In the unlikely event Fred Durst has a conscience, locked somewhere in the attics of his 99-bedroom Hollywood mansion, it must look a damn lot like Zack De La Rocha. Just as Durst's Limp Bizkit, purveyors of cynical tantrums to the suburbs, become the biggest band in the world, it's typically stylish of De La Rocha to seize the same moment and quit Rage Against The Machine.
Rage, of course, patented the rap-rock formula that's been so lucrative for Durst nearly a decade ago. Only their lyrics, instead of whiney self-obsessed complaint, preached true rebellion. Even, at times, revolution.
In the wake of De La Rocha's departure to try and achieve his political goals solo (assisted by Roni Size and DJ Shadow), 'Renegades' is a formidable parting shot. A Rick Rubin-produced collection of 12 cover versions selected to show the breadth of Rage's influences, it's an object lesson in being both inspired by musical history and remoulding it in your own shape.
Sometimes, the effect is unintentionally comical, as first Springsteen's 'The Ghost Of Tom Joad', then 'Street Fighting Man' by the Stones, and finally Dylan's 'Maggie's Farm' are rendered unrecognisable by Rage's well-tested armoury. De La Rocha half-raps, half-spits the lyrics, Tom Morello cranks up another crunching, mechanistic riff and the original subtleties of the protest songs are literally blown apart.
The theory being that, given the current state of America, there's not much time for niceties. Rage's penchant for non-stop attack is impressively showcased on 'Renegades', especially on their guerilla versions of hip-hop classics. The opening re-wiring of Eric B & Rakim's 'Microphone Fiend' is terrific, staccato rhythms perfectly suiting Morello's rigorous, clanking avant-riffing. Ditto the crunchy take on Cypress Hill's '(How Could I) Kill A Man', lent extra significance of late by rumours suggesting B-Real is to replace De La Rocha in the band.
Versions of The Stooges' 'Down On The Street' and Minor Threat's straight-edge hardcore classic 'In My Eyes', meanwhile, are touchingly faithful, and only a jerk through 'Kick Out The Jams' notably fails, replacing the MC5 original's mad-eyed hurtle with too much methodical lurch. It's a surprise, too, to find no songs by Public Enemy or Led Zeppelin, arguably Rage's two most prominent influences.
These are small quibbles, though. Rage Against The Machine threatened to take over the world of music with a strategy of maximum volume, minimum compromise and massively well-informed aggression. Incredibly, they almost succeeded; 'Renegades', for one last time, explains how . Now pass on the hot dog-flavoured water - there's work to be done.
