The Marshall Mathers LP is the third studio album by American rapper Eminem, released on May 23, 2000, by Aftermath Entertainment and Interscope Records. The album was produced mostly by Dr. Dre and Eminem, along with The 45 King, the Bass Brothers, and Mel-Man. Recorded over a two-month period in several studios around Detroit, the album features more introspective lyricism, including Eminem's thoughts on his rise from rags to riches, the criticism of his music, and his estrangement from his family and wife. A transgressive work, it incorporates horrorcore and hardcore hip hop, while also featuring satirical songs. Featured appearances include Dido, RBX, Sticky Fingaz, Bizarre, Snoop Dogg, Xzibit, Nate Dogg, and D12. Like its predecessor, The Marshall Mathers LP was surrounded by significant controversy upon its release, while also propelling Eminem to the forefront of American pop culture. Criticism centered on lyrics that were considered violent, homophobic, misogynistic, as well as the reference to the Columbine High School massacre. Lynne Cheney criticized the lyrics at a United States Senate hearing, while the Canadian government considered refusing Eminem's entry into the country. Despite the controversy of the album, it received acclaim from critics, who praised Eminem's lyrical ability and considered the album to have emotional depth. The album debuted at number one on the Billboard 200, staying atop for eight consecutive weeks. A significant commercial success compared to the release of The Slim Shady LP just the previous year, the album sold 1.78 million copies in its first week, which made it among the fastest-selling studio albums in the United States. The album produced the singles "The Real Slim Shady", "The Way I Am", "Stan", "I'm Back" and "Bitch Please II". Among other publications, Rolling Stone named it the best album of 2000. The Marshall Mathers LP has been included in several lists of the greatest albums of all time and is widely regarded as Eminem's best album. It has sold 21 million copies worldwide, making it one of the best-selling albums of all time, and is certified 11× platinum by the Recording Industry Association of America (RIAA). It was nominated for Album of the Year and won Best Rap Album at the 2001 Grammy Awards, while "The Real Slim Shady" won Best Rap Solo Performance. The Marshall Mathers LP 2, the album's sequel, was released in 2013.Wikipedia
Full on. Loved it, hated it. The shock factor it holds is one of a kind.The opening skit was ridiculous, Kim was proper unsettling, Stan is an eternal classic, the hooks on Bitch Please II and Drug Ballad are sick. But the blatant and repeated homophobia and misogyny is pretty hard to get passed, even the product-of-its-time defense doesn't cut it on this one. Even so it still hits high on Albums of All Time lists (eg. 145 on Rolling Stone's 2020 top 500 of all time list). I'll stand by my rating system though, I can't deny that this album was a (at times hellish) thought provoking rollercoaster.
Thanks to these Eminem clowns, I'm no longer a glass half full guy. I had a 30 minute drive so thought I'd start listening to this in the car. Quick search for Marshall Mathers and hit play. As expected, shitty rap made by dumb ass white guys wasn't doing it for me. I took a quick look and saw the playing time was north of 70 minutes. Sometimes with 1001 you just have to do the hard time and hope it passes quickly. I get through 8 songs and later at home flip the album on Spotify to finish my sentence. But - something's wrong. I notice the playing time is a little less than what I was playing in the car. It was a 78 min album in the car and a 72 min album at home. I'm confused. The unfortunate explanation for my confusion is that there is another Eminem album called The Marshall Mathers LP 2 and I mistakenly listened to 30 minutes of the wrong Marshall Mathers album. The horror! If you thought 72 minutes of this shit was heavy lifting, try 102 minutes. The glass half full guy I was until today might say: "Hey I could have listened to the full Marshall Mathers 2 album before finding out," but no, I can't be that person today. Those extra 30 minutes were too painful. My glass is half empty.
