Recovery, the title of Eminem’s seventh studio album is fitting in more ways than one. While alluding to rehabilitation from a prescription drug addiction, it also references a recovery of his lyrical prowess. Gone are the infantile fart jokes from Encore and the Borat-esque accent of Relapse.
Instead, Marshall Mathers reminds us why he was the best selling artist of the decade. On Recovery, he has something to prove, and his verses are like shots of adrenaline when compared to the mediocrity of his peers’.
He intricately constructs layered rhyme schemes, zany metaphors and absurd cultural references. In the past, Em’s producers were predominantly of the Shady/Aftermath family. This time, he deliberately outsources his sound by hiring the best beat-makers in the field.
Songs like the Just Blaze-produced “Cold Wind Blows” and the Havoc-designed “Here We Go” show Shady at his maniacal best. Like a lyrical guerilla, he wastes no time infiltrating your ears with acerbic word play.
“Talkin’ To Myself” and “You’re Never Over” are deep reflections into the rapper’s psyche. In these jams, Eminem tones down the wit for a candid retelling of darker periods of jealousy and addiction. On the rock infused “Won’t Back Down,” Shady suprises the listener by turning the volume down only to blast it back seconds later. The song “25 to Life” is a prime example of Mr. Mathers’ unexpected artistry. It begins with Em ranting about a failed relationship, presumed to be in reference to his ex-wife. Then like the ending of an M. Night Shyamalan movie, he reveals the true focus of his dissatisfaction to be hip-hop itself.
Once more, the guest features (like Lil Wayne and Rihanna) are well-placed and masterfully crafted. Weezy engages Em in friendly competition on the catchy “No Love.” Rihanna on the other hand turns “Love the Way You Lie” into a heart-crushing ballad akin to Eminem’s earlier collaboration “Stan.”
Recovery has its head -shakers as well. Songs like “Seduction,” “Space Bound”, and “W.T.P.” are forgettable fillers.“So Bad” is just that. And while he displays pure genius in his verses, some of Shady’s choruses seem to be written by an attention deficit middle schooler. These issues pose no reason to discount the album, as even at its worst, the album is still far superior to Em’s previous two efforts. While no Marshall Mathers LP, Recovery sure comes close. With a little more work, Eminem might be able to rehabilitate the rap game.
