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Go Back   Wu-Tang Corp. - Official Site of the Wu-Tang Clan > The Elements > Hip-Hop Shop > Album reviews

View Poll Results: Eminem - "Recovery"
5: Masterpiece 5 12.50%
4: Banger 9 22.50%
3: Good 7 17.50%
2: Mediocre 14 35.00%
1: Wack 5 12.50%
Voters: 40. You may not vote on this poll

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Old 06-30-2010, 09:22 PM   #16
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^
I liked it a little more than you seemed to but I agree with you completely. Relapse was better.
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Old 07-01-2010, 03:59 AM   #17
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Hahaha lol at people loving the "Here We Go Track" and saying it's better than the album itself just because Havoc produced it. It aint that good, actually quite corny and Havoc beat aint even that good.
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Old 07-02-2010, 06:30 PM   #18
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Its not just because Hav made it, its because it practically smashes all the songs on Recovery, has a better flow from Em on it & doesnt have a shitty sung hook by a guest or Em.
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Old 07-03-2010, 12:22 AM   #19
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Quote:
Originally Posted by Jin10304 View Post
Its not just because Hav made it, its because it practically smashes all the songs on Recovery, has a better flow from Em on it & doesnt have a shitty sung hook by a guest or Em.
EXACTLY

I didnt say that Havocs producing was all I liked about this song, Its the best track on the album because Em MURDERED the beat, and did what he started on Underground on Relapse, made the rest of the album look bad. (Though Relapse shits on Recovery)
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Old 07-07-2010, 08:23 PM   #20
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I hate to say this but what an amazing comeback album! He really outshined his peers lyrically and musically, probably his best or second best album!
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Old 07-09-2010, 06:10 AM   #21
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I've been a fan of Eminem since i first heard "My Name Is" back in '99 when he first came up with Dre backing him. Between "The Slim Shady LP", "Marshall Mathers LP" and "The Eminem Show" he really showed that he's one of the illest and most fierce rhymers involved with this whole art form that is hip-hop music. Production was also very dope, Em had a formula that made sure that he had a few radio friendly singles on each album but those was never a true representation of the album.

With "Encore" in 2004, Em was obviously tired off the game and while half the album is lyrically dopeness the other half is ruined with a whole load of bullshit ruining some serious Dr. Dre beats. to top it off he had the nerve to 'retire' with that shit rock being his 'last' album... or not - fastforward to 2009 and Em drops his come-back album "Relapse", the only Em album to be FULLY produced by Dr. Dre the beats fucking banged and thump harder than most albums released in '09. Em spazzed out on this album, lyrically he showed the world how technically dope he really is but the world dissed it because large parts of the LP was performed with various weird dialects.

