>Requested Review: "The Slim Shady LP" by Eminem


yeah he’s just not a very subtle dude

Tonight’s requested review has been requested by my good friend Matt Hoffman (no, not the BMX star we all know and love, unfortunately), who has been waiting diligently for his Eminem review since… I don’t know, December? Yikes. Sorry, Matt. I hope this long, sad wait has not hindered our loving friendship.

Matt didn’t specify any particular Eminem record for me to review, so I took it upon myself to choose 1999’s The Slim Shady LP, his inauspicious debut that thrust him into the pop consciousness. Admittedly, the main reason I chose Slim Shady is because, despite having never heard it before, I was almost certain that I would like it, at least a lot more than his newer stuff (I would not touch Encore with a ten foot pole, especially after “Ass Like That”). And thankfully, I was not disappointed.

My choosing of Slim Shady LP is also a pretty personal choice; since I’ve been following Eminem since “My Name Is” debuted on TRL, listening to this album is a nice nostalgia trip for me, especially considering that it – along with The Marshall Mathers LP a year later – were arguably the era-defining rap records of the late 90s/early 2000s. They were critically acclaimed, commercially huge, and probably two of the most controversial records ever released – so of course they were everywhere. And admittedly, while I always liked Eminem as a kid, he scared me straight, which probably prevented me from really embracing his work. I just didn’t know if he was joking or not! I mean, have you guys heard “Kim”?? Yikes. A friend of mine played that song for me, late at night on my 13th birthday, and I almost ran out of the room crying. I had to smack my hand against my boom box several times until it finally turned off. Oh God Eminem was gonna kill me!!

But The Slim Shady LP is all in good fun. Yes, there is cursing, and there is violence, and there are some slightly insensitive remarks. But it’s all pretty funny! When I was 12 I couldn’t get into this stuff because all of the aforementioned cursing and violence and whatnot intimidated me. A decade later, it’s all so common to me now that I barely even notice it. Oh, sure, this is still a pretty rough record when you get right down to it – throughout the course of The Slim Shady LP, Eminem gets nasty revenge on schoolyard bullies, forces a girl to OD on shrooms, encourages a man to rape a drunk 15-year-old girl and dumps his wife’s body into the harbor while his daughter watches. But Eminem’s lyrics – and his gift for storytelling – shine through here, turning these otherwise horrible acts into pure entertainment.

There are a lot of great lyrics here. As I am the laziest of men, I don’t feel like wading through every song here trying to find my favorite lines – that would take quite a while! So instead let me explain why these songs are so funny. “My Name Is,” for instance, is the perfect introductory single – I mean, not only does it very bluntly introduce you to Eminem, but it is also a very funny, goofy song that properly summarizes Eminem’s brand of humor. And then there’s the other single, the classic “Guilty Conscience,” which might be the best song on the record, and arguably the most theatrical. The premise is well known: Dr. Dre and Eminem attempt to give advice to three people encountering a moral dilemma, with Dr. Dre as the voice of reason and Eminem as the exact opposite. The premise is already funny considering that, compared to Eminem, the hot-tempered Dr. Dre is the good guy here; Eminem plays off the “evil little bastard” persona well, especially during the song’s climax where he mocks Dr. Dre for giving advice considering his violent past (dropping a few choice N.W.A. references) – it might be one of the funniest parts of the record. Doesn’t hurt that the song has a hard-hitting, danceable beat to go along with the subject matter.

Beyond the singles, there are a lot of choice album tracks that display Eminem’s knack for storytelling – I’m particularly fond of “Brain Damage,” where he describes a succession of bullies that beat on him in high school (including his principal and even his own mother). Then there’s the notorious “97 Bonnie and Clyde,” which – despite kicking off his well-publicized feud with his ex-wife Kim – is another very funny song, albeit probably the darkest on the record. It worried me for a bit when I first heard it, since it starts off with Eminem talking cutely to his daughter Hailie; I’m still getting over that gross “Blackbird” song off of Encore so maybe it was just a Pavlovian response. But then it turns out that, hey, he just slit his daughter’s mother’s throat and he’s dumping her into the harbor, with his daughter in tow! And he’s describing it to her in these cutesy baby terms (“Mama wanted to show you how far she can float / and don’t worry about that little boo-boo on her throat / it’s just a scratch!”). Man that’s terrible! Awful! But it’s really funny. You will feel guilty, it is so funny.

I enjoy most of Slim Shady in this matter. One complaint – while lyrically, Slim Shady is solid, musically it can be a little weak at points. Some songs are downright ugly, in fact, and are saved by Eminem’s creepily entertaining witticisms. “My Fault” is a perfect example – while it’s a humorously bizarre story about Eminem sharing some shrooms with a girl and her freaking out and ODing, the chorus is so unusual and ugly that it almost seems intentional. Probably was intentional. Also, the album as a whole kinda starts to lose my attention near the end, probably because it’s over an hour long; the last few songs are solid, though, especially the epic, defiant closer “Still Don’t Give A Fuck,” a perfect segue into The Marshall Mathers LP.

