this might be the best song on the album, "underground" double meanings, hiding underground in absence, or how he's actually rapping like he did when he was underground in '97. an intense 6 minutes of non-stop rhymes, this song is like chrismas came early. this song is straight marshall mathers lp he proves he can still write, flow and use a serious angry voice not to mention some choice words.
the album had all the staples to a classic shady album: the slim shady evil alter ego voice, the first skit is a reference to the first skit on slim shady ep. paul and steve topped themselves on this one, "you know the guy's dead right?" that was classic! and steve referencing getting shot in the eminem show. steve also referencing the music industry melting down while eminem was gone. i agree, eminem will ALWAYS be a more talented rapper than lil wayne, flo rida, timbaland, and every other rapper that got hot while em "went missing." Ironically, at 3:28 in "my mom" eminem breifly sings autotune; the god-aweful signature of hot music in his absence. another great line is "now everyone's pissed at me like it's my fault his name name rhymes with so many different words" acknowledging how em just likes to "throw words." and of course the obligatory ken kaniff song parody. the beginning of this track is a reference to the beginning of the last track on slim shady lp and marshall mathers lp "a lot of people ask me..." an eminem album is meant to listen to straight through as a work of art. relapse has something for every single fan of eminem. i would be almost disappointed if he didn't discuss his mom, childhood, daughter, celebrities, and drugs. guest appearences are light, just dre and 50 which is how it should be, but i wouldn't have blamed him for a d12 track. not a whole lot of "beefs" with other rappers like older albums or references to kim (ex wife) although the tonya skit reminded me of the bonnie & clyde '97/kim opus. eminem has a new found love for serial killers on this album, really playing into his murderous persona. i only remember hearing one proof reference, i was surprised there wasn't more. i did not like his choice to put old times sake as track 13, we made you would have been more suitable there due to dina rae's back up vocals. all in all, this album rewards more hardcore fans with all the illusions to previous works, and is an emotional rollercoaster.
this might be the best song on the album, "underground" double meanings, hiding underground in absence, or how he's actually rapping like he did when he was underground in '97. an intense 6 minutes of non-stop rhymes, this song is like chrismas came early. this song is straight marshall mathers lp he proves he can still write, flow and use a serious angry voice not to mention some choice words.
the album had all the staples to a classic shady album: the slim shady evil alter ego voice, the first skit is a reference to the first skit on slim shady ep. paul and steve topped themselves on this one, "you know the guy's dead right?" that was classic! and steve referencing getting shot in the eminem show. steve also referencing the music industry melting down while eminem was gone. i agree, eminem will ALWAYS be a more talented rapper than lil wayne, flo rida, timbaland, and every other rapper that got hot while em "went missing." Ironically, at 3:28 in "my mom" eminem breifly sings autotune; the god-aweful signature of hot music in his absence. another great line is "now everyone's pissed at me like it's my fault his name name rhymes with so many different words" acknowledging how em just likes to "throw words." and of course the obligatory ken kaniff song parody. the beginning of this track is a reference to the beginning of the last track on slim shady lp and marshall mathers lp "a lot of people ask me..." an eminem album is meant to listen to straight through as a work of art. relapse has something for every single fan of eminem. i would be almost disappointed if he didn't discuss his mom, childhood, daughter, celebrities, and drugs. guest appearences are light, just dre and 50 which is how it should be, but i wouldn't have blamed him for a d12 track. not a whole lot of "beefs" with other rappers like older albums or references to kim (ex wife) although the tonya skit reminded me of the bonnie & clyde '97/kim opus. eminem has a new found love for serial killers on this album, really playing into his murderous persona. i only remember hearing one proof reference, i was surprised there wasn't more. i did not like his choice to put old times sake as track 13, we made you would have been more suitable there due to dina rae's back up vocals. all in all, this album rewards more hardcore fans with all the illusions to previous works, and is an emotional rollercoaster.