Sound — 6
Oh, Limp Bizkit. Ending words with 'z' isn't "cool with the kids" anymore. Anyway, Fred and the gang felt it was time to comprise the moments that made Limp Bizkit onto one compact disc. Now for a band that's had it's name thrown through crap for the last number of years, they deserve both sides on the spectrum. History has shown us that it's easy to pick on the white boy who raps, but not many people will admit that Limp Bizkit kick started a new genre of music in a time where people were just aching to break stuff. Credit where credit is due. If every other band who did the same got the same treatment, we would all be kicking Kurt Cobain's name around and calling grunge gay. Not saying that the Bizkit and Nirvana have anything in common, but creating the sound for a new generation of listeners isn't so easy to do. Three Dollar Bill and Signifacant Other were a force to be reckoned with in its hayday, but as probably one of the fastest dieing genre's as well, the band began to slip in an uphill battle to stay relevant. Instead of adapt with the industry trends, they continued to stay the course, screaming unconvincing pleas that they were still on top. The last couple years have found Limp Bizkit however trying to find an audience that doesn't find them to be a huge gimmick, with limited success at best. No surprise, this compilation doesn't feature The Truth or any mention of anything from The Unquestionable Truth, as it turned out to be commercially limp. Greatest Hitz features three new songs from the Biz. Why, a rather nice acoustic peice, except for Fred Durst's voice not reaching the softer qualities the song deserved, Lean On Me, which features a base line that sounds like it's getting dragged through mud, and Bittersweet Home, one of the more ambitious tracks Limp Bizkit has attempted, as it's a mish-mash between Motley Crue's Home Sweet Home and The Verve's Bittersweet Symphony, even though that too comes out as more mess then anything, but can you blame 'em for trying.
Lyrics — 6
Well, anyone who's heard of Limp Bizkit will fill in their own blank here. Fred doesn't really have a thing for softer peices, as it's more the Break Stuff's and the Nookie's that people will hold onto more then anything. Witness to that is Behind Blue Eyes, which proves that you can't mess with The Who and damn well get away with it, espically while you make out with Halle Berry. Let that be a lesson to you kids. Don't expect thoughts deeper then lyrics about breaking things or having sex with things, basically, unless slow songs that don't get the lyrical treatment they deserve is up your alley.
Overall Impression — 6
As I said before, Limp Bizkit does deserve both ends of the stick. They did do good things in the way of songs like Faith, a song I still can't help but scream along with when I hear it. I can also understand people who just want them to shut up! When your just above water in the music industry, crying about Britney Spears and songs called Rollin' probably don't help. I admire the fact that they stuck to, a broad idea at least, of greatest hits, or hitz in this case. Instead of loading full of their earlier material, which people have been crying for since the band's most evident slip in Results May Vary, they stuck down to the songs that the people will remember them for. All the time you hear of bands having to evolve to make it, which Limp Bizkit did but the genre they were in didn't follow. That's what happens when you ride into town on a one-trick pony.