Review Summary: Unfurling to the core, Eminem throws the bullshit aside and tackles Recovery with mind and matter together for the first time since The Marshall Mathers LP. It's just too bad his army of guest artists isn't enough to save him this time.
Time and again, Eminem has retained a startling amount of massive publicity from the sheer emotion and vulgar rhymes in his rapping. Controversy, questionable subject matter and intense lyrical content strangely molded listeners to hold a respectable stance for the Missouri rapper. However ridiculed and pushed into the dust at every turn, Eminem fought back through his outlet of talent. One way or another Mr. Mathers always found a crisp way to push the most taboo of topics into music as if it were the status quo. Transsexuals, suicidal tendencies or the ferocity towards the paparazzi gave us sweats of his musical endeavor and thoroughly impressed us with his view of the world. As an artist he utilized his music to collide fear and anger into a workable substance. His musicianship worked better than anyone could have expected and people could feel the raw emotion in whole. And with that, everything that has collected and drawn people to listen to Eminem over the years will inevitably come together for standout acclaim; Eminem’s Recovery is a huge step in the right direction that deserves attention.
With Recovery, the truth is that the rain falls harder on than ever before, and his rapping hits home harder than the storm that gathers from it. Confusion and emotions run rampant through the album hand in hand. Every base is hit, and all his previous statements and lyrical substance amass from all across his discography to form a solid stone. It is among Eminem’s greatest; the tracks closest to filler are still going to stand up amongst the rest and the album is a Guess Who game that leaves you fumbling for words. Before you can even think of what to say, Talking to Myself
spits those words without spraying. All-throughout, the album is as thrilling as the chill surrounding it. Even though we were promised a Relapse 2; we received another surprise yet again. The intention behind the record matches the realism with it, and alongside songs of Going Through Changes
, Recovery tries too hard to be emotional and anthematic when it isn't being overwrought with rap-acoustic rock hybrids, something the lead single Not Afraid
has proven by wrecking every Billboard chart it could possibly appear on.
Some fans had a hard time accepting the strange aura of Relapse, but over time it was evident that something was missing, and we all feared Eminem would truly, lose it. This is where you need not fear, Recovery is where Eminem has picked up the pieces to create himself yet again. Every song is enjoyable to a degree however small it may be to long time listeners, the cringe-worthy tracks have been over-polished to appear completely nonabrasive, and the filler is no longer too atrocious to damage the album by not even trying at all in any direction. Even the skits have been scraped from the production to bluff the appearance of the album as having a direct approach. Still, it’s tremendously difficult to even think of such a hardline rapper as Eminem *wanting* to work with artists such as Pink, Rihanna or Lil’ Wayne, but in all honesty, the songs create a surprising tight fit for pop radio and lots of money for everyone's pocket without the itchy awkwardness of Relapse.
Recovery maintains a consistent quality in contrast to Encore, and songs like Almost Famous
will prove to last alongside his strongest tracks, fumbling through head dawning aggression and Eminem in pissed off mode, re-activated after 10 years of drug suppression and lyrical focus that makes it even easier to criticize Relapse and mourn Encore. The beats don't seem as forced as his last few efforts and this can leave his much too accessible and easy to become overwrought with, and the chorus of On Fire
may seem iffy at first listen, but Eminem’s rapping quality allows it to not come off as a full disappointment in the same way as Encore. There are questionable matters on the album, as Eminem dares to include rather… strange essences to his songs. Directly, the songs 25 to Life
and Love the Way You Live
are a bit of a shock for those expecting the typical Eminem styled ballad, encasing with acoustic guitars that at least show he is trying to incorporate new ideas, rave club beats and the latter including a chorus by pop singer Rihanna. For the first time in 10 years you can crank up an Eminem record and not be ridiculed as a cheap ass cracker.