Post by Emcee Combs on Oct 31, 2013 15:12:09 GMT -5
As you probably know by now, The Marshall Mathers LP 2 has officially leaked. Make sure to buy the album! I've pre ordered the album, so I don't feel bad about downloading the leak. I mean I've already bought the album, so I feel I'm entitled to it. So how do you guys like the album? I was extremely skeptical, but this album was amazing! It is obvious from the beginning of the album that MMLP2 really is a sequel. Eminem wasn't kidding when he told Rolling Stone, "To me, it's more about the vibe, and it's more about the nostalgia." Though parts of the album are clearly adding onto the original album (such as "Bad Guy" and "Parking Lot), this album is more about the vibe which is very similar to original, but this time from the eyes of an older man. I was extremely high when I listened to the album, so it was mind blowing when I first listened to it. I have since listened to it another couple of times and it still holds its own. So here's a track by track analysis:
"Bad Guy" is a classic sequel to Stan. If you are to listen to a single song from the album, go and listen to "Bad Guy." In my opinion it is the best song on the album. It tells the story of Matthew, Stan's younger brother who you might remember from the lyrics "but you coulda signed an autograph for Matthew/that's my little brother man, he's only six years old." Matthew, in Stan's mind, was an even bigger fan Stan was: "He wants to be just like you man, he likes you more than I do." I'll let you listen to what Matthew has to say (and do), because it is classic and I don't want to give anything away.
"Parking Lot (Skit)" takes you back to the song "Criminal" on MMLP1. Eminem's get away car drives away without him after he robs a bank and kills the teller. Eminem is angry and has to run away on foot. The following song, "Rhyme or Reason" is a classic cut with amazing rhymes, wordplay and hook where he says "there's no rhyme or no reason for nothing." A prevalent theme throughout the song (and the album as a whole) is the absence of Eminem's dad. The song begins with "What's your name? Marshall/Who's your Daddy? I don't have one." It's a funny song, yet sad at the same time.
"So Much Better," is a classic, misogynistic, Slim Shady track with an extremely catchy hook:
"My life will be so much better if you dropped dead (dead)
I was laying in bed last night thinking
And this thought just popped in my head and I thought
Wouldn't shit just be a lot easier if you dropped dead (dead)
I would feel so (so) much (much) better
The song starts with Eminem rapping about a girl cheating on him with Dr. Dre, Drake and Lupe Fiasco. He later raps, "I got 99 problems and a bitch ain't one, she's all 99 of them, I need a machine gun." The song is filled with great punchlines. This album is so great, it's hard to pick out favorites, but this is one of them for me. It also seems like a slightly less aggressive sequel to "Kill You."
"Survival" has been out since August and I don't feel like reviewing it. I'd say it's a pretty good song with a Recovery vibe rather than a Marshall Mathers LP vibe. It has a definitely rock/rap feel to it. It is one of the biggest missteps on the album, which is a good thing because it's a pretty good song.
"Legacy" starts with a pop intro, but quickly turns dark and introspective with the rhymes, "What kind of twisted experiment am I involved in/Cause I don't belong in this world/That’s why I'm scoffing at authority, defying often/Flying off at the handle with my mom, no dad." Overall, the song is thought provoking and introspective and basically tells the story of who Eminem is, why he raps, and basically describes his "legacy."
"Asshole" features a solid hook by Skylar Grey. Shots are thrown, including a shot at Asher Roth and a hilarious shot at ICP (seriously go check that one out!). Eminem admits that he's an asshole, but points out that we're the ones who repeat what he says and pay attention. He then goes off, sending shots, dropping hilarious punch lines and basically dropping a classic Slim Shady cut.
Everyone has heard "Berzerk" by now. I'm not going to say much about it. It is a solid single, in Beastie Boys style, over a rock, Rick Rubin beat. It is a solid party anthem.
Everyone has also heard "Rap God," but it is still one of the standout tracks on the album, featuring amazing flows, speed, lyricism and punch lines. It's a great single.
"Brainless," is one of the funniest tracks on the album with the opening lines "I walk around like a space cadet, place your bets/Who's likely to become a serial killer? Case of tourettes." It almost seems like a sequel to "Brain Damage" on The Slim Shady LP, telling about his history with bullies. I love this song. A lot of the songs on this album explain the distinct roles of Eminem and Slim Shady and why he creates the music he does. This is one of those songs. If you don't understand where Slim Shady comes from or why he's needed, then just listen to this song.
