Better hit the deck like the card dealer
My whole squad's in here, walking around the party
A cross between a zombie apocalypse and big Bobby "The
Brain" Heenan which is probably the
Same reason I wrestle with mania
Shady's in this bitch, I'm posse'd up
Consider it to cross me a costly mistake
If they sleepin' on me, the hoes better get insomnia
ADHD, Hydroxycut
Pass the Courvoisi' (ayy, ayy)
In AA with an AK, melee, finna set it like a playdate
Better vacate, retreat like a vacay, mayday (ayy)
This beat is cray-cray, Ray J, H-A-H-A-H-A
Laughing all the way to the bank, I spray flames
They cannot tame or placate the
You get in my way, I'ma feed you to the monster (yeah)
I'm normal during the day, but at night, turn to a monster (yeah)
When the moon shines like Ice Road Truckers
I look like a villain outta those blockbusters
Godzilla, fire spitter, monster
Blood on the dance floor, and on the Louis V carpet
Fire, Godzilla, fire, monster
Blood on the dance floor, and on the Louis V carpet
Had 'em just appalled at so many things that pissed 'em off
It's impossible to list 'em all
And in the midst of all this
I'm in a mental hospital with a crystal ball
Tryna see, will I still be like this tomorrow?
Risperdal, voices whisper
My fist is balled back up against the wall, pencil drawn
This is just the song to go ballistic on
You just pulled a pistol on the guy with the missile launcher
I'm just a Loch Ness, the mythological
Quick to tell a bitch screw off like a fifth of Vodka
When you twist the top of the bottle, I'm a
You get in my way, I'ma feed you to the monster (yeah)
I'm normal during the day, but at night, turn to a monster (yeah)
When the moon shines like Ice Road Truckers
I look like a villain outta those blockbusters
Godzilla, fire spitter, monster
Blood on the dance floor, and on the Louis V carpet
Fire, Godzilla, fire, monster
Blood on the dance floor, and on the Louis V carpet
'Cause I'm about to set trip, Guilderberg plans
I'm on point like my index is, so all you will ever get is
The motherfuckin' finger (finger), prostate exam ('xam)
How can I have all these fans and perspire?
Like a liar's pants, I'm on fire
And I got no plans to retire and I'm still the man you admire
These chicks are spazzin' out, I only get more handsome and flier
I got 'em passin' out like what you do when you hand someone flyers
And what goes around comes around just like the blades on a chainsaw
'Cause I caught the flap of my dollar stack right off the bat like a baseball
Like Kid Ink, bitch, I got them racks with so much ease that they call me Diddy
'Cause I make bands and I call getting cheese a cakewalk (cheesecake) yeah
Bitch, I'm a player, I'm too motherfuckin' stingy for Cher
Won't even lend you an ear, ain't even pretending to care
But I tell a bitch I'll marry her if she'll bury her
Face on my genital area, the original Richard Ramirez
Christian Rivera, 'cause my lyrics never sit well
So they wanna give me the chair
Like a paraplegic, and it's scary, call it Harry Caray
'Cause every Tom and Dick and Harry carry a Merriam motherfuckin' dictionary
Got 'em swearing up and down, they can't spit, this shit's hilarious
It's time to put these bitches in the obituary column
We wouldn't see eye to eye with a staring problem
Get the shaft like a steering column (Mark Jack)
Evil half of the Bad Meets Evil
That means take a back seat
Take it back to Fat Petes with a maxi, single
Look at my rap sheet, what attracts these people
Is my gangster, bitch, like Apache with a catchy jingle
I stack chips, you barely got a half-eaten Cheeto
Fill 'em with the venom and eliminate 'em
Other words, I Minute Maid 'em
I don't wanna hurt 'em, but I did 'em in a fit of rage
I'm murderin' again, nobody will evade him
Finna kill 'em and dump all the fuckin' bodies in the lake
Obliterating everything, incinerate and renegade 'em
And I make anybody who want it with the pen afraid
But don't nobody want it, but they're gonna get it anyway
'Cause I'm beginnin' to feel like I'm mentally ill
I'm Atilla, kill or be killed, I'm a killer, be the vanilla gorilla
You're bringin' the killer within me out of me
You don't want to be the enemy of the demon who went in me
Or being the recievin' enemy, what stupidity it'd be
Every bit of me is the epitome of a spitter
When I'm in the vicinity, motherfucker, you better duck
Or you finna be dead the minute you run into me
A hunnid percent of you is a fifth of a percent of me
I'm 'bout to fuckin' finish you bitch, I'm unfadable
You wanna battle, I'm available, I'm blowin' up like an inflatable
I'm undebatable, I'm unavoidable, I'm unevadable
I'm on the toilet bowl, I got a trailer full of money and I'm paid in full
I'm not afraid to pull the
Look what I'm plannin', haha
Is Godzilla a “classic”?
I love the theme of becoming a monster when drunk or under the influence. However, it feels like this theme was somewhat abandoned after the first verse moving into the 2nd and 3rd. Later on, he is calling himself a monster for his lyrical abilities and how no one is safe from being ripped into lyrically if they step to him. This kind of content is not surprising as Em has been heavily influenced by battle-rapping.
