There used to be a time when the media would go apeshit over the lyrical content of Marshall's music: nowadays, it's a given that the man will say something fucked up, just like his old running buddy Marilyn Manson, who hasn't done anything remotely controversial in years (besides fuck his girlfriend, Evan Rachel Wood, in a music video). The hook on this non-Flo Rida sampling, self-produced effort is overly wordy but still interesting: it's a shame that the rest of the song doesn't hold itself up to the same standards. Anyone else think that the second voice he trots out during the third verse sounds like his impression of Seth Rogen as a Muppet? Em's horrorcore tactics wouldn't have fit on Relapse, as that album already contained “3 a.m.” and its own shout-out to Jame Gumb, but Em's flow is as creative as he can be on his best days. Dre's beat certainly helps, as simple as it is. This homage to The Silence Of The Lambs is sadistic as shit, and Marshall's accent grows increasingly worrisome, but if you look at this with the mindset that Eminem is a bullshit artist who rhymes about shit such as this because he's an antisocial nut job, than this is actually pretty good. Marshall says nothing of consequence on here, leaving me to wonder why this wasn't on Relapse, an album that also consisted of the man not saying much. The Dre prescription sounds like something he originally crafted for Busta Rhymes it isn't bad, but both Em and Andre sound awkward over it, especially when Dre decides to speed-rap. Probably the best aspect of this track is its video, where the members of Slaughterhouse stood behind Em and ignited rumors that flooded the Interweb almost immediately.ĭoesn't Em have a lost song from his The Slim Shady LP days with the same title? Even if he does, this is clearly a more recent effort, proven by Marshall's stupid fucking accent that he really needs to lose. I know, I'm weirded out by my own statement, too. Some are completely wrong.) After hearing this shit over and over again while driving, here are my observations: (1) Boi-1da's beat isn't awful (2) Kanye West punches the clock much earlier than his peers, as if he's trying to scam some overtime from his employer, and still turns in the worst verse (3) Drake doesn't impress on here, either (4) Eminem technically has the most lyrically flexible contribution (because if he didn't, would this song even make an appearance?), but, surprisingly, Weezy's verse is more proficient. Some say that is the man's finest showing since “Stan”. (And yes, I'm including the boring “Beautiful” in that list. It's only on Relapse: Refill because it's currently blowing up radio airwaves, and it's the only Eminem song that hit in 2009 that didn't include an awful accent and/or sucked. song also appeared on Hova's The Blueprint 3 as it was originally intended to. Well, the obvious complaint regarding the inclusion of “Forever”, the 2009 “Swagga Like Us”, is that this is Drake's song, not Marshall's, which is a similar complaint I would have had if the aforementioned T.I. FOREVER (DRAKE FEAT KANYE WEST, LIL' WAYNE, & EMINEM) So why the hell shouldn't I look into the bonus material that constitutes the only real draw of Relapse: Refill?ġ. I wasn't a big fan of Relapse, but it was one of my most popular posts in all of 2009, at least if you're counting all of the comments left by readers. In reality, Relapse: Refill was probably in the cards all along with the prevalent theme of pills overshadowing the entire project, that addendum to the title was too fucking convenient to just be something clever that someone in the marketing department came up with in November.
Released a few days before Christmas, Marshall Mathers provided the few fans he has left with seven tracks which were allegedly earmarked for the Relapse 2 album that he hinted at during one of the skits on the original 2009 release.Īccording to a press release, Eminem decided to go in an entirely different direction with his 2010 album, but as he didn't want these songs to go to waste, he included them on a bonus disc. For the last write-up of 2009, I've elected to go with Interscope's most recent cash grab, Eminem's Relapse: Refill, mainly because it's fucking short.
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