The re-re-return of Eminem finds him at an interesting crossroads: caught somewhere between the dizzying wordplay of the Marshall Mathers LP and the palatable, multi-tasking efforts of putting out a clothing line, starring in films, and producing dead people's records, Eminem has never come off as more in-between personas in his career. And it's this ability to alternate between styles, identities, and flows that both defines and detracts from Encore. Aside from singles "Just Lose It" and "Encore" with 50 Cent & Dre, much the album is lyrically hypnotizing, as on the opener "Evil Deeds," the autobiographical "Yellow Brick Road," and "My 1st Single." When Eminem is at his sharpest, he demands your complete attention, whether skewering himself, rapping a lullaby to his daughter ("Mockingbird"), or going line for line in the D-12 storytelling track ("One Shot 2 Shot"). Unfortunately, tracks like "Puke," "Big Weenie," and "Rain Man" are very funny... then kind of funny.... then ultimately forgettable, relying too heavily on the whiny, or gimmicky. Despite this, Eminem manages to portray himself simultaneously as a relentlessly unsatisfied (Marshall Mathers), misunderstood (Eminem), angry blonde ambitioneer (Slim Shady) that commits suicide by the album's conclusion. Which of these identities is actually dead and which will return for the next album remains to be seen. black double vinyl pressing housed in gatefold sleeve music label: Aftermath 2013 reviewed by the Woodman 05/2005.
