Remember when Run DMC rocked out to Aerosmith's "Walk This Way," and made hip hop a global phenomenon or - in that same year, 1986 - when The Beastie Boys first introduced the world to their brand of brazen rock emceeing. Eminem takes a cue from this era of riot-breaking hip hop to fuel his latest single, "Berzerk," and you bet it's loud, ludicrous and filled to the brim with Slim Shady atrocities. It also commemorates his upcoming release - The Marshall Mathers LP2 - which is a sequel to Em's original 2000 classic.
"Let's take it back to straight hip hop and start it from scratch," Eminem spits over a dusted hip hop breakbeat and a classic rock guitar sample of Billy Squier's "The Stroke." The urban fanfare gives us the confidence that Eminem's gone back to his roots, rather than a misled vision in the tracks of Magna Carta Holy Grail and Yeezus. It's a remarkable statement to make too considering producer Rick Rubin, who was involved with both Jay-Z and Kanye West's new records, holds "Berzerk" together.
While we're citing influences, Eminem's "Berzerk" borrows a lot from wacked-out punk rockers Mindless Self Indulgence. It has all the grating raps and nasal sing-along choruses we've come to expect from Marshall, but now twisted into almost comical fits: "So come get on this Kid's rock, Bawitdaba, dang-dang, Pow-pow, chica, pow, chica, wow-wow" (actual lyrics). Then there's his infamous controversial raps: "All I know is I fell asleep and woke up in that Monte Carlo, with the ugly Kardashian," and a friendly jab at Kendrick Lamar's "Control" verse, "Lamar, oh sorry yo, we done both set the bar low." But case-closed as soon as Shady shakes the very foundation of modern hip hop by dropping that rampageous chorus : "We're gonna rock this house until we knock it down/ So turn the volume loud, cause it's mayhem 'til the a.m."
Whether you shudder under "Berzerk's" cacophonous assault or wear its raps like an emblem — it's 2013, and Eminem still got your attention.