What's immediately interesting about this remix album is the calibre of artists that have flocked to kiss the ring of Pope Durst Da First. The Neptunes, Timbaland, P Diddy (especially significant as Fred was hailed the Puffy Daddy Of Metal on his emergence in 1999), William Orbit, Butch Vig, Bubba Sparxxx, Everlast and Xzibit have gathered on call, as if they can't afford to ignore the US playa of the moment.
For Durst, this album is an opportunity to show Wes Borland that Limp Bizkit can survive without his innovative and much underrated guitar mangling. Practically every song is now strangely Wes-free and still succeeds on a far more avant guard level than the original. But that's not because they're strong tunes, but because the remixers have reinvented this album as a personal showcase for their talents.
So be warned Durst fans: Limp Bizkit are the least engaging element of 'New Old Songs'. Instead, the likes of The Neptunes and Timbaland lead us into a multicoloured, electro tinged wonderland where the original LB tunes are ditched completely and Durst is reduced to the occasional cameo. It's also ironic to note that without Borland's heavyweight backing, Durst suddenly sounds horribly weak.
The Neptunes are a revelation on this album. Ignore their work with Britney et al. Judging by the evidence of their versions of 'Nookie' and 'N2gether Now', team N*E*R*D are limbering up to make a super slinky, ultra funky remake of 'Thriller', starring Sly Stone as Michael The Zombie. 'Nookie' is especially amazing: an opera fabulous journey into the twin hearts of camp and cool.
Timbaland is slightly more low-key but no less inventive. His 'Take A Look Around' is a slightly creepy exercise in minimalism that seems to run on the hook from My Bloody Valentine's 'Soon'. 'Re-arranged', meanwhile, has a harpsichord backing playing the 'Wonder Woman' theme tune while the ghosts of Outkast hover above providing funky vibes and Bubba Sparxxx spits his calling card.
Most intriguing of all, though, is the contribution by P Diddy. His 'My Way' sounds like it was actually remixed by The Transformers, with lots of clanking machinery and sci-fi special affects replacing the tune while the Diddy man needlessly spouts "Huh! This is the remix!" Oh, right. Thanks. It's inventive but you can't help but feel that P just turned up in the studio for half an hour to rattle his jewellery.
At least that's more effort than is shown by William Orbit, who simply chucks a few electro twiddles behind the original version of 'My Way' and then saunters off to the bank (laughter not pictured). Durst's version of 'Faith' (which splices Bowie's 'Fame' on as the chorus) is a one trick pony, and Vig's 'Nookie' introduces The Bloodhound Gang to Toni Basil to hilariously naff effect.
This time last year, Durst declared that "Limp Bizkit is not going to be a part of the future, but more of a pioneer of a movement that caused whatever's next to come". As usual, he was half-right. The Limp Bizkit of this album are useful as a catalyst, as a springboard for the imagination of some genuinely exciting talents. Take away Durst from this album and, really, you'd be doing it a favour.
