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Unauthorized documentary of the rock band, Limp Bizkit. #rockmusic #limpbizkit #dvd #documentary #music #rock #music
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03:45Hey we're here to see Limp Bizkit, I can't wait for the show, hell yeah!
03:52My name's Sean, so I'm Mahoney.
03:55I guess I was the t-shirt guy for a while when I first started out.
03:58That's how everybody knows me, the t-shirt guy.
04:01Musicians, all of them, outstanding.
04:05Outstanding.
04:06John, the drummer, he amazes me.
04:11I think everybody in the band can play everything.
04:13I mean, they got, Fred gets on the drums, gets on the guitars, I mean, sitting on the tour bus,
04:19Fred plays the guitar on the tour bus, and sitting there making beats, John and Lethal are making beats on
04:24the MPC machine and everything.
04:26It's pretty cool.
04:28It's pretty cool.
04:28They're really good at what they do.
04:29I mean, I can, I'll give them that much.
04:32Originally, it was always pronounced Limp Bizkit, I believe, but originally the name was spelled B-I-Z-K-U
04:43-T, the Biscuit was, but they changed it because they wanted people pronouncing it Biz-cut, I believe.
04:49One of the guys that worked for the band was known to smoke a lot of marijuana, and he made,
05:00in passing, a remark about his brain being the consistency of a Limp Bizkit due to all the THC, and
05:09I think Fred kind of picked up on it and went from there.
05:11Say, hey, we want some peeps, say.
05:16And it was all, it was history from there.
05:19Everybody that you ran into that hadn't heard the name, they were like, what the fuck are you talking about,
05:24man?
05:25You guys are stupid.
05:26What kind of name is that?
05:27And everybody was, you know, oh, corn, corn, and then they'd be like Limp Bizkit.
05:32But the people that were close to the situation, close to the band, and knew where the name came from,
05:37could always have a smirk about it, just always like, yeah, whatever, it's going to be huge.
05:42He signed my $10 bill.
05:43He signed my $10 bill.
05:45He signed my $10 bill.
05:46He signed my $10 bill.
05:47Awesome.
05:48Awesome.
05:52Fred got into tattooing.
05:55He got hooked up with a gig out at a shop close to a Navy base on Mayport in Jacksonville,
06:02and right next to a topless bar.
06:07Both were owned by the outlaw motorcycle gang.
06:11And I hooked up with Fred after we started playing together and hung out at the shop and basically apprenticed
06:19under him.
06:20And a lot of hanging out, just going next door to the bar, drinking beers, talking to the girls, and
06:27doing a little tattooing every now and then, body piercing.
06:32Fred was, from what I understood and what I saw, was fairly popular.
06:38He had enough of a following compared to everybody else here, it was about the same.
06:43And when his band started to get big, it got a little bigger because, you know, he's on stage, he's
06:47telling him where to go and that he's doing tattoos.
06:50So naturally, they're going to be like, oh, okay, the singer of the band does the tattoo.
06:53I want one from him.
06:54I want to fuck Fred Durst.
06:57The place I go to work in Dallas, Frank Lee, who is just the most, one of the most phenomenal
07:03and dynamic artists I've ever met.
07:06From what I understand, what I've seen, Fred is particularly fond of Frank Lee.
07:10Some of his forearm work, some of his more prominent work is from him.
07:13And, you know, at least he's got some pretty good taste in some of his artists.
07:28And he continued to work in different shops until, I guess, six months into his career as a tattoo artist.
07:37He had a stint in Philadelphia.
07:41He worked up there for probably four or five months.
07:45And that was during that time that the band kind of took a break for a while.
07:55I'm going to stop here because this is like Wes enters the picture.
08:04The Forbidden Planet on Planet Radio 93.3.
08:07That's called Get Up.
08:08Right now here's brand new music from Jacksonville's own Lip Biscuit.
08:11This is called No Sex right here on The Forbidden Planet on Planet Radio 93.3.
08:16I'm Robert Goodman.
08:18I do a show called Forbidden Planet and a show called Open House here in Jacksonville on Planet Radio 93
08:23.3.
08:25My show was like the first show that really supported Limp Biscuit and gave them a lot of airplay.
08:29Plus I drummed a lot of people up to go see their live shows, get record contracts.
08:34I also contacted a lot of people in the industry and kind of helped push them towards finding out about
08:38the band.
08:39Just really believed in the band locally and wanted to see them be a lot more than just another local
08:44band.
08:45It's been really hard for bands out of Jacksonville to really go anywhere because there hasn't been a lot of
08:51places to play.
08:53Jacksonville is a very religious driven town. The Baptist Church controls the town.
08:58And, you know, it's just, it's been really hard for bands to kind of take off and grow somewhere.
09:09Jacksonville is not the easiest town to be a band in that is attempting to make it big.
09:15Limited clubs, a very lackluster downtown scene, and just an apathy that most other cities of this size don't have.
10:14It's a small town, you know, through population size, but geographically it's huge.
10:19And, I mean, there are some good places as far as this town.
10:22Like, the Five Points area has, like, three or four walls that are commissioned for people to graffiti on.
10:28So, I mean, they embrace a lot of, like, the urban elements.
10:31You know, they embrace break dancing in a lot of places in Five Points.
10:35A lot of the clubs, I mean, although the scene's kind of exploding down here as far as, like, the
10:39dance scene,
10:40I mean, it's a fairly positive, it's staying pretty positive scene.