I would have liked to see a bit more cohesiveness either by changing the chorus to match the battle-rap style verses or by changing the verses to be more centered on the change that occurs by perhaps focusing on the before and after. Perhaps Juice WRLD’s verse would have given this song the cohesiveness I was looking for. Overall I think the song is a great lyrical flex, but won’t be a classic of his due to its lack of cohesive thematic content.
@ibedave you're professional critique my boy
@ibedave you're professional critique my boy
“Shady’s back! Back again!” Last Friday, we got the release of a surprise Eminem album entitled Music to be Murdered By. The cover and theme draw on the work of Alfred Hitchcock. Dare I say, this is one of the best releases we’ve gotten from Eminem in years. There is crisp and interesting production that coincides well with Em’s brash, quick flow. Lyrically Em is back to form with potent wordplay and double entendres.
One of the best songs on the release is the track “Godzilla,” which featured the late JuiceWRLD. The track is a great example of the album overall. The production is hard-hitting yet light, allowing Em to float on top of the best with ease. He uses classic, fast-Eminem flow, rapping at lightning speed with skill and dexterity that only Em can deliver. You will likely have to look up the lyrics to see what he’s actually saying due to the speed at which he’s rapping.
Content-wise, it’s a classic “flex” song. Em is bragging about his lyrical skill and proclaiming himself to be a “monster” at what he does. Juice WRLD chimes in with a great, catchy, melodic hook that really brings you in and reminds you why he will be so missed.
There are also moments where Em explores the “monsters” within himself. He says, “I’m beginning to feel like I’m mentally ill.” It’s a small glimpse into the mind of a man who has made a career of being controversial and a shock-master. All in all, it’s a great track and a welcome return from one of the best to ever do it.
With his latest release, Eminem is determined to remind everyone what he’s capable of. A solid collection of his signature style of quick, rapid-fire lyrics over a selection of impressive beats, “Music to be Murdered By” is wrapped up neatly in a themed homage to Alfred Hitchcock; this is a refreshing return to form for the lyrical speedster. What really elevates the album, however, are the wonderfully eclectic features. Current artists like Anderson Pak and Ed Sheeran bring an intriguing balance of talent and style to an already impressive offering.
The stand out performance comes in the form of “Godzilla,” an energetic title that comes into play a little over one third into the album. It features a surprising collaboration with the late Juice Wrld, a talented singer, rapper, and songwriter who sadly passed away last December unexpectedly. His contribution on “Godzilla” comes in the form of a smooth, catchy chorus that successfully breaks up the machine-gun style with which Eminem delivers his verses. It is unfortunate that Juice Wrld only had a chance to write and record the chorus, as we are left without a featured verse as well, but it could be argued that “less is more” here and the song achieves a satisfying balance by switching back and forth between Eminem’s fast verses (especially the final verse, which unfurls into a predictable yet no less enjoyable blur of tight rhymes) and Juice’s smooth, perfectly enunciated chorus. Whether you consider this a rewarding blend of old and new styles or you can’t help but think it unfinished with the glaring omission of a Juice Wrld verse, there is no denying this is a labor of love from all parties involved. Juice Wrld has listed Eminem as one of his greatest musical inspirations, so hearing them together on a track is a rewarding moment. So long as Eminem continues to attract up-and-coming talent like this and give them a platform to show off their skills on the mic, he will remain not only relevant but an icon of the rap and hip-hop community.
In Godzilla, Eminem's fierce verses outshine a waterlogged chorus...until they don't.
Eminem's flow is intact, but what does he have left to rap about? His old motivations — being broke, being doubted, a crazy baby mama, a crazy actual mom — have long been run into the ground. He's come back. Fallen down. Dried out. Come back again. His best moment of the last decade wasn't even on a recorded song. https://www.youtube.com/watch?v=LunHybOKIjU
In a standout moment of the first verse of Godzilla, Eminem has a sly slant rhyme with "hydroxy cut" and "Courvoisier". It's the kind of rubbery wordplay that exemplifies his peaks, and highlights a verse full of energetic — if somewhat generic — hip-hop chest thumping. Not necessarily a terrible thing, but the scene he paints is more bark than bite.
Percussive and playful, the first two verses could have been lifted by a stronger hook, but instead feel truncated by the lazy, soggy chorus by Juice WRLD (RIP). There are the sonics: Juice WRLD sounds bored, entitled and soupy. And then there's the meta: The song is called Godzilla, but the word "Monster" is featured much more predominantly throughout. Didn't Eminem already have a megasmash with a song literally called "The Monster" in 2013? Why are we doing this again? Is this the sound of a lizard eating its own tail?
In the third verse Eminem offers a changeup flow, but his subject matter is rote before devolving into a masturbatory, vaguely defiant, world salad.
Conclusion: while either of Eminem's first two verses would have been a strong feat. on someone else's song, this track never coalesces into a cohesive piece. Godzilla the creature is the king of monsters, destroyer of cities. Godzilla the song huffs and puffs, but ultimately runs out of breath before doing any real damage.