"Stronger Than I was," is a pop ballad, almost completely sung by Eminem himself, like "Hailie's Song" from The Eminem Show. On this song, Eminem discusses his struggles with women and how he has grown and become stronger despite them. It's actually a really good song, despite Eminem only rapping a single verse. The content of the song seems to imply that the song is about Kim (at least in my mind, others may disagree). This song shows how much Eminem has matured over the years and stands out the way "Hailie's Song" did.
"The Monster" is the fourth single from this album. The positives: good lyricism and wordplay. The negatives: weak, cheesy hook sung by Rihanna, and a wack beat. I would also say that the content of the song is weak. It's basically just a song featuring Eminem complaining about the downside of being extremely famous. Nothing groundbreaking. This is probably the biggest misstep in the entire album. The entire album rides the line between hip hop and pop, but this song clearly crosses the line to pop, even more than "Stronger Than I Was." It doesn't catch the MMLP vibe, and holds the album back from reaching the levels of classics like The Eminem Show and the original Marshall Mathers LP.
"So Far" is perhaps the funniest song on the album. Eminem comes in singing in a hilarious hill billy-esque voice saying "I own a mansion but live in a house, a king size bed but I sleep on the couch." The entire song paints the picture of a bad-ass-red-neck Eminem. He talks about being classless, being hounded by fans, meeting famous people, not understanding technology, and not fitting in with society. The lyrics, "What come on man I'm crappin' and you're askin' for my goddamn autograph on a napkin," are reminiscent of lyrics from "The Way I Am," but rather than an angry, "me against the world" Eminem, the song maintains a funny red neck persona of a man who doesn't know how to grow up. Though he continues to complain about the negatives of being famous, he does it with a sense of humor and mixes it up by talking about some of the positives.
Kendrick Lamar's feature on "Love Game" is classic, almost stealing the show until Eminem destroys the last verse. Kendrick also provides a very good hook. Eminem and Kendrick go back and forth, verse to verse, misogynistic, woman bashing verses. It's a step from the normal for Kendrick, but handles it really well. The song almost has a 1950's era feel, despite being a hip hop song, thanks to a clever sample. Eminem lists off a dizzying list of names that his fiance has cheated on him with in the first verse, and Eminem's last verse on the song is one of the best verses on the album.
"Headlights" completely switches gears. The song is a heart wrenching apology to Eminem's mom. Eminem finds a happy balance between explaining his side of the story and offering a heart felt apology for what he's said about his mother over the years. "I went in head first never thinking about who what I said hurt." This song is the clearest evidence that Eminem has grown up, though, as other songs show, he may have troubles maturing at a normal rate. Eminem raps about the pain he feels knowing his children don't know their grandmother, and wanting to mend bridges. Nate Ruess's hook is drenching with Auto-tune, but fits the song. Eminem probably wouldn't have been able to pull off the soft, heart felt singing that Nate provides. This song really helps you get to know the new Eminem more than any song on the album.
"Evil Twin" switches to an absolute classic song, with Marshall switching between his Eminem and Slim Shady characters. He starts out saying "I'm trying to figure out the difference, but I think the lines are starting to get blurred," and from there it's on. This is the fiercest song on the entire album, completely cutting lose and taking shots. This song is war! "I believe people can change, but only for the worse, I could have changed the world if it wasn't for this verse." The song continuously blurs the line between Eminem and Slim Shady until you're not sure which one is which and Marshall says "because we are the same." This is one of the best songs on the album, and that's saying something! A great way to end the album.
Deluxe:
"Baby" basically takes off where "Evil Twin" left off. Slim Shady completely goes off with multi-syllables, punch lines, crazy flows, shout outs... you get the picture. If you weren't sure Slim Shady was back after the regular version of the album ended, well here he is. The fact that this song (and really the rest of the deluxe tracks) didn't make the album is a testament to the strength of the album.
"Desperation" is the famous Jamie N Commons feature everyone's been waiting for. This is another song about Eminem's love life and all the problems connected with it. Jamie N Commons' hook is devastating. It's safe to say that Jamie and Eminem fit fairly well. This song has some solid punchlines such as "I'm just mad the time it took to discover you were using me for loot like I used you for looks." "Desperation" steers clear of becoming the next "Love The Way You Lie" or "Spacebound" with plenty of jabs at the fairer sex.