10:43So, I mean, there's a few big clubs in Jacksonville.
10:45Yeah, there is some dead spots and there can be nothing to do, but it's just like any other town
10:49as far as that goes.
10:53My name is Sage, and I'm the ex-girlfriend, and I guess I just help with the lyrics.
11:00He just pretty much wrote about things that we had gone through.
11:04So, that's how I helped that way.
11:07The first concert that I went to, Limp Bizkit, was at the Milk Bar.
11:14And it was very, there was hardly any people there at all.
11:18It was very, very bad, actually.
11:23They weren't very depressed, I guess.
11:25They were just trying to do and get around and get out and get people to listen.
11:31Just their normal following people, probably 15 people that just knew about Limp Bizkit
11:37and just always came to the band room and just was there the whole time.
11:54Last year sometime in Orlando, it was the Ozzfest, but they didn't headline or anything.
12:01But that was the biggest that he was involved with that I went to.
12:07I didn't like it at all.
12:08I didn't like flying, but I did it a lot from L.A. to here all the time.
12:12Or usually just to different cities that they were at and stay on the tour bus for a couple days
12:17and fly home and back and forth all the time, usually.
12:22Jacksonville is a very boring town, but it's home, you know, and that's where your roots are, I guess.
12:29And so, definitely get homesick.
12:36My name's Kevin Conley.
12:38I own an independent music store in Jacksonville Beach, Florida.
12:41Me and my three other brothers have owned a few different establishments in this community for a while.
12:45It's fairly positive.
12:46It's staying pretty positive scenes.
12:47Everybody's starting a band.
12:48Everybody's starting this, you know.
12:50It's almost unbelievable.
12:51And I think a lot of it has to do with Limp Bizkit coming from here and making it so
12:55big.
12:56And Fred's whole approach on MTV, always talking about he's a fan, now he's on the other side of the
13:01barricade.
13:02So it really fuels a lot of dreams for people to think that they could make it happen.
13:05What's up, Fred?
13:07Wes, I love you.
13:08I think it's nice to see Fred trying to help out some of the people he used to know.
13:12Really, it's hard for a band in Jacksonville to find shows.
13:19Even finding rehearsal space here is a hassle for bands.
13:22It's a constant struggle.
13:24If you want to play in a band in Jacksonville, you're going to have to be dedicated and you're really
13:29going to have to want to do it.
13:31So you'll get, like, I mean, everybody and their mother coming in here.
13:34They're starting a hip hop metal band.
13:36It's almost gotten to the point that it's out of control now.
13:38But, I mean, I've never seen anybody get recognized as quickly as they have or, you know, as thoroughly as
13:45they have.
13:45How long have you been a fan?
13:46Oh, forever and a day.
13:48Oh, my God.
13:48Ever since I knew the name Limp Biz, Counterfeit Man.
13:51Oh, yeah.
13:51Uh, kick ass.
13:53I've been a fan for about two years now.
13:55You ever see him at the Milk Bar?
13:56Yeah, we saw him at the Milk Bar last year, like last November.
13:59So it's pretty cool seeing a local band make it pretty big.
14:02Yeah, that's pretty good.
14:03Gives everyone else inspiration.
14:15My name is John Citroni.
14:17I am the arts and entertainment editor for Folio Weekly.
14:20They were becoming a fairly well-known local band.
14:24They didn't have the stature of what might be called a regional act.
14:30But I started hearing about them playing, you know, being the calendar editor here at the time,
14:34I was putting their show dates into the calendar and misspelling their name.
14:38And I didn't know much about them except that they were playing the clubs with everybody else.
14:44Their act hasn't really changed.
14:47In fact, I remember seeing Limp Bizkit, oh geez, I would say a couple of years ago,
14:52a good year before Three Dollar Bill Y'all came out.
14:55And they were playing a show and there weren't that many people there, but they were still really into it.
15:01Fred was still running all over the place and screaming.
15:05So the music may not have changed.
15:07It may have evolved and they do some different stuff now.
15:10Money and a really good studio can let you do more.
15:14But they've just blown up.
15:29Pretty much at the time it was smaller venues, club scenes, a lot of dark places.
15:38Stuck in the corner, you know.
15:40A lot of people, when we first started out, before they knew who Limp Bizkit was, they were like,
15:44you know, Limp Who, what's that?
15:46They played, they played in places like, like around here, what used to be called Spike's Doghouse.
15:52Little, little tiny stage.
15:53I mean, you could barely fit them all on the stage.
15:56I mean, it was, I mean, Fred would be walking around, you know, like in the barricade or whatever.
16:00He'd be down on the floor just, you know, singing, walking around with the people,
16:03like the five or ten people that might have been there, you know, just hanging out with them.
16:06The band's first show was at a place called Spike's Doghouse in Jacksonville.
16:12And we came out on stage and looked over and Fred's got a metal flake blue motorcycle helmet on
16:22with a Playboy bunny insignia on the side, no face mask.
16:26He looked silly as hell. It was great.
16:29And I could hardly play the first song for laughing.
16:31Hooray Avenue
16:34Do
16:35Jpunk
16:35Jpunk
16:50Jpunk
17:52And so we had to get here from like 20 miles away and we got a U-Haul.
17:56We had to rent some U-Haul to make it here, but we made it because it's limp motherfucking
18:00biscuit.
