DUBCC - Tha Connection > Outbound Connection
EMINEM - RELAPSE (Official Discussion)
Meho:
Full credits:
Eminem
Relapse
Aftermath/Interscope records, 2009
01. Dr. West (Skit)
Produced by Dr. Dre & Eminem
Performed by Dominic West & Eminem
Keyboards by Mark Batson, Dawaun Parker & Trevor Lawrence Jr.
Mixed by Dr. Dre
02. 3 A.M.
Produced by Dr. Dre
Keyboards by Mark Batson, Dawaun Parker, Trevor Lawrence Jr. & Mike Elizondo
Intro, Bass & Guitar by Mike Elizondo
Mixed by Dr. Dre
03. My Mom
Produced by Dr. Dre
Keyboards by Mark Batson, Dawaun Parker & Trevor Lawrence Jr
Guitar by Eric "Jesus" Coomes
Mixed by Dr. Dre
04. Insane
Produced by Dr. Dre
Keyboards by Mark Batson, Dawaun Parker, Trevor Lawrence Jr. & Mike Elizondo
Scratches by Trevor Lawrence Jr.
Guitar by Mike Elizondo
Mixed by Dr. Dre
05. Bagpipes From Baghdad
Produced by Dr. Dre & Trevor Lawrence Jr.
Keyboards by Mark Batson, Dawaun Parker, Trevor Lawrence Jr. & Mike Elizondo
Guitar by Sean Cruse
Mixed by Dr. Dre
06. Hello
Produced by Dr. Dre & Mark Batson
Keyboards by Mark Batson, Dawaun Parker & Trevor Lawrence Jr
Mixed by Dr. Dre
07. Tonya (Skit)
Produced by Dr. Dre & Eminem
Keyboards by Mark Batson & Dawaun Parker
Mixed by Dr. Dre
08. Same Song & Dance
Produced by Dr. Dre & Dawaun Parker
Keyboards by Mark Batson, Dawaun Parker & Trevor Lawrence Jr
Guitar by Mike Elizondo
Mixed by Dr. Dre
09. We Made You (feat. Charmagne Tripp)
Produced by Dr. Dre & Eminem
Additional production by Doc Ish
Keyboards by Mark Batson
Chours vocals by Charmagne Tripp
Mixed by Dr. Dre
10. Medicine Ball
Produced by Dr. Dre & Mark Batson
Keyboards by Mark Batson & Dawaun Parker
Mixed by Dr. Dre
11. Paul (Skit)
12. Stay Wide Awake
Produced by Dr. Dre
Keyboards by Mark Batson, Dawaun Parker & Trevor Lawrence Jr
Guitar by Mike Elizondo
Mixed by Dr. Dre
13. Old Time's Sake (feat. Dr. Dre)
Produced by Dr. Dre & Mark Batson
Keyboards by Mark Batson, Dawaun Parker & Trevor Lawrence Jr
Guitar by Eric "Jesus" Coomes
Mixed by Dr. Dre
14. Must Be The Ganja
Produced by Dr. Dre & Mark Batson
Keyboards by Mark Batson, Dawaun Parker & Trevor Lawrence Jr
Bass & Guitar by Eric "Jesus" Coomes
Background vocals by Traci Nelson
Mixed by Dr. Dre
15. Mr. Mathers (Skit)
Produced by Dr. Dre & Eminem
Keyboards by Mark Batson & Dawaun Parker
Mixed by Dr. Dre
16. Déjà Vu
Produced by Dr. Dre
Keyboards by Mark Batson & Dawaun Parker
Guitar by Sean Cruse
Mixed by Dr. Dre
17. Beautiful
Produced by Eminem
Keyboards by Jeff Bass & Luis Resto
Bass & Guitar Jeff Bass
Mixed by Eminem & Mike Strange
18. Crack A Bottle (feat. Dr. Dre & 50 Cent)
Produced by Dr. Dre
Keyboards by Mark Batson & Dawaun Parker
Bass & Guitar by Eric "Jesus" Coomes
Sample submitted by Eric Danchick
Mixed by Dr. Dre
19. Steve Berman (Skit)
20. Underground
Produced by Dr. Dre
Keyboards by Mark Batson & Dawaun Parker
Chours vocals produced by Sauce
Chours vocals by Kip Blackshire, Tamara Powell, Tavia Ivey & Lisa Ivey
Mixed by Dr. Dre
Deluxe Edition Bonus Tracks:
21. My Darling
Produced by Eminem
22. Careful What You Wish For
Produced by Eminem
EXECUTIVE PRODUCER: Dr. Dre
Leftover
I'm Having A Relapse
Produced by Dawaun Parker
Dre-Day:
interesting, Sean Cruse was also on 2001.
