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Album Review: Eminem – “The Death of Slim Shady (Coup de Grâce)”

Artist: Eminem
Album: The Death of Slim Shady (Coup de Grâce)
Release Date: July 12, 2024
Label: Shady Records
Genre: Hip-Hop/Rap/Conceptual 

I’ve always said that Eminem and Slim Shady’s dynamic is comparable with The Hulk and Bruce Banner. You wouldn’t like him when he’s angry (or Shady in Em’s case). There’s this rage monster inside that Eminem can never fully let go of, even as he grows old. He’s always been able to keep a lid on the situation. Sometimes, Eminem allows Slim to come out and put one hand on the wheel.  However, with The Death Of Slim Shady Coup DeGrâce, Eminem seems to be tied up in the trunk and Slim is driving off a bridge. It’s not because he’s on a thousand downers, or because he’s drowsy. It’s because Slim wants to pull Eminem back to the dark (or Shady) side, even if this means totally cancelling them both.

Now in the second half of the album, it’s revealed that this was all just a nightmare Eminem was having. At the end of Guilty Conscience 2, we hear Marshall wake up in cold sweats. He immediately calls Paul and tells him of this crazy dream he had, where Slim Shady was back, and it’s like he was back to the way he used to be. Here’s where things get interesting. I believe Slim Shady is a metaphor for Eminem’s addictions; all his demons from his past. “The Death Of Slim Shady“, truly refers to Eminem being sober. He killed his addiction – totally got rid of it. I think Eminem’s nightmare is actually implying that he was dreaming that he never got sober. That’s why he’s so terrified when he wakes up. You see, drugs and alcohol really destroyed his life and nearly killed him. The ironic part is, he also credits his addictions for giving him what he needed to become famous, and maybe even saved his life. He was dirt poor and had a family to raise. Shady is bad for him, but he needs him to stay rich and relevant. Never make a deal with a devil, because there’s always a catch.

Once we get to the mid section of the album, we get the final showdown between Eminem and his alter ego (Guilty Conscience 2). Slim Shady has won. Em is cancelled and Slim is in full control. The mixing on this song is absolutely incredible. It really feels like 2 tactical MC’s rap battling on this track. It reminds me of that super bowl ad a few years ago. Look it up. There’s points where old Slim and new Em’s vocals are layered on top of each other. It’s astonishing that they pulled this off. There’s production tricks and little clever ad libs that strengthen the concept throughout the entire album. If you listen closely, you’ll even hear little turntable skips every time his voice changes back. There’s so much attention to detail. Sometimes you hear the Slim Shady voice filtered through this eerie, ghost-like effect. Again, the mixing is just pure black magic. Dre is a perfectionist.

At this point, Marshall has taken the mic. Shady is dead along with all the evil demons and addictions that come along with him. Head Honcho with Ez Mil introduces this half of the album. Eminem’s verse is a total flex about how he’s still been able to maintain his No. 1 spot in hip-hop, despite kicking Slim Shady to the curb. It’s a victory lap after defeating him. This is a way to rub it in his alter ego’s face, but it’s also his way to give a middle finger to his haters.

Circling back to the main theme of the album with Temporary. This is one of the most beautiful, yet saddest songs Eminem has ever put out. It might as well be called “Mockingbird 2”. Clips from real home videos from Hailie’s childhood play behind the instrumental. We hear all these sweet moments happening as Skylar Grey sings through it with her heavenly hook. Eminem starts the song off by asking himself if he’s afraid of death (a reference to “I Still Don’t Give A F*ck” from The Slim Shady LP album). In this song he twists the phrase to give it new meaning. He answers the question by telling us that he’s more afraid of dying without telling his daughter everything he wants to say before it’s too late. Before his first verse he dedicates the song to Hailie. This song is Eminem imaging a reality where he died before saying his final goodbyes to his kids. I swear a tear comes to my eye every time I hear this track. 

While Temporary shows how Eminem was able to work well with Slim Shady in the beginning, Somebody Save Me shows how addiction swallowed his life. The contrast between these two songs is a really smart way to show how easy it is to lose yourself, but not realising it until it’s too late. Somebody Save Me opens with Alaina, one of Eminem’s other daughters trying to get him to come eat. A barely conscious, drugged out Eminem slurs his words into a sentence telling her to go away and close the door. This obviously implies that his only concerns were the drugs at a certain time. This intro paints the scene that’s followed up by painful words. As he pours his heart out, he begs for forgiveness from his kids. I don’t think I’ve ever heard an artist sound so genuinely ashamed for their actions in a song before. There’s nothing he can do to get the time back that he lost with his kids over drugs and it kills him. I’m not crying, you’re crying! Also, shout out to Jelly Roll for delivering such a powerful hook that compliments all the emotions happening within the verses.

To sum up my thoughts on this album, it is very difficult. I’m just trying to decide if I want to tell you it’s my album of the year, or my album of the decade. As much as I’ve said here, I’m only scratching the surface. The rhyming and absolute alien level wordplay is out of this world. Even for Eminem, this is some of his sharpest work ever. The maliciously mixed production should be impossible. These people went over every detail of the album with a fine tooth comb and didn’t stop until every aspect was perfect.

If I had to complain about something, I might bring up the features. None of them were bad here, it just seems like there are some big names missing that I thought were a sure thing.

The order of the tracklist can be a little weird sometimes. Why is there a Ken Kaniff skit right before one of the most emotionally beautiful songs I’ve ever heard? I think Temporary should have led directly into Somebody Save Me. Instead we get some really crazy bangers. As amazing as Head Honcho, Tobey, and Bad One are, they’re really interrupting something special.

If this is Eminem’s last album, I really do think it’s a good place to stop. It’s filled to the brim with fan service through deep cut easter eggs and classic references. As sad as I’d be for this to be the last one, this is everything I’ve ever wanted from him.

