With the exception of a disastrous attempt at regular old singing, on "Hailie's Song," the surprises are few. (The chain saw is back.) Again, there are skits, with yet another starring an imperious record executive - this time Em shoots him. Dre handles the bulk of the production work, and once again he provides a lot of stripped-to-the-bone beats and plenty of sound effects. There aren't a lot of chances being taken on "Show." Once again Dr.
Albums never debut on Sundays, but there there was so much online piracy surrounding these songs that Interscope, his label, figured the sooner the better. Demand for "Show" is so high that its release date was bumped up a few times - it was originally supposed to go on sale in early June, and actually hit stores yesterday. He's so reliable a moneymaker that one of the most frequently cited explanations for the record industry's slump last year was the lack of a new Eminem album. Granted, Em's outsider guise is far more of a stretch these days. It's a vacation to a warped universe where all the planets revolve around a deranged dude with a bad haircut and an almost disturbing dexterity with words. It ought to be banned from polite society.īut c'mon, who wants to live in polite society? Everyone needs a break, and "The Eminem Show" is perfect music for an intermission from all things decent and respectable. Just like its monster-selling predecessor, "The Marshall Mathers LP," the album is stuffed to bursting with misogyny, murder, profanity and family psychodrama right out of "The Jerry Springer Show." It's horrifying and lewd, inappropriate and juvenile.
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Because if you felt the love, maybe you'd stop making albums as great as "The Eminem Show." The year's most anticipated release is a ranting, raving torrent of words and fun-house beats that you'll hate yourself for loving. What will it take before Marshall Mathers, as he was christened, grasps the horrible truth - that we love everything about him, starting with the comic nastiness of his wicked verses and ending with his shove-it attitude and dyed blond hair? There's plenty of triumphant gloating on this hour-plus album, but every time he takes a bow the self-pitying Em pops up to moan about the burdens of fame or an alleged legion of "haters" ruining his life. We've really gone the extra mile for this guy.Īnd yet on "The Eminem Show" he's still playing the furious freak, the hair-trigger mope, the prankster and rhyme machine stuck for good in underdog mode. We deemed him outrageous and twisted, which made him huge with the suburban kids who crave whatever parents revile. We bought 25 million copies of his last two albums and a fortune's worth of tickets to his concerts. Still, however tough he's been on the world, Em has also tended to reserve his harshest words for himself, refracting his insecurities-about his family, his music, his cultural relevance-into verses that have only made him seem more human.Oh, we've tried to give him the love, we really have. Even as he's matured-fame, stability, sobriety, an Oscar (for the 8 Mile centerpiece, “Lose Yourself”)-he's retained his edge, taking shots at politics and society (2017’s Revival) with a frustration that's bordered on relentless.
The result was a sound that reached beyond hip-hop into the heart of suburban America: rap not as social reportage but as primal-scream therapy punk for a generation addled by reality TV. Dark, funny, and frequently violent, his breakthrough albums (1999’s The Slim Shady LP and 2000’s The Marshall Mathers LP) established him as pop culture’s premier bogeyman, a bleach-blond devil traumatized by circumstance who rapped about killing everyone from his mentor to his mother with such ferocity and wit that you’d almost forget he had the wrong idea. Dre only months before, he had been fired from his job as a line cook, where he worked nearly 60 hours a week to support his infant daughter-an origin story that set the tone for his career. Raised in working-class Detroit, the artist born Marshall Mathers in 1972 got his start as a battle rapper, reaching the ears of then-Interscope Records CEO Jimmy Iovine and future mentor Dr. On 1999's “My Name Is,” Eminem entered the public imagination with a mandate: “God sent me to piss the world off.” From his provocative early work to the redemption narratives of 8 Mile and beyond, he’s more or less stayed true to form, holding a mirror to the American psyche-and his own-with an incisiveness rarely matched before or since.
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