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For an artist who has sold 30 million albums, his latest release is brutally short on hooks and, most of all, fun. The subversive humor is long gone, and his cultural references (David Cook? Austin Powers? Yet another dis of Mariah Carey?) remain dated.
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The album is a sprawling, confusing, self-indulgent mess. Nonetheless, there are real glimmers of brilliance here.
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Marshall Mathers tackles his most complicated subject...himself.
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Two fundamental problems: he's got an incredible amount of energy, raging away in the high-pitched voice that Eminem haters can't stand, with little to say that he hasn't already said before; and the beats are often middling.
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It is, finally, the comeback we figured he'd manage eventually, and if his newfound honesty and self-awareness becomes more pattern than anomaly, Recovery will be seen as a turning point in his career.
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This album is audible therapy, complete with several cuts of Eminem apologizing, taking responsibility for being a terrible rapper, and promising to get better.
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Sadly, a piecemeal approach to production (Dr Dre has just one credit) leaves the album lacking an abiding mood and drowning in fashionable soft-rock samples.
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What Eminem hasn't let go of is his taste for melancholic bombast in production.
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UncutFairly generalised misogyny pervades the album, though it would be churlish not to not that tracks like "White Trash Party" or "On Fire" both display flashes of Eminem's wit. [Sep 2010, p.92]
Awards & Rankings
User score distribution:
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Positive: 1,099 out of 1313
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Mixed: 113 out of 1313
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Negative: 101 out of 1313
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PeteRJun 26, 2010Great album. His best since The Eminem Show. No other rappers out there today can even compare to the lyrical and mic skills of this guy.
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Aug 12, 2010
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NoahDJun 28, 2010