A.V.
reTIreMEnt: THE ALBUM (01/22) ALL DSPs
Iight...As I've stated before, I'm an Em fan. To a degree. Being that I like lyricism, and having the day off today, I took last night to listen to the album another two times & allow me to break this down. One thing about this album is that you gotta be in full on CaC listening mode to appreciate/digest it. If you're listening to any other Hip-Hop and flip from that into throwing this shyt on, it'll have you on some
type shyt. You almost gotta put yourself in the same mindframe you were in (as an Em fan) back in 99-01 to even fukk with this shyt. So without further ado...-------------------------------------------------
1. Bad Guy - On first listen I couldn't figure out if the beat was straight ass or halfway decent...It's cool, when mixed in with the hook, but a little too lighthearted for the subject matter, imo. The concept is dope, but borderlines on rambling a few minutes into the song. Just as you're like 
with the climax already, the beat changes, which is where the real genius of the song begins. Can't tell if Em's truly remorseful/indulging all the thoughts of self-reflection & regret, or if he's just subtly trying to appease the LGBT / PC crowd by having a protagonist type story where he's the victim, but it's dope nontheless. The 2nd half is infinitely more dope when you listen harder and break down the lyrics. Could've made a good outro, but works nicely as an intro.
(3.5/5)
2. Parking Lot (Skit) - When I first heard this, I won't lie, I
thinking we were about to revisit "Criminal" and get a similar verse on the following song. It ended as abruptly and unexpected as it started, then the next song came on, seeming out of place with the skit.
3. Rhyme or Reason - Ok, one of my favorite samples...Beat has a dope little bop to it. On first listen the gay ass Yoda voice & other various audiofukkeries threw me off on some shyt, but once again...remembering this is Eminem, at best, a super-lyrical comedian, you take it with a grain of salt and just chalk it up with the Jackie Chan face and enjoy the lyricism. He's talkin his shyt throughout, especially on the second verse with the white devil/horns lines. Seems like he throws a little sub at Jay with the "complain about a Picasso painting" line, not sure if that's a reach or not...yet.
(3/5)
4. So Much Better - Right off the rip, this reminds you of classic Em. The vowel play with the "knew Drake/Lupe" & the million stars he referenced was ill as fukk. After such a long hiatus, it's a little off-putting to hear this guy still rhyme about bytches on the same tip he was on, back in the day, but I guess the real genius in that lies in the fact he labeled the album MMLP2. It allows him to revisit the same subject matter, with the excuse of making a sequel album. The song is ultimately funny for the most part. I can see white girls (stupidly, as always) falling in love with this shyt. The l-l-l-lesbian line, and shyt like that is where the replay value lies...that unexpected blatant fukkery is what makes tracks like this on the album enjoyable. The hook is corny, as is more often than not, but it works. One thing I can say about the album so far is that the lyricism is thought-out, and actually superb, no matter how corny. Sounds like more Jay sublims from the "Girls, girls, girls line to the 99 Problems" reference. They may not be, but shyt like that just makes your ears perk up, knowing the history between Em & Jay, and the regard in which Em holds himself as the top rapper.
(2.5/5)
5. Survival - This is a track I immediately hated when I first heard it a few weeks ago. Coming through the headphones though, I can definitely hear its appeal. The production is dope, even though it blends elements of rock/pop. I can see white people eating this shyt up, no wonder why it's a single. Definitely staduim music. Even though there's quite a few cornball lines scattered throughout. But I guess that's just something you have to expect from this CaC at this point.
(2.5/5)
6. Legacy - Instantly cringed at this song when I heard the subject matter. Come on son, bully anthems still? Blatant PC/suicide victim pandering? Didn't like it much on first listen, even though as usual, the lyrics are there. The production is dope for the concept, definitely has potential single written on it, and at this point it becomes evident that Em is caving to the labels demands. "Reverse heel turn. The bad guy goes good. Public eats it up, and Eminem becomes a media darling, showing his sensitive side." Fat kids, limp wrist fakkits in training, wrist slitters, bulimics, and weirdo kids will tout this as their life-changing coming-of-age track. Funny thing is, it works though. Even though it's clear what the objective is with this track, it's done well. From the progression from somber to revengeful, to the lyricism in the 3rd verse (Brian Dawkins/Lions offense lines & bars after), it's probably one of the better tracks so far.
(4/5)
7. a$$hole - For what it's worth...All I can say is, it's Em. You know what you're getting at his best, and you know what you're getting at his worst. Even if the lyrics are there, some shyt can just be cringeworthy to an extreme. The verses were almost tolerable, but the hook makes this shyt Recycle Bin status. Permanent delete off SD card. Camby, nikka. No colons. Get the fukk outta here. And I'm not even gonna speak on that beat.
(1/5)
8. Bezerk - Man I can't get jiggy with this shyt. No matter how hard I try, I just don't fukk with it. The forced Beastie Boys/Run DMC sound, the corny ass lyrics, the "trying too hard to sound different" hook...Nah. This shyt has FOR CACS ONLY written all over it. Not even wasting my time reviewing. I'll only give this shyt a 2/5 rating because it's slightly more listenable than "a$$hole"...on second thought, fukk that.
