Just about every other review of the new Eminem album Recovery will no doubt allude to a certain “shady” character, his highly successful turn in the film “8 Mile”, and then his complete withdrawal from the spotlight.
But you know all that, so how about we just cut the chase, is the new Eminem album any good or not?
Before I answer that question, let me just divulge the fact that I loathe most rap music. There are perhaps three rap albums that are absolutely essential to any music collection: the first two being NWA’s “Straight Outta Compton” and Public Enemy’s “Fear Of A Black Planet”.
What’s the third one, you ask?
This one. That’s right, Eminem’s latest joint is one bad-ass piece of vinyl and is absolutely a must have for anyone who thought they’d already heard the best of what Eminem as to offer. In the rap world, artists come and go.
Very few stick around long enough to release a seventh album and those that do (Ice-T and Ice Ciube, I’m looking at you) have definitely lost a step or two. In Eminem’s case, it appears his lengthy sabbatical from the limelight only served to fuel a fire that was bound to explode at some point. Last year’s Relapse, while a decent outing, was merely the tip of the iceberg.
Recovery is a full-frontal 17-track musical and verbal barrage that proves without question that Eminem is one of the most creative wordsmiths to ever step up to the mic. He and his producers don’t simply fall back on the same old beats over which to spew the usual venom, nor does Eminem employ any skits on this outing. Nope, this is just straight up Eminem pushing new boundaries while creating songs that work as both works of pop genius and rap-based diatribes against anyone who has ever wronged the man.
A quite unexpected surprise is how unobtrusive such guests as Rihanna, Lil Wayne, Pink and Kobe are within the context of the entire album. My fear was that the guest appearances would water down thge proceedings or break its flow, but such fears are completely unwarranted. “Love The Way You Lie (featuring Rihanna)” is actually one of the album’s high points and, while her vocals are heavily auto-tuned, her voice lends the necessary vulnerability.
Oddly, Eminem samples Ozzy Osbourne’s vocal from “Changes” for his own “Going Through Changes” and perfectly blurs the line between merely sampling a tune and outright covering it. Still, there are few songs as outright honest about hating yourself, hating your life, and wanting to die, even when you have the world in the palm of your hand. Eminem pulls no punches and fills each line with so much detail that you feel as you’re watching him fall apart right in front of you. That song alone sets him far apart from the usual cock-sure bravado and punk-kid-waving-a-gun posturing of most rap records.
Of the album’s seventeen cuts, each and every one is a ****ing stunner and carves out its own niche in the aural palette. With most rap albums, things tend to get mighty repetitive after a few tunes, but due to the use of a variety of different producers and some crafty sequencing, the album has impeccable ebb and flow.
This album will put Eminem back on top, mark my words.