Enter "Recovery" in 2010, fueled by all the hate his first comeback album catched, you can hear that Eminem is hungrier than he have been since the year 2000. Last year’s formula of funny, weird punchlines and stories delivered with European and Indian accents over pounding live instrumentation infused Dr. Dre beats is nowhere to be seen. While Dre still acts executive producer of the project and giving it his full co-sign, the production is handled by a wider range of beatmakers than any previous album by Marshall Mathers. You have DJ Khalil, Just Blaze, Bo-1-Da, Dr. Dre, Havoc and Emile supplying beats together with lesser known cats like Script Shepherd and Supa Dups.
The first song on the album is a Just Blaze production called “Cold Wind Blows”, which points out one of the major flaws of the album right from the start. Before we get to the actual song we get to hear a 30 second acapella sung by Em in the most homosexual way possible, I don’t know what the hell he was thinking but the intro sounds horrible. So fast-forward 28 seconds when you put on the album and then BOOM, the bang that is “Cold Wind Blows” hit you; this track is the perfect album opener, Just Blaze provides a very solid, hard beat that is right up Em’s alley (it even has a few of Dre’s trademarks in there with that BIG, BIIIG sound and the heavy keys). Lyrically this guy is totally spazzing out on here and it stands clear that he’s on a vengeance, going out to prove to the world that he still got it and, in fact, haven’t even lost a step. It is amazing to hear Em deliver truthful and self-revealing rhymes that is technically perfect without either dialects or putting on any character. The track is so dope that the self-performed hook doesn’t even really bother me.
The album continues in the same path with another strong cut in “Talkin’ 2 Myself”. The production pretty much picks up right where the previous left off which gives Em the energy to make himself heard loud and clear, exposing his depressive state to the world. He speaks on how he at one point was so jealous of the shine that Lil’ Wayne and KanYe was getting that he was very close to releasing diss records on them both to get back in the public eye. While he obviously could destroy both of them, tracks like this is a much better choice for getting back to the top. It’s a big big plus that he doesn’t handle the chorus by himself on here but instead gets a guy named Kobe deliver it. It sounds dope and I constantly hear myself singing along to it, this would’ve been a good choice for single in my opinion. Following this is another good song called “On Fire”, which basically is just that, strictly spitting for the entire song without no cheesy hook. The beat is nothing to write home about but it is not bad in any way neither, thus making up a good song with heavy lines like “………………” (quote).
Ok, so the album starts of in a really good fashion, with three tracks of fire that’ll be enjoyed by most of the man’s long-time supporters and fans. But with track #4 a step is taken in a totally wrong direction when a radio-designed track and an ever more radio-designed ugly ass guest feature from Pink. This doesn’t make any sense whatsoever since Em built much of his career taking shots at commercialized MTV acceptable bullshit artists like this. I mean how the hell you gonna ditch the new collaboration you recorded with Royce Da 5’9” and his peers in favor for something shitty and industrialized like this record right here?! You don’t play your fans like that, that shit doesn’t fly well with a lot of people. The man’s lyrics might, or might not be, incredible on here but I don’t know cuz this is on automatic skip after only a couple of listens. The wackness carries over to the next song, “White Trash Party”, which even has a title that indicates that it’s going to be some weak shit. Once again Mathers is spitting rawer than most rappers you ever heard but with a bland beat like this and a horribly cheesy chorus this is beyond irritating.
“Going Through Changes”, produced by underrated beatsmith Emile, is a whole lot better as Eminem uses his lyrical skill for a great performance by telling the listeners about his thoughts on Proof’s death and the events that surrounded it. Emile provides some knocking crisp drums for Em to lean on and a sample of Ozzy Osbourne doing the hook adds to the dopeness of the song in my opinion. I’m not a big fan of any of the two following Boi-1-Da productions that follows – in fact he was the one producer that I really didn’t like seeing having beats on this album when the tracklist were revealed. The first is the single, “Not Afraid”, which clearly has Em and the beatmaker looking at the radio and TV to see what is selling today and trying to come up with something along those lines. It’s a motivational song that’s just a little bit too “emo” for my liking, nor does the production make it anything worthwhile.
Lil’ Wayne is invited, as the only other rapping MC on the album, to perform alongside Em on “No Love”. I’ve seen this catch some flack in other reviews and on the net but I actually feel it’s one of the best songs on the entire album. Just Blaze’s beat is dark and atmospheric and, very surprisingly, successfully manages to incorporate a sample from Haddaway’s “What Is Love? (Baby Don’t Hurt Me)”. Even Wayne has a pretty neat verse on here but more importantly, being on a track with someone who is considered one of the “greatest” by the masses today really gives Em that extra spark, delivering one hell of a performance. He is going nuts on here, the flow, delivery and the wordplay is out of this world and with lines like “……………..” (quote) this makes for one of my definite favorite verses off the album (and that’s aying a lot considering it’s more or less a lyrical masterpiece).
