The national splash created by the Nov. 5 release of 'Marshall Mathers LP 2' spreads to Rolling Stone, naturally, in the form of a cover story in the issue coming out Nov. 22.
The music mag beats its drum by posting unused quotes from an early October interview by senior writer Brian Hiatt at Eminem's local studio. A sampling:
Back to blond hair: 'That one was [manager Paul Rosenberg's] idea. . . . And I was like 'I don't know how it's gonna look. I haven't had it in how many fucking years? Five, six years.' . . . So I just tried it. And I was like 'Fuck it.' . . . 'I don't know if I'm gonna keep it like this or how long I'm gonna keep it. But for right now it is what it is. And I feel like it may fit and maybe people will understand when they get the record.
Legendary producer: 'As as soon as I heard [Rick Rubin, co-founder of Def Jam] was interested I was like, 'Yo, . . . let's go see him.' The best part about Rick's vibe is he's very Zen-like in the sense of just 'Let it happen.' . . . He's almost like a coach. . . . 'Working with him is the most relaxed atmosphere. He's not afraid to try anything. . . . We talked at his house and then I think we went straight to his studio from there and we started going through breakbeats. I told him that I had started experimenting with some more retro sounds. So we just sat down and started picking shit out and I would start writing to them and next time I'd get together with him we'd start adding shit to it. The dude's got so many ideas, man.'
Signature scratches: 'One of the coolest things about the sound that he gives you is the Rick Rubin scratches. When he fucking scratches some shit, it's almost like this perfect slop that it has on it. Not that it's off-time or anything like that, but it's just like - it's fucking weird. I don't even know how to explain it. You just know that he scratched it. I don't know if that even makes sense or not.
'It's like a simple scratch, like a basic kind of thing, but it's so fucking dope when you hear it. It's just, it's vintage him. And plus he knows what a lot of those sounds came from and shit.'
Influences: 'I just do whatever feels right. Obviously I pay attention to what's going on and what's out and keep my finger on that pulse. But I don't ever want to be like or do like what anyone else is doing. That's no offense to anyone else.'
'Legacy' track: 'It felt like one of them self-empowerment songs. Everybody, I believe, wants to show the world that, 'One day I'm gonna be this. One day I'm gonna be that.' Everybody has goals, aspirations or whatever, and everybody has been at a point in their life where nobody believed in them. Like, if you haven't been kicked or whatever, if you never went through. . . . 'So it was about incorporating that idea into the idea of my legacy, into what I leave behind when I'm gone.'
Rolling Stone reviewer Jon Dolan gives the album four stars, one fewer than the max.
The 'Marshall Mathers LP 2' is about reclaiming a certain freewheeling buoyancy, about pissing off the world from a more open, less cynical place; he even says sorry to his mom on 'Headlights.' . . .
Much of the album hews to the stark beats and melodies he loves rapping over. But the tracks that lean on classic rock are loopy and hilarious.
-- Alan Stamm
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