Though the Chaka Khan/”shuck a corn” pun is unexpectedly welcome. The lyrics, which spend an embarrassing amount of time preoccupied with Em’s ex Mariah Carey and her then-new beau Nick Cannon, blessedly don’t distract from the unwinding beauty of the loop. One of the most inventive in the Eminem catalog, “Bagpipes” is exactly what it sounds like, a galvanizing Middle Eastern melody played on bagpipes, real or fake. It’s a shame that Relapse is where Eminem’s lyrics really started to collapse under their own weight, more self-conscious than ever due to his five year absence (Jay Z’s “retirement” only lasted three), because the beats are some of his best. But the hypnotic, circus-style swagger of the beat and the increasingly dark family-dinner humor of his youth-horror Valium memoir form an uncanny singsong even without any new reveals regarding his Oedipus complex. “Go find you a white crayon and color a f-ing zebra” is as bizarre as any that a beat has ever paused for. “I’m on what I’m on, because I’m my mom,” claimed the circa-2009 drug addict, who was losing his grip on the world and his comedic mastery as a result. Relapse is Eminem’s most difficult album to enjoy because it has so many unfunny moments that are genuinely creepy, but he still cranks out new wrinkles on the same old topics. Dre for losing the beat, all without losing a step in his incredible pursuit of rhyme, before the kicker: “And I ain’t even gotta make no goddamn sense/ I just did a whole song and didn’t say shit.” It’s true. Then he accidentally starts to rap the first verse again for the third, and admonishes Dr. But it’s his only other album that’s closest in spirit to The Slim Shady LP, all lightness and invention, loaded with kiddie brain teasers like “Big Weenie” or “Rain Man,” which rhyme at the more technically complex level of The Marshall Mathers LP for the purpose of asking an outrageously drawn-out, homophobic hypothetical question for the entire second verse. He’s also meta enough to poke fun at himself for making such a dumb song for this purpose: “You look like I sound like, singing about weenies.”Ĩ Problematic Early Eminem Songs That Wouldn't Fly In 2016Įncore is so misunderstood because its kiddie brain teasers are a disconnect from the heaviness of “Kim” or “Cleaning Out My Closet” that supposedly anchored his funny material on the preceding albums. He fills it in both aurally and comedically, stepping into new voices (including Pee-Wee’s), declaring he’s going to hypnotize the listener (or his target, likely Benzino, who really was as jealous as Em claims), and spending the verses pranking him Bugs Bunny-style. The chorus is a highly choreographed, nasally syllable dance designed to finish with the softest of punch lines: “Because you’re a meanie.” And then after it’s put through its paces again, it climaxes on an insult that hasn’t been heard since 1984 by anyone over the age of six: “You’re just a big weenie.” Note that this hook is a fairly interesting, descending minor-key melody with Eminem’s vocal doubled, while the beat is a sparse, two-note pizzicato thing. Coyote cartoon: “Now I’m sitting here with your name on my skin/ I can’t believe I went and did this stupid shit again/ My next girlfriend, now her name’s gotta be Kim/ Shiiiiiiiiii-iiiiiiiiiiii-iiiiiiii-iiiiiiit.” It’s his willingness to go and play his love life for a slapstick cartoon that makes some of Eminem’s stupidest moments so hilarious despite advisability.Īs with “Puke,” it’s Eminem’s willingness to look like a total 4-year-old in both whining cadence and limitless imagination for comedy that makes “Big Weenie” an unfairly dismissed moment of transcendence. Me.” But the strange, re-run feel of his running Kim soap opera sends “Puke” into this otherworldly dimension where the slapstick comedy is like a Wile E.
“Puke” will disgust many for its vomiting sounds alone, and its bratty, playground singsong cadence. It examines the bottom of the barrel from every angle, including inventive new ones. The trick to enjoying 2004’s little-loved Encore is that it goes past scraping the bottom of the barrel at its most ridiculous. Here are ten songs that Eminem fans should go back and understand are in the great tradition of his best.
Love is pain, and also blind, so sometimes these fans lose faith in the object of their admiration in the first place. French Montana starts looking pretty good, despite inching no closer to Eminem’s title at his peak. So when the offense taken by fans gets personal, suddenly a goofy, out-of-step novelty like “We Made You” is one of the worst songs they’ve ever heard.
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