RECOVERY

[ManOnTheMoon]

Lol Nick Cannon disses Em in his new wack [expletive] video > http://www.worldstarhiphop.com/videos/video.php?v=wshhj32AJS4ueA2rDfkw

 

Hopefully Em responds.

[Nitro]

Lol Nick Cannon disses Em in his new wack [expletive] video > http://www.worldstarhiphop.com/videos/video.php?v=wshhj32AJS4ueA2rDfkw

 

Hopefully Em responds.

 

I know it's a year old, but..

 

http://www.youtube.com/watch?v=kzHnNPLWsDQ

 

Anything else Cannon or his army of fudge packers say is pointless.

 

And BTW- ANYONE who think Em's MC skills have fallen off, take a look at that song where he's not screaming or using somne retarded accent. His flow is insane. Even though it kind of annoys me that Em's never really went at Canibus (the only real good rapper whose ever dissed him, and yes I know about the song Cani[expletive], but that was more of a joke than serious diss), he murders Mariah and Nick on The Warning.

Edited June 25, 2010 by Nitro1118

[ManOnTheMoon]

^ The Warning was absolutely murderous..he owned em.

 

Em last night on Letterman and Fallon.

 

Em On Letterman

 

Em On Fallon

 

He performs Not Afraid, & Renegades with Jay-Z on Letterman and he performs Won't Back Down on Fallon.

[Art]

I love the lyrics i just hate the beats

[HipHopHead]

o say this album is an important benchmark in Eminem's career would be an understatement of gross measures. When Eminem first came to prominence, he charged out the gates with three classic albums in a row. Not only did he come out with three undeniable hip-hop classics but they all bettered each other, each building upon the last, each an evolution in his artistry. Then he came to a standstill, with Encore. It was by his own admission, not up to par. It was by far his weakest offering and very much a mixed bag. It seemed as if he was trying to please everybody but ended up pleasing nobody.

 

Four and a half years later, came Relapse. Now personally, I love Relapse. It's by no means his best album but my goodness; it's a wondrous display in meticulous lyricism and breathtaking delivery. With Relapse, Em strung a truckload of phonetically appealing words up inside a vocabulary yo-yo, inside a horrorcore casing, wound it up and flung it ferociously out of control, over haunting beats, with tongue-twisting delivery. But many felt the album failed in its style and subject matter. The now infamous accent experimentation(s) were in fact the only true issue for most. But irrespective of taste, it certainly was a strange choice of presentation for a comeback album and with all considerations taken into account, another small dent in Marshall’s otherwise impeccable portfolio.

 

So you see... Recovery really had to be an undeniable presence. It had to seriously flaunt spectacular lyrical and musical gusto in your face at all costs to avoid yet another fumble, at a very crucial point. The good news is Recovery does all that and more. What's the bad news...? Why does there have to be any, don't be presumptuous. Metaphors, punch-lines, concepts, introspection, self-deprecation... This album has it all. It succeeds it its attempt to bundle every appealing and enjoyable aspect of Eminem into one powerhouse of an album in a very unique way. It may not have as much edgy irony as The Slim Shady LP, as much brain-crushing originality as The Marshall Mathers LP or quite as much focused sound as The Eminem Show. But don’t let that deter you into thinking it’s no match for these albums. Em being a victim of his own past brilliance, by means of comparison, certainly is tough to ignore. But Recovery manages to sprinkle elements of Eminem we’re already aware of throughout, as well as showcase new shades of Shady to stew on.

 

We hear Em passionately tear his way through seventeen tracks of glory until his throat is hoarse. He's relentless, aggressive, unapologetic, humble, apologetic, humbling, hilarious, graphic, horrible, poetic, self-aware, silly and almost every other adjective currently in circulation in the English dictionary, all at once. He’s a walking contradiction (like most people, myself included) but he’s fully aware of it and listening to him spin this with an impressive range of imagination, lyrical innovation and childlike petulance is a joy. He’s not just aware of it but he relishes in it, he ramps it up, he contradicts himself on purpose. This is a fact which goes over the head of many critics, with them perceiving it as a flaw or inconsistency in his writing as opposed to a credit to his art. Imagine a mesh of The Marshall Mathers LP and The Eminem Show but with his new slew of head-spinning flows and a few doses of newfound maturity. This man really can flaunt any style in your face to a degree quite unlike any reputable counterpart and he knows it.