18:03Enjoy the show.
18:04Lots of love.
18:08My name is John Jenkins.
18:10I work for Sally Corporation.
18:12We do animatronics and robotics.
18:14I do the digital audio side as well as the programming side and we also do the mastering
18:20here as well.
18:21I first met Rob Waters, who was the first original guitar player for Lint Biscuit, and
18:27he was the one that approached me with the idea to basically record the band at my studio.
18:33I've known Rob for a while and I've known him before that for a few years.
18:37He's been in several different bands in Jacksonville.
18:42And he decided to approach me with the whole idea of recording Lint Biscuit.
18:46And at the time, Rob was in another band as well.
18:48So I was like, well, yeah, I'll see what I can do with that.
18:51And the name kind of threw me at first.
18:54You know, I hadn't never heard of a band called Lint Biscuit, but I was like, sure, you know,
18:58I'll do that.
18:59And we recorded around 95.
19:02We put together a four-song demo and mastered it at another studio and went from there.
19:08I want to hear some Lint Biscuit, man.
19:11Okay, cool.
19:12Thanks for listening to Forbidden Planet.
19:13Peace.
19:14All right, man.
19:15Every specialty show plays things for a couple of weeks.
19:17They play the flavor of the week and then they go on to something else.
19:20Well, on my specialty show, they were the number one requested thing for 60 weeks.
19:24Things don't last 60 weeks on a specialty show.
19:26It was amazing how much the phones would light up.
19:29I mean, I could just answer the phone Lint Biscuit line instead of Forbidden Planet.
19:33It's just crazy.
19:34The Lint Biscuit's music at the time, when we did the first demo, was very similar to it as it
19:40is now.
19:41It was just a little more on the heavier side.
19:43There was no keyboards.
19:44There was no turntables or anything of that nature.
19:47It was basically guitar-based, drums, vocals.
19:51And it sounded a little more stripped down.
19:53I liked the material.
19:54And the first day of recording, I really liked the material.
19:57And I told Rob about it.
20:00It was one of those things where you record for long enough.
20:04I mean, I've been in studios since I was 14.
20:06And you record enough bands, you see one like that coming along.
20:10And you kind of can tell it's a different sound, different kind of vibe.
20:13And, you know, something could happen with the band.
20:31I think adding DJ Lethal to the roster of Lint Biscuit was when the people in Jacksonville really took notice
20:36and said,
20:37Hey, you know, they got the House of Pain DJ with them, they may really break out of here.
20:41They may really do something outside of Jacksonville and really go somewhere.
20:45Because before, I think people, they were a phenomenal local band, but most local bands have stayed in local bands.
20:52And when you added someone who'd already been touring and been hugely successful, had bands like Rage Against the Machine
20:59open up for House of Pain,
21:01you know, they realized that they were really going to go somewhere.
21:05And I actually had a funny story.
21:07The first time I met Lethal was the time they came in with the DAT player to the studio.
21:11And they were going to play, like, a lot of the loose versions of the songs on the air.
21:17Well, they came in and they introduced him as Lee.
21:20And I knew that he was still living in L.A. and that he had not moved to Jacksonville.
21:23So I was assuming that this was just their friend Lee.
21:27When he got here, he had forgotten the DAT player.
21:29And I was like, what do you mean you forgot the DAT player?
21:32And I was kind of mad because I thought it was just their friend who was, you know, didn't take
21:36it seriously.
21:36And I almost kind of yelled at him.
21:38And then afterwards, he was very cordial.
21:41He said, let me go, you know, let me go back to my house.
21:43I'll get the DAT player.
21:44I'll be back in 10 minutes.
21:45If you stall for 10 minutes, we'll get it all.
21:47We'll get the whole thing straightened out.
21:48I really apologize.
21:49He left.
21:50And I looked at Wes and I said, who was that guy?
21:52And he goes, that's lethal from House of Pain or formerly from House of Pain.
21:56And I just completely felt ridiculous.
22:00When they, when Limp Bizkit added DJ Lethal, I think it definitely changed their sound.
22:06He, as a very experimental DJ, he's not just somebody that scratches records.
22:11You know, he runs his things through, you know, guitar pedals, effects processors, martial cabinets.
22:16I mean, he really tries to come up with sounds that are going to be just as much a part
22:20of the music as a guitarist.
22:21And a lot of the times when you listen to their material, it's, it's, it's like you can't, sometimes you
22:26can't tell what's what.
22:27I mean, and that's a good thing to me.
22:29You know, it's like it makes the music that much more interesting to listen to.
22:34And not a lot of people are doing that.
22:38Mark Faulkner.
22:39I'm a freelance writer for the Florida Times Union.
22:42The Milk Bar is a downtown nightclub.
22:45It's actually located in the basement of a building.
22:47It was very dark.
22:49The walls were painted black.
22:50The floor was painted black.
22:51The ceiling was painted black.
22:52There was lighting somewhat, but very minimalistic.
22:57A couple bars.
22:58But it was, I would say, one of the foremost places for new music in the Jacksonville area at the
23:04time.
23:05Did you go see him at the Milk Bar?
23:06Yeah, Milk Bar on Dante's Purgatory.
23:09What's your favorite song?
23:10Great stuff.
23:11My name's Jason, and this is the Milk Bar at Paradigm nightclub.
