Wicked Collaboration

No, it’s not a typo. They really did name their first album “The Sequel.”

“Hell: The Sequel” is the first album from Bad Meets Evil, the Detroit hip-hop duo, Eminem and Royce da 5’9.” What the casual fan probably doesn’t realize is that Bad Meets Evil first appeared as a duo in 1999 on the track of the same name from Eminem’s seminal major-label debut, “The Slim Shady LP.”

The first two songs on their album set the tone and are ultimately the strongest works on the disc.

“Welcome 2 Hell,” the opening track, begins immediately with Marshall attacking the beat in an aggressive cadence reminiscent of some of his earlier, more combative material off of the “Marshall Mathers LP” and “The Eminem Show.”

Royce’s first verse is a real surprise, especially for those skeptical Shady fans that are wondering who exactly thinks they deserve to be in a duo with the “great
white hope.”

5’9” delivers knockouts continually throughout the album in verses filled with disarming and biting humor, technical audacity and acute self-awareness — sound like anyone else in the duo?

Their similarities in style don’t stop there. It’s also seen on “The Reunion,” where Shady and Royce are both deliberately offensive in a song about female companions, and the drug anthem on the track “I’m On Everything,” which is about exactly what you think it is.

Although the team consistently delivers strong verses throughout most of the nine official songs (there are two more songs available on the deluxe version), it is clear Shady still has yet to shake the one aspect of his arsenal that has never been on the level of his lyrics. 

The hooks are still really bad. 

“Lighters” featuring Bruno Mars is a sentimental anthem that could be one of the best songs on the album considering the quality of Eminem and Royce’s
lyricism.

Unfortunately, Mars opens the track with a bubblegum-pop hook that annoys far more than it excites.

The sickening feeling that forms in your stomach never truly subsides until the song is over, if you make it that far. 

“Above the Law” and “Take From Me” also fall into the category of songs that get overlooked because of the agitating hooks preceding each verse. 

Despite some faltering moments during some of the choruses, Shady is at a technical and emotional peak.

There won’t be any “Take a Stand” or “Love the Way You Lie” pop singles, and the ultra-offensive nature of some of his lines are sure to have some old fans turning their heads again.

The real surprise of this disc, though, comes from the “Bad” half of the duo, Royce da 5’9”. To match and often eclipse Marshall Mathers’ technical and lyrical virtuosity is no easy task.

I would be surprised if there was not a second release in the future from Bad Meets Evil, just look for it to be called ‘Part 3.’

By Jake Amrhein