Final Score 9.86/10

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  1. Renaissance (10/10)
  2. Habits (10/10)
  3. Trouble (10/10)
  4. Brand New Dance (9.5/10)
  5. Evil (10/10)
  6. All You Got (skit) (10/10)
  7. Lucifer (10/10)
  8. Antichrist (10/10)
  9. Fuel (10/10)
  10. Road Rage (10/10)
  11. Houdini (10/10)
  12. Breaking News (skit) (10/10)
  13. Guilty Conscience 2 (10/10)
  14. Head Honcho (9/10)
  15. Temporary (10/10)
  16. Bad One (9/10)
  17. Tobey (featuring Big Sean and BabyTron) (9/10)
  18. Guess Who’s Back (skit) (10/10)
  19. Somebody Save Me (10/10)

Review: Lyrical Lemonade & Eminem – “Doomsday Pt. 2”

Cole Bennet and Lyrical Lemonade’s much anticipated debut album All Is Yellow is finally here. We’ve been speculating for months about Eminem ‘s possible involvement with the project. Well, just a few weeks before it dropped, Southpawers among many Shady fans turned out to be correct. Let’s talk about “Doomsday Pt. 2.”

When the track was first announced, I wasn’t sure what to think. Are we getting modern Eminem doing his nasally Shady/Role Model voice over that legendary beat? What will the track be about? Are we getting another touching ballad in respect of Juice WRLD? I’m usually pretty good at solving Eminem puzzles, but this one was hard to crack.

To my surprise, it turned out to be a full blown verse directed directly at Benzino’s throat. I’ll be honest, I’m still not sure how I feel about Eminem being the guy to drop a diss track as his contribution for a mostly celebratory album. All Is Yellow is Cole’s baby, and it’s like Eminem is the weird Uncle that shows up to the party pissed off for some reason. I mean, there’s a time and a place for anger, and personally, this feels like a weird place for a diss track. I think a Benzino track would have also made a lot more sense about a year ago. Imagine if “Killshot” dropped a year after Rap Devil. Maybe Eminem didn’t know when the album was dropping, but that’s another reason why it’s weird to put a diss track on an album that you don’t control the release of.

Okay, I got that off my chest, let’s talk about the song. We have a beat-flipped version of the “Role Model” instrumental. It’s a little slower and mixed with a bit of reverb to add the eeriness of the verse. Eminem’s flow isn’t quite staccato, but his flow pattern pauses for punchlines. You’ve heard Eminem do this before. 

The verse starts with Eminem clearing his throat (a sure sign that he’s about to go off on someone). He follows this up with some clever lines that imply he still thinks he’s a better MC than most, and he’s also not going to stop. He references The Walking Dead to imply everyone else are Zombies, but Em Is gonna Shred until he needs a “Walker”. Get it? – “‘Til I need a walker like Herschel, I’m better than all of you fuckin’ little twerps put together.”

He even goes as far as to imply there’s no point in talking about who had the second best verse on “Forever,” (a song by Drake, which also features Lil Wayne and Kanye West) because his was so far beyond the others. I mean, he’s right but… wow!

My favorite line in the entire verse is next. Right before steers verse directly towards Benzino he says this: “What is the opposite of Benzino? (Uh, what?) A giraffe”. You have no idea how funny this line is to me. For those who don’t know, in 2010, Eminem jokingly said his biggest fear is giraffes because of their necks. This means Eminem is saying Beninzo doesn’t scare him at all; the complete opposite. Bro doesn’t even have a neck. Classic Eminem, cracking jokes in the middle of crucifying a victim.

Once we get into the meat, the verse goes for Benzino’s throat for real. He reopens the healing, but fresh wound left by his daughter (Coi Leray) when she said her dad is jealous of her success. “Guess that Coi Leray feat’s in the toilet, ayy? (Goddamn)”. What a gut punch! From here, Em systematically continues to take shots at him about being broke and incredibly washed up.

The song winds down with Eminem once again clarifying that he is and always will be the psychopathic battle rapper that has no problem strangling his opponents with a mic cord. As he cleans up shop, he finishes his verse by shouting out J. Cole for being on the same level, then Cole Bennet for having him on the album.  

I’m still not sure how the creation of this track came to be. My theory is, it was originally just going to be the third verse after Juice’s and Cordae’s on “Doomsday.” Maybe someone pitched the idea to separate Em’s verse due to the drastic change in tone. If you look at the All In Yellow tracklist, Eminem is the only one who has a song to himself. As strange as it is, Eminem is actually shooting a music video for a diss track.

When the dust settles, I think this is actually a very strong tonuge-in-cheek diss track, even if it feels a little late. I still feel it’s necessary for Eminem to retaliate after Benzino’s been throwing shots on Twitter and interviews for years. At this point Zino is in damage control mode. He called Eminem too old for this, despite Benzino being older and having no problem with running his mouth constantly.

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Review: Juice WRLD, Eminem, benny blanco – “Lace It”

Juice WRLD is back yet again with another single despite the fact that he’s been dead since 2019. I’m always so conflicted about this. On one hand, it’s great that Juice’s fans still get to feel like their favorite artist is active despite losing him almost 5 years ago. On the other hand, something just doesn’t feel right about a label milking a dead artist to the point that they’re releasing more music from the grave than André 3000.

Of course you knew, I had to come back from the grave myself to review this new Em joint. We know his verse was recorded at least within a year because he references events that happened in January of 2023. I’ll be honest, I’ve never been a fan of Juice’s music despite him being an absolute monster when it comes to freestyling. The kid was a genius. I just wish he’d brought that flavor over to his albums. Like when he worked with Eminem on “Godzilla,” I like him in small doses. He’s fine as a hook with maybe the odd bridge, but I can’t take much more than that. It’s just that ear-piercing autotune and those melodramatic flows that every trapper seems to love. This track is kind of an anomaly to that rule though do to the nature of Eminem’s guest verse.

