I pulled out all the Em-related parts for those who are interested. Full story
here, it's a great read.
One of Yelawolf’s most important inspirations, of course, is Eminem—a rapper who’s mastered the balance between a legit underground career and massive radio success. There are a few easy comparisons to be made. The artist Em called “White Dog” in the latest BET Hip-Hop Awards cypher (and “beige sheep” in a recent Vibe interview) is lyrically dexterous in a way few mainstream rappers can match. Both Em and Yelawolf are brutally open about the hardship they faced coming up, their history of recreational drug use. But musically, they are very different.
While Wolf may be tired of comparisons to his label boss, it’s better than being likened to any of the other legion of white rappers currently flooding the scene. On "Animal" Wolf raps, "If you wanna compare me, compare me to a legend / Don't compare me to a young fool."
“Honestly I thought that getting on Shady was going to kill the comparisons, but it almost amplified them,” says Yelawolf. “He signed me. He’s definitely not trying to replace himself. If I haven’t already proved that I’m creating my own space, then Radioactive is definitely going to do that. I have a long career ahead of me. Marshall is twelve years deep, with great music and a great career. It’s only fair, you know?”
“I know at some point someone is going to be coming out and they’ll have to deal with comparisons to me,” he says. “It’ll be on down the road, but it will happen.”
On Radioactive, Eminem served as more than just an inspiration and record exec. Beyond his work as a co-producer, Wolf appreciated the personal guidance Em offered him along the way. As KP points out, “Wolf doesn’t have anyone else he can relate to being a white rapper who’s dope, who is respected by black MCs, and respects that art as black culture.”
“He was fully a mentor on this project,” Yelawolf says of Eminem. “I have to trust his experience. There were some records that I thought were just too big, I was like, ‘Man, I don’t know if I can pull this off.’ It was completely new territory. I said, ‘In my opinion, it’s just not gonna work.’ And Marshall told me my opinion was wrong. [Laughs.] He’s like, ‘Your opinion is WRONG.’ What am I gonna say? He’s sold more records than the Beatles.”
But Em gave his artist full control when it came to songwriting. “He never stood over my pen and pad,” says Yelawolf. “It’s a mutual respect, honestly. He gets excited with the verses that I put out, because that’s the whole vibe. It’s that MC shit."
Prior to recording “Let’s Roll,” the second single off the album, Yelawolf drove to Kid Rock’s house near Detroit with Eminem, KP, and Shady Records co-founder, Paul Rosenberg.
“We were all joking around, like, ‘You know how much white rap is in this room right now?” Yelawolf recalls. Kid Rock gave them a tour of his property, including the warehouse where he keeps his cars—including the original General Lee from Dukes of Hazzard, Hank Williams Senior’s Cadillac, and the first Cadillac ever to roll off the line in Detroit. “I felt like I was being sworn into the elite of white rap,” Yelawolf says with a laugh.
“Those two are the world’s biggest,” Wolf adds, noting that he didn’t feel the least bit intimidated chopping it up with the two veterans—perhaps because he shared so much in common with them. “I’m cut from both of those pieces. The Americana of Kid Rock, the country, the rock. The hip-hop, the lyricism, the pain, the struggle of Marshall. I kinda married those two feelings in one.”