Following some filler another brilliant couple of songs is next, starting with the intriguing “25 to Life”, a concept song playing out as a written letter to hip-hop. A tired theme that has been played out way too many times ever since Common’s classic “I Used to Love H.E.R.”, but when it’s Eminem who pulls the strings you know he’s gonna have his own little unique twist to it. And so he does… Over a grabbing beat with a beautiful sampled vocal hook Em describes how he feels betrayed, cheated on and trapped in this game called hip-hop. You’ll have to listen for yourself but this is lyrical greatness from a lyrical wiz. “So Bad” follows, the reunion with Dr. Dre, and all the traditional elements are incorporated; dark keys, big atmosphere, clean and crisp drums makes for a simple but effective sonic masterpiece. I don’t even have to tell you that Mathers delivers yet another astonishing gang of verses, because this album doesn’t offer much else than lyrical dopeness on Em’s account. There is one bad thing about this song though – considering how well this works it makes you wish Dre would have been given one hell of a lot more space this time around as well. Any Eminem album should be required to have at the very least, 3 Dr. Dre beats on it if you ask me. “Almost Famous” bangs pretty hard but at the same time it’s a bit hit-or-miss, it got its share of ill elements but at the same time it’s really nothing that’ll leave you fiending for more.
“Love The Way You Lie” is another track that’ll make you feel depressed and betrayed for being an Eminem fan, inviting Rhianna to do a chorus should never even have been an idea for this album. The collaboration is obviously not working and it’s plain shitty. In my opinion it’s really disappointing to see Em inviting guests like Rhianna and Pink to his album, he talks about redeeming himself and catering to his fans on tracks like “Cold Wind Blows” but at the same time a lot of beats and guest features seems like desperate cries for radio plays and makes him look like a hypocrite to his long-time followers. The next song is even worse and it’s even more suprising since the track is a tribute to deceased friend and bandmate Proof and is laced by Just Blaze. The joint, which is called “You’re Never Over” is top of the line ultra cheesy with a pussy-sounding beat, silly sung hook and even the verses ain’t at all as moving as Proof deserved. I for one was disappointed that Em didn’t include a Proof dedication on his last album but I’d rather be without it than hear a song like this – this sound nothing like Proof’s music or the music they did together and it sounds way too happy and uptempo for being a mourning song. I don’t know what was on Just Blaze’s mind either, he performed well on his other contributions and you’d imagine this would be the most important song off the entire album so it’s a real, real shame both the MC and the producer fucked this one up big time. What a disappointment!
Now if Mobb Deep was never signed to G-Unit/Aftermath this album would probably have ended in the worst possible way possible (consider that it also started in the worst possible way imagined, with that cheesy acapella). Luckily Havoc was called in to do the hidden, untitled bonus track on the album and while it doesn’t sound like anything from “Hell On Earth” it’s raw enough for Em to spazz out heavily one last time. This is my favorite joint on the album as the beat is dope but puts Em in the forefront who delivers three insane verses that’s straight aggressive and hardcore Slim Shady steez. This is what the true fans of this MC truly wants to hear from him, and just like the way “Underground” closed his last album, this song leaves you grinning, just fiending for more where this came from. There’s a whole bunch of quotables from this track, how about “……………………” (quote)?
In conclusion I feel that “Recovery” includes way too much filler to be considered a true quality album. The album has grown on me though; the first time I played this I couldn’t get through the entire thing and really thought it was straight up wack. That is not the case when you see the whole picture – lyrically this is another crowning achievement in Eminem’s career. He basically took everything that people complained about with “Relapse” and did a 180 degrees turn, serious topics, really going in and dissecting himself but without the corny accents. One of the major flaws is Marshall’s constant try at crossing over, more or less every song he performs a self-sung chorus that’s major corny. He doesn’t have the voice nor the soul to get away with such a stunt. Imagine Ghostface crooning like on “Ghost Deini” on every single song on his next opus and you would be guaranteed it wouldn’t work. Well, it definitely doesn’t work for Em either, since he can’t sing for shit which really becomes painfully clear. The production is another thing that could have been done in a much better way – Eminem is one of the elite MC’s and should be a leader and not a follower. It is obvious that him and the exec’s have studied what’s “hot” on the radio today and laid out the blueprint from there. There IS a lot of dope songs on here though, this album is not a throw-away at all but it’s quite disturbing for older Eminem fans to finally hear the man come back in such a lyrical form only to throw it away on half-ass “microwaved for the masses” production by the likes of Bo-1da and Jim Jonsin. Even The Alchemist and DJ Premier were willing to work with Mathers for the project and there is so many people out there that went nuts just off the idea of that, and Em got enough fucking money to do whatever the fuck he wants. Of course he is heavily controlled by the labels but it’s just a shame an album with the potential of a masterpiece turns out being a decent only release. Without the cheeseball hooks and with the beat-set off “Relapse” this might’ve very well been Mather’s best album to date. On a side-note, the two iTunes bonus tracks are BLAZING HEAT, Just Blaze, Dr. Dre and Slaughterhouse production and features should without a doubt have been included on the retail LP. This won’t get my money but if I get the chance I will steal this from the store, plus I got a modified 13-track tracklist (with the bonus songs as tracks #4 and #5) on my iPod.
2.8/5
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Old 07-09-2010, 06:10 AM   #22
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I've been a fan of Eminem since i first heard "My Name Is" back in '99 when he first came up with Dre backing him. Between "The Slim Shady LP", "Marshall Mathers LP" and "The Eminem Show" he really showed that he's one of the illest and most fierce rhymers involved with this whole art form that is hip-hop music. Production was also very dope, Em had a formula that made sure that he had a few radio friendly singles on each album but those was never a true representation of the album.

