Reviews (page 2 of 14)
There are times listening to this - Stan, The Real Slim Shady, Drug Ballad - when I think Eminem is great. Sharp, smart, impassioned rapping, great beats, deconstructing and myth making at the same time. And then there are times when it's the same old homophobia (god, but he's obsessed) and misogyny that plagues so many third rate rappers. I mean I guess flooding the zone with all these competing versions is kind of the point, like what does he care anyway? And then the album is too long anyway, with a few weaker tracks that could have been cut. So I'm averaging out the great and the terrible (and can we agree that the entire hip hop universe would be improved if the skits were gone?), and giving it a three and a half.
The Marshall Mathers LP It’s easy to forget what an impact Eminem had, and listening to this it definitely captures that specific late 90s MTV-Shock-Reality-Celebrity cultural moment in a way other hip hop stars didn’t - for the very obvious skin coloured reason. Often his comedic instincts are sharp, and when aligned with his dark horror influenced OTT style, his obvious technical skill and Dr Dre’s production and ear for a hook it’s very good. Kill You, Stan, The Way I Am, The Real Slim Shady, I’m Back, Marshall Mathers are all very strong. And in particular the triumvirate of Stan, The Way I Am and The Real Slim Shady are superb; excellent storytelling, hooks, production and delivery wrapped up in an OTT mix of melodramatic fun and emotional, confessional earnestness, baiting parental and media led hypocrisy, and studded with brilliant lines. But too often the humour slips into boring crassness, and his reliance on shock value, especially the casual homophobia that threads through several tracks, has aged poorly, reading today as more mean-spirited edge lordery than subversion. And the problem is that the album's high points are surrounded by a considerable amount of filler. At 18 tracks, with too many skits, the runtime stretches the concept thin, diluting the emotional and artistic punch of the good songs. Ultimately it feels like a mix of brilliance and a lack of editing. Undeniable peaks, but with a decent amount of flaws. Think it ends up at a high 3. ⚪⚪⚪ Playlist submission: The Real Slim Shady
Just fine - classic Eminem, as in some songs are great, some are terrible, some age better with more listens, some age terribly.
Damn you really had to be there
What really makes this album for me is obviously Dre on production and the fact that Eminem is just a good rapper, i’m not a fan of a lot of the lyrics, especially with the blatant homophobia or the way he obsesses over his aggressive delivery on most songs but it is clear that this is a parody of itself shown by the way he uses humour throughout or the blatant cartoonishly evil beats when he rhymes about violence like on the last song or “kill you”, also when he vocalises over the beat which seems to be common for him.only a few skits as-well which i actually appreciate, one of them was very weird though. I thought it was pretty good though but there was only a few songs i actually liked enough to want to listen to more, favourites: Stan, the way I am, drug ballad and the one with Snoop. Overall, 6/10.
There’s something really gay about extreme homophobia isn’t there? I liked some songs to an extent. Was enjoying Stan but the ending beat me over the fucking head in the most obnoxious way I ended up hating it. Part of me feels like Eminem thinks his fans are morons and enjoys fucking with them.
A lot of this album is actually really good. It’s at its best when it’s reflective. Eminem wrestling with the his new found fame and how he has been received. A classic theme for a sophomore album. He lets you break down the fourth wall a bit and assures you he is mostly just talking shit. Stan is one of his crowning achievements. It’s extremely evocative and a master class in dark storytelling. Some of it definitely feels like the slim shady LP and that’s when I think it’s at its weakest. Kim is the perfect example of this. It’s an awful song with nightmarish subject matter and no redeeming moral or message. He may hurst be “talking shit” but if you’re going to shock the audience you should at least have something to say. 3.2
Ubiquitous during summer 2000, two decades later this is both embarrassingly dated and still hilariously offensive. With Dr Dre at the height of his powers and Eminem's cute rhyming schemes, phrasing and lyrical obsessions sounding fresh, there was a lot to like here despite the content (e.g. "Kill You", "Stan", "Marshall Mathers", "Kim"; love 'em or hate 'em, they're great compositions). Docked at least a point for the incessant dumb homophobia, which reduces this to a time capsule rather than another classic Dre production
Heard before but not for ages. Trails off in second half when the nastiness stops being offset by the wit and intelligence that characterise the first half, and is just… grim. The guest spots and skits add very little too.
Singles are great. Album a bit of a meal
stripping away the veneer of shock rap reveals... a self-pitying, self-absorbed look at the music industry and life as a musician through the lens of an "outsider" in rap. some good messages and critiques of being an artist here but mostly whining. also repeatedly stating that your music is for edgy white high schoolers is kinda weird
Detroit's own Marshall Mathers, a.k.a. Eminem, a.k.a. Slim Shady, is an artist whose merits and significance change drastically depending on who you ask. he means many different things to many different types of people, and this is one of the major themes which runs through his work, especially as he climbs the fame ladder all the way to the top of his genre across his first three LPs. his first, The Slim Shady LP, put him on the map with his portrayal of its titular alter ego character, a violent, sadistic, bigoted drug addict who could put together a mean 16 and always had his tongue buried somewhere in his cheek. the obvious command Eminem had over his craft as a rapper made him into a protege of Dr. Dre; his albums would release on Dre's Aftermath label for the next 20 years, and Dre would be credited as an executive producer on every single one of them. those first three in particular would go on to become, in many people's eyes, modern classics of hip hop. for better or worse, Eminem managed to become one of the most influential rappers of all time; of course, he's influenced a fair bit of Cringe Rap over the years, but his fingerprints are all over the work of even highly celebrated artists in his field like Kendrick Lamar (another brilliant storyteller) and Tyler, The Creator (whose early work was heavily indebted to the brand of shock rap Eminem pioneered). even if you know next to nothing about Mathers as a person, if you're old enough, you probably remember seeing him make headlines for all manner of different reasons, most of them negative (although, as we'll see, any publicity is good publicity for Eminem). the SSLP turned him into a target of protest by groups from all over the political spectrum, from PMRC-style conservatives who objected to his violent, profane lyrics, to left-wing feminist groups who objected to his depiction of women. I've also buried a pretty major lede here: Eminem is a white man in a historically Black art form. this meant that, for some audiences who were mainly interested in the music that typically gets made by white Americans (at the time, mainly pop and alternative rock), he was someone with major crossover appeal. this is further evidenced by the fact that he would go on to sell more records than any other rapper in history. (his whiteness has been at the center of a lot of the discourse surrounding his work, but he wouldn't give that aspect of his fame a proper reckoning until he made The Eminem Show.) The Marshall Mathers LP captures Eminem at one of the most pivotal moments of his career; it's largely a response to the success and heated controversy that surrounded The Slim Shady LP. he doubles down on many of his edgiest proclivities, with the overall sentiment being that Shady is here to stay, and you don't want to fuck with him, cuz Shady will fucking kill you! he also takes the time to fire back at many of his critics and send shots at a few of his fellow rappers, especially the Insane Clown Posse, who he mostly brings up to call gay. I mean, this was the 90s becoming the 2000s, after all. (the "Ken Kaniff" skit, maybe the worst skit on a major rap album, features the two Clowns giving head to Kaniff before accidentally calling him "Eminem", leading to him zipping up his pants and kicking them out.) this leads into my main gripe with the MMLP, and Eminem's music generally: if you're not totally invested in the story, character and image that is Eminem, or Shady, or Mathers, there's not much here for you. of course, I would be a fool to deny that there's some great material on this album! in particular, "Stan" is my favorite Eminem song of all time. it sees him penning some of his most self-aware, grounded and timeless stanzas, with the character of Stan himself becoming immortalized in contemporary fandom culture, with his name now used mainly as a verb by overzealous K-pop fans (or people talking about overzealous K-pop fans). there's also "The Real Slim Shady", a danceable Dre-produced banger with a freaky harpsichord riff, and some of Eminem's funniest bars (I especially get a kick out of the Will Smith line). "The Way I Am" features one of his most innovative flows, pairing his rhymes with a syncopated piano arpeggio to create a devastating sense of forward momentum. and, of course, there's the legendary West Coast posse cut "Bitch Please II". that being said, across 18 tracks and 72 minutes, I feel like Eminem and his collaborators tend to repeat themselves a bit. "I'm Back", one of his many songs about being "back" or "back again", comes in at track 10, by which point I had already figured he was back, on account of me being half an hour into the album already. plus, you have the tracks with members of his D12 crew, pretty much none of whom are as good at rapping as he is. then there's "Kim", which... Jesus. I can see the idea he had, and I can't deny that he probably executed it perfectly. it's just no fun to listen to. it's mean-spirited in a way that feels way too real compared to the somewhat satirical, lighthearted angle which he typically approaches a violent track with. it sticks out like the sorest of thumbs. so, again, while I can't deny Eminem's influence, impact, commercial success, et cetera, I just can't buy into his persona for a full LP of this length, with this much self-mythologizing. his penchant for political incorrectness doesn't offend me or anything; I'm just not particularly moved by it in any direction, positive or negative, most of the time. light 5/10.
Probs my least favourite so far. Can’t say I like anything Eminem himself brings to this. Skits on an album is always cringe and bad. Thank god dr. Dre and D12 were available to save this album.
Very tough lyrics, and heartbreaking stories. Very musical rap.
Bands have been coming up with gimmicks to sell records for a long long time. Eminem is no different. He's got a gimmicks to try and shock everyone with his lyrics and it's working, for most people, but not me. I did enjoy the dissing at the Insane Clown Posse, but really Marshall, ICP are one of the biggest gimmicks in the last 25 years. You are pretty much doing the same thing. And to be honest. I have laughed at more ICP jokes than M&M ones!