The Slim Shady LP is a perfect reminder of what made Eminem such a phenomenon in the first place – simply put, he was a jokey, dark, scheming little bastard, a personality that years of media hatred and layer upon layer of serious self-consciousness eventually obscured beyond the point of recognition (no wonder “Just Lose It,” the only joke-single released off Encore, felt so forced). It’s a shame he lost his edge, because for a few years he was arguably the most bluntly honest pop superstar of all time – and looking back, it is unbelievable that the same kids my age that bought up N*Sync and Britney Spears records would even touch an Eminem release. I guess it was just for the poop jokes?

Anyway. There you go, Matt. The Slim Shady LP is good! Okay?? It’s done. It’s over. Stop peering through my window.


>Comic Update: More Doodles

>Reviews reviews?? Yeah yeah. Expect a couple more this week.

UNTIL THEN enjoy some silly music doodles I drudged up once again.

Here’s another Mike Love:

Some Fall Out Boy:

A sequel to that Sufjan Stevens doodle from last time:

And EVERYBODY’s favorite Sgt. Pepper’s knockoffs:

Thanks to Steve Winchell for help with that last one. More to come I’m sure.

>Album Review 3-Pack: New Albums By Old People

>If you’ve been reading this blog for as long as I have (and I’ve been reading it for a while!), you know well that I am terrible at keeping up with modern music trends. With every passing year, I end up waiting around for the new Steve Malkmus or Dinosaur Jr. album to come around rather than actively pursuing so-called “pioneering” new indie acts. Sure, a few will slip through the cracks now and then (No Age, for example, who I should really review up in here), but when it comes down to it I just want to hear music by people I already know and love. It’s the easy way out, I know, but I can’t help it.

So tonight I am going to put my modern musical laziness to good use and review a few new albums from some of my favorite artists of yesteryear. These are all artists that I have loved for some years now, and as such I have anticipated these new records quite a bit. How do they fare in comparison to their greatest works?? Let’s find out.

Bruce Springsteen – Working On A Dream

Look up, you bastard.

Working On A Dream
might be the quickest album Springsteen has released in his entire career, coming only a little over a year since 2007’s Magic. This comes as a bit of a surprise from a guy who usually likes to take his time with album releases – as far as I recall, his two biggest records (Born To Run and Born In The USA) were followed by three-year-long hiatuses, and after the disbanding of the E Street Band in the late 80’s he barely bothered to release anything. But it seems as if good ‘ol Broos’s muse has been rejuvenated since 2002’s The Rising; Working On A Dream marks his fifth release of the decade, after all (if you count the Pete Seeger cover album, that is). Yes, the man is turning 60 this year, but it is nice to know that Bruce and the E-Streeters are so willing to record new music so rapidly; and if their fantastic performance at this year’s Super Bowl Halftime Show is any indication, they’ll be around for a while.

Having said this, I can’t help but find Working On A Dream a little underwhelming. Maybe it was the laudatory reviews from the likes of Rolling Stone and Entertainment Weekly, or maybe it was just my own desire to see Bruce continue his hot streak after the enjoyable-if-slightly-flawed Magic, but despite some lovely moments Working On A Dream does not excite me. For this record, it seems that Bruce has pulled back on the guitar-heavy mix of Magic in favor of a fuller, more orchestrated sound, full of layered backup vocals, horns, and violins. I’m guessing he’s going for kind of a Phil Spector Wall-of-Sound homage, but more often than not it makes the album sound overproduced and even a little corny, especially on songs like the eight-minute epic “Outlaw Pete” or the semi-ridiculous “Queen of the Supermarket.” I am not certain why he decided to go in this direction – I’m guessing he was trying to capture a classic, nostalgic sound of yesteryear, taking the Byrds-homage of Magic‘s “Girls In Their Summer Clothes” and running with it. But to me this overproduced sound neuters a lot of these songs and makes them feel just a bit too ridiculous for me to enjoy.

But man. I just can’t get too mad at these guys – it’s not worth it. I love Bruce Springsteen. I love the E Street Band. And all things considered, there is a whole lot to like in Working On A Dream. I absolutely adore the first single “My Lucky Day” – it’s an uplifting, melodic rocker that doesn’t suffer from the overproduction the rest of the record suffers from (it sounds like it would fit right in on Magic, come to think of it). I also dig the cutesy “Surprise Surprise” in spite of myself, not to mention the Danny Federici tribute “The Last Carnival.” There’s also “The Wrestler,” a lovely acoustic number that probably should have won an Oscar (it at least deserved a nomination, for God’s sake). There are also some goofy, weird moments on here that for whatever reason I can’t resist, like the blues workout of “Good Eye” or the Pet Sounds homage that kicks off “This Life.” In short, while I unfortunately think this record is a step down from Magic (simply put, there is nothing here as good as “Gypsy Biker” or “Livin’ In The Future”), I still think it’s worth a listen if you love Mr. Springsteen as much as I do. He sounds very happy on this record, and I am sure he will make you feel happy too.

