Marshall Mathers addresses family, previous songs on latest album
With “Marshall Mathers LP2,” Eminem proves that he’s still the best rapper out there.
On his latest album, the 41-year-old Em manages to comment on his 15-year career, contemplate his future, apologize to his mother and — most impressively — work a solid Yoda impression into a rap song.
Ultimately, “MMLP2” is for the longtime Eminem fans. Technically it’s a sequel to 2000’s “Marshall Mathers LP,” but it’s more of a retrospective reflection on who he was when the original came out and where he stands today.
The opening track “Bad Guy” builds off of the track with the same name from the original, which was about Stan Mitchell, a fan who committed suicide and cited Eminem’s lyrics as inspiration. The sequel is told from the perspective of Stan’s brother, Matthew Mitchell, as he smothers Eminem with chloroform and throws him in the back of a trunk before burying him alive. It’s not only a contemplation of the vengeful feelings some have felt towards Em, but noting that Matthew Mitchell’s initials are M&M, the rapper is also burying himself. He feels regret for the hatred he conveyed in his early career and the impact it made on his more impressionable fans.
Regret for songs from the original can also be found in “Headlights,” which is a personal apology to his family, specifically his mother. Cleverly set to the tune of “Mother” by John Lennon, Em apologizes for bashing mother dearest on his single “Cleaning Out My Closet,” chalking the rage up to fresh wounds: “But I’m sorry Mama for Cleaning Out My Closet, at the time I was angry / Rightfully maybe so, never meant that far to take it though.”
It’s easy to point out what sets Eminem apart from other modern rappers lyrically — the words “swag” and “hater” are refreshingly absent from the album — but to not only change his views on such detrimental details of his life but reject his previous assertions outright are a true testament to his open, poetic mind. Especially amidst the current “Everything I say is right and if you doubt me you’re just jealous” attitude of most MCs.
The beats are also a trip to the days of yester-rap. Tracks like “Survival” are reminiscent of something by the Beastie Boys, backed by classic rock chords and shouts as well as a powerful hook by Liz Rodrigues. “So Far … ” has a country rock guitar accompaniment and explores Em’s inability to shake his white, trailer-trash roots. It’s something ripped from Kid Rock’s playbook but, needless to say, Slim Shady does it far better.
Eminem has always featured strong vocalists in his music and Rodrigues isn’t alone here. Nate Ruess is featured on “Headlights” with a wistful, longing chorus similar to when Dido was featured in “Stan” on the original. Rihanna takes the hook in “The Monster” to less impact, but gives the track a poppy radio sound (unfortunately, every successful mainstream album needs at least one of these).
The only other rapper to be featured on the album — and probably the only other rapper that could keep up with Eminem — is Kendrick Lamar on “Love Game.”
While many of the treats in “MMLP2” will go over the heads of newer Eminem fans, there’s still plenty worth hearing. The track is a little lengthy and could probably do with five less of the album’s 21 songs, but Eminem has never been short-winded. Even if you haven’t heard of Eminem before “Relapse” pick this one up for a taste of what made the name Eminem — and rap music — what it is today.