And to make it right to anticipate: Marshall Mathers and his team have met my expectations and exceeded.
I had a fear that all seemed fake. The Eminem embodies an image that he had over a decade ago. This could therefore lose the authenticity songs. Nonsense. Clearly, the man is over 40 years old and the textual content are again provocative, abusive, personal and bitter. Sometimes one can shoot the question in my head since even if he will eventually grow up times. But it seems no second embarrassing or childish.
About Eminem's rapping skills must lose more words you hardly. His texts, in the form of rhyme chains, puns and other linguistic means are as always exceptional. Its unique flow and his vocal variations better than ever. He has lent self-deprecating title of "Rap God" and delivers on this album a proof of the class.
However, a few sentences I want to lose about things outside his inviolable Rap Skills.
The producers have done an incredible job. Every single one. Whether Rick Rubin ("Berzerk", "LoveGame", "Rhyme or Reason"), Emile Haynie ("Legacy", "Headlights"), the great Luis Resto with his keyboard ("So Much Better", "Stronger Than I Was, "" Brainless ") or the current sizes as DJ Khalil (" Survival ") and Alex da Kid (" Asshole "). All have the message that lies behind this album understood. It is a successful music based on old Eminem times that arrives but with new and modern influences absolutely in 2013 and ultimately a very unique and varied sound provides. The Eminem many of his songs has even co-produced, is just further proof of his talent and his genius.
The album features many guest appearances, not all are listed in the tracklist. Now one can interfere in it or not. I think it makes for an incredible individuality of the songs and creates a certain variety, but which is always linked to a clearly identifiable common thread. "LoveGame" with Kendrick Lamar, "Survival" with Liz Rodrigues and "Headlights" with Nate Ruess this are just a few examples. The many samples and the ever-recurring references to old Eminem songs blend in seamlessly and work with that this CD could possibly be understood in a few years as Eminem's Masterpiece.
I can only express an absolute buy recommendation for "The Marshall Mathers LP 2". It has become terrific. Eminem underpins its status, but acts not cramped, but to experiment and flexible. It is truly a pleasure !!!
I would now like to quickly introduce some Anspieltipps closer:
"Bad Guy" - who "Stan" loved, "Bad Guy" is worship. This story tells us Eminem is brilliant. The way in which he tells us is divine. The last two minutes are stunning. The song creates a sort of nostalgia combined with the dull feeling of having heard one of the best rap songs of all time.
"So Much Better" was my secret favorite after the first hearing of the LP. What Luis Resto and Eminem have produced here, is just a really cool board and a typical Eminem song. This includes a simple rhythm and a provocative, funny and angry text, presented to Eminem outstanding.
"Legacy" produced in me a melancholy and goosebumps as I have not felt for a long time in an Eminem song. Again to make a very personal text by Marshall to which it is very worthwhile, we learn much about his childhood and what he says there can be no amateur psychologists cold, the more Biography Eminem has followed. Emile Haynie has here produced something wonderful. The instrumental with its effects and the effect on the voice fit perfectly! The atmosphere will take one and pulls a down a bit, but is also part of good music. The sung intro and the chorus are very poignant, but above all the bridge before the first chorus has it done to me. "And if you fall, I'll get you there / I'll be your savior from all the wars / that are fought inside your world / please have faith in My Words" is just touching.
On "Stronger Than I Was" one experiences Eminem in experimental mood. Again supported by the fantastic keyboard by Luis Resto Eminem has conjured up a beautiful, slow instrumental on which he partly almost cheesy sing the first two stanzas. But it sounds good and not at all embarrassing. I find his voice great, and find it fascinating that Eminem may also ballads.
My last out tip is the fantastic "Headlights":
"Headlights" has something incredibly conciliatory and reassuring. Eminem is very personal, you get the feeling that he could all the hatred he must have felt all these years towards his mother finally leave behind. It processes this ratio on its way. Perhaps some bothered by Nate Ruess. I like his voice and the music he makes and really think he fits perfectly in this song for my part.
It's 2013, Eminem is now over 40 years old and even if it sounds on the album fresh, young and still provocative, one has at least for "Headlights" feel that the good man has matured and things become a little bit different can see.
Actually, the whole album can be taken as out tip! And the bonus CD is not so good! Still a bit experimental, perhaps, but in the usual class! (Especially "Beautiful Pain" and "Baby")
So I can only say at the end:
THANK YOU Marshall Mathers