"Groundhog Day" is like a darker, nightmarish (in a good way) version of Yellow Brick Rock. Eminem discusses moving from place to place as a kid, discovering hip hop with Uncle Ronnie (RIP), making rap his life goal, and teaming up with Proof (RIP as well). Eminem also discusses, explicitly, coming up in the underground and battle hip hop scenes. The lyricism as always is (rap) god-like. By the end of the song, it's apparent that Eminem is one of the greatest to ever touch a mic. This is a 100% pure hip hop track. No pop.
"Beautiful Pain" goes back to the hip hop-pop balance that Eminem toes the entire album with a clearly pop hook by Sia. Eminem's story telling is top notch. This is a very introspective track discussing pain and depression. Just in case you wanted to know, Eminem is here for you! "And I'm pulling for you to push through this feeling and with a little time that should do the healing." This is the "Not Afraid" of The Marshall Mathers LP 2. Hip hop purists may not appreciate it, but it is an extremely deep track that everyone can relate to.
"Wicked Ways" returns to the Slim Shady persona. "Guess I got a way with words, I could get away with murder." That opening line is an extremely efficient way to explain Slim Shady. The multis on this song are amazing. At times it seems like Eminem doesn't know how to NOT rhyme. It's fantastic. All pop is gone again on this song, and Eminem rips hip hop a new one. This is a great way to end the deluxe version of the album. This song is so good that you can hear Eminem "digging his way to hell" (which makes sense if you listen to the song). The album officially ends with a hidden Ken Keniff skit (he's back!). Ken is taking a piss/shit in a bathroom stall and his combination of horrible gas and singing laced with homosexual references leads Eminem, who is in the stall next to him, to say "I know that voice," slam his stall open and take off screaming. Ken complains about everyone leaving him and farts one more time as the album ends. Thanks Shady.
Overall, I love this album. To me, The Eminem Show and Marshall Mathers LP were both 9.5/10. Most of the songs on this album are 9's or 10's, but "The Monster" is about a 6 and Survival is probably a 7.5. As a whole, I would give the album a 9/10 (8.5 at the lowest). It's not quite as good as The Eminem Show or original MMLP, but it may be on par with The Slim Shady LP, and is certainly beyond the rest of his albums. I love this album, and I'm probably going to have it on repeat for at least a week. This album paints a picture of an older, only slightly more mature Eminem who is extremely relate-able. It also seems to find the perfect balance between Eminem and Slim Shady. Relapse was too much Slim, Recovery was too much Em. MMLP2 is the right amount of each with enough Marshall Mathers thrown in to make you feel like you know him. Not to mention Ken Keniff is back. There have been rumors that this is Eminem's last album, and though I hope it's not, it would be a deserving final album.
Edit: God damn, I used the word "classic" waaaaayyy too much.
"Bad Guy" is a classic sequel to Stan. If you are to listen to a single song from the album, go and listen to "Bad Guy." In my opinion it is the best song on the album. It tells the story of Matthew, Stan's younger brother who you might remember from the lyrics "but you coulda signed an autograph for Matthew/that's my little brother man, he's only six years old." Matthew, in Stan's mind, was an even bigger fan Stan was: "He wants to be just like you man, he likes you more than I do." I'll let you listen to what Matthew has to say (and do), because it is classic and I don't want to give anything away.
"Parking Lot (Skit)" takes you back to the song "Criminal" on MMLP1. Eminem's get away car drives away without him after he robs a bank and kills the teller. Eminem is angry and has to run away on foot. The following song, "Rhyme or Reason" is a classic cut with amazing rhymes, wordplay and hook where he says "there's no rhyme or no reason for nothing." A prevalent theme throughout the song (and the album as a whole) is the absence of Eminem's dad. The song begins with "What's your name? Marshall/Who's your Daddy? I don't have one." It's a funny song, yet sad at the same time.
"So Much Better," is a classic, misogynistic, Slim Shady track with an extremely catchy hook:
"My life will be so much better if you dropped dead (dead)
I was laying in bed last night thinking
And this thought just popped in my head and I thought
Wouldn't shit just be a lot easier if you dropped dead (dead)
I would feel so (so) much (much) better
The song starts with Eminem rapping about a girl cheating on him with Dr. Dre, Drake and Lupe Fiasco. He later raps, "I got 99 problems and a bitch ain't one, she's all 99 of them, I need a machine gun." The song is filled with great punchlines. This album is so great, it's hard to pick out favorites, but this is one of them for me. It also seems like a slightly less aggressive sequel to "Kill You."