23:17We had a smaller room inside the Milk Bar called the Green Room,
23:21and we would audition local bands in there, let them play on a certain night,
23:27and then if they brought in a crowd or they showed promise,
23:31then we'd book them to open up for our national acts.
23:34When they were playing in the Green Room in the Milk Bar,
23:37a little tiny place, I mean, 10, 20 people maybe.
23:42I mean, it was, they were loud.
23:44They still put on a good show.
23:46I mean, they weren't holding back because there wasn't very many people there, I'll tell you that.
23:51I mean, they're giving it all they had every time.
23:53They brought in about 30 people the first time they played, which still was not bad for a lot of
23:59local bands,
24:01but they had a lot of, you know, they had it together.
24:05From then, it basically, it almost doubled every time they played.
24:13The first time I saw them live was in March of 96.
24:16They were playing as an opening act at the Milk Bar downtown
24:19with a band called the Evil Mothers out of San Antonio, Texas.
24:24There was probably about 300 to 400 people there for the show,
24:27and it was just a, it just amazed me how much energy the band had while they were on stage.
24:33They had complete control over the crowd.
24:35The stage setup was very minimal.
24:37All they had to the left and to the right on top of the speakers
24:40were two little light brights with a flit, excuse me, a flashing red light inside
24:46with an L and B cutout on top of the speakers on either side of the stage.
24:50But just for their entire set, they wrapped it up with a cover of Paul Abdul's Straight Up,
24:56and it was just a phenomenal show.
24:59After they were done, the crowd realized they weren't doing an encore,
25:02that everyone left, and there was about 12 people for the headlining act.
25:09It seems that whether it's a tattoo or cleaning somebody's floor,
25:15as long as you get the demo under the right hands at the right time,
25:19it's key to your success.
25:21As far as Limp Bizkit, you know, making a connection with Korn,
25:24I thought that was pretty logical.
25:26I mean, they were similar, you know, in sounds.
25:31Fred somehow, I think he was tattooing one of the guys in the band at the time
25:35or something of that nature.
25:39Korn was played in Jacksonville at the Milk Bar.
25:43Fred hooked up with Fieldy from Korn.
25:48Went up and introduced himself as a tattoo artist
25:50and asked if the band wanted to get free tattoos.
25:55And he tattooed a Korn tattoo on Brian's back.
26:05And a pretty awful tattoo, but I think Brian got it covered up.
26:10From what I understood, it wasn't even during business hours.
26:12He had met him at a concert.
26:14He was like, hey, I do tattoos.
26:15Would you like to get one?
26:17And, you know, he was like, okay, sure.
26:19You know, they came in, they did the work,
26:21and the next time they came back, they came looking for Fred.
26:25The joke is that he had done something wrong,
26:27and they came looking for him, and he got to know him.
26:29I don't know if that's true or not,
26:31but that's the joke that goes around.
26:33It could be true or not.
26:34You never know.
26:36At the same time, the guys from Korn were dropping the demo
26:39into some producer's hands, some exec's hands.
26:42And I guess being in the Korn arena
26:46and people who are associated with that genre of music,
26:49deftones and Rage Against the Machine before all those guys,
26:54those kinds of producers are looking for those kinds of acts.
26:57And I don't want to say it was overnight success,
26:59but they certainly had Fred Durst and the rest of the band
27:03in the right spot talking about deals.
27:07He slipped Reggie a tape,
27:09which Reggie passed on to Ross Robinson,
27:14and Ross dug it.
27:16Ross was into the band from the get-go.
27:19I guess he caught some of the buzz that was going around,
27:22and the songs were good.
27:25And from then on,
27:27it was a matter of Fred working his magic on the phone
27:31and talking to management and producers
27:35and people in the industry, man.
27:39He had them all connected right away.
27:41He was hooked up with all these people.
27:43And it was never-ending phone calls
27:47around the Limp Bizkit rehearsal house.
27:52Fred's always getting calls from all these people.
27:55And it was clear that Ross was the one to produce the band.
28:01But Fred definitely made his way in the business pretty quick.
28:07If I had just one memory to think of of Limp Bizkit and my mom,
28:12it would be still when they were in my studio
28:15and I was basically setting them up,
28:17setting the microphones up
28:18and kind of telling, you know, Fred,
28:21hey, this is the way to do it.
28:22You know, this is a microphone that's supposed to be stationary
28:24and you're supposed to sing to it this way.
28:27And him going, no, no, I want a handheld mic.
28:29I want to run around.
28:30I want to do this and that.
28:31And just that was the first impression
28:32that I'll always have in my mind.
28:33You know, it's a funny thing.
28:36And even at that time, you know,
28:38I was having to kind of explain things to Fred.
28:41And then when we mastered in another studio,
28:43I took it to be mastered and we redid the vocals.
28:45And then I just said, okay, this is how you do it.
28:47And he finally gave in.
28:48So I knew at that point he was going to be somebody
28:51to be reckoned with, you know.
28:53After we did the demo,
28:55the first thing that was on their minds
28:57was really not just to start playing out everywhere in Jacksonville.
29:00It was really, I kind of got a vibe from Fred
29:04and Rob as well that they wanted to just try
29:07and shop, you know, the tape as it was.
29:09They really liked the way it turned out.
29:11Originally, there was a demo version of Counterfeit that came in
29:13that when Limp Bizkit had opened up for corn
29:16here at the Milk Bar in Jacksonville,
29:18they had decided that they were going to make a demo tape
29:22and they needed it immediately.
