(For part one, click here. This is also probably a post Lord Jamar won’t like. Or maybe he will. I don’t know. )
Once upon a time, a man named Marshall with drug, drinking, and daddy issues (not to mention mommy issues) became a rapper named Eminem who made women swoon by rapping about doing horrible things to them and their families. The “white honky devil” (his words, not mine) made a killing in hip-hop, almost Elvis-like with his approach–except Eminem was better than some of his black counterparts. Elvis, in my opinion, was never better than any of his contemporaries. But, that’s another rant for another time entirely.
Ever the equal opportunity offender, everyone became target practice. Well, almost everyone. You’re not going to hear him rap tongue-in-cheek about, say, Trayvon Martin. He’s a “devil,” but not completely stupid–or Rick Ross. Anyhow, fast forward to today, the day after the world ended. To those not named Stan, I’m referring to the day that Em’s MMLP2 dropped. As an Eminem fan, I’m happy that he’s still alive from the whole addiction thing. Secondly, I give his music a chance before I completely say that his stuff sucks. Therefore, my thoughts on “Love Game” and the like from Part One of “The Death of Marshall” weren’t just for unwarranted shock value.
(This is the uncensored deluxe edition of the album)
But, here? It looks like my initial thoughts were halfway warranted. I hoped that Em and his camp learned from the mistakes of Recovery. Taking everything that’s made the past couple Eminem albums almost un-listenable (kind of corny similes, double-time flows with no real reason, pop-friendly hooks/beats/lyrics/messages, dated pop culture references, songs with a million words in them with over 9000 fan-made meanings, but really no real meaning, etc.), Eminem here has created an album that will face a Yeezus type of hype.
The first few weeks, we’ll hear everyone say that it’s GOAT-caliber, then after that? Nothing, aside from uber-fans having eargasms over it and ignoring everything else, saying that anything other than MMLP2 means you love Future songs. Sidenote, that new Future/Miley/Mr. Hudson song isn’t my cup of hot tea, per se. But, it could put Future (even more so) in the ears of those that listen to Top 40 pop-rap and stuff. So, just as a forewarning. If you don’t like Future, you’ll probably have to deal with him in a Flo Rida/Pitbull sort of way for a bit.
Cynicism (and naked Alien-Miley) aside, MMLP2 lacks a lot of the plot development Eminem songs were once known for, instead opting to go over 9000 words per second. The album does have some highlights, such as the “Cleaning Out My Closet”-like “Headlights,” which almost sounds as if Marshall took a page from that other popular white rapper of today. Except, you know, Eminem uses that page to talk about his parental issues, not same-sex love and his happiness about his two uncles. The second standout track for me is the Jamie N Commons-aided “Desperation,” mostly because it’s the closest Eminem has come to going completely Kid Rock to date. It’s bluesy and embraces Eminem’s self-professed “White Trash Party” roots in a way unseen in his music thus far.
Another highlight, in my opinion is Stan: Part Two–I mean, the intro track “Bad Guy.” This song deserves a segment of its own. Now, technically, it’s part three of the Stan saga. But, that’s only if you count Tunechi Tuna Fish‘s spin-off song “Anne.” And, most people don’t. At all. Ever. The song is almost worth a portion of the price of admission, just because it answers a lot of questions regarding the wax-made mythos of Eminem–and some of his real-life issues. If you’ve never listened to an Eminem song, but want a good starting point, “Bad Guy,” in my opinion is for you. It talks about literally everything you could want to know about the journey he’s taken since starting his career.
But, for every “Bad Guy,” we get a “Love Game.” For every “Monster”–which for what it is, is at least better than “Love Game” and “Not Afraid” from Recovery–we get “Beautiful Pain.” Now, “Beautiful Pain” isn’t a bad song per se. Sia’s vocals are hauntingly beautiful, but after “Monster,” “Love the Way You Lie,” “Space Bound,” and so on, it’s overkill. And overkill, as mentioned, is an overdone problem in this potentially overrated album.
So, in short, Marshall’s dead (maybe for good this time). And while this album wasn’t as stripper sweat as I thought it’d be, its good moments are outweighed by its bad-to-meh moments. If you’re an Eminem fan, you’ll either love it, be saddened by the decline, or just say “…at least it’s not Relapse.”
One last note, be sure to check out my brother True God’s efforts to expand the #TeamDAR brand. While I try to keep my own endeavors out of the pages of Thee Arteest, only because I don’t want to abuse it, True’s efforts not only revolve around building a brand. They are also focused on keeping his family together and promoting change in the world. Check it out.