Review: Jay-Z & Eminem

The following may upset you. I am about to slaughter sacred cows; the squeamish and fiercely loyal may want to stop reading now. Before beginning the barbecue, let me share my credentials. Yes, I am that goofy white kid who skateboards to class all the time. I am also the guy who talked hip hop with a man deep into the Philadelphia rap scene all the way to the Land of Lauryn Hill. My respect for the greats runs deep, from KRS One to Big L. To many, Jay-Z and Eminem have long shared a spot in that glorious pantheon.

I come here not to praise Shady and Jay but to bury them. Despite years of quality rhymes, albums of impeccable craft and millions of words strung right to the soul, I believe their time has come.

Let me be clear on where this lamentation comes from. As evidenced by the title, it's in the classic arena of radio that these two kings have fallen precipitously off. "That is not fair," scream the fans and loyalists. "UnderGround Flowzz TwentyDub was off the chain! Hova killed it!"

These people are missing the forest for the trees. Of course you thought the mix- tape work, or even the entire album, was great. Most people who listen to or purchase such things are already fans. It's on the airwaves that an artist's worth is decided by the court of public opinion and the evidence these two men have provided does not sit well with this judge.

For purposes of space, not lack of evidence, let us just examine the summer singles from both artists. Eminem takes the floor first with "Not Afraid," a popular song of defiant redemption. A deeper inspection reveals signs of decline. A positive, hopeful chorus greets listeners and while uplifting to some, the old Eminem would have never allowed something as saccharine except as a joke. Eminem's trademark was a brutally funny flow that was as vicious as it was hilarious. His strong wordplay still exists but seems limp compared to previous punch lines. Lifting up liquor cabinets to raise the bar and exorcizing demons into jumping jacks are clever twists. Any other emcee would be lauded. But Eminem is not any other rapper; his reputation is built on those puns and delivery. By softening his homicidal edge, sweeter Shady has soured me almost completely.

The second and more promising single, "Love the Way You Lie," shows that all is not moot in Motown. The preacher's collar is removed for this song and the focus is back on storytelling and raising questions. Many of Eminem's greatest songs deal with controversial subject matter in a moderately objective way. He may portray murderers and rapists, goofy dope heads and drug addicts but rarely let's his own judgment seep into the mic. Despite perhaps his lame lines in history ("window pain"), the last line smolders with the hope of having our old friend back.

"If she ever tries to f****** leave again I'm gonna tie her to the bed and set this house on fire."  That is the Eminem I miss.

While one future may not be over, Jay-Z has managed to depress me to no end.  Along with a weak guest performance on the lackluster "Hot Tottie" by Usher, "Young Forever" may be the nail in the coffin. Lackluster and plodding, the flow has been dumbed-down to the beat. For a man that made "Ignorant S***" to complain about how his smart music gets ignored, it is a startling revelation. Some songs have been stronger than others but never once have I thought to myself that Jay put down something lame on a track. "Young Forever" has changed that.

It may now be time to pass the torch. All leaves must fall, all trophies must tarnish and even Pony Boy could not stay gold. If you are the reminiscent type, I suggest you crank the dial, no matter how soft the single; it might be your last chance. Just remember who wrote the first epitaph.