(1.5/5)
with the climax already, the beat changes, which is where the real genius of the song begins. Can't tell if Em's truly remorseful/indulging all the thoughts of self-reflection & regret, or if he's just subtly trying to appease the LGBT / PC crowd by having a protagonist type story where he's the victim, but it's dope nontheless. The 2nd half is infinitely more dope when you listen harder and break down the lyrics. Could've made a good outro, but works nicely as an intro.(3.5/5)
2. Parking Lot (Skit) - When I first heard this, I won't lie, I
thinking we were about to revisit "Criminal" and get a similar verse on the following song. It ended as abruptly and unexpected as it started, then the next song came on, seeming out of place with the skit.3. Rhyme or Reason - Ok, one of my favorite samples...Beat has a dope little bop to it. On first listen the gay ass Yoda voice & other various audiofukkeries threw me off on some
shyt, but once again...remembering this is Eminem, at best, a super-lyrical comedian, you take it with a grain of salt and just chalk it up with the Jackie Chan face and enjoy the lyricism. He's talkin his shyt throughout, especially on the second verse with the white devil/horns lines. Seems like he throws a little sub at Jay with the "complain about a Picasso painting" line, not sure if that's a reach or not...yet.(3/5)
4. So Much Better - Right off the rip, this reminds you of classic Em. The vowel play with the "knew Drake/Lupe" & the million stars he referenced was ill as fukk. After such a long hiatus, it's a little off-putting to hear this guy still rhyme about bytches on the same tip he was on, back in the day, but I guess the real genius in that lies in the fact he labeled the album MMLP2. It allows him to revisit the same subject matter, with the excuse of making a sequel album. The song is ultimately funny for the most part. I can see white girls (stupidly, as always) falling in love with this shyt. The l-l-l-lesbian line, and shyt like that is where the replay value lies...that unexpected blatant fukkery is what makes tracks like this on the album enjoyable. The hook is corny, as is more often than not, but it works. One thing I can say about the album so far is that the lyricism is thought-out, and actually superb, no matter how corny. Sounds like more Jay sublims from the "Girls, girls, girls line to the 99 Problems" reference. They may not be, but shyt like that just makes your ears perk up, knowing the history between Em & Jay, and the regard in which Em holds himself as the top rapper.
(2.5/5)
5. Survival - This is a track I immediately hated when I first heard it a few weeks ago. Coming through the headphones though, I can definitely hear its appeal. The production is dope, even though it blends elements of rock/pop. I can see white people eating this shyt up, no wonder why it's a single. Definitely staduim music. Even though there's quite a few cornball lines scattered throughout. But I guess that's just something you have to expect from this CaC at this point.
(2.5/5)
6. Legacy - Instantly cringed at this song when I heard the subject matter. Come on son, bully anthems still? Blatant PC/suicide victim pandering? Didn't like it much on first listen, even though as usual, the lyrics are there. The production is dope for the concept, definitely has potential single written on it, and at this point it becomes evident that Em is caving to the labels demands. "Reverse heel turn. The bad guy goes good. Public eats it up, and Eminem becomes a media darling, showing his sensitive side." Fat kids, limp wrist fakkits in training, wrist slitters, bulimics, and weirdo kids will tout this as their life-changing coming-of-age track. Funny thing is, it works though. Even though it's clear what the objective is with this track, it's done well. From the progression from somber to revengeful, to the lyricism in the 3rd verse (Brian Dawkins/Lions offense lines & bars after), it's probably one of the better tracks so far.
(4/5)
7. a$$hole - For what it's worth...All I can say is, it's Em. You know what you're getting at his best, and you know what you're getting at his worst. Even if the lyrics are there, some shyt can just be cringeworthy to an extreme. The verses were almost tolerable, but the hook makes this shyt Recycle Bin status. Permanent delete off SD card. Camby, nikka. No colons. Get the fukk outta here. And I'm not even gonna speak on that beat.
(1/5)
8. Bezerk - Man I can't get jiggy with this shyt. No matter how hard I try, I just don't fukk with it. The forced Beastie Boys/Run DMC sound, the corny ass lyrics, the "trying too hard to sound different" hook...Nah. This shyt has FOR CACS ONLY written all over it. Not even wasting my time reviewing. I'll only give this shyt a 2/5 rating because it's slightly more listenable than "a$$hole"...on second thought, fukk that.
(1.5/5)
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& catch everyone off guard and put out a track of fukkery instead of that super lyrical miracle high spiritual bullshyt you fakkits expected. Umad? On first listen, I thought Kendrick BODIED Em on his own steez. He almost did Eminem better than Eminem does. But on subsequent listens, Em did both verses he had justice. The first verse, he has hip-hop references that only a nikka who came up on 80's & 90's rap would notice or appreciate. The way he intertwined them with the little story was dope. And the name dropping was not only dope but hilarious. Kendricks verse is the most listenable, and the flow is just ridiculous. I laughed all throughout this whole track. Em's 3rd verse just seemed like he ran in behind Kendrick, not to get outdone on his own track, and rambled at times...but the comedic value (the text message intentionally sent to make the bytch crash her car) is just as up to par with the lyricism. One thing I also took away from this track is that Kendrick singing > Drake singing. Even though his melodies aren't as elaborate or R&Bish, they're definitely more original, soulful and fresh.
"beautiful pain" shows why EM is the GOAT. the most diverse MC to ever walk the earth