Jag är vanligen inte så förtjust i rap, jag tycker att det ofta blir för mycket fokus på beat och för lite på melodi. Dessutom har jag svårt att ladda loss på text som verkar vilja chocka, men mest blir en förutsägbar kommersiell skivbolagsproducerad tirade av svordomar. MEN, just Eminem kan ibland låta rätt cool? Kanske för att han faktiskt är äkta arg? Detta av hans album passade mig inte riktig, dock.
The cruelty is here to titillate rather than disquiet, domestic violence for jollies. Shame, as this is often funny, replete with bold and bright hooks and textures, and Eminem’s voice moves like an F1 car at Monaco.
"nobody is excluded from my poking fun at. Nobody. I don't discriminate, I don't exclude nobody...If I do something fucked up, I'll make fun of myself - I'm not excluded from this..." Eminem. With that said, this was a difficult listen for me. I was in my mid teens when this album came out. My younger sister (13 at the time) was a fan and after hearing her crank The Real Slim Shady to 11 on repeat, I listened to the album myself. I was mortified. How the hell can someone record misogynistic, violent and homophobic lyrics and get away with being released?? Because, controversy sells. Retrospectively, it's still terrifying to listen to. There is a lot of dated references and cliched hip hop tropes ("mic check 1-2", name dropping, skits on albums). Instead of crossing the line between satirical and offensive, he pissed on the line while flipping the bird. The lyrics are definitely (a) offensive, even though you know the tracks were deliberately created to offend you (and now you're mad that you reacted the way you did), (b) darkly comic, (I didn't find it funny but I bet a small audience will) and (c) are a sharp jab at everyone and everything. Listen "The Way I Am" first, decide if you're prepared to hear more, then make your own conclusions. I won't be listening to this again, too many bad memories. As for you, brace yourself. Overall: 3/10
I loved this as a teenager. It's actually not very good. The bangers still slap sure, but the rest of the album kinda sucks.
He’s such a good writer and rapper… but he’s so angry and crass.
Love him or hate him, Eminem is honest almost to a fault, and seems to have no qualms about bearing his soul, his trauma, his perversions, thoughts, feelings, fears, humor, no matter how corny or juvenile or primitive, he doesn't hold back, and I can respect that. How does the end product hold up? This is music for angsty adolescents by a man who isn't very far removed from being an angsty adolescent himself. And a man who has clearly been through some shit, but hasn't had a chance to fully mature yet. A lot of the references are very time specific and hence aged poorly. A lot of the humor is corny and redundant. But the classic cuts are iconic enough to validate the entire jumbled mess. And as much as I hate Em's hooks, his flow and lyricism on here are undeniably original and unique. Belongs on the list but doesn't warrant repeat listens.
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.
Nice
Here’s a white guy from Detroit acting like a black rapper, and somehow he was successful. I remember hearing “The Real Slim Shady” on the radio back when Eminem was popular. (Is he still?). Hiphop/rap performers seem to collaborate with each other, which is nice. It hit me that the whole album seems self-centered. Too much talk and violence, and a waste of 77 minutes in my opinion.
No. Just no.
Too much swearing. Why is it so long?
The album was undeniably a cultural zeitgeist and I was a massive fan in high school because... I was in high school in the early 2000s. I despise this now. His cleverness and cultural questioning doesn't justify the raw hatred this man is spewing. I've listened to way more hip hop/rap since high school and there's just SO much out there that is so much better than this album. I gotta say, I really thought "1001 albums to listen to before you die" would base its ratings on "excellent music" and a little less on white boy popularity contest.
Just listening to the beginning of the first track confirmed what I suspected, absolute trash.
This dude is fucking obnoxious, always has been.
The production on this album is undeniably high-quality, filled with catchy beats and memorable hooks. Even though I’m not a fan of Dr. Dre and don’t follow his work, I have to admit that he’s a top-tier producer. Now, onto Eminem. I know my opinion might be outnumbered by the masses, but I’ve always struggled to see him as a timeless musical legend. His wacky, silly, and goofy wordplay, laced with provocative and sarcastic humor, just doesn’t resonate with me. It feels more like satire with a level of maturity that specifically targets a young adolescent demographic. Sure, it’s a phase we can all relate to at some point in our development into adulthood. And yes, maybe his music spans generations, but it’s also a phase that we’re meant to grow out of. As one generation moves past that stage, another younger generation steps in to take over where the last one left off. But here’s the thing: if you found yourself relating to Eminem at 20 and are still listening to him at 60, that might be a pretty good indicator that you never really evolved or grew up.
Listening to this makes me wish I had never been born.
OOOOOOO its soooooo edgyyyy. I don't care, it might be satire or he might be playing a character but Eminem cannot convince me that he's not stuck in a 13 year old middleschooler mind. This shit is not funny at all. I haven't skipped a song so far in this challenge but I haven't been closer than when listening to Kim, something that genuinely had me feeling ill. It also baffles me how he makes something like this which is clearly aimed at young impressionable people, and then is shocked when one of these kids does something he says in his songs. Stan and The Real Slim Shady are cool songs I guess but the other hour + of cringe tryhard gangster bullshit I wish I hadn't had to sit through.
"I make fight music for high school kids" at least he knows. This album feels like it was written for white teen boys who scream at their mom. I do like some of eminems stuff so I really thought I'd like this album more. for a guy who says he doesn't care about what people think he sure does have to remind me every other song. I got bored halfway through. I kept checking how many songs I had left until it was over. It just got so repetitive thematically and lyrically. "Then there ain't no reason a man and another man can't elope" damn eminem said LGBT rights 😌😌 Having to sit through a minute of fake dick sucking noises moves this album down to 1.5 stars.
It's too bad that he relies so heavily on dropping F-bombs and violent, hateful lyrics designed to shock listeners, because some of the music is alright. The best part for me was being re-introduced to that Dido song.
Can't decide if this album is Eminem's justification of being a douche bag or more proof that he is. It's so over the top offensive on so many levels it borders on an attempt at comedy or parody and clearly, Eminem is trying way too hard to be taken seriously. I feel justified for dismissing him for all these years because it is as horrible as I thought it would be.
This was cool and edgy when I was 13, but as an adult in 2021: nope. This doesn't hold up at all. Couldn't make it more than a few minutes without cringing. Deleting from library, sorry Eminem.
Really not interested in his "ironic" misogyny and homophobia. I'm not shocked, just bored, because I'm an adult not 14.
Favs: Um. I guess "Stan." Sometimes Dido sang, and that was better Mehs: It's beyond meh into painful Worse than I remembered, but I only heard singles. I did not know this had "skits." There is a skit where Shaggy and Violent Jay perform oral sex on each other. Because ha ha they are gay. Ha ha. Then mother raping, girlfriend murdering, mother throat slitting, yelling homo, yelling slut, blah blah. "Kim" in particular is enraging and his voice sucks on the bridge. Ha ha domestic abuse. The edgelord burns. Lyrics aside, his beats and themes are damn repetitive, too. Wish I could give zero stars.
Hay un par de canciones que más o menos. Pero el resto me ha parecido hasta desagradable. Canciones gamberras de niño de instituto. Prescindible.
Absolute classic
The only real Shady
5-
Angry af - lot of bangers
Like listening to a mental breakdown. Incredibly effective and deeply uncomfortable. It’s unfortunate Em has become the lots of complicated words guy cause when he just cuts right to it he nails it.
Arguably the sound of my teenage years as these hit from 16-19 years old for me. I never owned this or any Eminem album but didn't need to as you heard them all the time. I didn't expect this many bangers. The first half was loaded and the second half ended up being arguably better. One of the best hip-hop albums imo and part of an amazing 3 album run.
4.5/5
I’ve listened to plenty of Eminem’s music through the years and this album was an enjoyable journey today. Stan & Criminal were stand outs for me. Happy listening all
Vulgar, but iconic
Listened to this on repeat as a teenager.
A deeply personal rap album and it's all bangers???
god. damn. legendary. album.
Goated
This is a massive nostalgia hit for me. This album is a 5, not because the songs are perfect, but because culturally, it was so massive. It's hard to argue against that. Overall, this was such fun to relisten to, and enjoy again. Classic, stupid, angry Eminem. Can't go wrong.
Cancel culture would have a field day if this was released in the last decade
Phenomenal artist. Unique. Filthy. Misogynistic. Satirical. Unapologetic. Funny.
This is a great, great album. He's got a wacky voice and some amazing wordplay and I'm giving it a 5.
What a great album. Although it has the sexist touches, kind of twisted so fine for me...apart from that great beats, great lyrics, nice overall...
A borderline perfect album. yes it's vulgar and disgusting and homophobic in places (he's since become best friends with Elton John and regrets his statements) but the quality of the song writing and just how different it was made it such an incredible piece of work. There's a reason nobody messes with slim.
No I love him
This is one of the most seminal albums of all time. It was a virtuosic performance of gutty music. Not only is the word-defining song Stan on this album, it's just so lyrical and real. We all loved it.
Eminem’s best work, first album where nostalgia takes over, loved it then, love it now
Eminem’s best work in my opinion, and one that suffers only a bit from skits that weren’t great then, and definitely did not age well 20+ years later. Yet the songs are so good, it’s easy to skip and overlook the skits.
So angry I'm still getting content warnings on the songs, the voice of a generation of kids with bad bleach dye jobs
That was fun
Incredible follow up to slim shady lp, this album is a perfect 10 out of 10 as long as you skip Kim
Biased because this was a huge part of my childhood but it’s iconic 2000s rap and helped define what the genre evolved into
It's an amazing album! It's very over the top and uses a ton of profanity, which adds a certain uniqueness to it. It's got very catchy tunes and melodies, and it's definitely one of his greatest works. Eminem is truly a genius when it came to connecting his albums. This is supposed to be like a sequel to the Slim Shady LP and the way he connects them is genius. Listening to those two albums (I felt I had to listen to the Slim Shady LP before this one) has made me appreciate Eminem a whole lot more. Insanely good!
