Recovery as heard by a fan of this music
Rap has normally been a selfish song, but Eminem takes the sport to a new level. The egomaniac here steps down on that Chrysler 200 pedal and pushes it to top speed for all 17 songs. Thematically it’s cohesive: Eminem has gone clean, risen from the ashes, soars over others like a phoenix, is now good at sex, and will make your woman want him. Sonically it’s not at all cohesive, which makes sense considering that 18 producers were used and no producer has more than 3 tracks. The only sound that comes through across the whole album is his full-force yell. I can’t deny his technical skill, but where’s the variation? How can everything in your life be THIS INTENSE!!!?
His insecurities are so blatantly apparent that they go mostly ignored. His constant desire to prove himself and berate critics has come to define him as an artist. At this point in his career (or since his fourth album) he is so carried away with this that he doesn’t even sound like a musician. Every verse is a battle and in that way, technically he may be winning. But maybe he's become such a good rhymer that he can't make decent songs.
Marshall Mathers has a great story, no one denies that, but his whole craft has become to simply retell it. What made the Marshall Mathers LP interesting were the characters and stories he wrote; as a storyteller Eminem can be great. He isn't here. The foul language is relatively cleaned up, and the pop culture references have moved from flash-in-a-pan pop stars to NFL players. We should probably start referring to Shady as Brett Favre for all his retirement talk. Surely a longer-lasting choice for subject matter.
The self-deprecating moments of Recovery are its best. There aren’t many of them, but with Mathers it feels more natural to hear about “white trash parties” than how good he is at fucking. Admitting to nearly dissing Lil Wayne or Kanye is a rare moment of humility from him, and going as far to admit that his last two albums were weak (though Rolling Stone gave his last three albums 4 stars apiece) is certainly refreshing. But perhaps that’s the problem with his music; he spends so much time fighting his critics that he doesn’t even know who they are anymore.
Song-by-song notes follow below.
Song notes, stream it here
Cold Wind – The chorus is grating, and “b-b-b-blows” has the carnival feeling of recent albums. Features the album’s only Mariah reference.
Talkin’ 2 Myself featuring Kobe – An appalling chorus hook. Honest and lyrically selfish—Eminem admits he was wise not to dis Lil Wayne or Kanye and that his last two albums were bad. Has a guest singer to sing his thoughts. Describes being alone like a cry for pity. Proclaims to be "back." Reminds America that it likes comeback stories.
On Fire - Attacks critics. We would relate the same if he attacked pigeons or paparazzi. Part of his image-building campaign is asking repeatedly: why does everyone hate me? not everyone does, 5.6 million paid for this. Cribs most of a Kanye line by rhyming sipping syzurp with dessert. Uses the entire second verse to talk about how he's "lightning in a pan" and David “Cook” should "book." Pitiful line: “I'm so hot my motherfuckinging fire truck is on fire". The chorus is an afterthought three note burp.
Won’t Back Down featuring Pink - This is where Eminem uses fancy rhyming schemes that no one understands but everyone appreciates. His vociferous yelling is starting to get annoying. Chill bro. A great example of how he is unable to coexist; Pink's chorus might as well be a different song. He may be rapping circles on us but it's boring. The production doesn't make sense either, there are church organs and that verse guitar is grating, kind of like Eminem's voice at this point.
W.T.P. - Eminem is at his best when he is honest and self-deprecating, unfortunately there is no self-deprecation beyond the title. Wonder if W.T.P. (white trash party) plays better at house parties or at clubs. Lyrically though, WTP isn't about how he's white trash, but rather how he is a baller with a mad whip.
Going Through Changes – Is that Black Sabbath on the hook? Verse production is refreshing (acoustic guitar, basic drumbeat, single synth). Song is not about going through puberty. His singing voice is almost as bad as Kanye's.