"Survival" has been out since August and I don't feel like reviewing it. I'd say it's a pretty good song with a Recovery vibe rather than a Marshall Mathers LP vibe. It has a definitely rock/rap feel to it. It is one of the biggest missteps on the album, which is a good thing because it's a pretty good song.
"Legacy" starts with a pop intro, but quickly turns dark and introspective with the rhymes, "What kind of twisted experiment am I involved in/Cause I don't belong in this world/That’s why I'm scoffing at authority, defying often/Flying off at the handle with my mom, no dad." Overall, the song is thought provoking and introspective and basically tells the story of who Eminem is, why he raps, and basically describes his "legacy."
"Asshole" features a solid hook by Skylar Grey. Shots are thrown, including a shot at Asher Roth and a hilarious shot at ICP (seriously go check that one out!). Eminem admits that he's an asshole, but points out that we're the ones who repeat what he says and pay attention. He then goes off, sending shots, dropping hilarious punch lines and basically dropping a classic Slim Shady cut.
Everyone has heard "Berzerk" by now. I'm not going to say much about it. It is a solid single, in Beastie Boys style, over a rock, Rick Rubin beat. It is a solid party anthem.
Everyone has also heard "Rap God," but it is still one of the standout tracks on the album, featuring amazing flows, speed, lyricism and punch lines. It's a great single.
"Brainless," is one of the funniest tracks on the album with the opening lines "I walk around like a space cadet, place your bets/Who's likely to become a serial killer? Case of tourettes." It almost seems like a sequel to "Brain Damage" on The Slim Shady LP, telling about his history with bullies. I love this song. A lot of the songs on this album explain the distinct roles of Eminem and Slim Shady and why he creates the music he does. This is one of those songs. If you don't understand where Slim Shady comes from or why he's needed, then just listen to this song.
"Stronger Than I was," is a pop ballad, almost completely sung by Eminem himself, like "Hailie's Song" from The Eminem Show. On this song, Eminem discusses his struggles with women and how he has grown and become stronger despite them. It's actually a really good song, despite Eminem only rapping a single verse. The content of the song seems to imply that the song is about Kim (at least in my mind, others may disagree). This song shows how much Eminem has matured over the years and stands out the way "Hailie's Song" did.
"The Monster" is the fourth single from this album. The positives: good lyricism and wordplay. The negatives: weak, cheesy hook sung by Rihanna, and a wack beat. I would also say that the content of the song is weak. It's basically just a song featuring Eminem complaining about the downside of being extremely famous. Nothing groundbreaking. This is probably the biggest misstep in the entire album. The entire album rides the line between hip hop and pop, but this song clearly crosses the line to pop, even more than "Stronger Than I Was." It doesn't catch the MMLP vibe, and holds the album back from reaching the levels of classics like The Eminem Show and the original Marshall Mathers LP.
"So Far" is perhaps the funniest song on the album. Eminem comes in singing in a hilarious hill billy-esque voice saying "I own a mansion but live in a house, a king size bed but I sleep on the couch." The entire song paints the picture of a bad-ass-red-neck Eminem. He talks about being classless, being hounded by fans, meeting famous people, not understanding technology, and not fitting in with society. The lyrics, "What come on man I'm crappin' and you're askin' for my goddamn autograph on a napkin," are reminiscent of lyrics from "The Way I Am," but rather than an angry, "me against the world" Eminem, the song maintains a funny red neck persona of a man who doesn't know how to grow up. Though he continues to complain about the negatives of being famous, he does it with a sense of humor and mixes it up by talking about some of the positives.
Kendrick Lamar's feature on "Love Game" is classic, almost stealing the show until Eminem destroys the last verse. Kendrick also provides a very good hook. Eminem and Kendrick go back and forth, verse to verse, misogynistic, woman bashing verses. It's a step from the normal for Kendrick, but handles it really well. The song almost has a 1950's era feel, despite being a hip hop song, thanks to a clever sample. Eminem lists off a dizzying list of names that his fiance has cheated on him with in the first verse, and Eminem's last verse on the song is one of the best verses on the album.
"Headlights" completely switches gears. The song is a heart wrenching apology to Eminem's mom. Eminem finds a happy balance between explaining his side of the story and offering a heart felt apology for what he's said about his mother over the years. "I went in head first never thinking about who what I said hurt." This song is the clearest evidence that Eminem has grown up, though, as other songs show, he may have troubles maturing at a normal rate. Eminem raps about the pain he feels knowing his children don't know their grandmother, and wanting to mend bridges. Nate Ruess's hook is drenching with Auto-tune, but fits the song. Eminem probably wouldn't have been able to pull off the soft, heart felt singing that Nate provides. This song really helps you get to know the new Eminem more than any song on the album.