With "Encore" in 2004, Em was obviously tired off the game and while half the album is lyrically dopeness the other half is ruined with a whole load of bullshit ruining some serious Dr. Dre beats. to top it off he had the nerve to 'retire' with that shit rock being his 'last' album... or not - fastforward to 2009 and Em drops his come-back album "Relapse", the only Em album to be FULLY produced by Dr. Dre the beats fucking banged and thump harder than most albums released in '09. Em spazzed out on this album, lyrically he showed the world how technically dope he really is but the world dissed it because large parts of the LP was performed with various weird dialects.

Enter "Recovery" in 2010, fueled by all the hate his first comeback album catched, you can hear that Eminem is hungrier than he have been since the year 2000. Last year’s formula of funny, weird punchlines and stories delivered with European and Indian accents over pounding live instrumentation infused Dr. Dre beats is nowhere to be seen. While Dre still acts executive producer of the project and giving it his full co-sign, the production is handled by a wider range of beatmakers than any previous album by Marshall Mathers. You have DJ Khalil, Just Blaze, Bo-1-Da, Dr. Dre, Havoc and Emile supplying beats together with lesser known cats like Script Shepherd and Supa Dups.

The first song on the album is a Just Blaze production called “Cold Wind Blows”, which points out one of the major flaws of the album right from the start. Before we get to the actual song we get to hear a 30 second acapella sung by Em in the most homosexual way possible, I don’t know what the hell he was thinking but the intro sounds horrible. So fast-forward 28 seconds when you put on the album and then BOOM, the bang that is “Cold Wind Blows” hit you; this track is the perfect album opener, Just Blaze provides a very solid, hard beat that is right up Em’s alley (it even has a few of Dre’s trademarks in there with that BIG, BIIIG sound and the heavy keys). Lyrically this guy is totally spazzing out on here and it stands clear that he’s on a vengeance, going out to prove to the world that he still got it and, in fact, haven’t even lost a step. It is amazing to hear Em deliver truthful and self-revealing rhymes that is technically perfect without either dialects or putting on any character. The track is so dope that the self-performed hook doesn’t even really bother me.

The album continues in the same path with another strong cut in “Talkin’ 2 Myself”. The production pretty much picks up right where the previous left off which gives Em the energy to make himself heard loud and clear, exposing his depressive state to the world. He speaks on how he at one point was so jealous of the shine that Lil’ Wayne and KanYe was getting that he was very close to releasing diss records on them both to get back in the public eye. While he obviously could destroy both of them, tracks like this is a much better choice for getting back to the top. It’s a big big plus that he doesn’t handle the chorus by himself on here but instead gets a guy named Kobe deliver it. It sounds dope and I constantly hear myself singing along to it, this would’ve been a good choice for single in my opinion. Following this is another good song called “On Fire”, which basically is just that, strictly spitting for the entire song without no cheesy hook. The beat is nothing to write home about but it is not bad in any way neither, thus making up a good song with heavy Shady-like lines like “Shit dissin me is just like pissin off the wizard of oz/ Wrap a lizard in gauze beat you in the jaws with it/ Grab the scissors and saws and, cut out your livers gizzards and balls/ Throw you in the middle of the ocean in the blizzard with jaws”.