This is classic Eminem. Accept no substitutes.
yikes, but also
It’s not for me but I respect it
Yes! Good!!@
a masterpiece 🖕
A defiant classic in rap music.
Absolute nostalgic banger
Qué locura que 26 años después siga siendo tan impactante. La narrativa y los sonidos ambientales son de otro nivel. Igual la crudeza de las letras me sigue pegando igual o más fuerte. Brillante pero bien dificil de digerir
181/1001 This has a great flow, some cool beats and clever rhymes. An undeniable album. 9/10
I have his best of on Vinyl. He knows how to play the popstar controversy game, and is also one of the best rappers in the world. Some really strong tracks on this record.
00s classic, changed pop culture
surprisingly good all the way through,
Double Length. Great re up from the goat. Stan has got to be his best song.
El mejor álbum de Eminem
Great absolutely great, I love Eminem and this is an amazing album if you like rap!
This album is amazing, such a good sound to every song, and they are all such good hits from Eminem.
Perfect
It's truly one of the greatest hip hop albums of all time. Eminem's flows and wordplay are incredible, even at his most agressive moments. The songs, beats and flows stand the test of time. A masterpiece! 5/5
insanely good but over-rated
I blasted Kill You at my in-laws' Easter party, caused a stir and got nothing but dirty looks. I sent a series of escalating Stan-esque letters to my father in law, to no response, and now none of my wife's family will talk to me. Thanks Marshall ...
First album I've actually listened to front-to-back before doing this, but some of these songs I probably haven't heard in over 20 years (god I hate typing that). As a whole, the album drags on a little bit, but it's basically all bangers so it's not like I'm begging for it to be over by the end. It helps that Kim goes so fucking hard. The anger and emotion in this track and the rest of the album is just so palpable. It hits me emotionally every single time. I also definitely did not understand some of the themes of these songs when I was a child listening to this album (shocker), but it hits a lot harder now. Great album.
No notes
Finally an album I have listened to before, and it is an absolute banger. Eminem is one of the best rappers out there and this alongside The Slim Shady LP and The Eminem Show represent him at his best. I love how he manages to come up with the most shocking and controversial lyrics that comment on the hypocrisy of the media, parents, political groups and the music industry. Also his wordplay, lengthy rhyming and flow are next level. I say the best songs from the album are Stan, The way I am, and Who Knew.
Yes, this album is homophobic and misogynistic. For a host of reasons, including Elton John and the fact that Em' literally lived in my neighborhood for years, I don't believe that Marshal Mathers is homophobic and misogynistic. That said, I've tried to rate these albums on the music itself, and not the artist. So we'll dock a point for some of the lyrics, but we're starting at the top. Eminem is easily a top 5 rapper of all time. The content of his lyrics was just starting to go out of vogue when this album dropped. Often considered his best album, it topped best of 200 lists, the Billboard 200 for 8 weeks, and has sold over 12 million copies. Influence 5. Hits 5. Quality 5. Intangibles 4. Might not be my favorite Eminem album, but my favorite Em' song, The Way I Am 4.
Eminem – The Marshall Mathers LP (2000) On Day 99, I reached a massive "high-energy" landmark. You simply can't deny Eminem’s artistic skills and rapping ability. Despite being incredibly provocative and controversial, the sheer quality of the work shows exactly why he is a classic artist. The production is consistent, but the real art is in the storytelling. "Stan" was easily the best song for me—it’s arguably the best storytelling track in the genre. The way the noir atmosphere of the rainy sample blends with his intense delivery creates a 5/5-level experience. A definitive 5/5 to lead into the big milestone.
Great album
It's wild how much more I enjoy this over the Slim Shady LP. It is still a bit longer than I'd like and the skits drag it down but it's got a bunch of great tracks.
There’s nothing like it really. Something about his sound
Classic och underhållande rappare! Eminnem är lika smacklig som M&Ms
great, almost all songs are amazing, i love "stan"
The sheer "quantity of lyrics recited" metric yields a 5 for me. Best enjoyed in your car with your windows down and system up. Since i was a pre-teen I've loved Em's syncopated rhymes, wordplay, and flows combined with stupid, clever, and funny lyrics. Liz Cheney was probably right to be concerned. I'd posit exposure to Eminem likely influencing my sense of humor to this day. Listening to this is the equivalent of watching a horror movie. Why is it that we can enjoy tv or movies about subjects that are villains, but we get our nickers in a twist when the same is applied to music? I don't buy that you need to agree with the character or artist's point to enjoy the art (e.g. Walter White?) The modern-day complaints about his lyrics and persona is no different than in 2000, and is kind of playing into his whole point. If we are going to moralize and make it about the artist instead of the art, I feel like there's an argument to be made that it's actually better for an artist to exaggerate his offensiveness but is actually neutral to decent IRL. I'd prefer that over someone who is shitty behind closed doors but has a fake nice, manipulative public persona. That said, I don't necessarily buy his argument that he bears no responsibility for what he says and how it affects others. But, again, we don't hold other forms of media to this standard. cons: skits, tough to listen to around non non-fans or if you aren't in the mood.
I love this album! It does take some compartmentalizing to ignore the misogyny and homophobia, but if you can, this is a wild ride, super fun, and musically interesting. He's an amazing lyricist with all kinds of rap rhyme tricks, imagery, and great humor! Yes, the imagery is sometimes horrifying and the humor often has someone on the point of it, but again it's the craft of it all that grabs me. It's just so well written! He's a reasonably fast rapper, which only got faster in later years as most rappers did. But a big difference is that he is always still understandable. Lord, I hated that whole mumble rap thing and am glad it's behind us! There are very few rap acts where I point to the music, especially in these last few years. It always seems to be a light keyboard and some cicada sounding drum beats. BORING! But Dre brings his best to the Em albums even more than on his own! So many cool beats and great sounds abound. Hooky and fun., I'd listen to some of this stuff as plain instrumentals. So, yah. He's a monster (Or is he? Is it an act like he says sometimes?) But as Vonnegut said in Mother Night "We are what we pretend to be, so we must be careful about what we pretend to be." I know that a lot of people can't get past his spewing hatred and I do get it. But he's not really out there killing people. Right? I don't love hatred and belittling people in the real world. If I heard someone say these things while I was in an office or something, that fella would get punched. But with a humorous touch and an amazing turn of phrase, Em gets away with it for me. Because it is for show. He KNOWS that people get riled up, talk about it, and buy his albums simply because he says it. What a weird line to walk. And I don't think I ever had to defend it like this to anyone, but there it is. He's a bad man with some great lyrics. It's almost crazy to give this a 5, but since it's one of my most played albums in my whole life, it deserves that 5.
um classico
i feel guilty liking this, it's so misogynistic and homophobic. some of the lyrics are so absurd or straightforward that i can't help but laugh. but nevertheless, listening to the songs is so enjoyable fav song: Kim, not directly to listen to but just the pure anger still sticks with you afterwards
As a white guy myself i almost have to give this its flowers or maybe i feel the opposite, embarrassed by this white boy. But its the former. He was the best for a time. I cant speak on anything beyond almost 2005 or so but that was his time. And this might be the greatest of his achievements. Its still just a brash and in your face as his first but it also shows some moments of getting it. Stan is the popular one and it is great but hes got others. About not expecting that dumb kids would follow his every word and he wrestles with that. It still has those moments of fuck you i do what I want but he understands the gravity. And the beats all over are great. The songwriting is great. Its just overall the best he has and ever has. Kim still exists and its awkward as hell. Very uncomfortable. But even then thr hook is great. What else is there. Its the best white boy album of all time. Even if it is alot at times it still stands above anything some jack Harlow or whoever could ever hope to do
Day 14/15 — Eminem — The Marshall Mathers LP (2000) Listened: Mar 9, 2026 Genre: Hip-Hop / Rap Vibe: Angry, playful lyrical deep wordplay with perfect production for his groundbreaking style Highlights: • Kill You • Stan (feat. Dido) • Who Knew • The Way I Am • The Real Slim Shady • I’m Back • Marshall Mathers • Drug Ballad • Amityville (feat. Bizarre) • Bitch Please II (feat. Dr. Dre, Snoop Dogg, Alvin Joiner & Nate Dogg) • Under the Influence (feat. D12) • Criminal Impression: Loved this album as a 9th grader when it came out and love it now. Top to bottom great album. Rating: 4.7/5 Keep songs? Absolutely Revisit album? For sure
потрясно
Haha, nice
Great, angry album. The Way I Am (my fav first listen) was my song of the album. The Real Slim Shady and Stan were my other highlights
This was essentially a movie in my ears. Fan commentary (e.g. "Stan") and lots of sucking dick were huge motifs.
One of the best ever examples of world-building and meta storytelling in an album, Eminem is simultaneously the main character, the narrator, a spoof, a hero, a villain, and lots more. The production is top-notch. Some of the lyrics are problematic, obviously, but it does seem like an intentional conversation-starter. The album works so well as a whole but also contains some of the most iconic singles and stand-alone tracks of the 2000s (I'm looking at you 'Stan'!). It goes without saying the lyrics and rapping skills on show are absolutely phenomenal.
This album is full of huge hits! Very nostalgic for me personally, and some of Eminems best songs I get he's not everyones cup of tea though! 5 ⭐️
This was very violent, very graphic, disturbing, but you can't deny that this is an amazing hip hop album. One of the best of all times. I loved it. I agree that it didn't age well when it comes to the homophobia in the lyrics, it's kinda hard to listen to that, but almost everyone was like this back then sadly. Also, this is hip hop, it's supposed to be controversial and to make you angry, and looking at lyrics from newer hip hop, rap or trap, this becomes a masterpiece just because of how childish some new songs sound. Think of Stan, that is a whole movie in a 6 minute song. There are very few that can write as well as Eminem.