Already convinced it’s a total classic, I figured I’d better do my duty and listen through again so my review can be informed by a recent listen rather than the nitrous of nostalgia. As with The Slim Shady LP, Eminem plays with sounds like few others, but where in that former album he is a little too caught up in his agent-provocateurness and in later years he seems more preoccupied with hitting those densely packed rhymes with machine-like precision, here is Eminem’s perfect marriage of form and content. In each song he revels in playing characters - endless characters: particularly circling back around to the Slim Shady (offensive, gleefully so), Eminem (hostile, back up against the wall, firing back) and Marshall Mathers (introspective, self-effacing) but playing many more cameos in between. Hopping in and out of these roles lends a clarity and sharpness to a still quite long album. It allows playful juxtaposition of track listings (The Way I Am [Eminem, hostile, I won’t be who you want me to] to The Real Slim Shady [Slim Shady, here I am, you want Slim Shady, well here is ALL OF HIM] being a particular highlight). The album only drags when anyone other than Eminem guest stars, perhaps because Em is in such a creative place that he is essentially guest MCing his whole album, but also because the guests take it as licence to do the schtick of obscene and offensive stuff, only without the subtext Em provides of the whole thing being performance. That subtext only works in the context of the whole thing which constantly flips between provocation, meta-awareness of all of this as a show, showing off, gratuitous swearing, comedy skits, world-weary agents, and at the centre of it the question “who is Eminem?”. The album is so effective because it’s essentially a dare to the listener to try and pin it down: a virtuosic catch-me-if-you-can.
Damn, love Shady and I forgot how violent this album is. And anti gay. And misogynistic. I can never figure out if satire, a joke, or real. Ground, even if maybe we leave that ground alone. Ultimately have to rate the art on what it says.
i) Words, harmless and powerful ii) The Stan—Kim paradox iii) Heavy metal rap iv) Don’t forget the jokes v) PHSE i) Consider the line, “If this chick was my own mother / I’d still fuck her with no rubber / And cum inside her and have a son and a new brother at the same time / And just say that it ain't mine”. It’s spill your popcorn, last round of ‘Would you rather’, criminally taboo toilet humour. Every teenager in the year 2000 or 2020 gets its dual offensiveness and senselessness. Eminem is faking you out. The people in the line—J-Lo, Eminem, his mum—are real, but the scenario is so detached it’s cartoonish. So far, so Slim Shady LP. But what if it became less detached? What if he said the Columbine shooters got their trench coats and weaponry from his house? Or worse, that given the chance he’d copy them? That’s a very real and raw scenario, not to mention one in which Eminem was implicated as a cultural influence. And yet both our 13 and 33-year-old selves know that just saying those things doesn’t make them true. Then consider the political climate in 2000—and not just the president getting his dick sucked. I’m talking about the ongoing fallout from the failure of the Bretton Woods arrangement. Clinton coming into office promising Big Government/tighter regulation then realising that not even he can control the bankers. Realising all he’s got left to convince people that can is his words. Cue the age of spin. I did not inhale. I did not have sexual relations with that woman. Etc. The age of controlling the story, controlling the headline, controlling the truth. In this context, Eminem saying he’d commit Columbine, or have a child with his mum, becomes as “real” as what you’re asked to believe on a daily basis. ii) After ‘Kill You’, ‘Stan’ is almost an apology. Breathtakingly brutal, honest, and empathic. It’s a three-dimensional portrait of not-Eminem--the guy he could be if he hadn’t made it, if he didn’t have a way of containing the Slim Shady in all of us. After ‘Stan’, almost anything is tolerable, impregnated mums included. After ‘Stan’, you understand Slim, understand the Stan-Sim lineage. So you chuckle at the jokes, abide the fag-baiting, bite your lip in faux-disapproval at the rabble-rousing. And then, when you’re almost at the end, he gives you ‘Kim’. And it ruins everything. He employs all the same devices that made you empathise with Stan—relentlessly linear first-person narrative, direct address, multiple characters, and so much diegetic sound it’s as much radio play as song—and uses them to not only shock you beyond anything that’s come before, but to betray your trust in his humanity, his sanity, his redemption. What’s so brilliant is not only that ‘Stan’ and ‘Kim’ are both Marshall Mathers songs (that is, if you go in for attributing each Eminem song to one of his three personas) but that the Marshall who kills Kim is basically Stan, the guy he made you empathise with earlier. But now there’s no distance, no epistolary framing device to make the murder seem journalistic. It’s just you and a woman-hating murderer. This is the bit that interests me most. Why are we okay with what was essentially the same story in ‘Stan’, but so appalled by it in ‘Kim’? iii) If I was writing the 2000s update to Chuck Eddy’s ‘500 Greatest Heavy Metal Albums in the Universe’, I’d be tempted to include MMLP. A quick comparison with Stankonia (same year of release) tells me that Outkast’s album is probably speedier and louder. But metal’s also about spirit, and MMLP has a heart full of revenge. It also has barkier rapping, actual screaming, and uses its somewhat basic beats like riffs. While it may lack guitars (except on ‘Kim’, the most metallic of all its songs), it’s still clearly built on the blueprint of Licensed to Ill. iv) “If I ever gave a fuck, I'd shave my nuts / Tuck my dick in between my legs and cluck.” v) I learnt more from ‘Drug Ballad’ and ‘Kids’ than I ever did in PHSE. The former is a too-rarely mentioned Eminem masterpiece (“What’s a little spinal fluid between you and a friend?”), the latter the most scandalising of all his provocations: a genuine PSA. The verse about Zack, with his back "like the McDonald's arches", his shoulders "hunched up like he's practicin' yoga", and his friends "laughing at basically nothing except maybe wasting their money" will always haunt me.
No thanks. I’ve been to the early 2000s
Not for me.
An extremely in-depth, personal record on Marshall's thoughts about his sudden fame, the pop landscape; all told through the scope of his classic horrorcore rap style. Nuts, and at certain points still fucking terrifying. Still making waves today, too. Favorite tracks: "Kill You", "Remember Me?" "Stan"
I haven't stopped thinking about this album since I listened to it. His talent is absolutely unquestionable but the content is quite confronting. I remember hearing this album when it came out and while I realise all the bigotry and homophobia is part of the act, it is hard to digest at points, Kim being the biggest challenge. I can't even imagine what it would've been like recording that song. The music is amazing tho and when he gets on a roll you can't help but be amazed. The tracks featuring other artists really show how good he is as his verses wipe the floor with the others. I was gonna give this 4 stars but the fact it hasn't left my mind for 3 days means it's probably worth top marks.
The Slim Shady LP blowing up so fast and Eminem becoming an overnight celebrity created an opportunity for Eminem on his follow-up album to write an excoriating commentary on society in the guise of a deeply unpleasant cartoonish villain who still managed to make people laugh, daring to ask the question - Who is listening to this violent, mysoginistic filth? And why is it so funny? What the hell is wrong with us? This is Em's masterpiece - the verbal dexterity is phenomenal, the choice of beats almost all perfect, the sample choices brilliant (turning Dido's Thank You into a dark reflection on the dangers of hero workship on Stan is a master stroke), even the guests (mostly) don't disappoint. Not all of it is easy to listen to - Kim is really hardgoing (but if this were a film, the actor would be nominated for an Oscar) - and a couple of tracks fall a little short - Drug Ballad and Amityville are the weakest - but the Kill You / Stan / Who Knew / The Way I Am / The Real Slim Shady sequence shows a rapper at the top of his game with something important - and horrible and hateful and funny - to say.
Great production, skilled lyricism, and catchy hooks! Despite all the controversy it is hard to argue that this album doesn't sound great. Brings me back to middle school.
This one took me back. I listened to it a bunch on a road trip to Florida 20 years ago. I'm not huge on rap but I've always said Eminem is a brilliant lyricist. Here is living proof. The Steve Berman interlude is one I still paraphrase when talking about differences in rap styles. I'd rate the album a 5 if the back half didn't drag a bit. Still, it's a wonder to me how someone like lil Nas X ever came out as gay in the rap world with so much homophobia and false male bravado. Some of the lyrics are instant cringe material. I appreciate how he puts his words and thoughts together even if I disagree with the message.
I tried so hard to listen to the whole thing but the language and crude references just got to me. There are a few Eminem songs that I love but the whole album was just too much.
Heard enough of this crap in high school when it was on everyone like a bad rash. Not supporting this misogynistic prick.