29:24So they went to somebody's house in the middle of the night
29:27and recorded a demo tape.
29:29And Counterfeit was one of the songs.
29:30And it was very, very basic, kind of loose and raw.
29:34Actually, the demo version is really amazing.
29:38And they came in and I recorded it off onto a cart.
29:42And we just played it off the cart.
29:45That was originally the only track we had.
29:47And I played that for almost a year.
29:51As far as Fred Durst is concerned,
29:52I think he did have a lot to do with the band
29:55because of the fact that he just has a mindset
29:57where it's like, yeah, you know, I want to get this band signed.
29:59I want to do something musically.
30:02So he pretty much, and he has a good personality for that,
30:04to talk to other people and to say, you know,
30:07this is what we're kind of trying to do.
30:09You know, can you do this for us?
30:10Can you do that for us?
30:11And he's good at that.
30:13Okay, Smith, so nice meeting all you guys.
30:17Awesome.
30:18Take off your shirt.
30:20Get out of my face, dude.
30:23I know that Korn came through town.
30:25They played Club Five.
30:28And we took the tape to Korn after they played
30:31or before they played one of the two.
30:33Went to the bus, gave them the tape.
30:35They listened to it.
30:35They liked it, you know.
30:37And I think they gave it from that point to Ross Robinson.
30:39And that's how the ball kind of started to roll.
30:43Fred was pretty abrasive.
30:46He was definitely a rock star before he got to be a rock star.
30:49He had the mentality, and I can't say I'm surprised he made it
30:54because when someone's that aggressive,
30:56they're going to get what they want.
30:57Each one of them in the band would go out
30:59and get all their friends to come.
31:00And Fred, the singer, was really good about getting people motivated
31:04to come out and see his shows.
31:08We left Jacksonville two days before Labor Day.
31:14On Labor Day morning approximately 6.30,
31:20the driver of the van fell asleep, ran off the road.
31:26He overcorrected and crashed the van into a guardrail.
31:31Everybody had been sound asleep up until the crash.
31:35And right when the van started to sway back and forth,
31:40people were waking up, and you heard a lot of screaming.
31:44And it happened in a matter of a split second,
31:47but it seemed like it was, you know, an hour
31:50because the details were so vivid.
31:52We hit a guardrail.
31:55The van rolled three and a half times.
31:58I was ejected out of the passenger door window.
32:05Fred and Sam received pretty serious injuries on their legs and feet.
32:10They were asleep in the back, and their feet went through the window.
32:17So the two roadies that were, we had three with us.
32:20One was driving, and there were two other guys asleep in the back.
32:23And it was such a harrowing, like, experience.
32:28These guys, here we are, just everybody's sound asleep.
32:31Next thing you know, the world's spinning around.
32:34The back doors flew open, and one of the guys started to fly out,
32:41and one of the roadies reached out and grabbed them,
32:44snatched them, held them in place until the van stopped moving.
32:49John and Sam and Fred, everybody was all cut up.
32:53We were banged up pretty good.
32:54Terry Balsamo was also in the van.
32:57He had glass coming out of his skin for the next two or three months.
33:09It was pretty laid back.
33:12No crazy parties.
33:13We had a lot of cookouts, a lot of hanging outs.
33:15Just more hanging out than actual practicing.
33:17That was always the speed of the band.
33:19You'd come over, and it was fighting over the Sony PlayStation
33:23to see who was going to get the next turn, you know, and a lot of hanging out.
33:28And in between all the hanging out and having fun and partying,
33:31it was, let's go jam.
33:35No, like, you know, we've got to practice now.
33:38This is rehearsal.
33:39It's got to be serious.
33:40It was never like that.
33:41It was always fun.
33:43We practiced at the house that Fred lived at.
33:47He lived there with a guy named Bob.
33:48And we practiced as much as possible.
33:56Neighbors hated us.
33:58Cops were there all the time.
33:59The cops showed up at least two, three times a week.
34:06We usually tried to stop.
34:08You know, we'd get a little warning or somebody looking out the window,
34:10and all the cops are here.
34:11We'd shut down.
34:12Everybody would act casual, you know, hang out outside or something in the backyard
34:16until the cops left, and they were always pretty cool.
34:19And everybody got arrested.
34:21They threatened to arrest the residents of the house a couple of times.
34:26Never happened.
34:28Yeah, Song Stingfinger was Fred's take on the attitude of the neighbors,
34:35which was, they didn't like the band being there.
34:40And the yard always looked like shit.
34:42I mean, there was always, they never mowed the grass.
34:45And this is a pretty nice neighborhood, you know.
34:48And the neighbors, they were definitely the black sheep of the block.
34:53Hi.
34:55Cool, that was neat.
34:56I like that.
34:56You like that?
34:57That was pretty fun.
34:58Good.
34:58Are you a fan of Love Biscuits?
35:00No, they suck.
35:01Of course I'm a fan.
35:02That's why I paid for Ticket.
35:03Dude, I like the remake of Faith the best, dude, out of all of them.
35:06But I like the new CD, too.
35:07It's pretty tight.
35:08They're pretty real, they can guess.
35:10That's all.
35:12They just had that attitude like, no one knows us anything,
35:16but we're going to get what we can and go all the way.
35:20And they always had that attitude.