Some of the attitudes and sentiments in this album weren't OK at the time and totally unacceptable now, but there's no denying his ability. Some classics on here.
👍
es una perla
May I have your attention please? Will the real Slim Shady please stand up? Well, it's a legend. Stan is a separate love. I love this track.
Fkn disgusting
Man liekas nav sliktu dziesmu.
So stoked that this album is on the list. This was Eminem’s follow up to a massive success in which his fame clearly is weighing on him. The entire album grapples with his personal responsibility as a public figure and persona. I will acknowledge that this album is seriously dated. The beats and cadence are so very clearly aughts that I spontaneously sprung oversized cargo shorts. Don’t let that distract you, though. The brilliance of Eminem shines through regardless of the drum kit used. He expresses his surprise at his success with a mix of anger and internalized disappointment. He shoulders the blame for people emulating him while angry that he’s being held responsible for the actions of others. The expectations that were suddenly thrust on him for his success is a rebellion point for his alter ego Slim Shady. Meanwhile, Marshall is spiraling from drug use and mental health issues. What has always impressed me about Eminem is he was fairly self aware. This album shows his recognition of the man that he is (was). He doesn’t see himself as someone to emulate and can’t figure it why people even would. He decided the best route to go is to show exactly how depraved he is. Some tracks are fun. Some are tragic. But overall, this us a spectacular album.
I just read Misery by Stephen King. Annie Wilkes is fucked up. She's scary, she says horrific things, she runs over a state trooper with a ride-on lawnmower. It's terrifying and disgusting. And it's a great book. Now, I wouldn't go so far as to say Stephen King is a terrible person for imagining such a character. Why should I? He's an artist creating a character and depicting it the way she should be depicted. It's interesting that we rarely treat songwriters the same way. Eminem's Slim Shady alter ego is clearly a character who does and says terrible things. This is a challenging album to listen to, due to the homophobia, misogyny, and violence expressed throughout it—but it's important to recognize that it was meant to be that. He's playing a character. He even, essentially, expresses that several times throughout the record. But still, many people would say he is "glorifying" homophobia, rape, misogyny, and violence. But... does it really? I don't know. People do and believe terrible things, and we're willing to watch films and read books about it. Why are we so afraid of music about it? I'm not immune to judging an artist's character in my ratings. I know it has affected how I've rated Morrissey, Tupac, Kanye West. And so, in that spirit, I'm going to look at who Eminem has become as a person. His actions in this world point to him being pro-gay rights, pro-women's rights, pro-gun control. I think it's clear where he falls, and it's clear that the shocking lyrics exist to shock, not to represent actual beliefs. Regardless of all of these thoughts, Eminem is clearly an incredible talent. His delivery and lyricism are distinctive and memorable. His influence on hip hop and popular culture are undeniable. The word "stan" exists in the dictionary because of a song from this record. For all these reasons, it's a deserving 5 stars, even if it's a challenging 5 stars.
Ja sicke beats en teksts, soms wel echt griezelig.
Une immense zinzinerie 😱😱😱
Funny and well produced
It’s abrasive and vulgar but everything is catchy and high quality.
I didn’t get the hype behind this album/eminem in general until around this time LY. Then it hit me. Heard 100+ times this year, but let’s go again. Love the start, the skits/interludes are so good throughout (except Ken kaniff). Right into kill you, love the Dre production. Extremly well written as is the Eminem way. It’s not the best or worst on the album, but it’s really good. As much as I love stan the song, it feels a little out of place in the album and that is my man complaint with the whole thing. It’s an all time classic, maybe the most recognizable em song. I get it after “kill you” but I think both should be later in the album or put it first, with Jill you right after, then into who knew . With that being said, Stan has one of the best samples of all time and top to bottom is a great song. Love how the Paul/steve berman skits keep coming up throughout the next few albums. I’m a sucker for cohesion like that. Who knew is another banger. Again the beat/production is so good. Every song seems like it was produced and written at the same time, they all work so well. Very catchy chorus. The way I am is all about the lyrics. Beat is so cool too, but a little simple. The way he can tell a story/Talk about his life in rhymes like this is unmatched. And another super catchy chorus. Love the bells. And I love how you can feel the raw anger all the way through. Fade into real slim shady🔥🔥. It’s not the best song on this album, but it probably is the most recognizable. Beat is so sick. This song reminds me of watching vh1 music videos during summer break. Really awesome music video, haven’t seen it in 15 years at least and I think I know every scene. Chorus is the best, overall song is middle of the pack compared to the rest of the album. Remember me is just Ok, but the lead into I’m back turns it into a much needed add in this spot. Beat is really cool, lyrics are goofy. I’m back is so good. Great lyrics, great production. Great middle of the album song. I want to like Marshall Mathers more but I think it’s jus ok. I like the chorus, verses don’t hit so hard. Still a good song, just not as good as the song prior. Ken kaniff skit sucks. I skip everytime. Drug ballad rocks. No notes, I love this song. Beat is pretty simple but works so well. Amityville too is just straight 🔥🔥. The back half of the album is banger after banger. Snoops verse on both please is so good. The beat is so good. And xzibit from limp my ride? Yup. Another fantastic song. Kim is pretty good, I like the raw emotion and story telling. Beat is just OK. This should’ve been the last song under the influence is a good song but feels out of place. Should’ve been around drug ballad. Even though I think that Kim should be the last song, I still believe that criminal is a great choice to end it as well. I think I just would’ve liked Kim More. With that being said criminal ties everything up and sticks to the theme. It’s a great closing song. It’s also a great song on its own. Overall, I love this album and everyone needs to hear it. It’s not perfect but it’s damn close. Top 20 album I’ve ever heard, pushing top 10. 4.6 stars.
To say this is not really my genre, I totally ADORE this album. Absolutely jam packed with brilliant songs, great samples, incredible beats. Just my fav hip hop album ever I think.
Awesome
Rap classic, dark, foreboding
From one rap/hip hop album (Cypress Hill) to another. But there is a link between the two that runs through the beastie boys for me. I like early Beastie Boys like Licensed to Ill becUse thwre is a ridiculousness anout it and humour in the ridiculousness. I listened to thisalbum back in the day in the same way. Its way over the top amd i always assumed its a parody album but lots of people dont view it as a parody so maybe i’m wrong bit thats how i see it. Fucking hilarious. But a bit subtle and beyond a pure out and out parody, it stands alone. Much like BB did. They werent a parody band but L 2 Ill and Paul’s Boutique iant the serious mature beasties of Ill Communication, etc.
- 0 nummers toegevoegd aan MMMM - 3 nummers al toegevoegd aan MMMM
The one emotion I'm feeling after my listen of this record is outraged -- but thats obviously the intent, so I guess the album succeeded. It'll take more listens for me to decide if I'm transfixed or offended, but im definitely awestruck. This thing feels momentual even a quarter-century later
It’s interesting to see how the ratings over time for this album are in steady decline. I’m sure it’s to do with the spotlight placed on narcissism and the deplorable behaviour of a certain bunch of male celebrities. This album is full of domestic violence, homophobia and a general objectification of women. these things conflict with my own values to the point that it’s a struggle to get through some of the tracks. I fucking love this album. OK I'm back to bump this up to 5.
Not an album I can be objective about, since I used to listen to this all the time in uni. Still, I can try: the mix of absurdist dark humor yet at the same time chillingly personal lyrics, so many catchy hooks, and beats that fit it all seemingly - this is obviously a classic. Faves: Kill You, Stan, The Way I Am, The Real Slim Shady, Remember Me?, Marshall Mathers, Criminal
This is rapping at its absolute best, one of my favourite records during my early teens. I remember my brother got me into Eminem, at probably an age way too young, I have been a big fan ever since. The boundaries pushed on what you can get away with saying and still being commercially successful is astonishing. I love how dark the themes of this record are, yet it had two massive hits. Obviously Dre producing the album means it’s gonna have a bullet proof selection of track quality, pairing it with and MC such as Slim ensures it’s going to be a 10/10 listening experience. Slims got everything on this record, he’s got flow, he’s got story telling, he’s got humour, he’s got metaphors, he’s got complex rhyming schemes and most importantly he’s got something people actually want to listen too. One of my favourite facts about this album is that after releasing ‘Stan’, Slim has had two people break into his house. Both of them named ‘Stan’. Kind of hilarious kind of frightening. I even like the skits on this album. That says a lot. I genuinely think ‘Drug Ballad’ is one of the best Eminem tunes ever released, the rhyme scheme is legendary and way over looked. Favourite tracks are: ‘Kill You’, ‘Stan’, ‘Who Knew’, ‘The Real Slim Shady’, ‘The Way I Am’, ‘Remember Me?’, ‘I’m Back’, ‘Marshall Mathers’, ‘Drug Ballad’, ‘Bitch Please II’, ‘Under The Influence’, and ‘Criminal’.
I’ve lost count of how many times I’ve heard this album. It seeped into my life early, either blaring from my older brother’s bedroom, echoing through high school speakers as lunch period wound down. What continues to surprise me, even now, is how playful the record feels despite the ferocity of Eminem’s delivery. The aggression is real, but it’s laced with mischief. The beats are inventive, the skits grotesque and confrontational, and Slim Shady delights in provocation, taking aim at anyone and everyone without discrimination. The guest list is familiar and expected (Dr. Dre, Snoop Dogg, D12) figures who anchor Eminem within his established orbit. Yet The Marshall Mathers LP is not merely an exercise in shock or bravado. Running beneath the album’s outrageous humor is a persistent gravity. Eminem writes through the lens of childhood neglect, poverty, fractured faith, and the suffocating consequences of fame. These themes are the emotional engine of the record, giving weight to even its most cartoonish moments. What ultimately emerges is a deeply tragic album masquerading as spectacle. The violence, satire, and outrage function less as ends in themselves than as coping mechanisms, ways of processing trauma in public, often at the listener’s expense. That tension between playfulness and pain is what gives the album its staying power. Decades later, it hasn’t dulled or calcified.