Ok, so the album starts of in a really good fashion, with three tracks of fire that’ll be enjoyed by most of the man’s long-time supporters and fans. But with track #4 a step is taken in a totally wrong direction when a radio-designed track and an ever more radio-designed ugly ass guest feature from Pink. This doesn’t make any sense whatsoever since Em built much of his career taking shots at commercialized MTV acceptable bullshit artists like this. I mean how the hell you gonna ditch the new collaboration you recorded with Royce Da 5’9” and his peers in favor for something shitty and industrialized like this record right here?! You don’t play your fans like that, that shit doesn’t fly well with a lot of people. The man’s lyrics might, or might not be, incredible on here but I don’t know cuz this is on automatic skip after only a couple of listens. The wackness carries over to the next song, “White Trash Party”, which even has a title that indicates that it’s going to be some weak shit. Once again Mathers is spitting rawer than most rappers you ever heard but with a bland beat like this and a horribly cheesy chorus this is beyond irritating.

“Going Through Changes”, produced by underrated beatsmith Emile, is a whole lot better as Eminem uses his lyrical skill for a great performance by telling the listeners about his thoughts on Proof’s death and the events that surrounded it. Emile provides some knocking crisp drums for Em to lean on and a sample of Ozzy Osbourne doing the hook adds to the dopeness of the song in my opinion. I’m not a big fan of any of the two following Boi-1-Da productions that follows – in fact he was the one producer that I really didn’t like seeing having beats on this album when the tracklist were revealed. The first is the single, “Not Afraid”, which clearly has Em and the beatmaker looking at the radio and TV to see what is selling today and trying to come up with something along those lines. It’s a motivational song that’s just a little bit too “emo” for my liking, nor does the production make it anything worthwhile.

Lil’ Wayne is invited, as the only other rapping MC on the album, to perform alongside Em on “No Love”. I’ve seen this catch some flack in other reviews and on the net but I actually feel it’s one of the best songs on the entire album. Just Blaze’s beat is dark and atmospheric and, very surprisingly, successfully manages to incorporate a sample from Haddaway’s “What Is Love? (Baby Don’t Hurt Me)”. Even Wayne has a pretty neat verse on here but more importantly, being on a track with someone who is considered one of the “greatest” by the masses today really gives Em that extra spark, delivering one hell of a performance. He is going nuts on here, the flow, delivery and the wordplay is out of this world and with lines like “More alive than I have been in my whole entire life / I can see these people's ears perk up as I begin, to spaz with the pen, I'm a little bit sicker than most/ Shit's finna get thick again/ They say the competition is stiff, But I get a hard dick from this shit/ Now stick it in - I ain't never giving in again ” this makes for one of my definite favorite verses off the album (and that’s aying a lot considering it’s more or less a lyrical masterpiece).

Following some filler another brilliant couple of songs is next, starting with the intriguing “25 to Life”, a concept song playing out as a written letter to hip-hop. A tired theme that has been played out way too many times ever since Common’s classic “I Used to Love H.E.R.”, but when it’s Eminem who pulls the strings you know he’s gonna have his own little unique twist to it. And so he does… Over a grabbing beat with a beautiful sampled vocal hook Em describes how he feels betrayed, cheated on and trapped in this game called hip-hop. You’ll have to listen for yourself but this is lyrical greatness from a lyrical wiz. “So Bad” follows, the reunion with Dr. Dre, and all the traditional elements are incorporated; dark keys, big atmosphere, clean and crisp drums makes for a simple but effective sonic masterpiece. I don’t even have to tell you that Mathers delivers yet another astonishing gang of verses, because this album doesn’t offer much else than lyrical dopeness on Em’s account. There is one bad thing about this song though – considering how well this works it makes you wish Dre would have been given one hell of a lot more space this time around as well. Any Eminem album should be required to have at the very least, 3 Dr. Dre beats on it if you ask me. “Almost Famous” bangs pretty hard but at the same time it’s a bit hit-or-miss, it got its share of ill elements but at the same time it’s really nothing that’ll leave you fiending for more.

