Eminem Live From New York City Download Cd

Love him or hate him, most have to concede there's never been an artist quite like at least in the music world. Comedians regularly confront their demons in real time, in the first person, but few have been as willing to get as sick as Marshall Mathers, a trailer-park refugee with nothing to lose whose debut single appropriately summed up his worldview as “Just Don’t Give a Fuck.” Before social media, here was someone willingly to let his audience get uncomfortably close, confessing every detail of sins worth covering up and personal disappointments of his own and his family’s, and executing it in song with the razor-sharp skill of. The most imaginative and morally tortured rap superstar to emerge in Biggie’s shadow, Eminem has been shocking us, surprising us, and making us laugh out loud for nearly 20 years, as well as annoying and infuriating us plenty. Here are his eight major-label efforts, ranked in ascending order of greatness. Relapse (2009) Marshall Mathers himself considered this a low point only a year later, commenting on Recovery that he “ran them accents into the ground” -- and he’s not wrong. The serial-killer schtick feels creepier and more gratuitous than ever because it rarely leads to a new or funny situation on tracks like “3 A.M.” or “Stay Wide Awake,” and singles like “We Made You” and “Beautiful” were diminishing returns of lighthearted and impassioned fare like “Without Me” and “Mockingbird” respectively.

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Dre turns in some amazing beats here towards the start (“My Mom,” “Insane,” “Bagpipes from Baghdad”), and Eminem himself earns a couple showstoppers on the arena-ready “Medicine Ball” and the closing “Underground,” whose bizarre rhythm is unlike any you’ve ever heard in rap, yet he never strays from the beat. At his low point, it’s still incredible how well he could flow, even if the content wasn’t necessarily all that. Revival (2017) Eminem’s newest album comes at an unfortunate historical juncture: a time when he’s called upon to say something meaningful about the world’s fraught state to the largest audience of anyone in his genre, and an age where he is absolutely struggling to rap like he used to. Revival comes with the most noble intentions of any Eminem record, and admitting to his past abuse and manipulation of Kim -- as well as his regrets about Hailie and nearly dying from his pill addiction ten years ago -- are all brave subjects to tackle.

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He's also using his privilege for good by calling upon such fellow icons as and Rick “99 Problems” Rubin to assist him in eviscerating police racism and the callousness of this presidency. The problem is, well, the music. The hooks are platitudes, the production often sounds like Rubin tracked at an airport, and Em’s verses are so hamstrung he fails to land both punchlines (an Anna Nicole Smith joke in 2017?) and polemics (nothing here as on-point as ). Worst of all, in this context, the fact he still makes rape jokes (“Just escaped from the state pen for raping eight women who hate men') is more infuriating than it was when he didn’t know better. Recovery (2010) At first, Recovery sounded like Eminem’s worst, a defeated attempt to bury his sound and at long last try and catch up to what rap actually sounded like. The strangely buried production mix never quite gels with his rapping style, despite the first-time involvement of such hip-hop legends as Boi-1da and Just Blaze, and he abandons his skits and original characters for the most part (bye Ken Kaniff!) to mixed, overly earnest results. But the closing waltz (!) is his finest Slim Shady cut in years, and “Talkin’ 2 Myself” has dated well, especially his admission that he had to stop “dissing people for no reason.” Recovery laid the groundwork for something better than Revival, that’s hopefully still to come.