35:22People want to go out and see somebody that fires them up
35:25and makes them excited, you know.
35:26And I'm like that, too.
35:28You know, I pick out bands that get me excited.
35:30You know, I go out and when I go to a show,
35:32I go sing, you know, Machine Head, Sepultura, Slayer,
35:36things that get me worked up.
35:38You know, I'll go see a mellower band,
35:39but somebody who's just standing there playing an instrument
35:42is not going to make me excited either,
35:43no matter how good they are.
35:44So, and what I've seen of Freddie Durst's work,
35:47he seems to work them up.
35:49He knows what he's doing there.
35:53My name is Don Smith.
35:56I have a small company called Creative Town International.
35:59And basically what we do is meet bands, different sources,
36:05and we listen to the demos they have.
36:07And if we think it's something that could be sold to a record label,
36:10then we bring them in the studio.
36:11We do a better demo,
36:13and then we attempt to shop it to the labels.
36:16Basically what happened is Sam Rivers,
36:18the bass player, came up here to the studio
36:23and was excited about a band that he had.
36:26And he was telling me all about it,
36:28and he'd heard that I would record demos and try to help.
36:32And so he invited me over to the band room
36:35where they were practicing,
36:36and they set a stool up in the middle of the floor,
36:39and I sat there and listened to the set,
36:42and then I just instantly knew,
36:43these guys are good.
36:45This is real good.
36:46It's different, and it's really, really good.
36:48So after that, we sat around and talked
36:51and tried to make some arrangements to get in the studio,
36:53which we did pretty quick.
36:54My name is Pete Thornton.
36:56I'm an engineer here at the studio.
36:59So I'd gotten a job here,
37:01and he showed up on the scene around the same time,
37:03I guess, a little bit after.
37:06And we started working on different projects,
37:08I guess, right from the beginning.
37:10The lineup at the time was Fred Durst, obviously,
37:17Wes Borland, his brother Scott,
37:19John Otto, and Sam Rivers.
37:21At the time, he said they were rehearsing
37:23right down the street from the studio,
37:25and I had to see them.
37:26They were awesome.
37:27And just went on and on about them,
37:29and I was like, oh, yeah, okay, whatever, you know.
37:34And eventually he brought them into the studio,
37:36and we recorded, like, I guess, like three songs
37:40in about three or four hours.
37:42Just, they were totally prepared,
37:43just knocked it out in no time.
37:45I think that ended up being the demo that got them,
37:49their record deal was the one that we did
37:51in just a matter of a few hours, you know.
37:56Kind of like Rage Against the Corn,
37:59like a Rage Against the Machine meets Corn would be,
38:03I described their sound as that at the time,
38:06just because that's the only way I could,
38:08the only two types of music that I was familiar with
38:10that were ingredients in their sound
38:14were those two bands.
38:16Although I think that they've totally developed
38:17something different from that.
38:20Pieces of metal and jazz and hip-hop all mixed together,
38:25it was just, and done their own way,
38:27it was done different than anything I ever heard.
38:28It was real exciting.
38:29Everybody was in here,
38:31and then the drummer was out there with headphones,
38:33and they just busted it out,
38:36basically one take, I believe.
38:38When I met them, they were already as talented
38:41as any seasoned pro you've ever seen in your life,
38:43so it was very exciting to be around them
38:45when they were working.
38:46Are you a fan?
38:47I'm a dad of a fan.
38:49Oh, what do you think about Limp Bizkit?
38:50I think that I'm on duty tonight
38:52watching these two right over here.
38:54Are you going into the concert?
38:55Oh, yeah.
38:56Have you heard their music?
38:57Yes, I have.
38:58What do you think?
38:58I think I'll be out in the hallway
38:59with all the other parents watching their kids.
39:03They have hooks in all their songs.
39:04I mean, they've learned how to master the hook,
39:06that's for sure.
39:07But I mean, something that wouldn't turn somebody away
39:09before they even start hearing the lyrics.
39:11You know, something that's so heavy
39:12that some woman or some guy is,
39:14oh, this isn't my speed, this is way too heavy.
39:16Something that, you know, is like,
39:18leads into something and doesn't scare people away
39:21in the first couple notes with heavy notes.
39:22I mean, once they hook people in like that,
39:25you know, and then they're going to get to know them
39:26as a heavy band too,
39:27but they're going to first learn of them
39:29as like a lyricist,
39:30people who have heavy lyrics, you know,
39:32or have a lot of good content in their band
39:34or tight music band.
39:35Well, the things I look for as a music writer,
39:37I look for a dedication to their work,
39:41to their music, to their song craft.
39:43And in that show that I saw,
39:46I could see the passion behind the music they played.
39:51It might not be something that, you know,
39:54a common pop listener would listen to,
39:57but there's a passion there,
39:59a feeling there, a feeling behind it,
40:01an emotional impact that the music has.
40:03After we did the demo,
40:05it's kind of like they became
40:07something so much greater than that.
40:08They had people coming from record labels
40:11out to Jacksonville to see them,
40:12and they did this show at the Milk Bar
40:15and it was just unbelievable.
40:17They went, the week prior,
40:18they went out to all these schools
40:19and handed out flyers for,
40:22and free passes for kids to get in for free
40:25because they wanted to pack the place out
40:26if there was an opportunity for them
40:28to get some type of deal.
40:32And I couldn't believe it.
