In the past, even when he was supposedly putting it all out there for us to see, he delighted in offering contradictions he was the violent homophobe who loved his daughter and did duets with Elton John. The most striking aspect of Recovery is a sense of self-awareness, an honesty that Eminem has never been comfortable enough to offer his audience. He finds his fire and his flow again on Recovery, nearly reinventing himself in the process. Turns out, the anticipation for Eminem’s supposed comeback was an album too early. Despite a few bright spots, Eminem couldn’t find the flow that forced people to admit his talent as a rapper even despite the loathsome nature of his subject matter. Relapse was a confused, desperate, misogynist mess. The only thing stopping it, of course, was its quality. Momentum built, a silly leadoff radio single - an Eminem trademark - appeared, and the world was ready for the fire of albums like The Marshall Mathers LP and The Eminem Show all over again. Word of a renewed vigor in Eminem’s attitude came out, alongside tales of hundreds of recorded tracks from which the album would be culled. When word of Relapse came, that same media started to anticipate a comeback. The mainstream media had left him for dead, the most recent Vanilla Ice to be thrown to the wolves after a meteoric rise and off-a-cliff fall.
When a compilation of his greatest hits ( Curtain Call) was released, it felt as though he might be done, relegated to the world of producer/all-star guest.
ENCORE RELAPSE RECOVERY ALBUMS FULL
When Eminem made Encore, it felt like his low point - an album full of songs that went for commercial and came off cloying. “Them last 2 albums didn’t count / Encore I was on drugs, Relapse I was flushing ’em out / I’ve come to make it up to you, now no more fucking around / I got something to prove to fans cause I feel like I let ’em down / So please accept my apology, I finally feel like I’m back to normal…”
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