 

With Encore and even Relapse (to some extent) he seemed to be stuck in a rut between silly and serious. Now, it seems he's able (once again) to blend these and many other elements in a consistent manner. You'll get the expected personal tracks from Em but there's something enticing about them. I had started to somewhat loathe Em's introspection as it had become rather repetitive, redundant and predictable. Though on Recovery, he’s able to do it with a more glistening honesty. Listen as he effortlessly lays bare his thoughts on tracks like “Talkin’ 2 Myself” and “Going Through Changes”. Making great use of a Black Sabbath sample on the latter. There's no easy to swallow nonsense for easy consumption, it’s clear and definitive. He admits all his faults in typical Oprah fashion. How many other rappers would declare their last album in the trash and admit they're a desperate loner? Not many that's how many. Eminem is a rarity and it makes for extremely satisfying and relatable listening.

 

Personal odes and self-praising aside, this album is also noteworthy for some conceptual gems. If you go through the track “25 to Life” for the first time thinking it’s about a relationship with a woman (perhaps Kim) you’d be forgiven, as this was his intent, only to reveal the true agenda in the closing lines. It’s somewhat of a striking moment when you hear it and means you have to re-listen to the track to appreciate it in its proper context. Then you have the show stopping brilliance of “Almost Famous”. Perhaps the album’s most powerful track, it’s mighty impressive. It’s also probably my favourite. I've been a little cautious not to reveal too much of the album's content or true stylistic as... Well, for one it would simply take too long, there's so much going on. Also, why have me spoil it for you. Where's the fun in a stranger unwrapping your presents. Even the tracks with more forgettable themes are executed so well that they can't seriously be considered filler.

 

For me, the only significant flaw of this album is (in parts) the production on some tracks. But it’s by no means bad enough, as some are making it out to be, to be a serious detraction from it as a whole. Em’s lyricism and content is sublime enough to eclipse any faltering on the boards.

 

In closing, let me just say this... With Recovery Eminem has crafted one of the best albums of his career. I don't want to be premature in ranking it as I'm still not sure but it's definitely up there. You'll listen once and get a shock to the system... Listen a second time; become intrigued. Then listen a third, fourth, fifth and sixth time, just to set you up for the seventh to fiftieth listens. This album is an onion of art and you really do peel away a new layer with each new listen. Not only that but it definitely grows on you. It’s not instant gratification on all accounts. It’s more “Did I really just hear that... Hang on, let me just... Oh, wow”. Leaving aside its place in Em’s discography at this point, it’s safe to say he more than delivered on his promise this time. If only everybody put this much work into their music.

 

Great review by EmBase.

 

 

I hope you're kidding...this review was written by a guy who "loved" Relapse - no credibility.

 

 

Not to mention how he praised the concept of "25 to Life" when it's been done over and over (comparing hip-hop to a girl), just shows this guy has limited to know hip-hop knowledge.

Edited June 27, 2010 by HipHopHead

[His Greatness]

I hope you're kidding...this review was written by a guy who "loved" Relapse - no credibility.

 

Yes, because liking music that you personally don't approve of diminishes credibility.

 

But of course you're trolling right?

[HipHopHead]

 

Yes, because liking music that you personally don't approve of diminishes credibility.

 

But of course you're trolling right?

It's called being a stan, actually. Not sure if you've ever heard of the phrase but it certainly is accurate here. I know Eminem fans who are in LOVE with him and don't even like Relapse or think it's a good album.

 

Besides what credentials does this guy have? And where's the link to the article?

[NomarFachix]

Besides what credentials does this guy have?

 

What credentials do you have?

[HipHopHead]

What credentials do you have?

I don't need to have credentials when I don't write for a website or magazine (which I'm assuming that review came from ). I figure I have listened to more hip-hop (and music in general) then most people on this site. While most rap fans babble on about Lil Wayne sucking, etc., etc. I'm listening to a Frank Sinatra discography - you see? I'm not asking anyone to listen to my opinion but you all seem certainly intrigued by me to continue to critique.

[NomarFachix]

No credentials, gotcha, thanks.

[HipHopHead]

No credentials, gotcha, thanks.

[reno]

I have many great credentials, so I will gratefully give my 2 cents.

 

Recovery is decent, relapse sucked. Infinite/eminem show/marshal mathers/slim shady lp is where eminem is at. Quit your whining

 

I would give recovery a solid 6.9/10

I would have given relapse a 3/10

Marshal Mathers lp 10/10

The Eminem show 9.5/10

The Slim Shady LP 8.8/10

Encore 6/10

[HipHopHead]

I have many great credentials, so I will gratefully give my 2 cents.