Just… pull it back a little next time out, Bruce. You don’t need all those goofy backing vocals. You’re fine on your own. Remember Nebraska? Yeah.

U2 – No Line On The Horizon

The cover’s about as exciting as the album

Now it is time for me to get sad. I don’t think I have hid the fact that I am a U2 fan in this blog. What I probably haven’t confessed is that U2 were one of the first bands I ever truly loved, predating even the Beatles by a solid year. Achtung Baby was the first album I ever really cared about from beginning to end. I find that this is a hard thing to admit, because in this decade especially there is a nasty anti-U2 vibe coming from most people my age, and with every passing year it becomes harder and harder for me to defend them (especially in the wake of the tepid How To Dismantle An Atomic Bomb). And let me put it this way – No Line On The Horizon is not making it any easier for me.

Oh yes, it starts of promising enough. Very promising, in fact. No Line‘s title track, which kicks off the album, is one of the most passionate and propulsive songs they have written in a very long time, recalling 80s U2 in the best way possible. Bono sings in a kind of hoarse, upper-register roar, the likes of which I have not heard since War. In a word, it’s an exciting song, and easily trumps anything on Atomic Bomb – and that excitement carries on into “Magnificent,” another great song anchored by Edge’s chiming guitar that reminds me lovingly of The Unforgettable Fire. So for two brief, shining moments, I was under the impression that No Line On The Horizon could be a great classicist U2 record, passionate yet knowingly mature. Like a darker All That You Can’t Leave Behind, perhaps.

But no, no. Those two songs are the only two I completely enjoy on this album. After “Magnificent,” the awkwardness begins to creep in. “Moment Of Surrender” is interesting, but doesn’t justify its seven-minute running time. “Unknown Caller” is almost pretty, but is botched by a weird vocal melody and a bunch of awkwardly chanting backing vocals in the chorus. And “I’ll Go Crazy If I Don’t Go Crazy Tonight,” in case you couldn’t tell from its title, has a bunch of terrible Bono lyrics slapped on top of unfortunately pretty backing music. So we have two great, promising songs followed by a few awkward songs that basically keep up the same graceful vibe, if not as effectively. And then, out of goddamn freaking nowhere, we have “Get On Your Boots.”

Let me tell you a little story about “Get On Your Boots.” It is the worst song U2 has ever recorded, in my opinion. It is a stupid, gaudy, manufactured mess of a song. It is U2 attempting to be “hip” and “rockin'” and failing miserably. If you were under the false impression that “Vertigo” was the lamest rocker U2 could ever record, you have now been proven wrong. “Get On Your Boots” is like “Vertigo” with everything salvageable taken out, presumably with Pro-Tools. Its riff is boring and annoying, its chorus is hookless and empty, and Bono’s silly attempt at imitating Dylan’s “Subterranean Homesick Blues” in the verses – backed by an inexplicable hip-hop beat – is downright embarrassing. And not only is it lousy on its own, it wrecks the flow of the album, coming after five semi-pretty songs that sound nothing like it – it attacks you like a punch to the gut. I was flabbergasted when I first heard it. It speaks volumes about U2’s current state that not only would they have this song on the album, but that they would make it their first single. My lord. My God.

“Get On Your Boots” is enough for me. I’ve said enough about this album. “Stand Up Comedy” is lousy too. Everything else is boring, save for “Breathe” which I like once in a while. When during the past five years or so did U2 decide to give up on melody? Simple, sweet, effective melody? That was their strongest suit. That’s why I still love most U2 up to Achtung Baby, and why I still believe that All That You Can’t Leave Behind was their last great album. Because those melodies were so wonderful! And they’ve given up on that. They’re happy with being the “best band in the world” and they just don’t care anymore. It’s almost worse that No Line kicks off with two of their best songs in years. Wasted potential.

God you guys, I don’t want to hate you. I’m your friend here! Really! I mean, didn’t you guys write “Beautiful Day” not even ten years ago? I love that song! But those days are over, I guess. Whatever.

David Byrne and Brian Eno – Everything That Happens Will Happen Today

The Sims?