Like a deranged journey through the inferno of his mind. At times the personal and the political blend. Absolutely fantastic stuff.
A lyrically incredible record from start to finish. Having grown up listening to Eminem and specifically Curtain Call on repeat, but having never listened to this album, I absolutely loved it. It includes some of his hits such as Stan, The Way I Am and The Real Slim Shady but I was equally as impressed with the lesser known tracks, especially Kill You. The lyrics are 'offensive', hilarious and extremely hard hitting, especially Kim, which was quite the uncomfortable 6 minute listen. This is an artist at the absolute peak of his powers, with a truly brilliant array of songs.
- bizarro - letras insanas - kim uma das músicas mais perturbadoras já feitas - álbum FODA
A disturbing peek into the troubled mind of a rap icon.
One the best rap albums ever. Launched him into top-level fame.
MY FAVEEEEE
I mean the nostalgia is real but with a relisten it’s still a phenom
This album is where Eminem hit his peak, everything coming together just perfectly. Some of the lyrical content hasn't aged too well, but I'm definitely not going to mark it down because of that. There's a diverse range from humour to horror, all beautifully delivered. It's one of those rare albums where there's not a single dud track. I listened to this loads when it first came out, and relistening now reminded me just how good the production, beats, and delivery are. Easy five star album.
2026.01.09.
Listened on the drive to and from work. Certainly not a record for anyone with a weak stomach. But if you can get past the misogynistic and homophobic character acting the messages of celebrity worship, media hypocrisy, and male loneliness are as relevant today as they were in 2001.
Klassi. Ansi agressíf, sem er gaman í þessu tilviki. Nýtur líka góðs af nostalgíunni.
HhohoHIPHOP für weisse TrailkerParkTrashKidies GOAT! und natürlich Dr. Dre. c
Great album.
Göttliches Album, das sind 5 Sterne und das Ende der Diskussion. Nur wacke Pussies geben weniger
Voller Nostalgieflash, hab ich als Jugendlicher auf und abgehört - gut, dass ich die Hälfte nicht verstanden habe, teilweise sehr grenzwertig. Hat sich dennoch sehr gut gehalten. Bin zwischen 4 und 5 geschwankt, aber die erste Hälfte + Bitch Please II sind es 5 wert.
No. 65 The beats are fantastic independent of the lyrics. His flow and rhymes are incredible.
A master class in rapping, rhyming and cinematic storytelling, aided and abetted by a stellar production. Eminem further cements his position as one of the best MCs of his generation with an incredible flow, a unique mix of white trash, horror core and hardcore rap, and a level of irony and burlesque rarely seen before in hip-hop (except maybe with Kool Keith). Juggling between multiple fictive personas, he creates a vivid and theatrical gallery of monsters that only serves to mirror the society that produced them. The level of pearl-clutching this album seems to cause is absolutely hilarious, and only proves that it's still relevant today. People whining about the slurs and the violence clearly don’t understand the difference between an author, a narrator and a character. Do they also think Borat is a real documentary about a real Kazakh man ? Anyone who listens to Stan or Kim and doesn’t understand that the whole album is satire / social commentary just deserves to be laughed out of the room. Yes, it’s crass, juvenile, provocative. It’s the hip-hop equivalent of shock-rock, it’s meant to be over-the-top. And this record completely hits the mark in that regard, reaching ridiculous levels of trashy dark humour that haven't really been matched since (or maybe by R.A. the Rugged Man and J-Zone). It’s absolutely no coincidence that the last track is a South Park tribute ; they all come from the same place of anger at the world and its insanity. 9/10
“Steve Berman” says it all. With this record, this young white kid flips and makes fun of everything, with a great flow and a rare mix of emotions, from cynicism to melancholy or rage. It’s very funny, offbeat, openly provocative but it is still over the top rap. A real bomb, consistent from start to finish, and one Eminem will struggle to match again. Loved and still love it.
Omg just that
Eminem's greatest work, all on one album. From "Stan" to "The Real Slim Shady" to "The Way I Am" to "Kim," Eminem changed people's perspective on the rap format by deciding to write songs about more vulnerable aspects about his life. Effortlessly witty and vulgar, Eminem created what many people consider one of the greatest hip-hop albums of the 2000s.
Huge influence on me as a teen. The flow and beats are unmatched. Opened up my eyes to a lot
Even I, the least hood-person in the least hood-country during a sheltered childhood, was affected by this album in 7th class. It took us all with it, from catchy (Slim shady, The Way I am) to beautiful melodies (Stan) to being outright shocked (Kill you, Kim, ...). Lyrics don't hold up perfectly, but from pure nostalgia, the 5* are warranted. For a non hip hop person the most important hip-hop album.
Genre changing Album that had an effect on millions of people. I’m a Stan!
Top tier
Awesome
Another solid Eminem album, nearly as good as his first major studio album, the Slim Shady LP. Beats are solid, Eminem is still rapping hungry. There are probably a couple more skippable or just average tracks here, but nothing that is bad. This and Slim Shady LP are his only two truly great albums. The third one, after this, is decent, and then it starts to go downhill. Some of these tracks transcend hits, like Stan, the Real Slim Shady and Drug Ballad. 5/5
I thought I was going to not enjoy this as much as I did. I listened to it quite a bit back in the day and thought that I might find it a bit too crude and offensive 25 years on - but no, it’s a classic. Beyond one or two filler tracks, everything else is high calibre - dark, disturbed but highly self aware. Kim is still pretty harrowing though and I won’t be playing it around the kids any time soon.
It's offensive undoubtedly, where's the line between edgy & downright antisocial? Elton John's story about why Eminem isn't homophobic convinces me that this is firmly tounge in cheek, it's a shock jock approach to selling records and as a commercial success it certainly hit the mark. The final track,The Kids, which is samples South Park is another bit of supporting evidnce that this album isn't to be taken seriously. I'm also conflicted on rating an album with 'skit' tracks that mean you want to keep a finger close to the skip track button. The genius of the rhythm & rhyme comes through strongly but ultimately it's probably only 6 or 7 tracks within a bloated 77 minutes. Despite all these contradictions i think it's great
Storming. Absolutely brilliant. One of the best rap albums of all time. Enjoy!
Needs more then 5 stars to rate this album.
I see why my mom didn’t let me listen to Eminem when I was younger. I love how bold and not politically correct he and this album is. He was definitely ahead of the times. Bars after bars
Modern day story teller
Will the real slim shady please stand up
Insane
I don't like every song, but this has been one of my favorite albums for a long time. Great work of art.
Banger som faen, Eminem har talens gave og føkker med no hevy beats
Controversial nowadays yes, but it was also meant as a satirical album. Eminem is probably one of the best lyricists / rappers/ poets of the modern era. Amazing beats through the entire album thanks to Dre. Regardless of whether people like Eminem or not his talent and skill and intricacies are undeniable.
Amazing album. Not something I throw on a lot anymore but when it came out, this was insane. Very different than anything else at that time.
Good
Killer. Doesn't age well for 2025 sensibilities but I like it.
Eminem fully falls off after those first three solo albums and the 8 Mile soundtrack but this remains his opus.
Klare 5 Sterne. Wie absurd ist es eigentlich aus heutiger Sicht ein Album mit einem Skit anzufangen, dann mit „Kill You“ einen prolligen Disstrack zu bringen, um beim dritten Song mit Stan dann den wahrscheinlich besten Storytelling-Raptrack überhaupt abzuliefern? Sehr wilde Mischung.
Keine Diskusion.
Mir ein bisschen zu lang geraten, deshalb nur 4,5 von 5, aufgerundet dann aber 5. Ich mein was will man hier gegen sagen?
a classic
Really hard to overlook the extremely crass and unsettling lyrics...yet I'm doing it
This might be the ultimate guilty pleasure album and maybe my favorite rap album. Stan is up there for favorite hip hop song as well. All the songs execute their concept well and not too many skits. Each song is unique enough that I remember them easily by the title. One or two of the features on the back half are weaker and the BJ skit was tough but besides that I love it. Eminem at his best, for whatever reason I find the narratives he paints much easier to follow than other rappers. Rating: 4.9
Love it. Own it.
Eminem ❤️
A truly brilliant hip hop record. Great production coupled with amazing rhyme schemes and provocative storytelling. The content is provocative and also crass at times but hard to underscore the cultural impact it had on the world. Love him or hate him this album vaulted Eminem into Rap God status. The Way I Am, The Real Slim Shady and Stan are all timers from the catalog. Stan is such an original idea and Kim is a wild concept. I think most Rap are better in the moment; many have limited staying power. Some kid will listen to this in 50 years and it'll be their Dark Side of the Moon.
Solid
WHAT AN ALBUM!!!! I had already heard some songs from this EP but hadn't listened to it completely. I will definitely listen to it again, what an amazing album!
The best
Outrageous, satirical, realist, and forthright, Eminem's magnum opus only gets better w/ age, no matter how 'of its time' his hatreds and vulgarisms are. 'You want me to fix up lyrics while our president gets his dick sucked?' Right he is to call out the engine of hypocrisy his country often runs on, but his wit and penned social-awareness only works b/c, as a technical rapper, he's indisputably a genius. It's more than the rhyming, tho 'taught 'em to swear' and 'daughter to wear,' or 'two kids, sixteen,' 'M-16,' 'ten clips each,' 'them shits reach,' 'six kids each,' 'Bill Clint's speech,' 'fix these streets' are prolific displays of the skillset. It's beyond his flow as well. It's his tone, as angry as it is resigned: urgent yet nonchalant, it's a dosage of deep clarity.