 

Recovery is decent, relapse sucked. Infinite/eminem show/marshal mathers/slim shady lp is where eminem is at. Quit your whining

 

I would give recovery a solid 6.9/10

I would have given relapse a 3/10

Marshal Mathers lp 10/10

The Eminem show 9.5/10

The Slim Shady LP 8.8/10

Encore 6/10

Except MMLP wasn't that good, and neither was the MMLP or SSLP. At most I'd give MMLP a 9/10 (without a basis for ranking. To give an album a 10/10 would be to say it's perfect, or better than Illmatic, of which the MMLP is neither.

[His Greatness]

It's called being a stan, actually. Not sure if you've ever heard of the phrase but it certainly is accurate here. I know Eminem fans who are in LOVE with him and don't even like Relapse or think it's a good album.

 

Besides what credentials does this guy have? And where's the link to the article?

Dude, it is music — personal taste is relative. Why don't you debate the actual content instead of casting off the writer as a fanboy and dismissing his credibility because he liked an album that "even some of your friends (the definitive arbiters of music) didn't like"?

[ManOnTheMoon]

Except MMLP wasn't that good, and neither was the MMLP or SSLP. At most I'd give MMLP a 9/10 (without a basis for ranking. To give an album a 10/10 would be to say it's perfect, or better than Illmatic, of which the MMLP is neither.

 

How do you know to him it wasn't a perfect 10?

 

To me MMLP/TES were better than Illmatic. (In my PREFERENCE).

[HipHopHead]

How do you know to him it wasn't a perfect 10?

 

To me MMLP/TES were better than Illmatic. (In my PREFERENCE).

Theres a difference from liking something and thinking it's a great album, you're obviously confused between the two.

 

And if you make such a statement, then you're obviously a stan. You can like an album all you want but don't expect that to hold in an argument.

[HipHopHead]

Dude, it is music — personal taste is relative. Why don't you debate the actual content instead of casting off the writer as a fanboy and dismissing his credibility because he liked an album that "even some of your friends (the definitive arbiters of music) didn't like"?

Personal taste is not relative when you're reviewing for a website (still assuming this), you're supposed to take a neutral stance on the artist. Clearly this guy doesn't, and is a fanboy. Nothing wrong with that, but don't expect me respect his opinion.

 

And I think I criticized the article enough, in fact the writer criticized himself by thinking the song "25 to Life" is original...

[His Greatness]

Personal taste is not relative when you're reviewing for a website (still assuming this), you're supposed to take a neutral stance on the artist.

This is exactly my problem with your rationale (other than it coming off as pretentious). What classifies 'good' music? If all music is supposed to be reviewed void of personal opinion and taste, then how are you supposed to evaluate it? Is there a definitive criteria, or are we supposed to follow your thought process? And if personal opinion and taste is disallowed, and there's a standard for music to be judged on, does that mean every review should be the same?

 

Clearly this guy doesn't, and is a fanboy. Nothing wrong with that, but don't expect me respect his opinion.

 

And I think I criticized the article enough, in fact the writer criticized himself by thinking the song "25 to Life" is original...

I completely agree that objectivity is paramount in reviews. But how can you preach impartiality when you, as the reader, are not paying the writer the same respect when you're immediately dismissing him off as a fanboy because he liked music you didn't approve of? And is that nitpick of a misfact in an entire article supposed to validate something?

[HipHopHead]

This is exactly my problem with your rationale (other than it coming off as pretentious). What classifies 'good' music? If all music is supposed to be reviewed void of personal opinion and taste, then how are you supposed to evaluate it? Is there a definitive criteria, or are we supposed to follow your thought process? And if personal opinion and taste is disallowed, and there's a standard for music to be judged on, does that mean every review should be the same?

 

 

I completely agree that objectivity is paramount in reviews. But how can you preach impartiality when you, as the reader, are not paying the writer the same respect when you're immediately dismissing him off as a fanboy because he liked music you didn't approve of? And is that nitpick of a misfact in an entire article supposed to validate something?

 

It's hard to find an exact criteria to base all of hip-hop on, as it's VERY out spread at this point (for better or for worse). Of course there are benchmark albums that you can compare all hip-hop on (Illmatic, Operation: Doomsday!, Enter the Wu-Tang, etc.). Partially, every review should be the same or at least very similar but of course we know that is VERY untrue in the internet age.

