Tag Archives: real

#1100: Eminem – The Real Slim Shady

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If you were to start going through this series from the very first post and up to here, you’d think that the only hip-hop artists I listen to on the regular are Eminem and Kanye West. Not that there’s anything wrong with this. They’re both two of the best to ever do it in the genre. But, you know… I’d like to think I have a varied taste now. I wasn’t able to write the posts in time, is all. I started this blog when I was 17, and at that age, in my eyes, Eminem and Kanye were the best ever and no one could beat them. Times have passed, and their flaws – musically speaking – have become apparent to see as the years roll on. But their classic songs are still classics, including this one right here, which everyone knows and is still one of Eminem’s most popular tracks almost 25 years after its release.

‘The Real Slim Shady’ was the first single to be released from Eminem’s second major-label album, The Marshall Mathers LP. It had only been just over a year since the rapper blessed everyone’s screens with ‘My Name Is’, introducing the world to Slim Shady and the persona’s wild, wild antics. Now Em was back, laughing at the chaos left in his wake and making his mark again as a labelled misogynist and advocate of domestic violence (taken from Wikipedia, I’m sorry), being the White man succeeding in a Black man’s game and ultimately poking fun at the imitators who had made themselves present in the aftermath of his success. It’s a mixture of silliness and seriousness as Eminem criticises vapid boy/girl pop groups, journalists and critics and the general public. He also cusses out Will Smith in one of the funniest diss lines to be put to paper.

I was five when all of this was happening, so I didn’t really grasp Eminem’s magnitude at the time. To me, he would just pop up with his new singles every time a new album was coming around. I wanna say I do remember watching that VMA performance of the song where he got hundreds of lookalikes to stand menacingly as he rapped through the track. ‘The Real Slim Shady’ doesn’t have that much a personal connection with me, but it’s always just been there existing almost as long as I’ve been around, and it’s damn good. Does it sound a bit dated? Sure. I mean, those cultural references in the lyrics aren’t anything but stuck in the late ’90s/2000 dead-on. But once Eminem gets to rapping, I never get that feeling to skip it.

#1099: The Who – The Real Me

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Goodness, the amount of times I’ve written about songs from The Who’s Quadrophenia on here. One of the most represented albums on this blog. But I can’t say anything else apart from it’s just that good. To me, anyway. Anyone who’s been reading these for the longest time will know how I feel about that record. There’s only one more song to be covered here, I swear, just if you were getting sick of all the Quadrophenia coverage. That should be coming relatively soon too, if you’re thinking about what track it could possibly be. Then that’ll be it. No more. Until then, though, I have to make some notes on the album’s outright introduction (following its opening overture) of ‘The Real Me’ where we’re introduced to the story’s main character, Jimmy, and all of his problems.

The premise of Quadrophenia is that this central character suffers from a multiple-personality disorder, four personalities which each possess characteristics of the four Who members, who’s trying to deal with this alongside handling familial and sexual relationships, and battling with his identity as a Mod of the 1960s. ‘The Real Me’ spells out to the listener that this narrator is not all that right, and we follow his journey for initial help as he asks his doctor, his mother and, finally, a preacher for any solution, to get to the bottom of what exactly is going on in his head. His questions are left unanswered by the end of it all, leaving the narrator with just a tad of unresolved confusion, leading into the album’s instrumental title track.

‘The Real Me’ hits right out of the gate, with aggressive guitar chords from Pete Townshend, a bustling drum pattern from Keith Moon, and an off-the-wall bass guitar performance by John Entwistle that he knocked out in the first take. Quoted that he was was only “joking around” when doing it, he certainly puts a different spin on laying a bass line under a song in the fact that it doesn’t really match a chord progression or follow any melodic element within the song. It’s truly a beast in itself. Very sure you can hear his fingers smacking the strings around 2:10 too. And plus, he’s also on those blasting horns that come through on the choruses too. The Who didn’t have splash out on those brass bands, Entwistle always had those covered. Daltrey’s trademark growling vocals have become even more pronounced following their last effort with Who’s Next, and I can always try and match the anger, the grit and overall attitude when I attempt to sing along myself. I even try to replicate that voice break on the final “Can you SeE the real me” before he roars out that “mother”at the end of the track. Suffice to say, it doesn’t end so well for me. If there’s another album opener that’s as full-throttle as this, I like to be pointed to its way. This one would take a beating.

#1098: Kanye West ft. Ty Dolla $ign – Real Friends

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So it actually has been eight years since Kanye West initially released The Life of Pablo, before making some fixes to the mixes some of the songs, adding a few new ones too, and then released it again a few months after. That was a hectic time to be a Kanye West fan. When is it not, really? This new record that eventually became TLOP was constantly being renovated and shaped up even in the lead up to its unveiling. It could have been released in 2014 as So Help Me God, which fans will still say is West’s best unused album title. It was going to be called SWISH for the longest time, up until a week before the release West announced on Twitter that it would indeed be named The Life of Pablo. Think there was meant to be a prize for any Twitter use who guessed what the “new” title would be after West announced that “TLOP” were the initials of the album’s official name. Wonder if that person ever got their prize.

Yeah, I was there when it was all happening. Was a hectic time. I was in my year out of university doing work at Songlines magazine, August 2015 – July 2016. A month before that February ’16 release of Pablo, even though I can’t remember this specific part myself but it’s what Wikipedia says, Kim Kardashian announced that the GOOD Fridays weekly music release that West had previously utilised in the run up to Dark Twisted Fantasy was back. The song that marked its return was today’s subject, ‘Real Friends’. Now, I have a vivid memory of loading up the exclusive page dedicated to the song on Kanye’s official website and playing it at least three times on repeat. Thought it was the best thing he’d done since anything on Dark Fantasy. Yeezus has never done much for me. And the standalone singles from 2014/15 were okay. This really felt like the Kanye return I had been waiting for for years.

This is a sad, sad song. The sample loop that continues throughout set the icy tone from the very beginning, but the sense of desolation is only reinforced by Kanye’s lyrics concerning his own failures in being a less than awesome friend and family relative, something that fans were quick to jump on when thinking about great being in the family sounded when exploring that theme on ‘Family Business’, and his inability to trust anyone he may come across knowing that at any moment they could take advantage of him. Singer Ty Dolla Sign comes in in various places, lending his heartfelt vocals to the proceedings, particularly to the choruses in which West jokingly states that he deserves all the hate and bad treatment he gets because of… well, everything he’s done that gets people talking. This and ‘FML’, a track that I would have written about too had the stars aligned, are the one-two punch of sincerity in what was the tail-end of the original album before the “bonus” tracks were added on (“Wolves” was meant to be the true album closer, but things changed), and both hit me right in the gut every time I hear them both. Kanye would get sad on records that followed, but there’s something about them that can truly make a heart sink on one of those days.