Summary:The Detroit rapper returns with an album of new songs from artists on the Shady label including Bad Meets Evil, D12, Obie Trice, Slaughterhouse, and YelaWolf.
Got a shit-eatin' grin
Bitch, show me them itty-bitty titties again
We're in Sin City
Since when did we begin to get 'dicted to dope
Diggity, bitch,...
Only a few tracks, like “Guts Over Fear” (with guest vocals from Sia) bore inside the rapper to show his vulnerable side. But the snarl of the rest finds him at a peak of writerly dexterity and rhyming velocity.
Some songs border on perfection. A few more are just solidly average. Yet, it all balances out, and the rhymes on full display make Shady XV a great compilation release.
The wonderfully weird "Vegas" from Bad Meets Evil (Eminem and Royce Da 5'9) makes one wish the Shady label boss would find more time for the project, but he's already quite stretched behind the scenes, producing or co-producing eight of the cuts on disc one, including Skylar Grey's "Twisted," which isn't hip-hop, but glittery and goth giganto-pop. Great, grand, risky, and clever moments like this make Shady XV the worthy celebratory object that it is, but don't expect a deep roster or a cohesive game plan, because the label has always been more about close friends and family.
For the Shady diehard fans, Shady XV is enough. But for those searching for that nostalgic surge of adrenaline-inducing passion and innovative content reminiscent of the Shady reign, it's better to skip the new material and head straight to the classics.
The “Greatest Hits” CD is made up more of deep cuts than big hits, but with a few well known tracks included. There is substantially less Eminem than on the first side.
As a reminder of Eminem’s vocal showboating, ShadyXV is impressive. The problem--and it’s a persistent one--is that where once his anger was energetic, now it simply betrays lethargy.
I'm a big Eminem fan (though nowhere close to his biggest fan), so I got this album and am mostly pleased with it. Since Eminem's style is aI'm a big Eminem fan (though nowhere close to his biggest fan), so I got this album and am mostly pleased with it. Since Eminem's style is a little different than some of the other artists that appear on the album, not every song resonates perfectly with my taste, hence why I knocked off one star. No regrets on buying it, as Eminem is prominently featured throughout, so still pretty enjoyable.…Expand
"shadyxv" é uma das melhores musicas do eminem, "fine line" é um hino amo , eminem eu tw amooo aaaaa preciso preencher 150 caracters entao"shadyxv" é uma das melhores musicas do eminem, "fine line" é um hino amo , eminem eu tw amooo aaaaa preciso preencher 150 caracters entao eminem reizinho do rap…Expand
I've been waiting for this Eminem for a long time. MMLP2 was a great start, but he's honing on a production style, this rock/hip hop infusedI've been waiting for this Eminem for a long time. MMLP2 was a great start, but he's honing on a production style, this rock/hip hop infused stuff, that really works. His rhymes as as sinister as ever, throwback to 2001 with this Iggy Azalea stuff. Eminem fans should be happy with this one.…Expand
Eminem sounds hungry, fresh, and interesting. The songs have potency and evoke emotions. I thought the production was solid, and I like theEminem sounds hungry, fresh, and interesting. The songs have potency and evoke emotions. I thought the production was solid, and I like the way the album introduced Shady label in digestible bits, while Eminem was the glue of the project. As a persistent Eminem fan, this was a very satisfying collabo project…Expand
THis was a double disc release....thoguht to be reminicent of encore. But what we get is a full 2nd disc of songs previously released. Which,THis was a double disc release....thoguht to be reminicent of encore. But what we get is a full 2nd disc of songs previously released. Which, obviously makes my anticipation significantly less. Then listening to the CD, I can say M's lyrics are tight but with nothing new to say. I like the fact he is away from the "rock" infusion we heard recently from him-despite one track on this release in that category. But the "winning over losing" the songstress hook infused songs, the pill poppin has all been done-by him in particular. There is nothing new here. New word play for sure, but over the same subject matter.…Expand
Shady XV is a decomposing shell of what made Shady great. Speaking on the first album only every song that featured Eminem was ruined byShady XV is a decomposing shell of what made Shady great. Speaking on the first album only every song that featured Eminem was ruined by Eminem. His awful ear for production and his choppy flow make most the songs on this album unbearable. Y'all Already Know and Detroit Vs. Everyone (up to the end of Danny Brown's Verse) are the only two songs worth salvaging from this sinking ship. However I cannot speak on behalf of the Yelawolf because I personally cannot stand his voice. So I have no opinion on his contribution to the album seeing I've heard those songs once. Eminem has traded his incredibly smooth delivery and ability to ride beats for his ever advancing technical ability. Something I believe is a bad thing.…Expand
Shady XV is undoubtedly my least favorite release of the year, somehow topping disappointments like Iggy Azalea's debut album (which, despiteShady XV is undoubtedly my least favorite release of the year, somehow topping disappointments like Iggy Azalea's debut album (which, despite being a long time fan, I couldn't even bring myself to want to listen to). Eminem has approximately three good verses that are interesting and relatively in their messages. Despite many claims that his flow has changed, I would argue the opposite--his flow is mostly the same, but somehow even more annoying, especially on Vegas.
Unfortunately, the utter travesty that is the chorus and the production completely overpowers whatever semblance of decency there is. The vocal effects are annoyingly distracting, the beats don't at all compliment Eminem's aggressive verses, and the weird synth effects nearly made me cry. The intros to most of the songs are interchangeable and really kill the whole "psychopath" sound--the sound way too generically produced to be particularly unhinged sounding. The choruses are ridiculously repetitive and stretch on for an unnecessarily long time and the transitions to these choruses are pretty bad.
At least on "Detroit Vs. Everybody," the most hyped upon song, the beats somehow managed to compliment Danny Brown's killer verse. Unfortunately for everyone else (especially Big Sean), their verses just aren't done the same honor by the production.…Expand
