In its place on TES was woe-is-me celebrity groaning, completely unnecessary shots at “Canabitch” (who gets a lot of attention considering he’s “not even on my radar”-”Square Dance”) and Mariah Carey, and telling admissions of directionlessness (“hungry like a fuckin’ younger me,” “produce hits to break the monotony,”-both “Square Dance,” “in no particular direction it just sprays and sprays”-”White America”). Dre’s “Forgot About Dre” ( 2001) (see also: his early freestyles) and fueled the gut-wrenching catharsis of songs like MMLP‘s “Stan” and “Kim” was mostly gone, as was the ribald sense of humor that produced SSLP’s wacky song-length stories. The furious passion that left a swath of scorched earth down the center of Dr. Bush or whatever, but only to distract from the quagmire in which he himself was becoming embroiled. By the time TES arrived, there really wasn’t all that much meaningful controversy left to buck against-no matter how hard he tried to convince everyone otherwise on “Soldier.” (If anything else did need to be said about controversy after MMLP, his stunning guest verses on Jay-Z’s “Renegade” covered it.) Sure, he took some half-assed shots at George W. He lashed the backlash back at us, was hailed as a genius, made millions more dollars, performed with Elton John, won another Grammy, etc. The reaction to that album steadied his aim (somewhat) and steeled his resolve, allowing him to cogently respond to criticisms and rail against those he felt had wronged him on MMLP. On SSLP, the “caged demon” (“Just Don’t Give A Fuck”) giddily sprayed class-clown rebellion into the fan of his subconscious and watched it splatter everywhere. But how did he end up there? What sublimated his destructive impulses from lyrical themes into characteristics of the music itself? Recovery is a grating, turgid revival tent spectacular where the tongues spoken are moronic, snake handling is considered far too risky, and, at the end of the night, those who have not succumbed to the throes of ecstasy, noticing that the body on stage does not seem to have actually come back to life, quietly drag it into the grave Eminem has been digging for himself since Encore, shaking their heads.
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Far be it from me to tell him when and how to use the word “orange,” but to throw that cool streak away for such a vexingly contrived “punchline” during the first song of his second “comeback” album in as many years was pretty much the death knell-and what followed was neither quick nor painless, to say the least. Though the results were somewhat less impressive (diminishing returns, etc.), it was obviously a point of pride. He repeated the feat on “Kill You” ( The Marshall Mathers LP- MMLP), “Business” ( The Eminem Show- TES) and “Big Weenie” ( Encore). I’m in the fourth row, signin’ autographs at your show.” Shit, I got full-blown AIDS and a sore throat.
“You thought I was ill, now I’m even more so.
And just for good measure, he did this on the first verse of “Cum On Everybody” ( SSLP): On “Brain Damage” ( The Slim Shady LP-SSLP) he rhymed “storage booth,” “door hinge loose,” “four-inch screws,” and “foreign tools” with “orange juice.” On “Role Model” ( SSLP) he started with “orange bill” and added “store ‘n’ steal,” “Lauryn Hill,” and “(ig)norin’ skill” to the list he was surely planning to rubber-band to a brick and hurl through the window of a publishing house putting out rhyming dictionaries. It was like he took its “unrhymable” status personally. But he did.īack in the “glory days” Eminem seems to think he’s recapturing on Recovery, he wouldn’t have deigned to use the allegedly unrhymable word “orange” unless he was rhyming it and another word at least three times in a row. A review of that album can be found here, though reading this post first is highly recommended.įor me, it was this: “It’s like apples to oranges, peaches to plums, yeah / I’m bananas, pussy-cut off the grapes and grow a ‘pear.’” I heard this on the third verse of Recovery’s “Cold Wind Blows” and started frantically sounding out the syllables. Since its publication, Eminem released The Marshall Mathers LP 2. Update: This post covers The Slim Shady LP through Recovery.
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