While it’s been two years since Eminem released his last album, The Eminem Show, he’s determined to keep his name – and his record label – in the spotlight, even in the off seasons. Enter The Re-Up, a Shady Records “mixtape” of sorts, that spotlights the label’s entire roster, as well as a few new treats from Em himself. 

     Playing like a true mixtape, the album spotlights a wealth of new material, remixes, and showcases up and coming talent. The disc opens with “We’re Back”, which finds Eminem going pound for pound, as the Shady one continues to amaze with a rant about not being included in the fans’ “top 5 dead or alive” lists. “Not even in the same league as / Jay-Z, Nas, Pac, Biggie / or maybe, they’ll name me / somewhere at the bottom right after AZ / or say he / ripped that Biggie verse or that Jay-Z / yo his verses were crazy on that ‘Renegade’ beat / but I ain’t never bought no whole CD of Shady’s.” A hard act to follow, but each Obie Trice, Bobby Creekwater, Stat Quo, and Ca$his hold their own, (in that order). 

     And giving shine to the label’s newcomers is really what this CD is all about. Sure, the best material here is from the established acts (more on that later), but the overall purpose here is to endorse the label’s new clientele. The most impressive of the new batch is Bobby Creekwater, who spits with an unquestionable southern drawl, with the cool finesse of a Big Boi, but the grime of a Pimp C.  He shows his versatility on “There He Is”, which finds him flawlessly adapting to Alchemist’s hypnotic, late night production, while cleanly suiting up for club-ready remixes of both Akon’s “Smack That” and Eminem and Nate Dogg’s “Shake That”. 

      Bobby’s Atlanta counterpart, Stat Quo doesn’t quite fare as well, however. He gets his chance to shine another incredible Alchemist track as well, on “Tryin’ To Win”, as well as treated to one of the few Dr. Dre tracks on the record with “Get Low” (didn’t Lil’ Jon and Lloyd Banks already do this song?). Meanwhile, the third newcomer, The O.C.’s (don’t call it that – editor) Ca$his also has a hard time distinguishing himself among the rest of the talent featured on The Re-Up. He gets his drive-by on both “Everything Is Shady” and “Talkin’ All That”, both which work as good filler, but neither of which convince the listener as to why we should buy the album when he drops it. 

      Sure, maybe these new artists simply need the time to mature and develop before they are ready to carry the flag for the imprint. Just ask Obie Trice, who came into his own this year with the release of Second Round Knockout, which was packed with blistering verses and surprising consistency. He recreates D12′s classic “Pistol Pistol” on the solo tip, carrying the weight of the original version’s multiple emcees on his shoulders, and doing it just fine. “We Ride For Shady” teams Obie up with Ca$his, over another scalding Alchemist beat. Obie Trice again proves that he is the second most talented emcee on the label.  

     But let’s get down to the reason you actually bought (or stole) this CD: Eminem. The album includes a total of six previously unreleased or new tracks from the Shady one. A pair of duets with 50 Cent, “The Re-Up” and “Jimmy Crack Corn” sound of the typical Eminem production variety, but without spoiling it, Em still manages to shock the listener with the things that come out of his mouth. He’s really lets loose on the incredible “Public Enemy #1″ (not a cover), with a ridiculous verse of paranoia that ties together 9/11 with the assassinations of JFK of 2Pac, reminding us of why we love Eminem in the first place. The same can be said for the seemingly vintage closer, “No Apologies”, which sounds as if it was recorded during his creative peak (The Marshall Mathers LP), almost acting as a follow-up to “The Way I Am”. 

     Whether or not The Re-Up accurately represents the future of Shady Records remains to be seen. Things change and politics shift the paradigm of label rosters all the time, so it’s anyone’s guess. It’s nice to see Eminem back in the studio, however one common complaint that this compilation is sure to be plastered with is the monotony of Em’s own production. It’s evident that, as a producer, Em aims to craft a distinct sound for Shady Records, and the inclusion of Alchemist only helps strengthen this. But in order for him to regain his once “can-do-no-wrong” status, Em should seek complete reinvention, as his dark, brooding beats have begun to wear thin after the last couple of years. The same can be said for his suddenly thugged-out, gun-toting personality – a far cry from the high-pitched humorist or thought-provoking poet of the early days of his career. But these are questions that will be answered at a later time. Until then, enjoy the fleeting moments of greatness that The Re-Up offers.