Eminem - Recovery CD

Recovery songs THE SLIM SHADY LP won the 2000 Grammy Award for Best Rap Album. "My Name Is" was nominated for the 2000 Grammy Award for Best Rap Solo Performance. You'll need a well-developed sense of humor to fully appreciate the debut of Eminem aka Slim Shady. Produced by hip-hop super-producer Dr. Dre and released on Dre's Aftermath Records, the album features an infectious lead single, "My Name Is," a winning mixture of alternative rock and rap. One listen will have you hooked on the chorus, but future plays will reveal the lyrical gymnastics that Eminem kicks out so effortlessly. Obsessed with fantasies of sex, violence, drugs, and a general depraved indifference to life itself, Eminem's alter ego, Slim Shady, is constantly involved in a battle of good vs. evil leavened by a high degree of irony. Dre even drops in on an mind-blowing cameo playing the shoulder angel on "Guilty Conscience" to Eminem's devil. You'll need a few listens to absorb everything that Eminem is about lyrically. SLIM SHADY might offend the faint-hearted, but that's probably Eminem's intention. Parental Advisory Engineers include: Blumpy, Aaron Lepley, Alan Mason. Personnel: Dina Rae (vocals); Mel-Man (drum programming). Audio Mixers: Dr. Dre; Aaron Lepley; Michael Tuller; Jeff Bass; Richard Huredia; Alan Mason. Recording information: Dr. Dre's House; Mix Room. Photographer: Christopher McCants. Personnel includes: Eminem, Kristie Abete Swift, Dina Rae (vocals); Richard "Segal" Huredia (spoken vocals); Jeff Bass (various instruments); Mel-Man, DJ Head, Denine Porter (drum programming); Paul "Bunyan" Rosenberg, Zoe Winkler, Marky Bass, Aristotle, Royce Da 5'9". Producers include: Dr. Dre, M. Mathers, Marky Bass, Jeff Bass, Mel Man.

Recovery CD music THE MARSHALL MATHERS LP won the 2001 Grammy Award for Best Rap Album. "The Real Slim Shady" won the 2001 Grammy Award for Best Rap Solo Performance. THE MARSHALL MATHERS LP was nominated for the 2001 Grammy Award for Album Of The Year. A Caucasian rapper from Detroit, a Dr. Dre disciple with bright blonde hair--at first glance, Eminem seemed the unlikeliest of hip-hop stars. However, his debut, THE SLIM SHADY LP, contained clever rhymes and even the occasional innovation. His sophomore effort, THE MARSHALL MATHERS LP, proved that Eminem was no fluke, but instead a legitimate rap visionary. While his horror/shock rap can be unsettling, it's more often hilarious, as he and his Slim Shady character skewer anyone and everyone, notably the MTV-based world that surrounded him after the success of his first record. Few can come up with rhymes as consistently clever as this Motor City madman, and lines that will be repeated as long as this CD is spun. The most startling moment has to be "Stan," featuring haunting, ethereal guest vocals from Dido; an incongruously sublime track, it spins an O. Henry-meets-'60s teenage-death-song tale of obsessed fan worship gone terribly wrong. Producers include: Dr. Dre, The 45 King, Mel-Man, F.B.T., Eminem. Engineers: Richard "Segal" Huredia, Mike Butler, Aaron Lepley. Personnel: Eminem (vocals); Mike Elizondo (guitar, keyboards); John Bigham (guitar); Tom Coster, Jr., Camara Kambon (keyboards). Audio Mixers: Chris Conway; Mike Butler; Michelle Lynn Forbes; Akane Nakamura; Eminem; Rob Ebeling; Richard Huredia; Rick Behrens. Recording information: 54 Sound, Detroit, MI; Chung King; Encore Studios; Larabee Sound Studios; The Mix Room; The Record Plant, Los Angeles, CA. Photographer: Joe-Mama Nitzberg. Personnel: Eminem, Snoop, Xzibit, Nate Dogg, Sticky Fingaz (rap vocals); Dido (vocals); Jeff Bass, Steve Berman, Paul "Bunyan" Rosenberg (spoken vocals); Mike Elizondo (guitar, keyboards, bass); Sean Cruise, John Bingham (guitar); Tommy Coster, Jr., Camara Kambon (keyboards); DJ Head (programming). D-12: Kon Artis, Proof, Kuniva, Swifty, Bizarre (rap vocals).