anyway, continued from:
http://www.dubcnn.com/connect/index.php?topic=217653.msg2199643#msg2199643
--- Quote ---We Made You (feat. Charmagne Tripp)
Produced by Dr. Dre & Eminem
Additional production by Doc Ish
Keyboards by Mark Batson
Chours vocals by Charmagne Tripp
Mixed by Dr. Dre
--- End quote ---
i told you, that you were wrong Laconic ;)
Action!:
Prelapse to the Relapse Special
Part 1:
Part 2:
Part 3:
Doesn't know where the accents came from, they just morphed into creation. He doesn't care what anyone thinks anymore. He's just going to do him for now on. While he was a huge Christopher Reeves fan the paradox of Reeves being superman and becoming a paraplegic has always been an interesting but amusing paradox. His goal is to get you to laugh at the most fucked up shit he spits. He admits he is an addict and talks about that process.
Insane: how a rhyme goes bad, it means nothing at the end of the day. I want to see how far I can take this before people actually puke.
Bagpipes from Baghdad: Certain people just got to get it. Some people become permanent fixtures in my lyrical mixtures and not just to quote the record but its true. Certain people in the industry have just become my enemy over the years.
Hello: Re-Introduction since he hasn't been here in the past 4 to 5 years. It's a acquittance to Marshall and Shady.
Same Song and Dance: Trick was to get women to dance to it and not know what the fuck they're listening too. A twisted manipulation of the standard dance song.
Stay Wide Awake: a demented serial killer love song, blames television for the creation of it
Old Times Sake: a fun record, it is what it is
Must Be the Ganja: It must be the smell of the weed, the henny in the studio with Dre that's got his mind in the zone
Deja Vu & Beautiful: part of album where you put jokes aside and sums up his past couple of years. Deja Vu is the actual even that happened, gives people an idea of where he's been in the past 4-5 years. Beautiful is where he was battling everything and had yet to come to the realization that he was an addict. Only song used on the record when he was high. The time period was fucking horrible but the track captures that for him. Only song that he felt was good enough for the record from that time period.
Underground: Metaphorically speaking, the subject matter and the shit he talks about is an attempt to take it back to his days when he didn't give a fuck about what he had to say. Back to the hip-hop shop days, the dirty dozen days where he wasn't famous and didn't have to hold back his tongue. This is the kind of shit he used to spit for punchlines and is him going back to those days.
Dre-Day:
--- Quote from: Action! on May 16, 2009, 11:39:19 AM ---Prelapse to the Relapse Special
Part 1:
Part 2:
Part 3:
Doesn't know where the accents came from, they just morphed into creation. He doesn't care what anyone thinks anymore. He's just going to do him for now on. While he was a huge Christopher Reeves fan the paradox of Reeves being superman and becoming a paraplegic has always been an interesting but amusing paradox. His goal is to get you to laugh at the most fucked up shit he spits. He admits he is an addict and talks about that process.
Insane: how a rhyme goes bad, it means nothing at the end of the day. I want to see how far I can take this before people actually puke.
Bagpipes from Baghdad: Certain people just got to get it. Some people become permanent fixtures in my lyrical mixtures and not just to quote the record but its true. Certain people in the industry have just become my enemy over the years.
Hello: Re-Introduction since he hasn't been here in the past 4 to 5 years. It's a acquittance to Marshall and Shady.
Same Song and Dance: Trick was to get women to dance to it and not know what the fuck they're listening too. A twisted manipulation of the standard dance song.
Stay Wide Awake: a demented serial killer love song, blames television for the creation of it
Old Times Sake: a fun record, it is what it is
Must Be the Ganja: It must be the smell of the weed, the henny in the studio with Dre that's got his mind in the zone
Deja Vu & Beautiful: part of album where you put jokes aside and sums up his past couple of years. Deja Vu is the actual even that happened, gives people an idea of where he's been in the past 4-5 years. Beautiful is where he was battling everything and had yet to come to the realization that he was an addict. Only song used on the record when he was high. The time period was fucking horrible but the track captures that for him. Only song that he felt was good enough for the record from that time period.
Underground: Metaphorically speaking, the subject matter and the shit he talks about is an attempt to take it back to his days when he didn't give a fuck about what he had to say. Back to the hip-hop shop days, the dirty dozen days where he wasn't famous and didn't have to hold back his tongue. This is the kind of shit he used to spit for punchlines and is him going back to those days.
--- End quote ---
actually he does care about what others think of his music, otherwise he wouldn't state that Encore didn't get the props he thinks it deserves
Action!:
His point was he's going to keep making the music he wants to make despite objectors. If you listen to the album, he kept with the accents despite the overall hate it got on Encore and he didn't discuss the subjects most people wanted to know about such as Proof, he spit what he wanted to spit about. So, I would say his statement was relatively accurate.
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