Back in 1996, Dr Dre took a chance with an upcoming rap artiste who – visually, at least – broke every single stereotype for a rapper. Marshall Mathers didn’t quite sneak on to the music scene, so much as explode on it. I’ve been an avid Eminem fan since his early days and, even up to recently, my favourite song by Em is “Superman” released in 2003 – several years after he’d already made his mark on the industry.
After Eminem’s 2004 studio album, Encore, there was a 5-year lull before he came back with Relapse in 2009 and then, this year, Recovery.
Whatever doubts existed in the music industry and among listeners about Mathers’ tenacity and ferocity in the booth being diminished were blown out of the water with the lyrical content on Recovery.
Some had worried that he’d gone ‘soft’ – even going as far as giving him a derogatory twist to his name: Feminem.
I’m pretty sure that tracks like Seduction, No Love and Cold Wind Blows have successfully managed to silence critics who questioned Mathers’ ability.
Much like Drake, Eminem stays away from the use of ‘fillers’ in his bars – successfully delivering cleverly constructed lyrical content without any apparent effort.
Even though Eminem’s strength and ferocity is still very much present on Recovery, it’s markedly different – it seems to no longer be indicative of suppressed anger at the world and at himself. His energy now seems distinctly re focused – and much to his benefit.
It’s always a pleasure to see artistes constantly evolving and not remaining static as performers, writers and creatives. Eminem’s evolution is very much alive and in progress.
My favourite tracks on this album? Seduction (because it’s so very reminiscent of the explosive Eminem we all were initially introduced to back in the late 90s) and No Love, his collaboration with Lil Wayne. On No Love, Mathers makes use of a cleverly integrated sample of Haddaway’s dance classic What Is Love?
Recovery – without a doubt – gets two thumbs up and is a great listen; no matter what mood you’re in. The lyrical content is strong and the use of beats and samples does what it’s supposed to do – enhance the bars, not overwhelm them.
He’s back, y’all.