The album is good, not amazing, but imo naming it MMLP2 and not having similar or part two's of certain songs like Stan, Way I Am, marshal mathers, criminal, etc. was a mistake. He said he wouldn't be naming it MMLP2 if it didn't meet the standards of the previous. Comparing this to mmlp1, unfortunately it is a letdown. I think the biggest problem with Em these last two albums has been his choices in production/producers. He needs more DRE and Bass brothers. Too many singers on his hooks/chorus as of late too.
I agree on that, its like he gets some 2nd rate beats and thinks that with his skill he'll take them to the next level. And he does, but the songs could be so much better if he just used better beats.
...The MMLP 2 is meant to remind us that he's still a presence in pop music even if he's no longer exactly present.
Even on a record that ostensibly revisits a moment when he was unquestionably at the center of youth culture, Eminem remains safely sequestered at an undisclosed location.
...Eminem is consciously hearkening back to the zeitgeist-iest period of his career at a time when his place in pop culture is curiously difficult to discern.
....I don't know if it was due to my low expectations after the 12-step drudgery of 2010's Recovery or my soft spot for byzantine rhymes spit over post–Hotel California cocaine-and-caviar arena rock, but The Marshall Mathers LP 2 worked shockingly well for me for long stretches at a time.
With a running time topping 78 minutes, LP 2 is thick with long, intermittently effective stretches.
...My favorite song by a mile, "So Far …," culminates with Eminem preemptively apologizing to "technology" for his bitching about the difficulty of downloading the new Ludacris song. Later he complains that he can't get a Kool-Aid stain out of his couch.
...Eminem is the most nakedly self-obsessed pop star of the last 20 years.
Eminem's extreme solipsism has long been his privilege as rap's most prominent Caucasian. For reasons that are deeply unfair and yet readily apparent, he is not saddled with the same baggage as his superstar contemporaries.
However Eminem chooses to behave, his actions will not be imbued with a larger cultural meaning that's applicable to millions of people who vaguely resemble Eminem but aren't Eminem. If Eminem appears on national television with Brent Musburger and Kirk Herbstreit and acts like a socially awkward pop star, he's perceived as a socially awkward pop star, not as a symbol for how the media addresses matters of race and class.
In the early '00s, Eminem deliberately trolled the media into depicting him as a public menace, but he also had the choice to back off. Now, nobody is examining Eminem's persona in order to understand modern society. Eminem signifies nothing other than himself.
Kanye West doesn't get the benefit of being perceived as an individual when he talks about sport-fukcing white women, nor does Jay Z when he runs through an inventory of his Basquiats. They represent something bigger, even when they're merely relating their own thoughts and experiences. This is a tremendous burden, but because Kanye and Jay have embraced that burden and chosen to incorporate it, their music has attained a richness that an infinitely more insular record like The MMLP 2 seems incapable of achieving.
If Eminem is no longer interested in connecting with modern pop culture — and the weird callouts to 'N Sync, the Backstreet Boys, Jerry Mathers, and Lorena Bobbitt in the album-closing "Evil Twin" strongly suggest that he's not — modern pop culture will not require him to do so against his will. He doesn't have to matter like that anymore.
It would be incorrect to suggest that Eminem is an irrelevant artist — in pop terms, he's outpaced saleswise by Adele but can still run with Taylor Swift. Also, he can still rap his ass off. (The polysyllabic pyrotechnics of "Rap God" might be empty exhibitionism, but what an exhibition!) But he now occupies the same place in culture as things like NCIS and the stealth summer blockbuster We're the Millers. He's hugely popular without being the least bit transcendent, a lonely artist who makes you feel alone for listening to him.link
he sounds too angry and yells the lyrics.........insted of using the good flow he used on previous albums..........i turned it off and put on some Shyne , much better
I actually like the way he was angrily rapping his verses...it didn't seem forced or just for the sake of doing it like his last couple of albums. For the first time since MMLP, his Slim Shady alter ego seemed to come out, and it's like he loses control during a song and flips the switch from Eminem and Slim Shady. I really like the album, I'm ranking it as his third best behind the SSLP and MMLP. He went back to his roots....making music for people to listen to when they feel shitty about themselves And I love the Busta Rhymes-like flow on tracks like Rap God and Love Game. Evil Twin, Rap God, and Legacy are my 3 favorite tracks.