Recovery buy CD music Eminem's RELAPSE, a double album released after five years of recorded silence, a record featuring Dr. Dre behind the boards for the first time since 2000, faced no shortage of the relentless pressure of expectations. A narrative of survival after facing down his demons in rehab unfurled with Eminem's usual twisted Swift-ian wit, RELAPSE should disappoint few fans (or critics for that matter) with its patented mix of hilariously spit venom and delirious self-loathing. Like Darren Aronofsky's adaptation of REQUIEM FOR A DREAM, 2009's RELAPSE finds the full horror element in drug addiction. Eminem's raps, for all their over-the-top humor, have always conjured up images fit for Fangoria, but as he comes out of rehab, seeking solace from his demons, Mr. Mathers amps up the gore on RELAPSE. Dre's beats lurk dark-thumping sinister while Em unleashes nightmare dreamscapes of murder, mayhem, and Britney-Spearsacide. One target who gets off surprisingly lightly this time around is his mother (a topic even Em admits in his introduction of which the world is probably sick); "My Mom" boasts softer, bouncier beats and a final line few hip-hop fans would ever expect to hear coming out of his mouth. Recording information: 54 Sound, Detroit, MI; Effigy Studios; KDS Music Studios, Orlando, FL; Record One Studios, Sherman Oaks, CA; Studio At The Palms, Las Vegas, NV. Photographers: Karin Catt; Julian Alexander. Personnel: Elizabeth Keener, Matthew St. Patrick (vocals); Jeff Bass, Mike Elizondo (guitar, keyboards); Sean Cruse (guitar); Trevor Lawrence (keyboards, scratches); Dawaun Parker, Luis Resto, Mark Batson (keyboards); Eric Danchick (sampler); Traci Nelson (background vocals). Audio Mixers: Dr. Dre; Eminem.

Recovery album for sale It's hard to believe, given his gargantuan impact on popular culture, that Eminem had only released four full-length albums by 2004. That year's ENCORE showed the rapper's artistic vitality fading just a bit, but 2005's CURTAIN CALL, an overdue greatest-hits collection, helps remind audiences that Eminem produced a stunning string of singles in a short span of time. Naturally, CURTAIN CALL eschews the artist's most controversial material ("'97 Bonnie and Clyde," for example, from THE SLIM SHADY LP), focusing instead on his highest charters, like 8 MILE's "Lose Yourself" and introspective confessionals like "Cleanin' Out My Closet" (a rant against his mother) and "Mockingbird" (a tribute to his daughter). But even at his most sentimental and dramatic, Eminem displays a level of artistry that surpasses nearly anyone in hip-hop, if not pop music in general. Satirical, vicious, funny, and energizing, Eminem's material is never less than absorbing. CURTAIN CALL is packed wall-to-wall with winners (except maybe "Sing For the Moment," which reworks Aerosmith's "Dream On" in tiresome fashion), and at its most brilliant (like the self-reflexive romps "The Real Slim Shady" and "Stan") it's as era-defining as anything by N.W.A, Public Enemy, or even Bob Dylan. Though his individual albums are all pretty essential, CURTAIN CALL provides a valuable overview of an artist whose skills are unassailable, and whose role as a social gadfly remains as complex as ever. Recording information: 54 Sound Studio, Detroit, MI; Marshall's House, Detroit, MI; TransContinental Studios, Orlando, FL. Photographers: Karin Catt; Anthony Mandler; Jonathan Mannion; Nitin Vadukul. Personnel: Eminem (drum programming); Jeff Bass, Mike Elizondo (guitar, keyboards); Steven King (guitar); Luis Resto (keyboards, programming); Mark Batson, Tom Coster, Jr. (keyboards); DJ Head (drum programming). Audio Mixers: Dr. Dre; Eminem; Steven King.

