks....the band is fun, bashing out loud, linear angst-metal heavy onthe spaced-out guitar clang..."
Spin - 1/01, pp.111-27 out of 10
- "...The sound is now clearer...the rapping likewise....this is a slicker, grander record than SIGNIFICANT OTHER....the album definately qualifies as an improvement..."
Q - 12/00, p.1243 stars out of 5
- "...Durst's strength is in gonzo bluster....great knockaround rock songs..."
CMJ - 11/13/00, p.24
"...Damn if the Bizkit doesn't make you wanna shake your rump....Durst stirs up simmering pits of anger....Wes Borland's low-end and DJ Lethal's scratching deftly decorate the tracks..."
Melody Maker - 10/24/00, p.584.5 stars out of 5
- "...On this mighty album, Durst's in full, and frankly, awesome, flow....Super, smashing, great....upping the ante on every wannabe mofo who thinks he's 'intense'..."
NME (Magazine) - 10/14/00, p.416 out of 10
- "...A half-dozen or so stone cold rap-metal rockers...plus another half-dozen or so so-so fillers..."
Limp Bizkit: Fred Durst (vocals); Wes Borland, DJ Lethal, Sam Rivers, John Otto.
Additional personnel: Redman, Method Man, Xzibit, Mark Walberg, DMX, Liam Ward, Scott Weiland, Stephan Jenkins, Rob Dyrdek (vocals); Ben Stiller (spoken vocals); Scott Berland (keyboards); Rich Keller (bass).
Producers: Scott Weiland, Terry Date, Swizz Beatz, Josh Abraham, Limp Bizkit.
Recorded at Larabee Studios East and Westlake Audio, Los Angeles, California; Larabee Studios West, West Hollywood, California; Studio Litho, Seattle, Washington; South Beach Studio, Miami, Florida.
The scatological meaning of Chocolate Starfish and the Hot Dog Flavored Water is obvious to anyone who's graduated junior high. Hot dogs and chocolate starfishes are metaphors, as Fred Durst uses them to illuminate his one topic, how nobody understands him. He occasionally frames his rage as us versus them, as on "My Generation," but, ultimately, it's all about himself. Durst dwells on bad things said about him, dismissing the criticism that he helped stoke the fires at Woodstock 99 with a round of the "critics that don't get it," and devoting a song to an attack at labelmate Trent Reznor. Some fans may empathize with Durst, but will it resonate? ~ Stephen Thomas Erlewine