Bad Meets Evil – Hell: The Sequel (REVIEW)

June 23, 2011 5 comments


Bad Meets Evil – Hell: The Sequel (EP) by Interscope Records

As of this date, there are more Eminem albums that I dislike than like. And there really aren’t any Royce Da 5’9 albums I like. I mean, Death is Certain was okay, I guess. But, for one rapper that I consider past his prime and another that never really reached his in the first place to team up is something that I honestly had no desire to hear. So, Hell: The Sequel comes as somewhat of a surprise, because I like it more than anything that Em or Royce have put out in the last seven years. Beware, though, that isn’t saying much.

The roles these two play here are somewhat of a bad cop, sadistic cop dynamic. Royce doesn’t go as far with the evil lyrics, but he’s no saint either. Just when Em seems like he’s about to fall into his corny shit and fart jokes, Royce steps in to spit cliche’s that, if they had to stand on their own merit, would be forgettable, but when coupled with his partner in crime, aren’t as cringeworthy as they could be.

“Fast Lane” is a parade of quick rhymes and jumble mouthed couplets as Royce and Em dance around a basic, Dre wannabe beat while Sly Jordan lays down an offensively Nate Dogg sounding hook. Lyrics about living life in the… Fuck it, you get it by now. Everything on here is to be taken at it’s most literal face value. “Above The Law” continue’s Eminem’s fascination with no-name, female singers with Claret Jai on the chorus singing about how “the rich gets richer and the poor gets poorer”. I mean, who needs to know this information? Especially since that hook has absolutely NOTHING to do with what either of the emcee’s address in the verses.

It gets even more offensive when they include the incomparably dull Bruno Mars on the hook of “Lighters”, if only to vie for, at best, minimal radio attention. Did you guess that Mr. Mars would be crooning about everyone putting their “lighters in the air”? Because if you did, good for you. You’ve heard music before! Congrats. Moments like these aren’t a surprise, honestly, because Eminem’s new found Recovery-era, radio-friendliness has brought upon a dumbing down of his more exceptional qualities.

One thing that’s remained, though, is Em’s terrible taste in beats. The guy is lost without Dre, and even Dre is in auto-pilot when the time comes for him to get behind the board. “The Reunion” is embarrassing to listen to when you consider that all of Em and Royce’s money couldn’t afford anything more than some lazy synths and that same corny bassline we’ve heard in every song that’s found Em putting on that Triumph the Insult Comic Dog voice. “Take From Me” goes the sentimental route, so cue the Casio chords and light, 80’s piano! The only really inspired beats here either sample a film (“I’m On Everything” via Mike Epps and “Loud Noises”, from that famous Anchorman line), or come from a producer that actually makes hits: Bangladesh, on “A Kiss”. Otherwise, nothing in terms of instrumentals sounds album-worthy, and it’s genuinely confusing.

The redeeming factor for Hell remains the rhymes. Em spits venom on all of the tracks where he’s just allowed to roam free without any linear story or concept restraints, and Royce sounds surprisingly capable when he isn’t boasting about his money, dick, or skills. Together, they make a team. I won’t say a very good one, but at least they’re unified and working towards one goal. And if you were expecting Royce to “renegade-ed” by Em on each track here, you’re mistaken… Slaughterhouse handles both of them on the closing track effortlessly. Just because they’re a team doesn’t mean they’re competitors.

4.4/10