David Theiss

Producer(s): Dr. Dre (exec), Eminem, Just Blaze, DJ Khalil, Boi-1da, Denaun Porter, Emile, Havoc, Jim Jonsin, Alex da Kid

Release Date: June 22nd, 2010 (Internet Leak: June 7th, 2010)

Rarely does an artist release an album that makes its predecessor sound immediately insignificant.  ”Relapse,” Eminem’s first album after a 5 year hiatus by way of drug dependency, was billed as his comeback.  Upon it’s summer 2009 release, “Relapse” was head and shoulders better than his flaccid 2004 release “Encore,” so most people (including yours truly) were more than happy to lavish praise upon it.  Everything about it was improved from “Encore:” lyrics, production, subject matter, maturity.  Was it repetitive?  Absolutely.  But it was refreshing to have Eminem back and flashing signs of brilliance again – even if we had to put up with tired jabs at Kim Kardashian and Ellen Degenerous.

Well, throw that album out the window.  ”Recovery” is Eminem’s true comeback.  Within the first minute of the first track it’s completely evident: Eminem has stepped his game up to another level.  Lyrically, he’s on a rampage.  Not in the schtick-shock way that he’s been known to (repeatedly) turn to.  But instead, Eminem gets rid of every crutch he’s turned to in the past and just spits.  His mother is only mentioned in passing, gross out humor is all but gone, teen-pop icons almost entirely get a pass.  ”Recovery” is a serious record dealing with self-examination and all out ‘fuck you’ bravado.  If “Relapse” was an album dedicated to testing whether or not his rap muscle still worked, “Recovery” shows that not only does it work and work just fine, it’s in better shape than it’s ever been.

Em employs a few strange bedfellows, including Pink and Rihanna, whose cameos prove effective in varying degrees – the Rihanna track “Love the Way You Lie” has hit single written all over it (who’da thought?).  Pink isn’t as successful as “Won’t Back Down” is an aggressive rap/rock track that suffers from both its bloated length and the fact that it’s just too loud and assaulting on the ears.  Meanwhile, the 5 minute epic “No Love” featuring Lil Wayne is already proving to be a watershed moment for both artists (much better than the hollow “Drop the World”), and is certain to be a track bumped in car systems everywhere.  Eminem always knows how to finish an album, too.  The hidden track “Untitled” like “Underground” before it, is a throwback to the maniacal and scatterbrain Shady rants from albums past.

The album also benefits from Em’s decision to branch out with different producers other than his longtime partner Dr. Dre.  A song like “25 to Life” which suffers from an old and played out metaphor, gets lifted to an album highlight by an inventive beat.  Sonically, “Recovery” sounds new and refreshing and the absence of Dr. Dre’s repetitive horns and piano really allow Eminem to stand out on his own – not that he’s had any trouble ever doing that.

It’s not all great though.  While there isn’t nearly as much filler as previous outings, there are still a few tracks I could do without and long time Eminem fans are still pining for a Royce guest spot that is always rumored to be happening but never does.

So, where does “Recovery” rank in the Eminem collection?  Well, if you put “The Slim Shady LP” and “The Marshall Mathers LP” at 1 and 1A I think this release comes in right behind it.  It’s more focused and driven than “The Eminem Show” and leaps and bounds ahead of “Relapse.”  This is a record I can see propelling Eminem back into the mainstream of the hip-hop consciousness again like he was back in ’02 and ’03.  But instead of being a novelty shock act, he’s stepped out as a legit and seminal hip-hop artist.  He’s always claimed to be one of the greatest and now he’s cemented his place among the best in the game.  It’s a mature and defining record that shows so much promise for what lies ahead.

For the first time in a long time, the future for Eminem is bright.

Strongest Tracks: “Cold Wind Blows” and “No Love”

Weakest Tracks: “W.T.P.” and “Won’t Back Down”

My Grade: A-

The last bastion of the music I liked when I was fifteen is still alive. Eminem is probably the last artist from my adolescence that I can still listen to – and for that matter the only one that I still am passionately interested in. Eminem isn’t what he used to be but there’s little debate as to who the kings of rap are these days: Eminem and Jay-Z. That’s it. Lil Wayne is trying to get to the same stature as those two but still has a ways to go.

In the meantime, here is the new Eminem video for the song “Not Afraid” from his upcoming album “Recovery.” It’s a little strange, has a slightly dated Matrix vibe, and Eminem looks like he may have had plastic surgery (his face looks waaay smooth), but it’s still worth a look. I’m EAGERLY anticipating the album, check back for a review once it leaks.