“Love The Way You Lie” is another track that’ll make you feel depressed and betrayed for being an Eminem fan, inviting Rhianna to do a chorus should never even have been an idea for this album. The collaboration is obviously not working and it’s plain shitty. In my opinion it’s really disappointing to see Em inviting guests like Rhianna and Pink to his album, he talks about redeeming himself and catering to his fans on tracks like “Cold Wind Blows” but at the same time a lot of beats and guest features seems like desperate cries for radio plays and makes him look like a hypocrite to his long-time followers. The next song is even worse and it’s even more suprising since the track is a tribute to deceased friend and bandmate Proof and is laced by Just Blaze. The joint, which is called “You’re Never Over” is top of the line ultra cheesy with a pussy-sounding beat, silly sung hook and even the verses ain’t at all as moving as Proof deserved. I for one was disappointed that Em didn’t include a Proof dedication on his last album but I’d rather be without it than hear a song like this – this sound nothing like Proof’s music or the music they did together and it sounds way too happy and uptempo for being a mourning song. I don’t know what was on Just Blaze’s mind either, he performed well on his other contributions and you’d imagine this would be the most important song off the entire album so it’s a real, real shame both the MC and the producer fucked this one up big time. What a disappointment!

Now if Mobb Deep was never signed to G-Unit/Aftermath this album would probably have ended in the worst possible way possible (consider that it also started in the worst possible way imagined, with that cheesy acapella). Luckily Havoc was called in to do the hidden, untitled bonus track on the album and while it doesn’t sound like anything from “Hell On Earth” it’s raw enough for Em to spazz out heavily one last time. This is my favorite joint on the album as the beat is dope but puts Em in the forefront who delivers three insane verses that’s straight aggressive and hardcore Slim Shady steez. This is what the true fans of this MC truly wants to hear from him, and just like the way “Underground” closed his last album, this song leaves you grinning, just fiending for more where this came from. There’s a whole bunch of quotables from this track, how about “You gonna have Kurt Cobain asking to autograph on a blood stained napkin/ Unfashionable, about as rational as a rash on a fag's asshole/ Now let's take that line, run it up the flag pole with Elton/ See if he's cool with it, don't stand there and look stupid at me bitch/ I ain't in the mood for the shit, gif my dick, Google it till it pops up/ Ya'll are so motherfuckin full of shit that your stocked up/ Me, I'm always shittin diarrhea at the mouth, Till your speakers crap out".

In conclusion I feel that “Recovery” includes way too much filler to be considered a true quality album. The album has grown on me though; the first time I played this I couldn’t get through the entire thing and really thought it was straight up wack. That is not the case when you see the whole picture – lyrically this is another crowning achievement in Eminem’s career. He basically took everything that people complained about with “Relapse” and did a 180 degrees turn, serious topics, really going in and dissecting himself but without the corny accents. One of the major flaws is Marshall’s constant try at crossing over, more or less every song he performs a self-sung chorus that’s major corny. He doesn’t have the voice nor the soul to get away with such a stunt. Imagine Ghostface crooning like on “Ghost Deini” on every single song on his next opus and you would be guaranteed it wouldn’t work. Well, it definitely doesn’t work for Em either, since he can’t sing for shit which really becomes painfully clear. The production is another thing that could have been done in a much better way – Eminem is one of the elite MC’s and should be a leader and not a follower. It is obvious that him and the exec’s have studied what’s “hot” on the radio today and laid out the blueprint from there. There IS a lot of dope songs on here though, this album is not a throw-away at all but it’s quite disturbing for older Eminem fans to finally hear the man come back in such a lyrical form only to throw it away on half-ass “microwaved for the masses” production by the likes of Bo-1da and Jim Jonsin. Even The Alchemist and DJ Premier were willing to work with Mathers for the project and there is so many people out there that went nuts just off the idea of that, and Em got enough fucking money to do whatever the fuck he wants. Of course he is heavily controlled by the labels but it’s just a shame an album with the potential of a masterpiece turns out being a decent only release. Without the cheeseball hooks and with the beat-set off “Relapse” this might’ve very well been Mather’s best album to date. On a side-note, the two iTunes bonus tracks are BLAZING HEAT, Just Blaze, Dr. Dre and Slaughterhouse production and features should without a doubt have been included on the retail LP. This won’t get my money but if I get the chance I will steal this from the store, plus I got a modified 13-track tracklist (with the bonus songs as tracks #4 and #5) on my iPod.