40:34The place was totally packed full of people,
40:36probably over a thousand people.
40:40And they basically just kicked ass.
40:43It was awesome.
40:44Last time they did a show in our venue
40:45was probably two years ago.
40:50And it was so packed out.
40:52It was the biggest night we ever had.
40:54And if the fire marshal had been there,
40:57we would have been shut down that night.
40:59And it was, you know, 120 degrees inside.
41:03And there was sweat dripping off the walls.
41:06And it was just, it was nuts.
41:07It was total chaos.
41:09And they put on a great show.
41:12Don did live sound for them that night.
41:14And I think everyone who was there
41:16was totally blown away.
41:18The one thing that I do remember,
41:20for some reason,
41:23there's a song called Stalemate
41:26that we recorded.
41:28And I pretty much just engineered all the sessions.
41:32And I think this was the second group of sessions
41:34that we did for demos.
41:37Or perhaps it was another session
41:38that we were doing some new overdubs on.
41:40And it was the night of the show
41:41at the milk bar I was talking about.
41:45And up until that point,
41:46I was just totally just engineered the whole thing.
41:49And I had,
41:49and Fred liked to do his vocals in the control room.
41:55And so we're in here.
41:56It's just he and I, I believe.
41:57And Don might have been in here.
41:58I don't remember.
42:00And I just had an idea.
42:01And I was like,
42:02hey, why don't you try to sing this chorus part?
42:05Because usually he just yells it.
42:06And he was kind of reluctant.
42:07And then he was like, okay.
42:08And then we did it.
42:09And it came out sounding kind of cool.
42:11And then that night,
42:11he got on stage and tried doing it.
42:13And it was like a total disaster.
42:14And he couldn't sing.
42:15And he came back in the next day.
42:16And I was like,
42:16that's a terrible idea.
42:18And made us change it.
42:19And so I just remember
42:20that that was the only time
42:21I ever tried to attempt to produce anything.
42:26I was,
42:27I was a little shocked when I,
42:28the first time I saw Wes on stage
42:29was when he had long hair.
42:31He had his hair and pigtails,
42:33little pink barrettes.
42:34He was wearing like a half shirt,
42:36silver half shirt real tight.
42:38I walked in at the back of the club
42:41and they were like on the other side.
42:42And I was like,
42:42I didn't know they had a girl in the band.
42:45But when I got closer,
42:47I saw it was Wes
42:47and I felt like a heel.
42:51Working with Corn and Lumbiscuit
42:53was actually fantastic
42:54because it's such a family atmosphere.
42:57Corn had a tremendous amount
42:59to do with them being signed.
43:01So obviously Corn wanted them along.
43:03And that made it real good.
43:05And they wanted to be there
43:06because they were friends.
43:07And the guys in Corn
43:08are just wonderfully nice people.
43:10Really good people.
43:30We went to a topless bar.
43:34And Wes ran out of dollar bills.
43:39So he decided to put all of his change,
43:41he dropped it in the girl's g-string,
43:43which it fell out and went everywhere.
43:44And she was quite upset.
43:45It took me some time to convince her
43:47that he wasn't being mean.
43:48It was just all the money he had.
43:49So he was donating it.
43:51Of course, with Wes,
43:52he's a super intelligent person.
43:53And you never know if he's joking around
43:55or if he actually did it innocently.
43:58But I think he did it innocently.
44:00There was times when we were ecstatic
44:02to sell five t-shirts.
44:04I mean, I'd come back on the tour bus
44:05and I'd be like,
44:05guys, we sold five shirts.
44:07They're like, yeah.
44:08And it just, every day,
44:09it just started getting bigger
44:10and bigger and bigger.
44:11And it's just like,
44:13I mean,
44:13hey, we sold 500 t-shirts today.
44:15Oh, that's cool.
44:16You know?
44:17Now they're selling millions of shirts,
44:19making millions of dollars.
44:33Remember they played in an arena
44:36with Pantera and Machine Head
44:37and all that in the coal chamber
44:38in front of like 30,000 people.
44:41And that was just amazing.
44:43I mean,
44:43helping out on stage or whatever
44:44and I'd just be like looking out
44:46over the crowd
44:46and I'd just be like,
44:47wow, there's like 30,000 people there.
44:49I mean,
44:50personally, I couldn't do it.
44:52I mean,
44:52I'd get nervous or something.
44:53I mean,
44:54but I guess they've gotten used to it
44:56or whatever.
44:56They do a good job.
44:57One time on the bus,
44:59we had a few drinks
45:01and I passed out.
45:03And we woke up in Texas
45:05at a truck stop
45:06and I got in,
45:07got off the bus
45:07to go to the bathroom
45:08and they'd completely painted me
45:09with magic markers.
45:11My face was completely painted,
45:13which I didn't realize
45:14until I walked past
45:14all the truckers
45:15and went to the bathroom
45:17and I saw myself in the mirror,
45:18which was shocking.
45:19And it was permanent ink,
45:21so it took about half the tour
45:23for it to wear off.
45:24Later that day,
45:25I discovered they'd done my belly
45:26and made faces on my stomach also.
45:28So that was pretty funny.
45:30They got me on that.
45:31There was a couple
45:33little homemade films
45:34we made in the bus
45:35playing cards,
45:36Fred and myself playing cards.
45:37It was pretty hilarious.
45:38We used to do some mock interviews
45:40that were kind of funny.