I tried on this one, I really did. Of the 400 albums I've listened to this is the first I gave up on. This is easily the most sophomoric shit I think I've ever heard. It's just shit. There's not even any peanuts or corn to be found. It's just more of someone with the fucking mentality of a 13-year-old, rhyming dictionary in hand, talking about his dick and raping, assaulting, and murdering all those "worthless bitches". The frightening thing is this "man" wields influence on impressionable children. 13-year-old boys listened to this and think this is how women are meant to be treated. We call them "incels" now. This has no inherent value. It's not parody. It's not trying to shine a light on some difficult to understand social construct. It's just a asinine little boy talking about his dick for an hour. This album is one of the most insanely idiotic things I have ever heard. At no point in his rambling, incoherent "music" was he even close to anything that could be considered a rational thought. Everyone in this room is now dumber for having listened to it. I award you no points, and may God have mercy on your soul.
Classic, masterpiece, and one of the best rap albums of all time. Yes, the homophobia can be painful to listen to at times and it's easy to understand why that puts so many people off from this album. If this album was any less good, any less influential, any less *anything*, it could be written off as a product of an era destined to remain there forever as a forgotten time capsule. But this is so much of everything that it's impossible to look away. This is the album that sold 21 million copies and turned Eminem into a global superstar. It's a pure demonstration of Em's lyrical abilities, technical skill, and - yes - his humor. If you can get past its transgressive attitude and offensive content, it's truly a gift to put on the MMLP and be able to experience the master at work.
Violent and disturbing, but at the same time, great lyrics, hooks, and flow. A classic album that caused a lot of controversy.
It’s raunchy it’s crude. It’s vulgar. It’s violent. It’s amazing. This album solidified Eminem as one of the best rappers. He’s doesn’t hold back and his rhymes are fantastic. The beats are well done by Dre. This is a classic rap album. 9.0/10
"I murder a rhyme one word at a time / you never heard of a mind as perverted as mine" was pretty much the manifesto for this album. Fantastic production, unbelievable rhyming and delivery. Scary, very offensive lyrics which are very hard to stomach at times, but that was the point. To be this offensive and still be a classic in these times is quite a feat.
This album is one that I have grown up with before and it remains one of the best rap albums out there. To start, in terms of instrumentation, they are beautifully crafted by Dre. Whether it is the infamous The Real Slim Shady or Criminal or any inbetween they are always enjoyable. In terms of rapping, Eminem delivers unique candence and flow throughout every track, with all of them sounding perfectly tailored for every track, such as the I sit back/ with this pack etc etc. His delivery is aggressive whether it is the way I am or Kim, you can feel the rage behind this album constantly and may even rally behind it. Subject matter and theming was unique for the time focusing on censorship and the media in reaction to his music on songs like drug ballad, who knew and marshall mathers. It also has the idea of fandom and standom in Stan showing the deep and various ideas this album contributed to the rap scene. I will conclude this with features, they do not miss, Dido adds a necessary chorus to complete Stan, sticky fingaz delivers a verse that arguably outclasses Eminem on Remember Me? and Snoop Dogg delivers his clean flow on Bitch Please II.
god this album is dark. Its Em processing his fame and celebrity while still digging into his own desperate childhood. Bitch Please II is iconic gangster rap song. Kim is graphic and disturbing and i never want to hear it again in my life
Super offensive but there's really not much else like it out there. It's a weird feeling to be so repulsed and so impressed at the same time. Some of the tracks are just great.
This would have been a 5 maybe ten years ago but the violence and misogyny is a bit too much for me these days.