Gold such a good fucking album
Really enjoyed listening to this again. I'm
Stan is the real star of this album
One of those albums, that unless you have a massive disdain for hip-hop in general, I can't fathom not understanding the importance of at least 4-5 songs, much less the full album. Probably within the first 10 albums you would list regarding hip-hop, if you had to sit and create this list yourself of 1001 albums. As for the actual album review, it's Eminem in his bag both lyrically and sonically, it's him at his absolute peak, knowing the influence he has (whether he wants it or not) and weaponizing it in such an unbelievable manner unrivaled in music. I'm not a huge fan of horror-core at times, especially cause it's a thin line between shock value, and just plain corniness, but for the most part the line is toed very well. Not my favorite Hip-Hop album of all time, but you can't tell the story of the 2000's without Slim Shady.
A profoundly impactful debut album from one of the best, if not THE best rapper in the world. This album pushed basically every boundary that there was at the time, tested every limit, and came out as a piece of work that is still relevant today. #stan
Many bangers, very few mid tracks
Even the skits are bangers. 6/5
Sin entenderlo todo todo, tiene momentos que parecen infantiles. Pero tremendos temazos. Y Stan eS TAAAAAN buena...
The first track sets the mood for the rest of the album. The brutal “Kill You” makes you feel uneasy, as if what Eminem says might actually be true. I really hope that when he claims at the end of the song that he’s “just playin’ with the ladies,” he means it! Its intensity continues with the fabulous duet with Dido, “Stan” — arguably one of the most beloved hip-hop songs of all time. The track holds deep meaning for Eminem. The album aims to be a bold statement against everyone who disliked his work, his life, or doubted his talent. Besides his raw and often controversial language — which, by the way, drew attention from Lynne Cheney, the Second Lady of the United States from 2001 to 2009 — she even called for age restrictions on music sales after citing lyrics from “Kill You.” Despite all the noise and controversy, I really loved the production. The collaborations speak for themselves — featuring icons like Snoop Dogg and Dr. Dre. Curiosity: The word “Stan” eventually entered the Oxford English Dictionary as a noun. It’s defined as ‘an overzealous or obsessive fan of a particular celebrity.’ When used as a verb, it means to be an enthusiastic fan — as in saying, ‘I really stan this artist.’ Look it up!
Insane follow-up from his first album. How fame came fast from someone who was speaking his god damn truth. Is Eminem so scrutinized because he reveals how fucked up white Middle America is? Did he shatter their porcelain perception? Also helps listening to this knowing he sobbed at his daughter’s wedding. He is a lover boy regardless of his profane lyrics.
Gear: Fostex TH610 Artwork: 🌲🏚️🔳 Production: 👨🏾⚕️🌿🌟 Music: 🖕🏻👱🏻♂️🖕🏻 Rating: 🦸🏼♂️🦸🏼♂️🦸🏼♂️🦸🏼♂️🦸🏼♂️/5
Reading the song titles I didn’t recognize many, but it all came back to me on listening. A lot can be said about the quite horrendous lyrics, but my opinion would be that personas are quite common in rap and could/should be separated from Eminem himself; even says it in ‘Stan’ he says things just playing, and Stan might need counseling if he can’t seperate that out. Should rate down for some of the crass things but he does rap with mastery and nostalgia also plays a part here.. 4.5/5
Il est chauuud
Eminem, premier sur la lutte des droits gays et ça c'est magnifique. Je savais pas que les sons venaient de cet album à la base et très sympa de les écouter dans un nouvel ordre et ptn c'est fort
I think this is his best album that balance on his angry/funny persona. There are so many hits that I remeber from my teenage years and they still hold up pretty nicely. 5/5, almost 4.
An all-time classic. Is it too edgy and angry? Yes, but it is very much an excellent product of its time. There are misogynistic lyrics in this album as well, but due to the sometimes absurd lyrics it is hard to take too serious. 'Stan' is one of the greatest rap songs of all time and very inventive, along with just a great cohesion in the album. 5/5
I love Eminem way more than a 44 year old male should.
Just a classic
Putting aside the talent and discipline for a moment—imagine having the fucking nerve to write this shit down?? Eminem doesn't give a fuck—the man is operating outside of society. He is at large; he is free.
<3
Cracking album. Brings back early teenage years. Very inappropriate listening for someone of that age, or any age for that matter. But still, giving it a 5.
Love this one, Eminem at his finest
wordplay like no other. this album felt like a raw exorcism of his own psyche. suburban rap at its finest.
This album falls off a bit for me at the end, but 'Stan' is undeniably GOAT'd.
After many years of loving this, some parts can stand out as corny at times. For example, I think Em’s chorus writing ability is a clear low point. I’m not sure if it’s cause I’ve heard all of these choruses before but sometimes they do hit. However, when I listen closely I think those choruses can be on the annoying side. Speaking of annoying, I think this record just goes on too long. It’s very of the time to make a 18 track multiple skit album, but it takes away some of its staying power because of that. That being said, for 18 tracks, this thing is consistent. Tracks like Bitch Please 2 get overlooked because of the massive hits on here, but would be huge hits on a different album. Overall, I think this is a top 10 rap album of all time. I don’t think it represents the genre as a whole to be the best rap album of all time, but I think it’s consistency and cultural impact make it one of the greats.
10/10 no notes
Ikke like fengende som det var for 5-20 år siden, men fortsatt ett av de beste albumene noensinne. Kommer til å komme tilbake til det resten av livet.
escutava muito eminem quando adolescente e fiquei feliz de poder escutar esse album novamente. eminem faz fácil um rap tocante e Stan foi minha faixa preferida com muita carga, com muita vulnerabilidade
One of the best albums ever made 10/10
He's so angry.
Amazing
In general, rap/hip hop is not for me, but Eminem changes the game. His songs are fun and easy to follow. Sure, times have changed, but this album will always be on point. Though listening to this album at 8AM is an interesting choice I made 👌
Wow. I’ve listened to this album for hours and hours back when I was 14-15 I loved the explicit lyrics, I loved the whole vibe. The Marshall Mathers LP felt raw, rebellious, and unlike anything else at the time.
One of the greatest hip-hop albums of all time. He continued to piss people off by dumping his own insecurities, fear, anger and hatred into our ears. The fact that 'Stan' was a UK Christmas number one and is now shorthand for an overzealous fan, shows how he had pretty much conquered the world at this point. He'd never be as good again. Best Tracks: Kill You; The Real Slim Shady; Criminal
There’s a couple stinkers and the skits are awful as usual but it’s still one of my favorites. I was going to give it a 4 but the R-rated LFO parrot in Marshall Mathers gets it to 5.
Stan is the best
The best rap album ever
People throw around the words ¨life changing¨ too often and too easily, but what else do you call it when you’re 13 and you listen to the whole (edited) album in a music store and have your eyes opened to things you never even knew (or wanted to know) existed. Then a year later you listen to the (unedited) cd a friend lent you while you’re trying to sleep in the top bunk at camp and ¨Ken Kaniff¨ comes on and you hope listening doesn’t make you gay. Then of course you make it until ¨Kim¨ and good luck sleeping after that. Growing up in a Christian home, going to a Christian school and being forced to go to a Christian church for hours every week leaves you culturally adrift, forced to listen to the Newsboys and Adventures in Odyssey. Who knew there was a whole world out there, full of pop culture, poverty, violence, vulgarity and dope Dr. Dre beats? Eminem knew. Few things seem as dated today as the pop culture milieu of the late 90s/early 2000s, and this album is certainly included in that. Unlike ¨2001,¨ which sonically still sounds great and lyrically was always back in 1992, ¨The MM LP¨ contains the lyrical equivalents of WWJD bracelets, frosted tips and pants about 5x too big. It’s embarrassing, especially with all the misogyny and homophobia, but then these things have had a resurgence in the US in the last few years. Maybe bigotry is evergreen? Regardless of how dated so much of the subject matter is, it’s still one of the best rap (and maybe any genre) albums of all time. Why? Because Eminem was the absolute behemoth of culture for at least four years, a lifetime in a world where 15 minutes of fame is the rule, not the exception. We hear Marshall Mathers grapple with fame, his relationships, his horrible upbringing, his insecurities. This guy had (and has) everything anyone would ever want but hearing him coming to grips with it is still fascinating after all these years. More than any other rap (or rock) hero, he always seemed the loneliest, the most broken, the one who couldn’t come to terms with having achieved his wildest dreams. He’ll always, in some way, be the skinny, scared, abused kid that grew up in poverty, and the way he showed the world who he really was has never been done so viscerally, so bluntly or on such a big platform. Name another artist who has ever been that big and bared themselves to such an embarrassing degree. That’s why he’s one of the best who’s ever done it, because he dared to go so deep inside himself and take us along, all six billion people alive when this album came out in the year 2000. Best songs: ¨Remember Me,¨ ¨Bitch Please II,¨ ¨The Way I Am¨
Love him or hate him, Eminem is the epitome of a white guy stepping into hip-hop and proving his talent could stand on its own. This album didn’t just make him famous - it cemented him as one of the most controversial and technically brilliant rappers of his generation. The Marshall Mathers LP is an album of pure frustration. Critics at the time accused him of exploiting shock value, but it feels less like a calculated stunt and more like a cathartic release. He was suddenly thrust into stardom, overwhelmed by attention he never asked for, and this record sounds like him emptying all that chaos into the mic. Anger, humor, misogyny, storytelling, social commentary - it’s all thrown at you with breathtaking speed and precision. What makes the album so powerful is that the contradictions never resolve. He raps with homophobia, then later shares a stage with Elton John. He lashes out at fame, yet leans into it with full theatrical flair. It’s messy, offensive, brilliant, and human, a raw glimpse into a man wrestling with his demons in real-time, and letting the world watch. Two decades later, the impact still lingers. It’s not just a landmark in Eminem’s career, it’s a landmark in how music can be both art and controversy at once.
