
I disagree with Marshall's statement that critics have never been kind to him throughout his career: at least early on, everyone was occupying prime real estate on his nut sack. Not very good, but fucking hysterical all the same. The shout-out to DJ AM was a nice touch, and I like than Eminem doesn't even bother to pretend that he's invincible anymore, but I wasn't feeling this one. That would be very fucking interesting.) This DJ Khalil track is a strange amalgam of pop music and rap that shouldn't exist, and I'm afraid that this is what the majority of Recovery will actually sound like, given the Pink and Rihanna guest spots that are still to come (not to mention Em's own cameo on B.o.B.'s “Airplanes Part 2” with the chick from Paramore).

Not because Weezy and West are masters behind the microphone or anything (definitely not that), but because nobody would side with Marshall hell, if he started a fight today, he might have trouble drumming up any support for his side.

So yeah, it sounds like complete bullshit that Eminem almost recorded disses against both Lil' Wayne and Kanye West (because they were drawing all of the attention away from him, even though he was busy popping tons of pills around the time that both men rose to prominence), but I can buy that he feels that he would have lost these battles. The hook is ass, but truth be told, this is the Em that everyone wanted to hear on Relapse, as he doesn't hide behind any goofy accents.

This version of the Slim Shady character sounds damn near forty years old, an age at which he should know better. When Just Blaze's beat finally kicks in, though, Em adopts his usual antagonistic persona, cursing out anybody and everybody within the tri-state area, sounding angrier than any multimillionaire has any right to, while still managing to diss both Mariah Carey again (sort of) and use the word “cunt” (not while referring to Mariah). While I appreciate the fact that Marshall has avoided the rap album intro this time around, he kicks off Recovery with more of his trademarked horrible singing, which is almost worse somehow. This leads me to believe that Recovery will probably be a huge financial boon for Aftermath/Interscope, but it also makes me think that all of those other early reviews were written by Interscope staffers, so it remains to be seen how this will affect the actual hip hop fans that have followed Marshall Mathers since day one.
#Eminem recovery album themes full
Recovery hit the Interweb a full two weeks before its release, and Eminem was blessed with an almost unreal number of positive reviews, most of which singled out specific tracks, such as the Rihanna collaboration. Dre, which is, well, that's also kind of a good thing, considering his output as of late (* cough* "Under Pressure * cough*).Īnd Marshall himself only adds a few production sprinkles onto a couple of tracks, so that's nice. Nearly all of the production comes from the outside, as well, with the likes of DJ Khalil, Boi-1da (still riding his Drake high), and Just Blaze providing the majority of the assistance, but there is only one song produced by Dr. This means that there are absolutely zero guest appearances from the likes of Curtis Jackson, D-12, and whoever the fuck is still signed to Shady Records at this point, which is a great thing, but they've been replaced by such big names as Lil' Wayne, Pink, and Rihanna, so you take the sweet with the sour. In no way does he abandon his hip hop roots, however: in fact, he takes his love for our chosen genre one step further, securing beats and rhymes from outside of his comfort zone, thereby furthering the notion that this is Eminem's perception of what hip hop actually sounds like. With the album, formerly known as Relapse 2 before he scrapped the original concept and elected to record what he thought a mainstream rap album was supposed to sound like, Eminem atones for his misgivings (such as the original Relapse) while fully embracing his status as a pop artist. (As you can tell, I'm not really looking forward to that one.)īut the new release that the world is looking at today is the seventh album from Marshall Mathers, Recovery. In addition to new offerings from the likes of The Chemical Brothers and RJD2, hip hop fans get to choose between How I Got Over from The Roots (which I want to digest further before reviewing) and the Wu Music Group's Pollen: The Swarm Part 3, yet another z-grade Wu-Tang Clan offering that is notable for at least explaining what the hell happened to the original version of the "Smooth Sailing" track that appeared on Wu-Massacre.