Recovery CD music By the time of the release of Drake's first full-length album, the Canadian rapper was already a star thanks to his huge single "Best I Ever Had," his celebrated mixtape and then EP So Far Gone, and his spots on hits by Young Money and Eminem. Thank Me Later had the tough assignment of living up to the anticipation and further Drake as an artist, and it totally lives up to the hype. Thanks to the rich and nuanced production and Drake's thoughtful, playful, and intense lyrics, Thank Me Later is a radio-friendly, chart-topping collection of singles but also a serious examination of Drake's life that holds up as an album. Most of the record finds the young rapper (23 at the time of release) conflicted about his growing stardom and fame. Whether it's a relationship splitting up as on the melancholy "Karaoke," worries about the fame changing him ("The Resistance"), fears that so-called real hip-hop fans will find him manufactured ("Show Me a Good Time"), or the difficult nature of romance when you're a star ("Miss Me"), Drake isn't afraid to examine what the past year has done to his life. He's also not afraid to talk about how great life has become as well, dropping plenty of lines about the money, the women, and his own prowess as a rapper. His belief in his own skills is well-founded, as the list of collaborators lined up to work with him attests. T.I., Swizz Beatz, Young Jeezy, the-Dream, Jay-Z, Alicia Keys, and Drake's mentor Lil Wayne all drop by to add verses, sing hooks, and produce tracks, and their presence sometimes serves to liven things up and keep Drake away from his melancholy nature. The T.I./Swizz Beatz track "Fancy" is a fun and sassy summer jam with a huge hook, his track with Jay-Z ("Light Up") is a fierce takedown of the Industry and the damage it can wreak, and the Nicki Minaj collabo "Up All Night" is a tough-as-nails boast that features Drake at his most insistent. Elsewhere, Lil Wayne's verse on "Miss Me" is his usual breathtaking verbal roller coaster, the-Dream's vocals on the verses of "Shut It Down" are heartbreakingly sincere, and Jeezy adds some welcome ferociousness to "Unforgettable." It's like all the guests had to bring their best game to keep up with Drake, and they didn't want the youngster to show them up. He never shows anyone up exactly (though Jay-Z's verse sounds kind of out of breath compared to Drake's), but he definitely proves that he belongs at the very top of the game. His nimble flow is impressive; his words are heartfelt, brainy, and surprising; and while his singing may not be the best, it shows a vulnerability that is rare in rap circles. Indeed, it is this willingness to be introspective and honest that makes Drake unique and helps make Thank Me Later special. It is the rare album, rap or otherwise, that follows through on the artist's potential and the fan's anticipation. ~ Tim Sendra Recording information: Avex Recording Studio, Honolulu, HI; Blast Off Studios; Blast Off Studios, New York, NY; BLD&DSTRY, Toronto, ON; Cherry Beach Studios, Toronto, ON; Gee Jam Studios, Portland, Jamaica; Glenwood Studios, Los Angeles, CA; Lexington, KY; Metalworks Studios, Toronto, ON; New Orleans, LA; Nightbird Studios, W Hollywood, CA; Roc The Mic, New York, NY; Takeover Studios, Houston, TX; The Hit Factory, Miami, FL; The Setai Hotel Recording Studio, Miami, FL; Triangle Sounds Studio, Atlanta, GA. Photographers: Anthony Mandler; Jonathan Mannion; Philip Golebiewski.

Recovery buy CD music Eminem's expansion of his 2009 comeback Relapse is cleverly titled Refill, playing off the prescription pill artwork of the original album while offering precisely what it promises: another seven songs in the same vein as the original. Generally, these songs retain much of the carnivalesque horror show vibe of Relapse -- when Slim Shady raps about "Buffalo Bill" it's not about the Wild West, it's the Silence of the Lambs -- but the vibe is looser, helped in part by an increased Jamaican influence but largely deriving from Eminem's re-entry to the world. Unlike the bulk of Relapse, Refill doesn't sound like the work of a hip-hop Daniel Plainview -- a mad genius locked in his mansion, forever stewing over his long-held obsessions -- but sounds like an artist re-engaging with the world, trying new phrasing, opening up his music. Rather than a finished statement, this is experimentation, pointing the way toward what he'll do next time around, but there's one considerable exception: the new single "Forever," which has verses by Drake, Lil' Wayne, and Kanye West, and is none too coincidentally the one track in the entirety of Eminem's 2009 comeback that feels utterly modern. ~ Stephen Thomas Erlewine Additional Tracks