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Maybe “Big Weenie” is some sort of subversive, satirical nature of the absurdity of such tension, if we’re being optimistic. “Like Toy Soldiers” is a sobering and honest look at the nature of rap beef with an all too prescient video to go with it. The initial disappointment of the self-referential lead single, “Just Lose It,” after a stream of great ones feels smaller in retrospect that feeling is doubled in the context of this album.
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Encore is the opposite of that - a bunch of smaller negatives adding up to a greater misfortune. You should’ve heard the term, “The sum is greater than its parts,” by now. The album simply teeters on the edge of greatness at its best points, not quite enough to make up for the clunkers - namely the clichéd “Legacy” and the dated references of “Bezerk.” Low point “Stronger Than I Was” finds Eminem singing to a lesser, more grating effect than his performance on The Eminem Show’s “Hailie’s Song.” Marshall Mathers LP 2 could’ve been held in higher regard if albums were merely rap-olympics. Shady couldn’t quite recapture that in his re-visitation, as non-canonical filler mars Marshall Mathers LP 2. One thing Eminem seemingly mastered by the turn of the millennium was the art of creating an album. Plus, the sound of Eminem screwing around gets back to being enjoyable, like in the joyous cynicism of “Rhyme or Reason” and the tenser album closer “Evil Twin.” “Headlights” is Eminem’s heartfelt apology to his mother pretty notable for an album that’s supposed to revisit the original Marshall Mathers mindset. Fad reference in the third verse get their “Ahs” when they need to. “Rap God” is more masturbatory, rappity-rap showcase than a song, but at least the climaxes like the J.J. It’s actually contains some of the greatest of his career.
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From top to bottom, Eminem’s latest effort features some of the most tongue-twisting/tongue-incinerating, mind-boggling technical showcases heard in years. There’s multiple criticisms that can be given about this effort, but there’s one thing that’s undisputable: The man can rap his ass off. The haphazard, radio rip-off production helped transform Eminem from a shot of energy to the preacher (except a rapping one) on the train speaking to a chorus of sighs.įrom a technical standpoint, Marshall Mathers LP 2 was Eminem’s true return-to-form after two false starts. Instead of sharing in his catharsis, fans are treated to Eminem rap-yelling himself into cacophony, and it becomes more of an endurance test for the listener than a musical experience. And that Boi-1da synth made sure it at least looked like Eminem was really going for it.Īs time went by and the hype wore off, you start to realize the glaring clumsiness in lines like, “I'm way too up to back down/But I think I'm still trying to figure this crap out.” It’s realizations like these that make it apparent that Recovery is Eminem’s moment, although it’s not one everyone can share in. standing with his balls in his hands saying it’s time to buck up. It seemed like it would accomplish just that this was one of the G.O.A.T. Instead we got “Not Afraid,” an I-shall-overcome number that’s, by design, meant to fill stadiums. His second comeback album in a row was the first one without that pop culture ethering lead single. That type of magic is hard to re-capture, but there’s something especially disappointing about just how far off Eminem was from it on Recovery. “Lose Yourself’s” climax - “Success is my only motherfuckin’ option/ failure’s not” - is as self-serious and urgent as a quotable can get.
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It wasn’t like Eminem didn’t know how to do sober, empowering records.