But come the final verse, we discover that the kidnapping is only a metaphor, and Marshall is merely hostage to his own tormented psyche. Album opener ‘Bad Guy’ begins as a fantasy in which Mathers is kidnapped by one Matthew Mitchell – brother of ‘Stan’, the titular stalker from ‘The Marshall Mathers LP’. Like its predecessor, the cover pictures Mathers’ childhood home in Detroit’s run-down 8 Mile, and what’s within both revisits and further elaborates on the Eminem mythology. Punchy rap rock and itchy turntablism of a genus that folk stomped their Adidas pumps to back in the ’80s, it recalls both early Beastie Boys and Run DMC (two groups, of course, with whom Rubin has been intimately acquainted).Įxecutive produced by Rubin and Dr Dre, Eminem’s eighth album is a sequel, of sorts, to 2000’s ‘The Marshall Mathers LP’. Eminem’s comeback singles have generally conformed to a template – comedy voice, scandalous contemporary reference, fart noise – but the Rubin-assisted ‘Berzerk’ is very much a new look.
The Def Jam founder and hobo-bearded producer-for-hire is a guru of going back to basics, helping everyone from Johnny Cash to Adele shave away the bullshit and get right to the heart of their music. Looking back now and then isn’t necessarily such a bad thing.
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