Eminem’s verse is one of the most focused guest spots in a song I’ve heard from him in a long time. The subject is so personal to him that I guess it would come naturally. He had a near-death experience himself back in 2007. Since then, he’s shown signs of survivor’s guilt when reacting to other rappers who’ve also overdosed the same way he did but didn’t survive. You hear that all over this verse as well. Eminem is sympathising with the new generation of rappers here. He starts off by walking us through how easy it can be to get hooked on drugs and how it feels to become dependent on them: “You pop some ecstasy first, it gets progressively worse
Try your best to reverse unsuccessfully flirtin’ with certain death… as you spiral downward, listen, I know just how it is.” I’m definitely getting some dad rap vibes here, but in a good way. It’s really smart of Eminem to try to relate to the new school kids like this. Who knows? Maybe the right person will hear this and he’ll save a life. This doesn’t feel like just any Eminem verse that he wrote and sent off to fill a standard 16 bar spot to promote someone’s album. He feels genuinely driven by emotion, like he’s actually writing with a purpose.

What I love about Eminem’s music, is the fact that he can be pouring his heart and soul into a track, but he’ll rarely forget he’s also a lyricist. The multi-syllable rhymes and creative word play that comes out of this man’s pen will never fail to impress me. Yeah, you’ll get the odd dad joke here and there: “Like a rabbit out a hat, you’ll wanna pull your hair out“… but for every bar like this you’ll get something deserving of a stank-face level chef’s kiss.

Near the halfway point, Eminem’s tone naturally starts to steer towards anger from sadness. When he starts referencing Juice directly by his first name, you can hear the frustration in his voice. Something about Juice passing in particular, hurt Eminem: “You tried to kill me, then you murdered Jared didn’t you? You piece of s–t“. From here, Eminem runs down a list of names of other celebrities that’ve lost their lives to drugs, strengthening his warning. That’s right folks, Eminem just dissed drugs. He finishes his verse by just asking the new generation to be careful when experimenting with substances. I think he knows it would be hypocritical for him to tell anyone not to do drugs, and I think he knows he can’t stop anyone from doing what they’re going to do. He just comes off like the cool dad that knows you’re going to experiment, but just asks that you do so responsibly.

Overall, I’m really happy with this track. I’ve seen so many rappers throw a phoned-in, generic verses into posthumous albums. Eminem took the time to really put the thought, time and attention into the track. He made sure speak from his own experiences with addiction, which helps give off a true sense of sincerity.

Rest in Piece Juice WRLD.

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Album Review: GRIP – “STILL (5 & A F*** You)”

GRIP – STILL (5 & A F*** You) (Deluxe) – Album Review 

Artist: GRIP
Album: “STILL (5 & A F*** You) (Deluxe)
Release Date: July 7, 2023
Label: Shady Records/Stray Society
Genre: Hip-Hop/Rap
Rating: ★★★★★★★★★✩ 9/10

Atlanta rapper GRIP is back again after releasing his very well received album “I Died For This!?” 2 years ago, followed by the lesser noticed but worth your time “5 & A F*** You” last year. GRIP is known for being a gritty-flowed new school artist that doesn’t have to rely on whatever sound is currently trending. In my opinion, this makes him very under-rated as an artist. It’s criminal that he’s not blown up internationally yet.

Now GRIP is back with a short and sweet, 11-track Deluxe/Follow up album to compliment the first “5 & A F*** You” project. Maybe “sweet” is the wrong word to describe this one. This might be the most I’ve ever seen GRIP let go of his inner aggression and let everything loose. If the title didn’t already make it clear enough, you’ll understand once you push play on track one.

  1. Intro

The album kicks off with an intro that sets the tone for an intense, open and honest journey of musical gritty wordplay. The track begins with a cold, haunting atmospheric instrumental. The combination of eerie synths and deep basslines do their part in drawing the listener in. Something about GRIP’s immediately flow gives off a slightly defeated vibe. By the end of the track, his tempo picks up in such a commanding way. By the end of the track I can’t help but feel personally charged by the Contagious energy spewing from all aspects of the intro. As far as an intro track, it does a great job hooking listeners and demanding their attention for the next 30 minutes.

  1. Fetch

I love the hard-hitting drums on this one. The extra buoyant basslines are infectiously pleasing as backdrop for the song. In terms of lyricism, GRIP’s clever wordplay is on full display as he carefully weaves together punchlines and metaphors.

  1. Numbers 

The Fast-flow rap thing has been done a million times at this point, but it can still be done without being overdone. This track is an example of that. My knee-jerk reaction is to say I hear a bit of JID influence in the flow. Maybe it’s the laid-back but somehow energetic delivery that I’m such a sucker for. Either way, the key strength in this track lies within the versatility of GRIP’s flows. On top of that, the song deserves praise for being able to paint vivid pictures with words while maintaining the focus of even the most casual listeners.

  1. SS 

“SS” is the biggest standout track on the album so far. The unapologetically commanding presence and style of this track gets a chef kiss from me. GRIP could have just thrown down flashy bars and called it a day, but the way he switches his flow so effortlessly is magical. I love everything about this track, down to the gritty flow and the well-placed vocal samples.

  1. Bare 

This might be the most emotionally vulnerable state I’ve ever seen GRIP in. It’s hard not to feel your heart strings being pulled by the raw, emotional lyrics. Much like the track’s name, beat is very stripped down without feeling skeletal. The delicate piano is stands out carefully because of how muted the rest of the instrumental sounds. It’s beautifully crafted in such a captivating way. I can’t believe this track ends with “I wrote this sh_t while I was taking a dump” and it didn’t do anything to take away from otherwise tear-jerking track. Could this be some of Eminem’s trademarked writing style rubbing off on GRIP?

