Eminem, is Slim Shady still in da ‘hood?

A lot is riding on the Eminem’s album, ‘The Eminam Show’, heaps of expectations, many a reputation, it is the crucial third release (No. 4 actually but his debut ‘Infinite’ stiffed proper in 1995) when an artist either books longevity or is dumped like a condom. And, peeps, Em’s got a lot of profit to live up to. Two years ago ‘The Marshall Mathers LP’ attracted unprecedented attention both for its affecting, clever lyrics and its violent, homophobic, misogynist messages.

Two years on, post-myriad court cases and divorce, is the real Slim Shady still proudly standing up? Em is still the nastiest rapper this side of Chuck D: his lightning-fast elocution, killer rhymes and superior vocabulary are forcefully present. But, is he as pissed-off and raw as ever, or whether he has backed away from his dubious lyrics faced with overwhelming opposition and pressure?

Early on in the album, it sounds like Bruce (his middle name) is intent on giving a giant ‘f**k you’ to all who dissed him and criticised his last album. He goes on the offensive early by hitting on the media, 'N Sync, Moby (why bother?) and, of course, various members of his family. Later on the tremendous homophobia and homicidal rage that permeate ‘The MM LP’ are almost entirely absent here. Wise-up or compromise?

Shady’s usually violent imagery of women is also missing and there is nothing here that comes close to ‘Kim’, the horrific scenario of spousal murder on the last disc. (Funny, he is much nicer to her now they are divorced…) Only one track, ‘Drips’, includes the kind of culpable bawdiness of the past and even then – the nastiest bits of suspect wisdom are passed on to his D12 comrades who guest on the track.

The brutal honesty is this time centred on his inner world that allows us to glimpse his vulnerability and, occasionally, tenderness. On ‘Hallie’s Song’ he breaks into full-fledged vocals that comes so near soppiness only parents dig; he again addresses ex-wife Kim, but this time reminiscing of the love they once shared and the battered feelings she left him with.

Dr Dre is an ‘executive producer’ but he’s got enough disciples that it all sounds, well, a bit too familiar. Dre has developed a style and sound that you can spot from a spy-satellite. Although he isn’t a producer of many of these songs, they are stamped with his ID; it is like this is what Em’s fans like to hear rather than tailoring the sonic servings.

In all, ‘The Eminem Show’ does present a kinder, gentler Slim Shady. Rebelliousness might have dropped in shock value but Eminem is still angry although not furious anymore. Also, he’s rich and that means he is miserable in comfort. Strange, opulence has been known to lessen life’s ills and yet this is still a drama of self-importance… Revised.

8/10