Producer(s): Dr. Dre, Eminem

Release Date: May 19th (Internet Leak: May 8th)

Encore sucked.  Let’s just get that out of the way right at the top.  And while there are moments of sheer brilliance on that album (“Like Toy Soldiers,” and “Mockingbird”), everything in between is sophomoric and uninspired. Em just sounded bored.  Before Encore however, Eminem could do no wrong.  The Slim Shady LP and The Marshall Mathers LP I still consider two of my favorite albums of all time, in any genre.  The Eminem Show, while still very good, felt tamer and tailor-made for a wider audience – but still a great album.  So, while I feel most people who aren’t critics recognize The Eminem Show as his definitive masterpiece, that title still goes to one of his first two efforts – it’s just too close to call.

That being said, I was afraid the Eminem I remembered on those albums was gone.  I thought that while this release would probably go 5x’s platinum, Eminem lost the ability to surprise and be edgy.  At the time Relapse leaked, four songs had been released (“Crack A Bottle,” “We Made You.” “3 AM,” and “Old Time’s Sake”), and all seemed to once again be missing the mischievous flair and wicked sense of humor that came long with the Eminem we all had come to love.  Even the horror movie aesthetic of “3 AM” fell short – and while it was a lot better than anything he had put out in a long time, it still wasn’t “Kill You” or “Just Don’t Give A Fuck.”  I feared that artist was long, long gone.

Then the rest of the album leaked.  So, how’d he do?

In short – he killed it.

Relapse is a return to form for Eminem – and he desperately needed it.  Here, he’s delivered in every way (musically, lyrically, umm content-ally) his strongest album since The Marshall Mathers LP.  Gone are the fart sounds and ill-conceived set-ups and pay-offs that plagued Encore.  His lyrics are tighter (and more twisted) than we’ve heard in years, displayed on songs like “Insane,” “Deja Vu,” “Beautiful,” and “Underground.”  While he still rocks different accents quite frequently, they fit here and aren’t annoying or distracting to listen to.  Dr. Dre also comes stronger than he did on Encore, repeatedly delivering banger after banger – “My Mom,” and “Medicine Ball” immediately come to mind.

The content starts with new (exaggerated, hopefully) details about his upbringing, transitioning to homicidal fantasy, pausing a minute for the obligatory pop cuts for the masses, gets reflexive and personal, only to finish on complete insanity.  And while people will say most of this subject matter is repeat content from his earlier albums, I say this is Eminem’s territory and he does it better than anyone could ever hope to do.  Besides, any rap album minus a guest appearance by Akon is alright by me.

Syllables melt together, words that have never rhymed fit together with breezy accuracy, and punch-lines deliver laughs more often than they have in recent memory.  The songs dealing with drug addiction and depression are surprisingly effective and at times plain bizarre (i.e. Em dropping knowledge like, “God gave you those shoes to fit you/So, put ‘em on and wear ‘em/Be yourself, man/Be proud of who you are/And even if it sounds corny/Don’t never let no one tell you/You ain’t beautiful”).  The album really leaves you with the sense that this is a soul that has been lost for the past 5 years who is finally returning to where they feel comfortable: rapping about incest and felching.

My main problem with this album is the fact that it feels forced.  I think the criticism from Encore along with Proof’s death (a subject that is almost entirely absent) really affected him and made him think his time had passed.  This entire album feels like he’s proving to himself he can still be the crazy, “Just Don’t Give A Fuck” rapper that everyone wants back so badly.

To what degree he succeeds is up to you.  But he does succeed.  I’ll say while this album isn’t a slam-dunk classic like SSLP or MMLP, it’s pretty damn close.  And I’ll take that any day of the week.

Strongest Tracks: “Beautiful” and “Underground”

Weakest Tracks: “We Made You” and “Same Song & Dance”

My Grade: B+ /// Revised Grade (6/8/10): B-

Eminem, of whom I’ve been a huge fan of since I was in 8th grade or so, is coming out with a new album, “Relapse,” on May 19th.  He released a pretty standard first single “We Made You” a couple of weeks ago to some pretty luke-warm responses.  His schtik of taking aim at female celebrities is getting a little old, especially when all his targets seem to be yesterday’s news kind of people (Lindsay Lohan, Kim Kardashian, Ellen DeGenerous).  To me, he was and still is walking the thin line of irrelevance if he continues to keep rapping about pop tart celebrities when he’s shown a willingness (and effectiveness) in the past talking about some really important social and political issues.

Eminem’s second single off Relapse, “3 AM”, recently leaked to some more positive attention.  It deals with some darker themes, and even though it comes across kind of annoying at first due to his whiny delivery, it grows on you.  The music video recently premiered on the Cinemax movie channel (the first music video to do so) and is embedded below.  It’s pretty violent and shot in a pretty standard “scary movie” kind of way.  While it’s no home-run it’s still kind of cool to say the least.

Enjoy.