  1. Keys 

Keys mostly takes a well needed breather from the heavier subjects some of the previous tracks dealt with. It leads with a slower, mesmerizingly swimmy beat. Although the instrumental is subtle, the lyrics live into themes of struggling with identity and dealing with choosing the correct paths life gives us. It can also be seen as a celebratory track. When you’re looking at it in that light, it becomes a song about GRIP looking back on his success and what it took to get here.

  1. Time 

The melodic instrumental on this track is so incredibly soothing.  I feel like my eardrums are gently receiving a sugar scrub massage. The female vocal samples that dip in and out tie the production together perfectly.  The song’s structure adds an extra layer of depth to “Time.” The verses gradually unfold, building on one another and unraveling different aspects of the theme. This track is yet another testament to his storytelling abilities and mature growth as an artist.

  1. Hyperbole

Honestly, I wasn’t sure where this track was going when it started with a raspily delivered “B–ch!… B–ch. B–ch!!”.  It’s definitely not a track for GRIP’s easier listening fans. This is probably the most acidic, hard to swallow track on the album. It’s also quite a banger! Fans of “Aight!” by Westside Boogie will probably enjoy this one.

  1. Angels

This is my favorite track on the entire album; easily.  As the track title suggests, “Angels” musically transcends earthly limits with it’s powerful, soulful production and meaningful lyrics. The track is nothing short of masterpiece. GRIP’s super organic, realistic delivery adds that much more to already Aw-inspiring song.

  1. Still 

Still deals with the frustrations that come with being better than most of your hip-hop colleagues, without receiving nearly the same amount of respect. As a hip-hop head myself, it’s not hard to see his point with this one. It must be awfully tempting to sellout when it seems like that’s the only way to make a big name for yourself in hip-hop. This track is the unfinished story of an underdog/rags to riches story that hasn’t been completed yet. This is a “just wait and see” kind of track.

  1. You

As we reach the album’s conclusion, we come to the track “You”. The production of “You” sets a melancholic and atmospheric tone right from the start. The album is fittingly ending on a very self-reflective track. GRIP wonders how his life could have played out different if he would have made a name for himself sooner. On the same token, he imagines the hundreds of ways he could have wound up dead. I suppose within this track, GRIP is happy for the life he has when he considers how it could be. In a clever way, he’s using this song as a sort of letter filled with advice to his younger self. 

From the thought-provoking Intro track to the soulful finale “You,” GRIP takes listeners on a deeply personal journey through themes of self-discovery, love, and vulnerability. At this point, GRIP deserves to be brought up in every conversation revolving around the best of this generation. 

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Album Review: Westside Boogie – “More Black Superheroes”

Westside Boogie – “More Black Super Heroes” – Album Review 

Artist: Westside Boogie
Album: More Black Superheroes
Release date: June 17, 2022
Label: Shady Records
Genre: Hiphop/Rap
Rating: ⭐⭐⭐⭐⭐⭐⭐⭐✪☆ 8.5/10

Westside Boogie is an American rapper, songwriter, and Shady artist. Born as Anthony Dixon in 1990 in Compton, California. His sound is a product of his Westcoast roots. However, he’s known to be influenced by artists such as Jay-Z, Nas, and Lupe Fiasco, just to name a few. Boogie started rhyming words at the age of only 15 years old. Later on, he would attempt to balance his academic studies while honing his craft as an MC. It wasn’t until 2014 before Boogie started seeing any kind of recognition. It was in 2017 when he finally joined the Shady Records family and released his label debut “Everything’s For Sale” in 2019.

I wasn’t familiar with Boogie until he made his Eminem Connection in the late 2010s. Admittedly, I was very skeptical of him at first. He seemed like a strikingly odd artist to join Shady. I pegged Boogie as more of a Trap style, vibe focused artist. However, I couldn’t help but get filled with cautious excitement as we got closer to “Everything’s For Sale.” It turns out Boogie fits in just fine. Needless to say, I’ve been a big fan of him since, and now I anticipate everything he touches!

  1. KILLA MODE 

Boogie opens the album with a very “I’m Done Giving Any Kind Of F*ck” tone, specifically when it comes to romantic relationships. It’s obvious he’s been burned before, and he’s letting us know he won’t be burned again. He’s showing us how he’s growing out of dating immature women as he gets older. “Showing you love, it ain’t playing it smart Covered in blood while I’m hanging with sharks”. 

  1. STUCK 

This track is portraying the internal struggle Boogie’s having with rising into fame without being able to let go of habits he developed during his rough upbringing. There’s 2 sides to the token tough. He doesn’t want to forget who he is, even if he doesn’t have to live that life anymore. The haunting production adds layers to Boogie’s punchy, introspective lyrics. With this track, Boogie is also doing a great job exploring the nuances of struggling with communication in a relationship. When every line is telling the listener at least 2 things, it’s creating a much stronger narrative. It’s storytelling 101. Despite the fairly heavy subject matter, “STUCK” is still a banger due to the sharp piano loop and Boogie’s charismatic flow. The depth, vulnerabilities, and honesty create a lot of replay value for fans, while the production should provide multiple listens if you’re throwing this into a playlist. 

  1. NONCHALANT (Ft. Mamii) 

“NONCHALANT” is easily one of the most sonically pleasing and addictive tracks on the album. The softer production helps to showcase Boogie’s impressive lyrical ability and smooth flow. With the beat being so laid-back, I can’t help but be reminded of his California roots. It also provides a perfect backdrop for him to effortlessly deliver emotional verses while painting a vivid picture. The song’s hook is provided by the gifted Mamii, who adds soulfulness to the track, balancing out Boogie’s somewhat raspy vocals. She’s the sweet to his salty. The two artists together add a unique dynamic to the song’s overall sound. This is the kind of track that I could imagine playing in the background of a summer night’s porch-lit dinner while on vacation. 

