He examines the side-effects to the disappearance of his father both comically yet sincere, altering his tone and channeling Yoda: “So yeah dad, let’s walk/ Let’s have us a father and son talk/ But I bet we wouldn’t probably get one block without me knocking your block off/This is all your fault/ Maybe that’s why I’m so bananas… I related to the struggles of young Americans when their fuckin’ parents were unaware of their troubles.”Įm’ has never been one to lock down (healthy) love, which he’s been brutally honest about since “Kim.” A broken heart leads Em to wishful thinking that his former lover, who he claims cheated on him with Dr. On “Rhyme Or Reason,” which samples The Zombies’ “Time of Season,” Eminem’s target is his dad. “Parking Lot” continues the robbery we first heard in “MMLP’s” “Criminal.” The animated skit may sound familiar to loyal fans. One of the best songs on the album for its shifting storytelling, Eminem comes face-to-face with his worst enemy by playing off the narration of “Stan.” “Grab for some water but I’m that pill that’s too jagged to swallow/ I’m the bullies you hate that you became/ With every f-t you slaughtered/ Coming back on you every woman you insult there/ With the double-standards you have when it comes to your daughters,” Eminem raps on the outro. Dre and Rick Rubin.Įminem introduces “The Marshall Mathers LP 2” by bringing his dark side to light and calling out his transgression through the voice of Stan’s vengeful brother, Matthew Mitchell. YouTube Music Awards: Eminem, Arcade Fire, Lady Gaga Highlight Gleefully Messy ShowĬheck out our track-by-track review of Eminem’s eighth studio album, “The Marshall Mathers LP 2,” executive produced by Dr. Eminem extends narrations derived from “MMLP” (such as “Stan” in “Bad Guy”) and revamps “MMLP” verses (“So Much Better,” “Rap God,” “So Far”), ultimately highlighting his cynicism and introducing his latest fear: karma. “MMLP2” is nostalgic of its predecessor, pulling inspiration from the essence of “MMLP,” but while dark at times, it’s less intense, since it’s not as much of an introduction of sorts.
Production-wise, Eminem strives in the comfort of soundscapes reminiscent of earlier work and strengthens his comical side by exploring vintage hits by the Zombies, Wayne Fontana & the Mindbenders and Billy Squier. I mean, fuck, here it is 2013 and I still don’t really have a total grasp on it yet and understand it,” he tells Billboard in our latest cover story. “When I was making records, I would just take my frustrations out about that. Eminem Returns: The Billboard Cover Story
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