Sigh, tough one to rate. I'm not a big rap fan, but he has a unique style that I can appreciate. The issue becomes when you start to pay attention to the lyrics. It helps to know the underlying idea - there's "Slim Shady" who is everything that people criticize Eminem for - misogyny, homophobia, violence, etc. But then there's the suggestion that this is all an act. "Stan" is a good example of how people shouldn't take him so seriously (and a real catchy tune). The video is disturbing and really well done (and got me watching Dido's Thank You video, which is also a good video and a catchy tune). This Genesis fan liked the Phil Collins shout-out. But then there's a track like "Who Knew" where he's like who would ever think people would take me seriously and I'd get this big? And isn't the problem with the kids other people's fault, not mine? Still, does that make it any better? The rest of the album proceeds similarly - it's not my fault that y'all can't get the joke and it's only because of my upbringing and you're all terrible too. I'm giving it a 3 because I appreciate the style and wittiness, but I can't give it more because I can't rate an album I'd be embarrassed to be seen listening to anything higher than a 3.
Eminem entered into an arena invented and owned by Black artists. Despite his white privilege, this is one area where he truly had to work to stand out, as white rappers were historically not successful and/or were not taken seriously. By this point, Eminem had already found his celebrity status, but this is the album where Eminem became fully realized, showing that he wasn't just copying Black artists, and leaving his official mark on hip hop music. He combines catchy riffs, well written lyrics, and dexterity masterfully. The talents, styles, and quirks that are sharpened on this album changed the face of hip hop and set into motion his immense career with albums following these formulas. Eminem has an obvious snarkiness and stupidity about him that he really hones on this album, making it easy to see the irony and sarcasm in his work. These are an important component to his work; as he works through his incredibly stormy upbringing, this album is a sort of proverbial mirror held up to white people, showing said white people the ugly sides of themselves and their culture that they don't want to acknowledge or admit to. Using his newly found platform of huge success, Eminem does all of this to make a statement and commentary on white culture, on what is arguably his most provocative album. White people want to like and be a part of hip hop music? Well, be careful what you wish for, because like it or not, now the bad and ugly of white culture is in the spotlight. The price to pay for being white and wanting to enjoy an incredibly successful white rapper is acknowledging, consciously or unconsciously, that this album isn't about a third party, such as Black people in Compton -- it's about white people and the fucked up things they do right in your own town...it's about white people you know and associate with, and it's maybe even about you. From a music enjoyment perspective, I like this album okay, a couple of the songs I like quite a bit. But Eminem has always been hit or miss for me, as has a lot of hip hop music; it's a fine line to draw between commentary and glorification of the troubled things many hip hop artists rap about, and Eminem is not immune from that. But it is undeniable that, for many reasons, the cultural impact of this album is significant.
One of the most overrated albums ever. People who say this is one of the best hip hop albums ever are either A - Racist or B - Haven't listened to rap outside of Snoop Dogg, Eminem and Macklemre in which case calling this the best rap album would be reasonable. Obviously some great songs on here but some of the lyrical material and production have just aged horribly. Barely anything Eminem speaks about here is relevant today and most of it is just super edgy, offensive or weirdly sexual 7/10 just because this album has high highs and influenced a lot of mainstream hip hop at the time
Eminem, for all his notoriety, was THE rapper for white dudes in the early 2000s. He was up there with 50 Cent, Lil Wayne, and Jay-Z, and he was WHITE. I can't understate the race thing; in a genre built and dominated by black guys, Marshall Bruce Mathers III was this hardcore white guy who seemingly gave no fucks. Even years later, he's left an imprint on internet culture with the song "Stan" taking on new meaning. Dr. Dre is on production here so you know it's gonna be good. Eminem's lyrics are pretty hardcore for the sake of being edgy. I think at this point he knew his audience wanted shocking so he gave them lyrics that would scare parents, the same thing that worked for N.W.A. Only two reservations are the album length and the extent that Eminem is trying to be edgy. So by the time you hit the 11th track he's spewing homophobic shit and it's not even cool or funny, it just sucks. That's not trying to hold him accountable or anything, I just don't care much for the content. It didn't age poorly or like fine wine. The Marshall Mathers LP aged okay.
Hay un par de canciones que más o menos. Pero el resto me ha parecido hasta desagradable. Canciones gamberras de niño de instituto. Prescindible.
Besides one or two songs, this was pretty boring. It's like hearing an hour long rant. They might have valid points but it gets lost in the mess.
This is music for dorks who think they're tough. Eminem is an uber dork.