  1. LOLSMH II

With this track, Boogie is expressing his frustration with being a person who has a lot of people who depend on him. He’s doing everything he can to keep up his Superman image. The problem is that even superheroes sometimes need saving. I think it’s a metaphor for the idea that you shouldn’t bottle up your pain and try to pretend it’s not there. If you can never vent to anyone, you’re going to blow up eventually. Boogie is hitting us once again with that signature punctual flow with controlled aggression. As the track starts taking a darker turn, the beat switches, and so does Boogie’s Psyche. Calling back to that same “I’m Done Giving a F*ck” attitude, Boogie snaps and starts getting everything off his chest as he peels back painful truths. From here, we get some incredibly unvarnished glimpses into some of his darker thoughts and fears. I highly recommend this one for fans of good old-fashioned beat switches and authentic stories.

  1. CAN’T EVEN LIE (Featuring Soulja Boy)

I can’t even lie, I’m really confused as to why Souja Boy; of all people, is featured in the middle of a relationship track on a Boogie album. The track is exploring the complex art of being a womanizer by default, but ironically wanting a serious relationship. It’s not possible, and while Boogie understands that, he’s not sure how to correct it. Honestly, this track feels a little bit like filler to me. Boogie only has 1 verse. The hook is pretty repetitive, and Souja Boy (yes, really) is giving a passable yet vague verse. We had enough relationship tracks on the album already, I’m not sure why this unfinished feeling, hallow cut, was left in the mix. Overall, it’s a decent track with nothing offensively wrong with it. It’s just the weakest of the mix so far.

  1. PRIDEFUL II 

This was the first track I heard from the album. It’s the big lead single that blew up, rightfully. Without hearing the album, this comes off as a really slick, smooth banger. It’s a really easy earworm that you can mix into just about any playlist. It’s probably the most accessible track on the album. Once you hear the track within the context of the album, though, it actually makes more sense. It shows him in a confident stance but in a much more self-respectful way. It continues to stick closely to the album’s theme.

  1. AIGHT 

This is a track that casual listeners probably heard first. It’s the one that gets the most radio play, but that doesn’t mean it’s a hip-pop; far from it. It gets played on the cool radio stations. That said, the beat is addictively catchy, complimented by a  somewhat sinister backdrop. As far as the album goes so far, the lyrics are pretty straightforward here. Boogie is just acknowledging the fact that he’s a rising star and he’s here to stay. This shows a strong level of ambition, especially for a relatively laid-back track. Whether someone enjoys this track or not will depend on if they’re cool with a simplified single right in the middle of the tracklist. 

  1. CAN’T GET OVER YOU (Featuring Smino & Teego Touchdown)

I can’t get over the strings that Boogie keeps adding into these songs! Boogie opens up with some sort of whispery singing that’s been filtered through some sort of rebar effect. It totally works for the emotional point he appears to be going for. It’s another breakup song with delightfully somber production. The overall atmosphere is pretty melancholic yet somehow uplifting in a strange way. I’m sure most people can relate to the feeling of trying to get over an ex-partner. There’s a lot of emotions, but eventually, you’ll probably see the silver linings in the situation. 

  1. RATCHET BOOGIE (INTERLUDE) 

Coming off the last track, this one perfectly portrays the feeling once you’ve been able to climb back up after a bad breakup. There’s definitely some “I Didn’t Need That B*tch Anyway” energy here. The lyrics are rapid-fire and confident for the short duration of the interlude. This is Boogie at his most self-respectful. You can almost hear the smile on his face once he lets everything go.

  1. SOMETHIN STRANGE (Featuring Kalan.Fr.Fr & Mamii)

The cohesiveness from track to track on this album is impressive. Once again, this track spins off the previous one and maintains a similar but different enough sound. It opens up almost Gospelly. Boogie’s echoey singing is angelic and super sunny. Unfortunately, this is the first track where I think the feature makes it worse. KalanFr.Fr’s trappy, mumbling, verse really didn’t match this track sonically at all. There’s a time and a place for new-age trap flows, but it’s not here. It’s like somebody accidentally turned the angelic hip-hop choir station off and switched it to the generic new-school station. Thankfully, that only lasts about 30 seconds before switching back to Boogie.

  1. WINDOWS DOWN (Featuring Snoop Dogg)

If I said this track started with the lyrics “Roll The Windows Down, So Much Smoke, Let It All Roll Out,” who would you think is featured? You guessed it, Boogie said the right words to summon our Lord And Ganja Savoir, Snoop Dogg. Starting with Boogie, I think you might actually be getting his best verse on this track. He puts everything he has into it by relying on a dynamic flow and confident lyrics. It comes together so defiantly and sets the stage perfectly for Snoop to jump in. Snoop gives one of his best verses in a long time, too! We’re getting that classic chill Snoop delivery, but he also switches his flow a few times pretty effortlessly. Put Snoop on a juicy beat and make Marijuana the subject, then you’ve got the recipe for a hit. If the track didn’t do enough already, there’s a crazy beat switch towards the end. Boogie comes back one more time for an anxiety driven, panicky verse that leads to either a figurative or metaphorical crash. This is easily one of the best tracks on the album. 

  1. ANTHONY (WAR) 

As we get to the closing track, it’s important to look back at everything we’ve heard so far. The album began in a very dark, even mean-spirited mindset. As we get further along, Boogie goes through a lot of internal self-growth and finding himself. Just as he begins to accept himself and see things in a positive light, things are interrupted by a soul-crushing car crash. This “ANTHONY (WAR)” track is very cleverly mirroring everything we’ve heard so far. Admirably, it’s once again cohesively picking up where the previous track left off. It’s a realistic representation of a person slipping back into their old habits due to old mental scars. A great day can be interrupted by an unexpected car crash. 