"Evil Twin" switches to an absolute classic song, with Marshall switching between his Eminem and Slim Shady characters. He starts out saying "I'm trying to figure out the difference, but I think the lines are starting to get blurred," and from there it's on. This is the fiercest song on the entire album, completely cutting lose and taking shots. This song is war! "I believe people can change, but only for the worse, I could have changed the world if it wasn't for this verse." The song continuously blurs the line between Eminem and Slim Shady until you're not sure which one is which and Marshall says "because we are the same." This is one of the best songs on the album, and that's saying something! A great way to end the album.
Deluxe:
"Baby" basically takes off where "Evil Twin" left off. Slim Shady completely goes off with multi-syllables, punch lines, crazy flows, shout outs... you get the picture. If you weren't sure Slim Shady was back after the regular version of the album ended, well here he is. The fact that this song (and really the rest of the deluxe tracks) didn't make the album is a testament to the strength of the album.
"Desperation" is the famous Jamie N Commons feature everyone's been waiting for. This is another song about Eminem's love life and all the problems connected with it. Jamie N Commons' hook is devastating. It's safe to say that Jamie and Eminem fit fairly well. This song has some solid punchlines such as "I'm just mad the time it took to discover you were using me for loot like I used you for looks." "Desperation" steers clear of becoming the next "Love The Way You Lie" or "Spacebound" with plenty of jabs at the fairer sex.
"Groundhog Day" is like a darker, nightmarish (in a good way) version of Yellow Brick Rock. Eminem discusses moving from place to place as a kid, discovering hip hop with Uncle Ronnie (RIP), making rap his life goal, and teaming up with Proof (RIP as well). Eminem also discusses, explicitly, coming up in the underground and battle hip hop scenes. The lyricism as always is (rap) god-like. By the end of the song, it's apparent that Eminem is one of the greatest to ever touch a mic. This is a 100% pure hip hop track. No pop.
"Beautiful Pain" goes back to the hip hop-pop balance that Eminem toes the entire album with a clearly pop hook by Sia. Eminem's story telling is top notch. This is a very introspective track discussing pain and depression. Just in case you wanted to know, Eminem is here for you! "And I'm pulling for you to push through this feeling and with a little time that should do the healing." This is the "Not Afraid" of The Marshall Mathers LP 2. Hip hop purists may not appreciate it, but it is an extremely deep track that everyone can relate to.
"Wicked Ways" returns to the Slim Shady persona. "Guess I got a way with words, I could get away with murder." That opening line is an extremely efficient way to explain Slim Shady. The multis on this song are amazing. At times it seems like Eminem doesn't know how to NOT rhyme. It's fantastic. All pop is gone again on this song, and Eminem rips hip hop a new one. This is a great way to end the deluxe version of the album. This song is so good that you can hear Eminem "digging his way to hell" (which makes sense if you listen to the song). The album officially ends with a hidden Ken Keniff skit (he's back!). Ken is taking a piss/shit in a bathroom stall and his combination of horrible gas and singing laced with homosexual references leads Eminem, who is in the stall next to him, to say "I know that voice," slam his stall open and take off screaming. Ken complains about everyone leaving him and farts one more time as the album ends. Thanks Shady.
Overall, I love this album. To me, The Eminem Show and Marshall Mathers LP were both 9.5/10. Most of the songs on this album are 9's or 10's, but "The Monster" is about a 6 and Survival is probably a 7.5. As a whole, I would give the album a 9/10 (8.5 at the lowest). It's not quite as good as The Eminem Show or original MMLP, but it may be on par with The Slim Shady LP, and is certainly beyond the rest of his albums. I love this album, and I'm probably going to have it on repeat for at least a week. This album paints a picture of an older, only slightly more mature Eminem who is extremely relate-able. It also seems to find the perfect balance between Eminem and Slim Shady. Relapse was too much Slim, Recovery was too much Em. MMLP2 is the right amount of each with enough Marshall Mathers thrown in to make you feel like you know him. Not to mention Ken Keniff is back. There have been rumors that this is Eminem's last album, and though I hope it's not, it would be a deserving final album.
Edit: God damn, I used the word "classic" waaaaayyy too much.