2.8/5
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Old 07-09-2010, 07:38 AM   #23
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"the only Em album to be FULLY produced by Dr. Dre the beats"

If were counting the bonus tracks from the Deluxe Edition & Refill then no.

"Beautiful"=Eminem
"My Darling"=Eminem
"Careful What You Wish For"=Eminem
"Elevator"=Eminem
"Forever"=Boi 1nda
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Old 07-09-2010, 04:22 PM   #24
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haha come on now man, you're just super-nitpicking shit right here. NO i'm talking about the retail album, where Dre produced EVERYTHING besides "Beautiful". that makes it an (very, very close to be) fully produced by Dr. Dre. 19 songs out of 20, i think it's retarded to to not call "Relapse" a Dr. Dre produced album lmao
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Old 07-09-2010, 06:21 PM   #25
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99% isn't 100%, Relapse isnt fully produced by Dre, but very close.
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Old 07-09-2010, 08:08 PM   #26
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haha yeah whatever. that one song doesn't matter, of course "Liquid Swords" or "Ironman" is albums produced by RZA, or "2001" is an album produced by Dre, or "Welcome 2 Detroit" is an album produced by Jay Dee.
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Old 07-09-2010, 08:18 PM   #27
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4th Disciple, Tru Master, Lord Finesse have something to say about that. Dilla's is fully produced though, he shares co production with Karriem Riggins.
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Old 07-10-2010, 06:53 AM   #28
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hahahaha yeah man i know that there is a song on each that is produced by another artist but that doesn't mean that if you're talking about albums produced by DJ Premier you shouldn't mention "Livin' Proof" or "Tha Blaqprint". of course he didn't do all of the beats but he did the very, very majority on them that they could be considered to be produced by him. it's like saying "Liquid Swords" isn't a GZA album.

i'm letting this go now cuz this is a mad silly discussion
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Old 06-30-2011, 07:39 AM   #29
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Wow.
Having heard the 3 singles they suggested this would be a competent enough album. I only just heard this yesterday so I had no idea.

Completely fuckin' wack. I actually didn't get through the whole album. The endless barrage of shitty out of tune hooks and electro cack beats and anonymous whiny lyrics were just unbearable. Fuckin' shocking.

Funny thing is he keeps saying on this LP that Relapse was wack. When infact it was very good, especially compared to this piece of shit coaster.

Going through changes? White Trash Party? What the fuck was going through his mind? Easily the worst thing hes ever done. At least the Bad Meets Evil joint got him back on track.
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Old 06-30-2011, 02:48 PM   #30
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Quote:
Originally Posted by Sosa View Post
Wow.
Having heard the 3 singles they suggested this would be a competent enough album. I only just heard this yesterday so I had no idea.

Completely fuckin' wack. I actually didn't get through the whole album. The endless barrage of shitty out of tune hooks and electro cack beats and anonymous whiny lyrics were just unbearable. Fuckin' shocking.

Funny thing is he keeps saying on this LP that Relapse was wack. When infact it was very good, especially compared to this piece of shit coaster.

Going through changes? White Trash Party? What the fuck was going through his mind? Easily the worst thing hes ever done. At least the Bad Meets Evil joint got him back on track.

Relapse was worse then this, I dont care how you explain it, those accents killed the record, I actually bought that piece of shit and took it to sound exchange the next day

Em screaming like a banshee >>>>>>>>>The Russian Pedophile accent

And Going through Changes was one of the best songs on this, reminds me his old Cleaning out my closet, Rock Bottom type shit.......... Then again, I'm partial to the Black sabbath song in the sample so maybe thats the reason I liked it so much

Rest of the album is alright, Not his best but no where near as bad as the web makes it out to be...........Its one of those albums that you just know if it hadnt been succesful the Web geeks woulda went easier on it...........But because it sold so well and its just okay, the internet has to overcompensate by declaring it the worst thing ever........
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