FINAL THOUGHTS 

Since Boogie’s 2019 album “Everything’s For Sale,” he’s really shown a massive amount of growth in not just his rapping but a newfound creativity in crafting a cohesive project. Front to back, the entire “More Black Superheroes” album sticks to a very tight concept. Aside from a few weak features here and there, everything fits perfectly together in a precise order. Boogie has shown that honesty is a superpower that can be both a blessing and a curse. It’s a dangerous tool in the wrong hands. This album is a lesson about being true to yourself and true to others. Don’t try to be the hero if you can’t get past your own demons.

Written by CeaTee Reviews

Instagram @CeaTee_Reviews 

Album Review: Kxng Crooked & Joell Ortiz – “JFKLAX”

Artists: H.A.R.D. (KXNG Crooked & Joell Ortiz)
Label: Hitmaker Music Group
Release date: February 24, 2023
Genre: Hip-Hop/Rap
Rating: ⭐⭐⭐⭐⭐⭐⭐⭐⭐✰ (8.9/10)

My Ears perk up every time I catch wind of KXNG Crooked and Joell Ortiz doing another collaboration album. Ever since they debuted themselves as the duo known simply as “H.A.R.D.” they just haven’t missed. I’m not sure if the term exists, but I’m officially going to refer to these guys as a super-duo for now on. This is what happens when two members of a spitter-heavy supergroup leave but decide to keep their halves of the quartet alive. 

H.A.R.D. first started making waves under this new brand alias a couple of years ago with their self-titled debut EP. They would come to release several projects that sparked some conversations within the nitty-gritty communities of hip-hop bar heads, like myself. Most notably, they recently decided to give us one last look inside the Slaughterhouse they helped build before burning it down forever with their “The Rise & Fall Of Slaughterhouse” album. As the 1-year anniversary of their official duo debut album approaches this month, they’re making a significant return with this snack-size “JFKLAX” EP.

  1. Take Time

Joell starts off with an extremely confident, self-aware verse over a sonically celebratory instrumental. Joell is letting us know that the super-duo is back for a legendary return after a 1-year break. Crooked really knows how to start a verse: “Like Crows Feet Around The Eyes, Them Lines Take Time, When They Come From A Lot Of Smiling, I Won’t Erase Mine”. His whole contribution to this track is one long string of some of the hardest bars on this EP. He delivers his verse with a flow that implies he knows how crazy he went on this track. I love it! 

  1. Dodgers

This track is overall a much slower tempo than the opener. It’s more of a retrospective love letter to the Duo’s West Coast home and ties to the Eastside. I like the emotion this groovy, sort of funkadelic production brings to the track. It’s such a skill within itself for Crooked to somehow effortlessly speed his flow up and down without it becoming distracting. It’s as if he just flips a switch on or off.

  1. Foe Or Friend

I’m a sucker for horns, keys, and drums. This track follows the recipe for a banger because it has all three. It’s easily my favorite beat on the EP. You’ll likely enjoy the production if you’re a Jay-Z fan, especially if you recognize those very familiar hi-hat sounds. There’s also a pretty obvious sample of “Hey, What’s That You Say.” Crooked’s relentless, unstoppable flow that chainsaws through this production is why I’m calling this track the best of the five on the EP.

  1. Stay Dangerous (Featuring Sly Paper)

A woman opens this track with spoken word dialogue that sets the stage for a track about living through poverty in a dangerous city. You could write this track off as cliche about surviving in a rough city, but you shouldn’t! The intelligent rhymes are reason enough to enjoy the track, but the passion from both artists is what keeps it fresh to the listeners’ ears. Joell, in particular, does a great job painting a clear picture with descriptive lyrical imagery. Sly Paper cleans up shop and ties the track off at the end with a soulful, cinematic bridge/outro that sounds like it belongs in a dramatic crime movie.

  1. Blue Magic

The EP closes similarly to how it opens. We’re given one more confident duet to close out the project, brought to you by freshly sharpened pens. The main difference between this and the opener is that this track rightfully gives off a sense of winding down. For such a short project, they ran hot while it lasted. There’s a very touching feeling of mutual respect between Joell and Crooked with this EP –  two heavyweights seeing eye to eye. You can’t fake the level of sincerity on this track. 

Final Thoughts

I have to salute this duo for how hard they’ve been working over these last few years. It’s incredibly rare to get this many consistently high-quality projects within such a short time span. You have to respect this kind of grind. I know this is just a quick EP, but I feel like I’ve just been through a full-length album. It’s almost unfathomable how dense and deep every inch of technical lyricism gets with these two. I could have taken the time to break down every bar on the project, but the review would end up looking like a damn novel.

Written By CeaTee Reviews

Instagram: @CeaTee_Reviews

Album Review: Eminem – “Music To Be Murdered By”

Eminem – “Music To Be Murdered By” – Album Review

Artist: Eminem
Release date: January 17, 2020
Genres: Hip hop music, Horrorcore
Label: Interscope Records/Shady/Aftermath
Rating: ⭐⭐⭐⭐⭐⭐⭐⭐⭐⭐ 9.9/10

Music To Be Murdered By is the eleventh studio album by Shady Records founder, Eminem. The album was surprise-dropped on January 17th, 2020.

Before the album even begins, Em will let us know the album is inspired by Alfred Hitchcock, a man known for creating disturbing, suspenseful music to be used for murder scenes in film. In case it wasn’t obvious, Slim Shady is telling us the topic for this project is murder.

1. Premonition (Intro)

The opening track is Eminem accepting the fact that he’ll probably never be able to live with trying to please critics or the rap game itself. Even though he hates what a large portion of what hip-hop is becoming, he and the genre need each other. Immediately after the intro to the intro, acrobatic lyricism is unleashed onto the listeners. This is Eminem at his most confident, yet most backed up into a corner. He’s making a frustrated point that people lack the patience to appreciate his technical rap abilities. Instead, people overlook his art after one listen and slap a negative review on it. He’s arguing that so many people have already praised him as the GOAT and that can’t be taken away this far into a career. He compares this criticism to times when artists he looked up to have been trashed by critics. If they can give LL Cool J a 2.5/5, then the opinion of the public doesn’t matter.