 

As for this article, I gave the writer a chance when I read it through the first time (although some of it sounded as ridiculous as Scientology), and the second time, and the third time lol. It's not that I, myself, didn't approve of his opinion on Relapse (in the fact he thought it was a good album) but the fact that it really was a horrid album. Of course I can't say this guy knows nothing about hip-hop because of this one misjudgment but it's a pretty good indication of his knowledge...

[His Greatness]

It's hard to find an exact criteria to base all of hip-hop on, as it's VERY out spread at this point (for better or for worse).

It's hard to find an exact criteria because there is no one exact, definitive criteria. None. Music is far too broad for that.

 

Of course there are benchmark albums that you can compare all hip-hop on (Illmatic, Operation: Doomsday!, Enter the Wu-Tang, etc.).

Are you suggesting that all albums should be held up to the standard of the classics? Do you realize how unrealistic that is?

 

Partially, every review should be the same or at least very similar but of course we know that is VERY untrue in the internet age.

It's very untrue because, back to my original point, personal taste is all relative. Again, what constitutes good music?

 

As for this article, I gave the writer a chance when I read it through the first time (although some of it sounded as ridiculous as Scientology), and the second time, and the third time lol. It's not that I, myself, didn't approve of his opinion on Relapse (in the fact he thought it was a good album) but the fact that it really was a horrid album. Of course I can't say this guy knows nothing about hip-hop because of this one misjudgment but it's a pretty good indication of his knowledge...

He "loves" an album you disapprove of, therefore he's a moron and knows nothing. OK.

[Nitro]

Are you suggesting that all albums should be held up to the standard of the classics? Do you realize how unrealistic that is?

 

What's funny to me is he listed Operation: Doomsday as a benchmark classic album. I love MF Doom and that's my favorite of his albums (of any of his personas), but that's an example of personal preference at its best. We could resort to his game of calling him a moron and unknowledgable because very few people consider that a classic rap album, but we're better and smarter than that.

[HipHopHead]

It's hard to find an exact criteria because there is no one exact, definitive criteria. None. Music is far too broad for that.

As I said.

 

 

Are you suggesting that all albums should be held up to the standard of the classics? Do you realize how unrealistic that is?

No, but those are (besides Operation: Doomsday, I'll get to that) the definitive albums of our time in the hip-hop genre (debate whichever you like). Shouldn't all artists strive for excellence? Oh yeah, it's too easy to make money through music and sell out then it was in '96.

 

It's very untrue because, back to my original point, personal taste is all relative. Again, what constitutes good music?

Good music, or rather hip-hop in general, is everything that makes hip-hop what it is. It's simple to see the things that make up hip-hop and how when it all comes together perfectly (the full spectrum being Nas's Illmatic, Wu-Tang's 36 Chambers). Whether that is rhyme scheme, instrumentals, etc., etc..It's pretty obvious to see when some albums are at the pinnacle of the art of hip-hop while others are not.

He "loves" an album you disapprove of, therefore he's a moron and knows nothing. OK.

Has nothing to do with him liking it, as I've said before someone can like the album all he wants but saying a bad album is good just because you "like" it is beyond stupid. From what I inferred from the article I got that vibe.

[HipHopHead]

What's funny to me is he listed Operation: Doomsday as a benchmark classic album. I love MF Doom and that's my favorite of his albums (of any of his personas), but that's an example of personal preference at its best. We could resort to his game of calling him a moron and unknowledgable because very few people consider that a classic rap album, but we're better and smarter than that.

I was more or less moving through years and really choosing albums from the mainstream - Illmatic, group - 36 Chambers, and finally the "underground" - Doomsday. I in no way believe the latter is even close to the previous two but it was definitely a ground breaking album in the underground in a year with some damn good music.

[NomarFachix]

Operation: Doomsday

 

Never listened before I read about it in this thread, but :wub:

[Nitro]

I was more or less moving through years and really choosing albums from the mainstream - Illmatic, group - 36 Chambers, and finally the "underground" - Doomsday. I in no way believe the latter is even close to the previous two but it was definitely a ground breaking album in the underground in a year with some damn good music.

 

As I said, I love that album, but wouldn't claim it to be one of the most groundbreaking underground albums of all-time. Revolutionary Pt. II, Lifestylez Ov Da Poor & Dangerous (I consider it underground, it was mad slept on until he died, and it's still slept on), and a few others I would consider to be ahead of Operation: Doomsday.