D12 – Devil’s Night

Intro:

So there was a slight mix up in the world of HipHopDX and I received 2 different
reviews for this album, when I only should have got one. The thing is though,
they each had different views on the album, so instead of combining them both, we’ve
decided to publish both, and let you decide which one is more on point.

Rating: 3.5

With the countless of album releases throughout the summer, Eminem and his Detroit-based entourage D12 will possibly be releasing the most
anticipated album of our present-day pop culture. This is solely based on the
controversial content and multi-platinum success of his past consecutive
albums. The accompanying collection of talent consists of young rappers Swift, Kon Artist, Kuniva, Proof and Bizarre.

Devil’s Night is the first complete
release on the newly-formed label Shady
Records. The obvious compelling showcase of the fluid Detroit Sound and his
vivid musical counterparts will definitely push the revolving envelope of
society’s discrepancies and daily issues. The blueprint and musical platform is
based on the eccentric vision of Eminem
mostly, with small conforming guidance of his legendary mentor Dr. Dre.

With the much expected D12
formula, of explicit lyrical content, fierce subject matter and an ever present
conjunction of engaging beats are bonafide elements of Devil’s Night.  Unlike the
majority, other urban releases keep
their “disses” subliminal while D-12
airs it all out, with attacks on Pop Icons, Britney Spears and Christina
Aguilera. Not to mention, the accumulating hatred of homosexuals and
definitive inquiries about sexual innuendos.

The album highlights include solid tracks like That’s How, Shit Can Happen
and the smash hit Purple Hills. Keep
a close ear to the hidden track called Girls
where Eminem as displays his true
talents by spitting out a magnitude of violent lyrics to his enemies in the
music industry.

The downside to Devils
Night would be useless skits that run rampant throughout the release that
will leave you feeling disappointed. In addition, the production fades away
with the obvious reaffirmation of his previous hit The Real Slim Shady called Ain’t
Nuttin’ But Music. Other inexcusable notables would be the awful American Psycho and album filler Fight Music.

Although D12 will
have to formulate a few adjustments to their recent album, Devil’s Night is overall a solid debut and will showcase the hidden
talents that lie in the trenches of the Motor City. Their establishing sound
will be trademark for all other performers in the Michigan region.

Reviewed by: Complexx

Rating: 4.0

First thing’s first, the other five members of D-12 are not the Memphis
Bleeks to Eminem‘s Jay-Z. These are a fairly talented
bunch of guys that would likely be able to make it without Em‘s friendship (particularly Proof).
When they dropped Shit on You months
ago I said that if they use that as a blueprint and keep from getting
repetitive then they could drop a near classic album. One thing is for sure, I
haven’t heard too many albums that have so many songs that have gotten stuck in
my head. Song after song there is catchy choruses and fucked up lyrics that put
a smile on my face.

Eminem predicted in an interview
that people would walk away from this album talking about Bizarre, he was right. Bizarre
does his best to offend as many people as possible, although his complete
inability to actually rap makes the interest in him fade quickly. The most
impressive thing about this album is Eminem‘s
surprisingly good production. Even though Dre
still brings the best beat on the album on the sex anthem Nasty Mind, and lets it bang on the the ‘Real Slim Shadyish Ain’t
Nuttin’ But Music, Eminem brings
some nice beats throughout the entire album. The lead single and drug ballad Purple Pills is perfectly captured by Eminem‘s production. Devils Night and especially American Psycho are as evil as it gets
(listen to that shit in headphones) and are both credited to Slim. The narcotics-inspired Blow My Buzz and the deadly weapon-inspired
Pistol Pistol are two of the more
catchy songs; it’s those fucking choruses I tell ya. Kon Artis tries his hand with some production and cooks up
something nice for the concept song about consequences, That’s How. The Dre
produced rock-style Fight Music is
bound to provide 15 year olds and those who act that age with a good excuse to
fight. Speaking of teenage angst, Revelations
is sure to increase rebellion, violence, dropping-out and suicide worldwide.
Pretty dope song though. The bonus track of course is the Limp Bizkit diss cut, Girls.
Man, Eminem knows how to cut someone
up, and it always seems more hurtful when he signs the chorus. I hope Fred
cried.

Unlike most crew albums this one does not suffer from the superstar syndrome.
While Eminem does consistently
provide the best verses, he doesn’t overshadow the rest of them to the point
where you only want to hear Slim. On
the downside of things, this album seems to be trying to hard to shock people.
I think that Slim has already taken
it to the point where nothing is going to shock people. Bizarre carved out an identity because his slow delivery and lyrics
stick out; the rest of the crew (aside from Em) didn’t shine like they could on their own. Eminem continues to make his raps more and more personal. I can’t
complain because they are still dope, but I find myself yearning for the days
where he was talking about trading brains with chimps. It is hard to find
things not to like, the production doesn’t break any new ground but it is top-notch
and there is no filler. Overall, this is a very entertaining album that you
will have absolutely no problem sitting through without going near the fast
forward button.

J-23