Not Afraid - This is where his fans latch on; they relate to his me-vs-world "fuck the whole universe" attitude. "You're not alone" is his army building anthem, video hopefully includes marching and M&M minis. Chorus hook is catchy because it's so simple, lyrics are occasionally insipid: "I shouldn't have to rhyme these words in a rhythm for you to know it's a rap".
Seduction - Seriously? who wrote the lyrics to this chorus: "it's like a verbal seduction". Basically it’s Snoop Dogg's “Sensual Seduction" but not. Eminem impressively changes meters multiple times. Lyrics are drawn out--we get it, you think ladies want you when they hear you rap.
“Seduction, seduce
Ain't nobody who's as good at what I do”
No Love featuring Lil Wayne - Just Blaze splices Haddaway into the best beat so far. Lil Wayne's verse sounds so easy, he starts slowly and calmly and builds up. Shows more contrast in style in a single verse than Eminem has shown in 8 tracks so far. Eminem follows this style by building a verse similarly, that ends in good verbal acrobatics.
Space Bound – Cliché metaphors. Another track with an out-of-place chorus that is unpleasantly surprising. It feels like two songs mashed together, a mashup. The chorus sounds like chipmunks. One of several love songs on the album, which sounds tough for the guy since he writes only in cheese.
“I got a hole in my heart, I'm some kind of emotional rollercoaster
Something I won't go on 'til you toy with my emotion, so it's over
It's like an explosion every time, I hold you wasn't joking when I told you
you take my breath away
You're a supernova... and I'm a
[Chorus]
I'm a space bound rocket ship and your heart's the moon
And I'm aiming right at you”
Cinderella Man - A great example of how a rapper with a limited arsenal of styles uses a different producer to make himself sound different. The drum/clapping beat is refreshing, but Eminem sounds the exact same. He may be good at one emotion (angry), but it's getting tired. Another song about his story that we know so well now, a Hollywood story no doubt. The only song Mathers wrote by himself, and some of the better verses on the album.
“How much in ya face am I,
And ain’t shit you could do but fear it,
Proof us here in spirit
I'm his spittin’ image
I'll mirror it
When I stand near it,
Your pussy lyric,
I cunt hear it,
Who forms pyramids and raps circles around square lyricists,
Who?
Here’s a clue.
He came to the ball in his wife beater,
Lost his Nike shoe, it's in ya ass, he's in ya ass,
He's all up in ya psyche too.”
25 to Life – Second best chorus vocal of the album, like when he used Dido on “Stan.” Producer DJ Khalil recognizes that his harsh voice needs a counterweight finally. Also synths like some indie electronic band. “fuck you hip hop, I’m leaving you, my life sentence is served bitch” god this is played out, quit retiring like you’re Brett Favre.
So Bad – Dr. Dre’s sole contribution to Recovery. White rappers sound silly singing about how good they are at sex. It makes me uncomfortable to hear Mathers use “love” in any context, did Andre 3000 ever use that word in “She Lives In My Lap”? “I’m so good that I’m so bad” is surely not an original lyric, and surely one not worth stealing.
Almost Famous – Chorus vocal sounds like Fever Ray because it is; Karin Dreijer Anderssen of the Knife surprisingly contributes vocals on the best supporting vocal of the album. An astonishing choice because of her obscurity, but a good one. Eminem or Producer DJ Khalil’s decision?
Love the Way You Lie – The best production and most unique lyrics of the album gets the biggest guest singer. Acoustic guitar strums and major piano scales supplement the clacking percussion. Themes of love turned domestic violence may be something Eminem’s fans relate to literally or figuratively, hence the popularity? As far as hits go, they can’t get much bigger and the hook is undeniable, if not annoying. But aren’t they all.
You’re Never Over – When is this album going to end? Eminem’s singing voice is terrible and he seems to be missing notes ironically now. In terms of sequence this track doesn’t make sense here as anything other than a farewell/celebratory/victory lap. More rising like a phoenix references.
Outro – Soundtracks the next Head and Shoulders commercial: “I flow like Troy Polamalu’s hair”.
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