Slim Shady does not give a shit. So edgy. Is it supposed to be funny? If it is, then maybe it’s not just my kind of jokes. If it’s real then it’s super cringy for an adult to stick with the same character for a second record and keep up with the same childish, angry verses. The beats sound pretty childish too. This is a time capsule of the MTV TRL era and it sucks.
Kim is hard to listen to but a masterpiece nonetheless.
The material was very... jarring, but the rapping was fantastic.
Sindssyg storytelling, rhyme-schemes, grænseoverskridende
A classic from one of the top 5 emcees of all-time.
A lot of anger here. And a lot of homophobia. Good at rhyming though.
Always liked this album. Own it on vinyl
Been a long time since I've listened to this one. Still got instant chills when the bells toll at the start of 'The Way I Am'. Forgot just how violent this album is though!
Mixed, deep reactions from the group
Classic and a great intro into Eminem.
“Stan” is a storytelling masterpiece
Dit gaat toch een dikke 5 zijn
Excellent lp. Nothing more needs to be said
Great story throughout the album and I loved the actual dialogue in this. Some good beats as well, but definitely a good listen.
I really love the music Eminem makes, and this is no exception. It’s not something I’d listen to casually, except for a couple tracks. It’s also SO angry as to seem facetious and silly at times. I can’t tell if that was intentional.
One of the best rap albums ever. I am definitely biased here, but it’s so good.
this album is fucked up. 5 stars.
Fuck yeah finally.
Front to back a great album. (Minus the Ken Kaniff sketch)
The sign of a great album is how well it stands the test of time. How relevant the sound compared to current music. This album definitely sounds relevant nearly 20yrs later. Sure the lyrics still sound crass with unneeded language which does come across a little more cringy today but the sound is right on and it flows just as well as ever.
Wow! Brilliant Brilliant stuff. I am not a rap fan. I own one rap album; "It takes a nation of millions..." which Ilisten to every couple of years and try to enjoy, beyond "Don't Believe the Hype". But this is Brilliant. The rhyms and the effortless delivery left me stunned. I will listen to this album in the coming weeks to try to cull as much as I can from it and then move on the The Slim Shady LP which I understand is just as brillliant. Discoveries like this is why I love listening to music and why I am part of this program. My first 5 🌟 album for one that I had never heard previously
FIVE STARS. Standouts: Stan, The Way I Am, Kill You, The Real Slim Shady, Kim.
Timanttia. Itselle ensimmäinen rap-levyhankinta ja kuulostaa vielä vuosienkin jälkeen erittäin hyvälle 👌
ewwww ion wanna listen to m&m ewwwwwwwwww this is shit. ok im at stan rn, i kinda like it ok im really loving this now, maybe its just because I'm in good mood right now. its so bad, its good
would probably hate this if it was released today, but came out when i was an angry 16 year old so it holds a massive place in my heart
I said the Slim Shady LP deserved to be on the list, but honestly, I feel like this record accomplishes the same thing but better. Like the second season of a show that was good to start, but really found it's groove. Same rage and shock value, but better music.
Still stands up. Still stands up
A total step forward from his debut - lyrically brilliant, amazing production, dark, twisted, funny - a proper hip hop masterpiece
Ready to listen again and again
5/5 - love this album
Amazing album. So lyrically quick and finding the perfect phrasing all the time. Top of his game
Good album but super homophobic and misogynist - something that feels rather aged in the post-me-too era. But damn that was a trip down memory lane in the early 2000s - I didn’t listen to this album back then but it’s just a perfect snapshot of that particular time. Which is why it’s an album one must listen to- and probably not love. It’s a tough one man’s screwed up thought roller coaster that has no place 20 years after it was released but at the same time it’s a perfect Time Capsule. It’s a pendulum swing between brilliant and horrible.
Just an all time great hip hop album
Good album, maybe a little intense on friday morning.
I think maybe the fact my parents wouldn't let me listen to this when I was in middle school only made it age better.
Stan is haunting and The Real Slim Shady is a classic. The rest don't even matter - those make it lights out.
