[11][12] Korn's After-School Special featured guest appearances such as Sugar Ray, Limp Bizkit, Deftones, Steve Vai, 311, and the Pharcyde.

[10] Follow the Leader features numerous guest vocalists, including Ice Cube on "Children of the Korn", Tre Hardson of the Pharcyde on "Cameltosis" and Limp Bizkit's Fred Durst on "All in the Family".

[9] In a 2013 interview, the band revealed that they partied heavily during the production of Follow the Leader, with massive amounts of alcohol, drugs, and women in the studio.

According to Davis, he only agreed to begin tracking vocals when producer Toby Wright met his demands for an eight-ball (a one-eighth ounce of cocaine).

[20] The cover art depicts a child hopscotching toward the edge of a cliff and a gathering of kids waiting to follow, a concept that began with bassist Reginald "Fieldy" Arvizu and sketched by a friend of Davis before being submitted to McFarlane.

[23] Korn embarked on a promotional tour for the upcoming album across North America, which began on August 17, 1998, at Tower Records in Los Angeles and ended in early September.

[27] The Family Values Tour featured the unveiling of a steel cage to the rear of the stage called the Korn Kage,[28] holding radio contest winners.

Band artists (at the time) featured on this CD included Kid Rock, Orgy, Powerman 5000 and Limp Bizkit.

[35] To continue promoting Follow the Leader, Korn launched a co-headlining US tour with Rob Zombie and Videodrone as the opening act that began on February 26, 1999, through mid-April.

In addition, a larger Korn Kage was included onstage, and the tour featured Davis beginning to wear a kilt in live performances.

During this tour, Korn's members switched places to perform "Earache My Eye"; guitarists James "Munky" Shaffer and Brian "Head" Welch swapped sides while Davis played the drums and Silveria the bass, and Arvizu took the microphone to sing.

"[6] Entertainment Weekly commented that Follow the Leader was Korn's "gimmick", while saying the album had "steely riffs" and "stomping beats".

[38] Tower Records said the album "combines streamlined metal with ominous industrial touches and an undercurrent of hip-hop rhythm," and also said it was an "urban nightmare".

[1] Winston-Salem Journal writer Ed Bumgardner described Korn's work as having "shaped rap, metal, and punk into a sonic maelstrom that is brutal, aggressive - and reasonably musical".

grinds fuzzy guitars, thunderous beats, and shouts of gut-wrenching rage into an anthem for the alienated", and gave other positive remarks.

[43] A Zeeland high school assistant principal said in an interview for a Michigan newspaper that the music is "indecent, vulgar, obscene, and intends to be insulting".

"[6] David Fricke of Rolling Stone wrote that Korn "have an ideal record for those long, black days when all you can do is say 'What the Fuck!

Music critic Janiss Garza described the album as "intensely tortured and savage as ever", while noting that "in spite of all this distress and suffering, Korn does loosen up".

[38] Jon Pareles from The New York Times said the album was "choppy", describing Davis as "wrestling with self-hatred, violent impulses, parental execration, and a confused sexual identity..."[53] In a negative review, Robert Christgau of The Village Voice said that, although Korn "deny they're metal", they "nevertheless demonstrate that the essence of metal ... is self-obliterating volume and self-aggrandizing display.