👍🏿 Stan the goated
The slim shady
One of the best!!
Excellent rap music. If you can get over the profanity, vulgarity, and general nastiness, this is incredibly well put together, intelligently produced and written rap music.
HELLL YEEEAAAH BOYYYYY GIVE IT VANILLA THUNDER WHITE SUGAR PLAY THAT FUNKY MUSIC WHITE BOY
Y'know, I remember exactly how I felt the first time I heard "Kim"... Well, OK, I feel like that's jumping the gun a bit. I should probably start a little generally on the album before I dive in so specifically like that. It's just... If there was any one song on my mind from the moment I discovered my group'd gotten this album, it was that one. So, let's back up a little here: THE MARSHALL MATHERS LP is the second and final Eminem album on this list, and by far it's my favorite of the two. Like, sure, I have fun with THE SLIM SHADY LP. The Slim Shady character is such an over-the-top cartoonish villain of a rapper, it's not hard for me to enjoy him the same way I would someone like Freddy Kruger. Y'know, he's a bastard, and you're not supposed to root for him, but dang it, if he ain't just so creative about how he does his shit that you can't help but get a kick outta seein' him do his thing anyway. And while a lot of that kind of material still exists over here on THE MARSHALL MATHERS LP, I think what elevates this to another level above SLIM SHADY is that it takes way more time to reflect on the man himself: Marshall Mathers. As much as I enjoy THE SLIM SHADY LP, at the same time, I hafta admit, it **is** kind of the same thing for an hour straight. Now, Eminem's such a creative and talented rapper, he's able to make it all engaging and entertaining, don't get me wrong. But besides a track like "Rock Bottom" letting the mask slip away a little, you're basically trapped in Slim Shady's world for the runtime. THE MARSHALL MATHERS LP, being more about the man himself (as the title indicates), takes quite a lot of time out to take a step back from the impact the first album of his had and go, "Damn... Shit's crazy, isn't it?" And that's way more interesting than if the whole thing had been shock raps. And I love the shock raps, of course; that's part of what you come to Eminem for. But y'gotta admit, mixing that stuff in with his surprise at people taking his music way too seriously or his extreme frustration at some of the shit he'd been blamed for (as on "Who Knew" and "The Way I Am") can be way more interesting. And, actually, I wanna make a quick point on his shock raps. I've compared them to slasher movies before, but I wanna make clear, he's not just saying shit. Anyone can just say shit. You want proof of that? Look at Bizarre's verse on "Amityville". **That** is just saying shit. There's no passion, no energy, no creativity... Just plainly saying things that're supposed to be shocking, but they don't even come across that way because it sounds like Bizarre just flat doesn't give a shit. You really hafta appreciate Em after a verse like that. I mean, come on: the wordplay? The quick punchlines? The flow? The delivery? The way it all gets strung together? There's a reason why he's so entertaining to listen to beyond giggling at him rapping about taboo shit. I'll acknowledge as well: I get it. Em can say all he wants that he's saying this shit just to make people mad (as he does directly on "Criminal"), or revel in the fact that's become so famous exactly **because** of that (the whole "I'm triple-platinum" bar on "Kill You"), but words still mean shit. No matter how much he claims he's not being serious, he'll admit, there are people who'll take him that way (as on "Who Knew" and of course "Stan"). It's why he's spent so much of his career grappling with the Slim Shady character and why, honestly, his recent album THE DEATH OF SLIM SHADY kind of fails at its goal. If he wants to make the point that if Slim Shady tried to do his shit in the 2020s it'd come off as lame and ineffective... I mean, I know there are people who unironically complain about "participation trophies," so... But like I said in my SLIM SHADY LP babble, besides any comparisons to slasher movies, the reason I don't take too much issue with the shit on this album is that, well, it's 25 dang years old. I can understand being surprised that people backthen let him (mostly) get away with sayin' a lot of this shit. But to be honestly, actually upset at it, in 2025? That's not my dig. Now, I just spent a lot of time focusing on the shock raps ("quick point," yeah right), 'coz that's inevitably what most people focus on when talking about Em's early work. But I wanna take the time to quickly spotlight some other aspects of this album I think are just as worth your attention. For one, the guests features are pretty solid across the board. Sure, Bizarre on "Amityville" isn't... Great. Not very much at all. But RBX and Sticky Fingaz turn in incredible verses on "Remember Me?", particularly Sticky Fingaz. Plus, hey, Dr. Dre, Snoop Dogg, Nate Dogg and Xzibit make fun appearances on "Bitch Please II", even if that song is kind of out of place on the rest of the album? I mean, it's the song immediately preceding "Kim", and if you know that track... Well, we'll get there. Then there's the beatwork courtesy of the Bass Brothers, Dr. Dre, The 45 King, Mel-Man, and Em himself. The beats on this thing generally feel a lot heavier and more hard hitting than they did on the SLIM SHADY LP, and while, sure, there are spots I feel like they're maybe a little drier and simpler than I'd like... Woof, still, there are some great-ass beats across the board on here. I've particularly always liked how heavy the one for "The Way I Am" is, and how it's immediately followed by how comparatively light "The Real Slim Shady" is. (What a single, by the way. And to think, he was just saying on "The Way I Am" that he wouldn't be able to follow up on "My Name Is". What track placement, eh?) And before I get back to my statement at the top, I suppose I should take some time out to mention some of the things about this album I'm not too fond of. For one, there honestly feels like a small dip in quality after "Marshall Mathers"? Like, before that point, it's just banger after banger after banger — not a single miss in the lot! Then we hit the "Ken Kaniff" skit, which, I'll admit, I haven't heard in over a decade, and that'll probably continue for the next decade. It's just, I really don't care about whatever beef Em was having with the Insane Clown Posse at the time. There's a difference between the quick disses on "Marshall Mathers" and actually listening to ICP suck Ken's balls. I'll pass, thanks. And, like, I'unno, I've never thought much about "Drug Ballad"... "Amityville" is mostly good, but dang Bizarre's verse has to bring shit down with his verse... And even as much as I like "Bitch Please II", I seriously gotta ask: what is it doing here on this album? And while I've come to appreciate the placement of "Under The Influence" on the album, it's still not **that** great. If I can be real, it's because of these songs why I honestly kinda like THE MARSHALL MATHERS LP 2 a bit more, despite its own crop of issues. THE MARSHALL MATHERS LP 1 might have higher heights, but, I'unno, THE MARSHALL MATHERS LP 2 is more consistent — and that's with the acknowledgment that "Stronger Than I Was" exists. But, OK, I think I've talked about the album as a whole enough. I wanna devote some specific time now to talking about two songs that're different sides of the same coin: "Stan" and "Kim". You ask me, if you wanna appreciate Em's artistry, both in the emotional depth present on this album **and** the shock raps, you look at these two songs. There's a review on this website that asks, essentially: with these songs both using basically the same story-telling devices, why do we come out of "Stan" feeling so sympathetic, while "Kim" leaves us feeling so horrified? To me, it comes down to a simple fact: both songs are reflections on the persona Em presented on THE SLIM SHADY LP. "Stan" is Eminem taking an outward look, asking what fans get out of his music, and what a worse case scenario for taking his shit seriously would look like. It's a cautionary tale against this kind of parasocial relationship, which, unfortunately, way too many people have taken as a badge of honor. It all comes down to Em's "damn" at the very end, where he realizes that he could have prevented all of this from happening if he'd just been quicker sending a letter. And it's not like he could have known any of this was happening to be able to get to the letter faster, which just makes the whole situation even more of a tragedy. "Kim", on the other hand... "Kim" is the void. "Kim" is Eminem looking inwardly at every dark, violent, intrusive thought behind his lyrics and laying them bare for everyone to hear. And it's ugly. Incredibly ugly. And unpleasant. There's no Slim Shady smirk to take the edge off of things: it is uncomfortably direct in presenting this murder fantasy. In fact, it's not even so much of a rap song as it is a radio play that happens to rhyme. "Stan" is much like that, too, but not to the same extent that "Kim" is. I mean, "Kim" is just... Intense. I remember the first time I heard it, I legit had to pause the album for a moment to recover from what in the hell I'd just heard. Even listening to it now, it made my jaw tense up so much that I'm sure if you popped me on the chin my teeth would legit shatter. Like, if this song disgusts you and gives you chills over just how intense it is... Yeah, that's the point. More than any other shock rap on this album, this is supposed to disturb you and make you realize that, if he was being as real as people had claimed he was... Yeah. You realize now why a silly, stupid song like "Under The Influence" had to follow it. It's this dichotomy that makes "Kim" either the best or worst song on the album, depending on who you are. Either you appreciate just how hard he was willing to go on this song to show that, no, the intrusive thoughts behind his Slim Shady rap are just not fun... Or you don't care and it's still a six minute song where he screams at his wife and murder her while she screams and begs for her life. And I'm willing to give Em enough of a pass on his artistry that I do think it's one of the best songs the album, and for being such a high point of intensity that I think it honestly could have been an album closer if it weren't for "Criminal" bringing his "Don't take me seriously; I'm saying this shit just to make you mad" shit back around home... But I think there's a dang good reason why the censored version of the album straight-up didn't even make an attempt with this song and replaced it with a different one altogether, "The Kids". So, I am honestly surprised by how much I wrote about this thing. Over 2.2k words just like that, goodness. And I don't even like this thing as much as I do SONGS IN THE KEY OF LIFE, which I consider the greatest album of all time, and as such went out of my way to make my longest review. But in the realm of rap albums... It's not high art like TO PIMP A BUTTERFLY or whatever, obviously. And while it has problems to where I ultimately prefer the sequel, THE MARSHALL MATHERS LP has still earned its spot as Em's best album. I mean, for sure, it's the absolute peak of his skills. He was still very good on THE EMINEM SHOW, of course, but there was a change in his style that still caused it to dip just a bit below this album. Then ENCORE happened and nothing was the same. I mean, nowadays, Em clearly values his technical skill over any actual wordplay, and, y'know, it's hard not to listen to the shit he's put out recently and miss what he used to be capable of. Like, besides "Darkness", I don't know if he has a "Stan" or a "Kim" in him these days. Which is all the more reason to treasure this album, I suppose. And if the amount of shit I just wrote about it is any indication... So, uh, yeah. Flawed record, but I'd still call it one of the greats,truly. And, uh... Yeah. I'm not sure now how to end this review. I'm still kind of just in shock that I leapt over 2.2k words just like that. So... Uh, I'unno. Don't do drugs, I guess. Yeah.