Album koji ću pamtit do kraja svog života. Legendaran album koji me je uveo u svijet hip hopa zajedno sa 50 Centovim GRODT. Znam da više govori nostalgija, al znači mi ovaj album puno i nisam mu mogao dati ispod petice. Jedino Ken Keniff smeta na albumu i Kim je scary, ovo ostalo - klasik. Bitch Please II mi je najslušanija sa albuma, znam svakog odglumit i odrepat. Who Knew isto, ma i Real Slim Shady, ma sve jebote. Ako se osvrnem ovako, rekao bih da je ovo njegov najbolji album. Šteta stvarno što nema da se rejta do desetke, jer ne bi bila čista desetka, al bi bila jaka devetka. Luka's ranking = MMLP > TES > SSLP > Relapse > Recovery >> Encore >>> ostatak.
Old Eminem best Eminem, 100% goated
absolute classic. eminem was completely in his bag w this one
chaotic over-the-top horror
Always polarizing, always enthralling, always relevant. Startlingly precise on one hand (Stan, That's What I Am, Drug Ballad) and horribly dated on the other (I'm Back, Marshall Mathers, the skits), The Marshall Mathers LP is the quintessential Eminem album with cultural touchstones and an insight into the life and times of the soon to be Rap God. An essential listen. P.S., Kim is not for the fainthearted. Favorites: Stan, That's What I Am, The Real Slim Shady, Remember Me?, Drug Ballad, Amityville, Bitch Please II.
Imprescindible de Eminem
It's Eminem, pretty much every person's stepping stone to hip hop and rap. Everyone knows at least a few songs on MMLP, The Real Slim Shady and Stan to name a couple. There are gems all around too, with Criminal, The Way I Am, and I'm Back being the most memorable. The production and the beats on this is fantastic and makes a whole album of a genre I'm not a fan of really enjoyable. It might not be one of those albums that can be played anywhere anytime, but it's definitely an essential listen.
Best Eminem album. He is at his insane, creative best here. Good beats. Good features.
Great album, goosebumps...
Timeless hip hop album
Eminem. I really loved Eminem as a teenager, the Eminem Show is absolute genius. This album shows him on the way to that and it is a fantastic album but I think his style got cleverer with subsequent albums. This album is in places difficult to listen to but I do get the reasoning behind it all and I think it's very good. The political edge of Slim Shady is very interesting and this album seems to be wholly about Eminem attracting mainstream attention at being a white man rapping when his black contemporaries had been doing the same thing for ages sparks very true and is evident in the fact I loved Eminem and he made it so big in the UK when no one I knew of was listening to Dr Dre or anything similar.
Gawt dammit I actually really love this album.
Gets a little hard to listen to after a while but that's more of a matter of taste. I love a lot of tracks on here and the skits mixed in are hilarious, eminem is one of the greats
Packed with trailer rage and raps like never before seen. An early and incredible success of an album. A modern version could cut out like 3 or 4 tracks, but it still slaps.
I wonder why a couple of the tracks are unavailable on Spotify. Outdated lyrics? I expected this to sound much more "of its time", but nah. Still absolutely love it. A great intro to hip hop for a 12 year old middle class white boy, but I reckon there's something for everyone in here. Ending to Kim is still too grim to listen to. I always skip over it
The Eminem Show was the album that got me into rap as an impressionable pre-teen, so I may be biased, but I still think that's the more consistent, better album and it's crazy that it hasn't made this list. Anyway, this one is close behind. He switches between so many voices (literally and figuratively) so effortlessly - the biggest singles (Stan, The Real Slim Shady, The Way I Am) sum up Eminem's depth, humour and anger respectively, and they all work equally well. There are undoubtedly lyrics on here that are genuinely problematic, but there are also a lot that aren't - they're cartoonishly OTT or satirical or playful -and that's why he gets away with the whole package, in my opinion. Every topic is pushed to its limits, but it's not *just* designed to shock - there's a lot of truth spoken too. So the lines between sincerity and facetiousness are blurred, which just makes the whole schtick (or is it...?!) very compelling. 4.5
The lyrics are a lot more messed up than I remember, but this album slaps as hard as it did back in middle school. Another 5 for nostalgia.