OK, now it’s time for me to cheer up a little. Here is a lovely album. It is completely the opposite of Byrne and Eno’s previous collaboration, My Life In The Bush Of Ghosts; whereas that album was a daring early 80s sample-collage, eschewing traditional song structures completely, Everything is almost completely focused on soulful melody, featuring some of Eno’s prettiest melodies and Byrne’s prettiest vocals. While there is a slight ambient feel to several of these songs – mostly due to the abundance of electronic beats and echoey effects to be found on the album – they are mostly used to anchor Byrne’s vocal melodies, and they are used beautifully.

Hey, how about that David Byrne, huh? He’s 56 now and he seems to be doing great. Because he is great! His voice sounds better than ever on this record. Absolutely heartwarming. When was the last time he’s sounded this happy? I have no idea, but it’s a joy, especially in songs like “Home,” “My Big Nurse,” “Life Is Long” and especially the gospel-y “One Fine Day.” And hey, Brian Eno – you seem to be doing pretty well yourself, sir! There’s a lot of interesting musical variation to be found here. “Strange Overtones” is a cool, compelling first single, featuring a thankfully tasteful electronic/funk backdrop; “My Big Nurse” is a homespun folksy shuffle; the title track is a calm, atmospheric wonder; “One Fine Day” is gospel-rock at its loveliest. This is a record made by two people who understand each other and understand what good music is, and have been humbled by their 30+ years in the industry. It’s as simple as that.

One complaint – I’m not crazy about the funky, “experimental” songs on here. Songs like “I Feel My Stuff,” “Wanted For Life,” and “Poor Boy” – despite some occasional moments of interest – feel out of place. Not “Get On Your Boots”-caliber out of place, but awkward nonetheless. But considering that the rest of the songs on here are so remarkable, I am more than willing to forgive. Great job, David! Great job, Brian! I guess I’ll forgive you for producing No Line On The Horizon and just blame it on U2. Please collaborate with David Byrne again sometime!

Yes, I don’t have much to say about this album. No Line drained all my music critic energy, which is a shame because I enjoy this album so much more. And yet I have less to say about it! Maybe I am just a hateful human being. Either way, go out and buy this one if you like pretty music. Pretty music that makes you smile. You can’t go wrong.

>Tumbln’ Tumbln’ Tumblweeds (aka I Am One Lazy Motherfucker)

>So in case anybody was wondering, yes it is true. Sean Rose has started a Tumblr.

I figured Tumblr would be a fun place to post music videos, considering I love them dearly and actively search for them so much on a daily basis. It is, in a sort of way, a perfect method of showing off whatever music I happen to be into at any given time. And hey, it’s in video form! Everybody loves goofy videos with music.

The problem with me using Tumblr, however, is the sense of unwarranted satisfaction I get from it. When I find a cool video to post, I feel like I have accomplished something when in reality I have not. I have done something almost everybody can do! And yet, I swell with pride whenever I post a new video, congratulating myself on my on musical tastes as if I were the coolest motherfucker on the planet. As such, I neglect writing in this blog. Which is not a good thing.

Does this mean I am going to end this blog? Of course not. Does this mean that I am going to ditch my Tumblr and make a clean break? No no. The two can coexist. I just need to find a happy medium between the two, that’s all! I have grown fat and lazy on Tumblr and I need to remedy it so I can get back into the blog-writin’ groove.

So this is how things are going to work. If you want to listen to me ramble on about rock ‘n roll records and giggle at my doodles, you’re right where you want to be. If I haven’t updated in a while and you are curious about my absence – or if you just want to know what music I am listening to on a daily basis – you should check out dat Tumblr. Either way, expect “What Is This Shit?” to update more frequently! Reviews and Comics, ahoy! And probably more Tom Petty Comics if Steve is willing to doodle them.

See you soon! Probably!

>It’s Back: Tom Petty Comics #5

>Argh!! Where are those reviews?? Sean Rose has failed his own blog. What is going on.

I don’t really have an excuse for my lack of updates. Working on comics, schoolwork, and flat-out laziness have prevented me from writing some classic album writups. And those are not good excuses!! Ah well.

Either way, during my inexplicable absence, cartoonist Stephen Winchell decided to pick up my slack and create some BRAND-SPAKIN’-NEW “Tom Petty Comics”!! Yes that’s right! Remember those? Well, if you do, you will realize that we have not seen a Tom Petty Comic since early September. If you don’t, well hey, you can read them all right here! Dang!

Last time we left Mr. Petty, he had just re-enacted the crucifixion of Christ, interrupting sessions for his classic record Full Moon Fever once again and distressing collaborator and confidant Jeff Lynne. How will this tale unfold? Find out below!

Wait what? A cliffhanger?? Does that mean there will be yet ANOTHER Tom Petty Comic next week??? Guess we’ll have to wait to find out.

Until then maybe I’ll actually use this blog to post my OWN work for a change. Hah! We’ll see how that pans out.