But the steady midtempo grooves won’t distract anyone from the voice. The beats on Slim Shady are low-affect West Coast funk in the Dre style, with the Doctor producing or co-producing three cuts. It’s a good joke, and Eminem milks it - he reminds you how much Eighties hip-hop heads loved Pee-wee Herman. If Eminem has a white-rap precedent, it’s Rodney Dangerfield in his strictly-for-tha-hardcore 1983 hit, “Rappin’ Rodney,” in which R-Boogie busted rhymes like, “Steak and sex, my favorite pair/I have them both the same way: very rare.” Eminem is on some serious Dangerfield shit in loser anthems like “My Name Is,” “Brain Damage” and “I’m Shady.” He plays the race card for laughs, goofing on his role as the ultimate white geek, the “class-clown freshman/ Dressed like Les Nessman.” The whine in his upper register recalls other hip-hop comics, like the Beasties’ Ad-Rock, Public Enemy’s Flavor Flav and Cypress Hill’s B-Real, but Eminem has his own flat Midwestern twang to help him parody the white cornball in a black world, kind of like that cop on Sanford and Son or Bentley on The Jeffersons.
#SLIM SHADY ALBUM COLLAB CRACK#
Simply put, Eminem will crack you up - proclaiming, “I try to keep it positive/And play it cool/Shoot up the playground/And tell the kids to stay in school,” he’s the dizziest hip-hop clown since Biz Markie first got the vapors.
A twenty-four-year-old ghetto child from Detroit - a town with a history of race tricksters, from Funkadelic to Madonna - Eminem has to bring something new to the table, and he does with The Slim Shady LP. He’s also a white MC in a rap scene that hasn’t gotten any less black in two decades. Dre in years, he’s the first new sound from Dr. He’s not only the first new protege from Dr. For every Nas living up to his advance buzz, there’s a Canibus done in by the heads’ great expectations. Hyped hip-hop phenoms are like new cars: They depreciate in value as soon as they drive off the lot.
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