2. Unaccommodating (Featuring Young M.A.)

Wobble wobble, shake it, shake it! Never thought I’d see the day Young M.A. jumps on an Eminem track, but it works so well. She’s introduced with a gunshot followed by Eminem shouting her out. She sounds proud to be on a track with Em. “What up Marshall, what up Martian, I’m in Wayne mode.” Eminem’s delivery compliments the pengame beautifully. He opens with “Game Over, Thanos, on my petty Sh*t, but I don’t paint toes.” If anyone other than Eminem said that, it could potentially sound so corny, but his “no big deal,” tongue-in-cheek delivery somehow strengthens the bar. I love how Eminem is able to adapt to new artists and put his own spin on things. With features like this, you’d expect there to be a sort of hip hop language barrier, but it totally works.

3. You Gon’ Learn (Featuring Royce Da 5’9″ & White Gold)

The Royce Da 5’9″ produced and featured track, “You Gon’ Learn,” sounds so dangerous. Royce opens with a motivated witty verse that stresses the importance of resilience and determination. Bad Meets Evil had very similar, yet very different paths to fame. They both went through a lot of struggles and setbacks, but ended up coming out as survivors. White Gold sings a fittingly eerie hook before Eminem introduces himself using a head spinning lyrical verse with lots of great sound effects.

4. Alfred (Interlude)

Dedicating an album concept to Alfred Hitchcock is one way to make sure a 47 year old rapper can still make music without feeling like he’s outgrown the genre. I will say, this interlude feels a little out of place. On one hand, it’s a creepy warning that follows the album’s continuity well. On the other hand, this track is followed by the silliest, zainiest, club banger-esque track on the entire album. It always catches me off guard when I’m listening to the project in order.

5. Those Kinda Nights (Featuring Ed Sheeran)

If Nate Dogg was still alive, he’d be on this track – no question. This is definitely a loose sequel/update to “Shake That”, or at least “40 Oz,” from the “D12 World” album. You can criticise Eminem for working with a pop star all you want, but I’m having so much fun with this track. You can tell Eminem is, too, and that’s why it’s a banger. It’s also pretty hilarious. I still get a kick out of the little exchange between him and the girl at the club. It might even be a reference to the D12 song “My Band,” where he mimics a groupie that he meets (and plays) in the music video.

6. In Too Deep

If there’s one weak link on the album, this is it. I can appreciate him actually avoiding that weird, staccato, start/stop flows he uses on a lot of relationship tracks. Of course, there’s no shortage of fantastic bars on this track. Em has never been great with hooks, but if I’m being honest, this one isn’t that bad. It’s why it’s catchy. I’d be lying if I said this track doesn’t get stuck in my head for a while after hearing it. One thing that’s getting really old about Eminem’s relationship tracks are the nameless, faceless women he’s always making songs about. Who are these people? If you just take this track for what it is, it’s a decent B-side quality track that’s fine, but forgettable.

7. Godzilla (Featuring Juice WRLD)

Boy, doesn’t the last track seem weak in comparison to this one? Here’s another feature I never thought I’d see on an Eminem album, Juice WRLD. I know Juice was a huge fan of Eminem, so I can only imagine what this meant to him. I was never a fan of Juice, but his contribution works really well here. As you may have guessed, Em and Juice compare themselves to a monster: Godzilla (real subtle, I know). This song is lyrically pretty insane. The next person who criticises Eminem for rapping too fast is getting kicked in the balls by this writer. Rapping fast and weightless is one thing. It’s another thing to enunciate perfectly without slurring supersonic speed raps, all while still maintaining complex lyricism the entire track. It’s a ballsy move to fill a ridiculously fast song full of your best rhymes when the average listener is probably going to miss a lot of them. It’s like a reward for the people who actually take the time to listen closely and replay enough times.

8. Darkness

This song is a masterpiece, and I’m not saying that lightly. In this track, Em is speaking about having anxiety before a show. He starts overthinking and gets himself so worked up that it leads him to drink. He even considers cancelling the show he’s scheduled to perform. Stop reading now if you haven’t heard the song. This is a song with such good storytelling that I think it actually warrants a spoiler warning. Halfway through the song, it twists and it turns to the state of mind of the infamous Las Vegas Shooter… just watch the video. This is one of the most clever, creative, emotional, jaw-dropping pieces of art I’ve seen put into a song. The whole song is full of very clever double entendres. I think Eminem is saying anyone can be perfectly normal until they’re not. The track is also very clearly advocating for better gun control in America. From Em’s perspective, anyone can grab a gun one day and decide to snap and turn into a one man killing machine with a legally acquired gun the next. I think he’s also saying he’s not all that different from a terrorist, furthering the point that any normal gun owner is one bad day from being a serial killer.

9. Leaving Heaven (Featuring Skylar Grey)

This is one of my top tracks on the album. Eminem really hates his dad. He died last year, and people were probably expecting Eminem to show some respect, maybe even remorse over the death of a family member. NOPE. The first couple of verses Eminem recaps his fatherless childhood; how he has memories of being beaten as young as six years old. He even references being beaten into a coma from a school bully as a child with no dad to defend him. I love the line where he references Macklemore, keeping his room nice and neat. Meanwhile, Adolescent Eminem was getting beaten up twice a week. The third verse gives me goosebumps every time to this day. The way Eminem shows a true, passionate hate for his father is almost indescribable. In fact, he sounds like he’s celebrating in the most morbid way. The anger is genuine here. He even says he should dig up his grave just to spit in his face. It feels like Eminem has been waiting 47 years for this day to come. A huge weight has finally been lifted off his shoulders. I also love Skylar’s beautiful, soulful hook. The mixing on her vocals has an extra cinematic aura to it, making it come off so grand and spectacular.

