Eminem finally fell into the trap.
Usually reliable as an innovator and inventor in hip-hop, the rapper has essentially remade one of his previous albums.
This would be a detriment if he hadn't done such a good job of it.
Each of his other three Dr. Dre-produced discs was distinctly individual representations of one of Eminem's multiple personas.
The most controversial musician in America's new album, Encore, is exactly that, a redux of his previous - and most successful - release, The Eminem Show. Whether this is a result of a consolidation of his manic personalities into a balance Eminem is finally comfortable with, or just repeating what worked in hopes of selling another 8-10 million copies is unclear.
The album opens with "Evil Deeds," another examination of Marshall Mathers' dysfunctional childhood in the vein of "Cleanin' Out My Closet" and closes with the title track, a great, stomping finale featuring Dre and Eminem's protÇgÇ, 50 Cent. While the former track struggles to rival its predecessor, the latter, along with a few scattered tracks, such as the hilarious "Rain Man," embodies the inspired lyricism and beats that made the blond rapper famous.
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A few other songs don't match their doppelgangers from The Eminem Show - neither of the misogynist songs "Spend Some Time" or "Crazy In Love" can match the hateful, tragic "Superman." But most don't suffer by comparison. "Yellow Brick Road," meant to explain the discovery of a recording on which a 16-year-old Mathers spews racist rhymes, is an improvement on the damage control in "Saying Goodbye to Hollywood."
The Bush-bashing that began two years ago on "White America" is improved in its "Mosh" sequel. "No more blood for oil, we got our own battles to fight on our own soil/ No more psychological warfare to trick us to thinking we ain't loyal."
"One Shot 2 Shot," the obligatory track featuring Eminem's "band," D-12, is a gruesome delight, featuring various acts of sadism and violence in the form of a gun battle at a concert highlighted by the obese Bizarre running from the scene, leaving his wife to be trampled by the crowd.
Oddly enough, the first single, "Just Lose It," an attempt at the humor and energy of Show's "Without Me," is the one track that falls on its face, re-warming tired Michael Jackson jokes and snippets from "Superman," "Without Me," and "Lose Yourself" from the 8 Mile soundtrack.
The most successful tracks are those that break new ground even while rehashing familiar topics. "Puke," in spite of its titular sound effects, is a funny attack on Eminem's former wife, and "Rain Man" and "My 1st Single" - which would have been a better first single - savage celebrities from Paris Hilton, Jessica Simpson and famous ex-Mouseketeers to Christopher Reeves and Johnnie Cochran.
At first, the similarities between Eminem's last two studio efforts are disappointing, but when appreciated as a companion to his best album, Encore more than earns a place in the Slim Shady canon.
Encore
Emimen
Interscope Records
Grade:A-