45:41Being with the guys is cool.
45:43The guys, I mean,
45:44the guys as individuals
45:45are really cool people.
45:46I mean,
45:46they're really a lot of fun
45:48to be with.
45:50I mean,
45:51I kind of saw,
45:52you know,
45:53living in such tight quarters
45:55with them,
45:55I saw, like,
45:56the good side
45:56and the bad side,
45:57you know,
45:58which it was good.
46:00I mean,
46:00they were good people.
46:01I had a lot of good times
46:01with them,
46:02a lot of fun.
46:05When you go to one
46:07of their concerts,
46:07you can see
46:08it's not just
46:09one certain group
46:10of kids there.
46:11It's a mixture of kids
46:13from,
46:13shoot,
46:14they can be from 12
46:15to 30 years old
46:16and just all kind of people
46:18and they're all there
46:18and they all like the music.
46:20So the theory,
46:21it really did work.
46:23I mean,
46:23the band didn't ask me
46:24to do it or anything,
46:25but because I talked
46:26to record companies
46:26every week,
46:28every promotion company
46:29I talked to,
46:29every record company
46:30I talked to,
46:31I would say,
46:32well,
46:32you got to check this band
46:32out Limp Bizkit
46:33from Jacksonville
46:34and when Flip
46:35signed them to Interscope,
46:37I had been telling
46:38the Interscope guy
46:39about them.
46:39He goes,
46:40hey,
46:40we just signed your boys,
46:41the guys you've been
46:41telling me about
46:42and he,
46:43it was like a couple
46:44weeks to a month
46:45before he even heard it
46:46and then when he heard it,
46:47it was really weird
46:48because I'd been telling
46:49him about something
46:49for a long time
46:50and then it was his project.
46:51So I would say
46:53that everyone I talked
46:53to was aware of them
46:55for a long time
46:56before there was
46:57anything even to hear.
46:59They were always
47:00constantly experimenting
47:02at one time
47:03they did a Paula Abdul song
47:04and at another time
47:05they actually were
47:06working on Charlie Daniels
47:07Devil Went Down to Georgia
47:08doing it their way.
47:09So they were
47:10constantly stretching out
47:11and looking around
47:12and Fred came up
47:14with the Faith thing
47:15and immediately put it
47:16into the live set
47:17and the audience went off.
47:19So he knew
47:20this is powerful,
47:21this is strong
47:21and it turned out
47:22that that was really
47:23the big hit.
47:24I always thought
47:25Counterfeit would be
47:25the big hit
47:26but Faith really
47:27kind of took the spot there.
47:32What's your favorite song?
47:34Uh, Faith.
47:35Oh, Faith.
47:36Faith.
47:37Faith.
47:38Faith was the obvious single.
47:40Faith was,
47:40Faith was huge
47:42on the phones.
47:42I mean,
47:43the phone response
47:44was just huge
47:44to them anyway
47:45but Faith was enormous.
47:47They were going
47:47to close the gap
47:48between the,
47:50what you would say
47:51would be white rock
47:52which was more
47:52of the metal type stuff
47:53and the black music
47:55which was more
47:55of the hip hop rap
47:56type thing.
47:57And their intention
47:58was purposely
47:59to cross those boundaries
48:00and bring something
48:02into coliseums
48:02and venues
48:03that both,
48:04both,
48:06everybody could like.
48:06After Faith,
48:07I saw not just
48:08the teenagers
48:08buying the album
48:09but also,
48:10um,
48:11you know,
48:11people in their 20s
48:12and their early 30s
48:13buying the album as well.
48:14I think it was
48:14the same people
48:15who were buying
48:16the new,
48:16the new alternative
48:18rock albums
48:19like the band
48:20of Smashing Pumpkins
48:20would buy
48:21a Limp Bizkit album.
48:22Fans of,
48:24um,
48:25Blues Traveler
48:25would buy a Limp Bizkit album
48:27just because the single,
48:28I think a lot of people
48:29from that age group
48:30in their late 20s
48:31and early 30s
48:32remembered Faith
48:32when it came out
48:33originally
48:34and liked the new take on it.
48:36Honestly,
48:36the most vivid memory
48:37I have of the band
48:38entirely
48:39is when they performed
48:40the acoustic version
48:41of Counterfeit
48:42in the studio
48:43because they hadn't
48:44planned to do it.
48:45I said,
48:46would you guys want,
48:46would you guys want
48:47to play live?
48:48And, you know,
48:48because we talked
48:49about them playing live
48:50but we never confirmed
48:51it up when they came in.
48:52I said,
48:52you guys going to play live?
48:53And they kind of
48:54looked at each other
48:55and they said,
48:56we'll play live.
48:57We'll do it.
48:58And they just did it
48:59totally off,
49:00you know,
49:00off the top of their heads
49:01and it was as brilliant
49:03as anything on their album.
49:04So, to me,
49:05when I think about it,
49:06that was the most amazing thing.
49:08Probably because
49:08I can't go back
49:09and recreate it either.
49:10And I think,
49:12I think this album's just,
49:13I mean,
49:14it's already way bigger
49:16than anyone really thought
49:17it was going to be
49:17and I just,
49:19I think it's going to be
49:20even bigger,
49:21I think,
49:22you know,
49:23bigger than the Backstreet Boys,
49:25bigger than Spice Girls.
50:26This is the archetypal rock sound.
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