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Eminem

Disco de Eminem: “Encore [Bonus Track & DVD]”

Disco de Eminem: “Encore [Bonus Track & DVD]”
Información del disco :
Título: Encore [Bonus Track & DVD]
Fecha de Publicación:2005-01-25
Tipo:Desconocido
Género:Hip-Hop/Rap, Mainstream Rap, Midwest Rap
Sello Discográfico:
Letras Explícitas:Si
UPC:4988005379290
Lista de temas :
1 Curtains Up Video
2 Evil Deeds Video
3 Never Enough Nate Dogg, Eminem and 50 Cent Video
4 Yellow Brick Road Video
5 Like Toy Soldiers Video
6 Mosh Video
7 Puke Video
8 My 1st Single Video
9 Paul Paul "Bunyan" Rosenberg, Eminem, DJ Paul Bunyon and Paul L. Rosenburg
10 Rain Man Video
11 Big Weenie Video
12 Em Calls Paul
13 Just Lose It Video
14 Ass Like That Video
15 Spend Some Time Eminem, 50 Cent, Obie Trice and Stat Quo Video
16 Mockingbird Video
17 Crazy in Love Video
18 One Shot 2 Shot Eminem and D12 Video
19 Final Thought
20 Encore Dr. Dre, Eminem and 50 Cent
21
22 Love You More Video
23 Ricky Ticky Toc (Deluxe edition track)
Análisis (en inglés) - :
{$Eminem} took a hiatus after the release of his first motion picture, {#8 Mile}, in late 2002, but it never seemed like he went away. Part of that is the nature of celebrity culture, where every star cycles through gossip columns regardless of whether he or she has a project in the stores or theaters, and part of it is that {$Marshall Mathers} kept busy, producing records by his protégés {$D12}, {$Obie Trice}, and {$50 Cent} -- all hit albums -- with the latter turning into the biggest new {\hip-hop} star of 2003. All this activity tended to obscure the fact that {$Eminem} hadn't released a full-length album of new material since {^The Eminem Show} in early summer 2002, and that two and a half years separated that album and its highly anticipated sequel, {^Encore}. As the title suggests, {^Encore} is a companion piece to {^The Eminem Show} the way that {^The Marshall Mathers LP} mirrored {^The Slim Shady LP}, offering a different spin on familiar subjects. Where his first two records dealt primarily with personas and characters, his second two records deal with what those personas have wrought, which tends to be intrinsically less interesting than the characters themselves, since it's dissecting the aftermath instead of causing the drama. On {^The Eminem Show}, that kind of self-analysis was perfectly acceptable, since {$Eminem} was on the top of his game as both a lyricist and rapper; his insights were vibrant and his music was urgent. Unfortunately, {^Encore} is not the flip side of {^The Eminem Show} as much as it is its negative image, where everything that was a strength has been turned into a handicap this time around. Musically, {^Show} didn't innovate, but it didn't need to: {$Eminem} and his mentor, {$Dr. Dre}, had achieved cruising altitude, and even if they weren't offering much that was new, the music sounded fresh and alive. Here, the music is staid and spartan, built on simple unadorned beats and keyboard loops. While some songs use this sound to its advantage and a few others break free -- {&"Yellow Brick Road"} is a tense, cinematic production -- the overall effect of these stark, black-and-white productions is to make {^Encore} seem hermetically sealed, to make {$Eminem} sound isolated from the outside world. This impression is only enhanced by {$Em}'s choice of lyrical subjects throughout the album. Instead of documenting his life, or the shifts in his psyche, he's decided to chronicle what's happened to him over the past the two years and refute every charge that's made it into the papers. This is quite a bit different than his earlier albums, when he embellished and exaggerated his life, when his relationship with his estranged wife, {%Kim}, turned into an outlaw {\ballad}, when his frenetic insults, cheap shots, and celeb baiting had a surreal, hilarious impact. Here, {$Eminem} is plainspoken and literal, intent on refuting every critic from {$Benzino} at {~The Source} to {$Triumph the Insult Comic Dog}, who gets an entire song ({&"Ass Like That"}) devoted to him. It's a bizarre move that seems all the more humorless when you realize that the loosest, funniest song -- the first single, {&"Just Lose It"} -- is a sideswipe at {$Michael Jackson}, the easiest target {$Em} has yet hit. And that's the major problem with {^Encore}: it sounds as if {$Eminem} is coasting, resting on his laurels, and never pushing himself into interesting territory. Since he's a talented artist, there are moments scattered across the record that do work, whether it's full songs or flights of phrase in otherwise limp tracks, and that's enough to make it worth a spin, but {^Encore} never resonates the way his first three endlessly fascinating albums do. [{@Universal Japan} has released {^Encore} in a special edition featuring a bonus track and bonus DVD.] ~ Stephen Thomas Erlewine, All Music Guide
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