10. Yah Yah (Featuring Royce Da 5’9, Black Thought, Q-Tip & Denaun)

This track is lyrical fan fiction. This rolls together as a sort of a love letter to hip hop. You’re getting Royce, Black Thought, and Q-Tip as features. This track goes hard! Everyone flexes their lyricist talents to their full extent. Even though Q-tip only got the hook, it comes off super charismatic and catchy.. I’m just glad to see Q-Tip on a track with Eminem. We don’t deserve it.

12. Stepdad

In this track, Eminem is looking back, not so fondly at his childhood, particularly surrounding his abusive stepdad. Eminem could have made a serious, vulnerable track with a compelling story. Instead, he let Slim Shady tell it. There’s obviously some truth in here, but this is mostly Eminem fantasising about how he wished he would have given his stepdad a taste of his own medicine. In true Slim Shady fashion, it’s both a grim and hilarious telling of a story from Marshall’s past. Yes, Eminem had father and step-father issues.

13. Marsh

On this track, Em is saying he’s out of this world, a Martian, or (Marsh)-ian. He’s also letting us know that he’s not interested in beefing anymore. He’s buried enough rappers at this point. Yeah, there’s arguably some bars in this cut that’ll make you roll your eyes a little. It’s tongue-in-cheek enough to let those bars slide and there’s more than enough wordplay here to celebrate.

14. Never Love Again

A lot of people will, and have, heard this track and chalked it up to being just another love sick, break-up song from Eminem. That’s what I thought at first, too. The twist is, it’s actually a song about his relation to drugs and not a woman. Similar to “Darkness,” the whole thing is a really creative double entendre. If you heard this track and dismissed it, listen to it again with that in mind, and it becomes a very different track. Is Eminem’s singing the best? No, but it’s not about that.

15. Little Engine

This sounds like it came straight off of the “Relapse” album but without the accents. It’s also one of the sharpest songs on the album, lyrically. It’s the hip-hop equivalent of a sugar high with rap bars, front to back. The underlying theme of being mentally unstable pairs well with Alfred Hitchcock’s overall sonic aesthetic. This track is also a semi-rare example of Eminem delivering a great hook; granted, it’s pretty easy for him to slip into this off-the-cuff psychopathic flow. Even the sounds of a vintage movie reel turning within the production blends perfectly with everything else going on in the track.

16. Lock It Up (Featuring Anderson .Paak)

I can’t believe Eminem got Anderson on his track. This has been one of my dream collabs for years. It finally happened and it worked even better than I could have imagined. Anderson’s powerful, soulful voice is golden on the bridge and in the hooks. The theme of the track seems to be about Eminem expressing the journey of overcoming self-doubt. It’s as if he thought about hanging up the mic for a hot minute due to criticism, but instead, he decided to come back stronger. My only gripe with “Lock It Up” is that I wish it were longer. I could have gone for a third or fourth verse of this.

17. Farewell

I’ll be honest, I don’t think we needed another relationship track here when we already have “In To Deep” and “Never Love Again”. In the context of the album, it’s a little redundant, but as a stand alone track, I enjoy it for what it is. Hearing Eminem over this bouncy, somewhat Reggae-esque beat is super interesting. There are some clues in the lyrics that this could be a song revolving around the tension caused by drugs, in a similar fashion to “Never Love Again”. Whether it’s about a woman or pills, the message is weirdly clear either way. He hates nothing more than the fact that he still loves drugs (And/or woman).

18. No Regrets (Featuring Don Toliver)

As the 47 year old rapper gets older, we continue to see him maturing. The man who was once the realest Slim Shady is now offering apologies to people he’s dissed: Tyler The Creator and Earl Sweatshirt. Otherwise, he’s retrospectively looking at his legacy and troubled upbringing while reminiscing on how he may have impacted people along the way, for better or for worse. Despite all of it, he wouldn’t change a thing. “No Regrets, No White Flags Either.”

19. I Will (Featuring KXNG Crooked, Royce Da 5’9″ & Joel Ortiz)

There’s something about this track that just feels like a throw-back to my ears. Maybe it’s the particular pitch in Eminem’s voice he’s using for the hook. We’re also getting a sort of swan song from the Slaughterhouse supergroup (minus Joe Budden). These guys ride the boombap production flawlessly like the rhyme slayers they are. I’ve always found Eminem saves his best material for tracks with several features. I think he’s too stubborn or egotistical to play second fiddle to any other emcee. This track is no exception. Em even makes sure to hand it to rappers that aren’t even on the track such as Lord Jamar and Joe Budden. Except for the singles, this is probably my favourite track on the album, and definitely Eminem’s best single verse on the entire project. It’s 5 minutes of old-school boombap posse cut stylism with a little bit of sinister Shady mixed in for good measure.

Final Thoughts

Nearly 3 years after the initial release of “Music To Be Murdered By,” it still holds up very well. After years of having this thing practically on loop, it somehow still has that new album audible smell. After the short and sweet snack-size “Kamikaze” album, I was satisfied, but still left feeling hungry for a bigger meal. When this album dropped, it was the full course. At 20 tracks and just over an hour in runtime, it’s pretty remarkable that there’s arguably only a couple of hiccups. It’s sonically cohesive while staying mostly committed to the album concept. I couldn’t have asked for better features either. This thing is packed full of lyrical heavyweights, some of whom we hadn’t heard from in quite a while. Even when there’s a pop feature, it doesn’t stick out because it’s the borderline gothic aesthetic of Skylar Grey singing a hook on an album committed to murder. The Alfred Hitchcock inspired production seems tailor-made for Eminem to rap on thanks largely to Dr. Dre. Dre was far from alone, though. There’s a full cast of talented producers including The Alchemist, Royce Da 5’9″, and even Eminem himself (among others). At the end of the day, this album will continue to hold its place in history as a cinematic, horror-core hip hop classic.

Review written by CeaTee Reviews.

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