I’m at a 4.5 that I’m bumping up to a 5, simply because of my past history with this album & because I think the dichotomy between “Slim” & “Marshall” on this album is incredibly fascinating. I heard this for the first time in like, 2013 or 2014, and I appreciated it as a sort of "pinnacle" to Dr. Dre’s production style back then, without really gathering the lyricism to the degree I was able to on this listen. Eminem’s frustrations about the media & politicians misinterpreting his intent with the Slim Shady LP throughout this album, especially on the issue of Columbine, are honestly really valid. It does come across as a little bit “woe is me” at times, as well as a little bit of an overcorrection at points to turn up the most controversial parts of Slim Shady in ways that TRULY have aged badly, even by the character’s standards. There are some horrid lines here, especially apparent from Bizarre’s guest verse on “Amityville”. When this album is rolling though, it’s an undeniably good rap album with Eminem flowing like water, even with the instrumentation & production work coming across as a lot more dry / simplistic than I remembered it being. I already gave my two cents on the character of Slim Shady from when we got “The Slim Shady LP” in June – he’s a psychopathic misogynistic bully, a pathological liar, and just a slimy little shitbag asshole who you’d never really want to give the time of day to. This album explores what happens when THAT guy gets the eyes of the world upon him, newfound overnight fame, and how to cope with that. And honestly, as far as Slim goes… he handles it pretty well here, on the tracks where “Slim” takes the lead. Yeah, he’s pissed off, grumpy, wants to be left alone & all that, but with all the public pressure, he doesn’t go to anything too extreme. Hell, he embraces the fact that the world sees him as a shitbag that’s inspired some of the other little shitbags of the world to be themselves so proudly, whilst wholly denouncing the worst elements that come with that pride. It’s not a redemption arc for Slim as much as it is him finding his people & acknowledging that a community, even in its own fucked up way, can be a positive. It’s the tracks that involve “Marshall” here (who definitely blurs the line between himself and the real Eminem) that are the most striking to me. He blends in pretty well with Slim, so much so that I think it’s hard to really figure out who's got what track at times. The big hint is that Slim always announces himself to the world, because he’s too much of an attention hog to not do it. Whenever he doesn’t, you’re dealing with Marshall, who’s slowly battered and beaten down throughout the album. “Stan” (all-timer track) is definitely Marshall; he’s empathetic towards Stan’s situation, and he’s just shocked that people would take the Slim Shady LP as seriously as they did. That shock becomes more of a total frustration by “Who Knew”, with him being blamed for everything under the sun, including Columbine, which is utterly ridiculous if you really think about it. His frustrations on that track boil over to “The Way I Am” (all-timer track, by the way), where he fully lets loose and just accepts the blame, leaning into it and letting the stress wash over him like a self-fulfilling prophecy. That self-fulfilling prophecy comes back to bite him by “Marshall Mathers”, where he’s fed up by the media attention that comes with accepting the blame, all the beefs that come with it, and all of the family stress & consequences as a result of the fame hitting a boiling point. You go from there to “Drug Ballad”, which has all the makings of a Slim Shady track in terms of the humor & style, but… he never shows up. This is Marshall getting horribly, horribly drunk, causing a car wreck & getting deep into alcohol to a toxic degree. You see where this is going? Yeah, it’s a buildup to “Kim.” “Kim” is tremendously visceral; the sound design is striking, Eminem’s performance is arguably Oscar-worthy, and it’s one of the most uncomfortable, spine-chilling tracks ever put to tape. It’s torture porn, in a way, but it’s the culmination of the stress, alcohol & drugs wrought upon Marshall through the album, acting as a realization of “‘97 Bonnie & Clyde” come to life. It is the end of Marshall’s tracks on the album, since “Under the Influence” & “Criminal” are both Slim. Now, did Eminem realize he had accidentally made a Greek tragedy while writing this shit? No, probably not. Does my writing fall apart a bit when you realize “Amityville” is probably also Marshall under my rules? Yeah, maybe. Does this Dr. Jekyll / Mr. Hyde-esque “story” enhance MY enjoyment of the album all the same? Absolutely. I think it’s enough for me to get past some of the more minimal aspects of the production that feel less “enjoyable”, some of the more harsh lyrics as a man under extreme pressure saying things purely out of stress & anger, and it reframes the album in a way that feels far more narratively fulfilling as a front to back project. At the very worst, I think this album is a 3, especially if its length & partial bloat are a big enough issue. I think it’s a 4.5 on account of what I said above, but I feel pretty safe bumping this up to a 5. It’s a more fleshed out album than the Slim Shady LP was, and while it’s arguably not as “fun”, it gave Eminem the street cred to prove he would be far more than a one-album wonder. Pretty good stuff.
Masterpiece. The story was good, and the bar's been raised with these bars.
## The Marshall Mathers LP: An In-Depth Review ### **Context and Background** Released on May 23, 2000, *The Marshall Mathers LP* (MMLP) marked Eminem’s explosive follow-up to his breakthrough *The Slim Shady LP*. Recorded in a frenetic 10-month creative binge—often involving 20-hour studio sessions—the album blended raw autobiography, horrorcore fantasy, and satirical pop-culture attacks . It shattered sales records, moving 1.78 million copies in its first week (still a rap record) and eventually selling over 25 million worldwide . --- ### **Lyrics: Brutal Honesty and Technical Mastery** **Pros:** - **Narrative Complexity**: Tracks like "Stan" (a tragic epistolary tale of fandom) and "Kim" (a harrowing domestic horror story) showcase Eminem’s ability to craft multi-perspective narratives. "Stan" alone is lauded as a storytelling benchmark in hip-hop, merging Dido’s haunting hook with escalating desperation . - **Technical Virtuosity**: Eminem’s intricate rhyme schemes, multisyllabic patterns, and rapid-fire delivery (e.g., "The Way I Am") set new standards for lyrical density. His flow shifts between 6+ voices on "Criminal," demonstrating unprecedented vocal dexterity . - **Satirical Edge**: "The Real Slim Shady" weaponizes humor to skewer celebrity culture (e.g., *"Christina Aguilera better switch me chairs"*), blending absurdity with sharp social critique . **Cons:** - **Gratuitous Offense**: Homophobic slurs (e.g., *"Hate fags? The answer’s yes"* on "Criminal") and graphic misogyny (e.g., "Kill You," "Kim") overshadow artistic intent. Eminem later admitted leaning into the *"'faggot' zone on purpose"* to provoke . - **Emotional Exhaustion**: Tracks like "Kim" fuse raw pain with exploitative violence, blurring therapeutic catharsis and shock value . --- ### **Music and Production: Innovation and Repetition** **Production Credits:** | Producer | Key Tracks | Style Characteristics | |----------------|--------------------------------|--------------------------------| | Dr. Dre | "The Real Slim Shady," "Kill You" | Melodic funk, harpsichord hooks | | Eminem/F.B.T. | "Stan," "The Way I Am" | Dark piano loops, minimalist percussion | | The 45 King | "Stan" (sample) | Dido-sampled melancholy | **Pros:** - **Diversity in Sound**: Dre’s glossy, pop-friendly beats ("Who Knew") contrast with Eminem’s grim, self-produced tracks ("Kim"). The harpsichord on "The Real Slim Shady" and bass-driven rawness of "Amityville" create a dynamic palette . - **Sample Innovation**: "Stan"’s use of Dido’s "Thank You" elevated narrative immersion, merging hip-hop with alt-pop sensibilities . **Cons:** - **Minimalist Fatigue**: Some beats rely on simplistic drum loops and sparse melodies (e.g., "Under the Influence"), criticized as "boring and unengaging" . - **Skit Overload**: Interludes like "Paul" and "Steve Berman" disrupt pacing, adding little thematic value . --- ### **Themes: Fury, Fame, and Fragility** 1. **Celebrity Toxicity**: Tracks like "The Way I Am" dissect fame’s burdens (*"I’m not Mr. N’Sync, I’m not what your friends think"*), reacting to media scapegoating post-Columbine . 2. **Personal Demons**: "Marshall Mathers" and "Drug Ballad" explore addiction, poverty, and familial strife, framing success as a double-edged sword . 3. **Alter-Ego Warfare**: Slim Shady (the id), Marshall (the ego), and Eminem (the artist) clash, most notably on "Criminal," where personas blur into chaotic self-indictment . 4. **Social Alienation**: "Who Knew" and "I’m Back" satirize how suburban teens adopted Eminem as an anti-hero, mocking parental panic over his influence . --- ### **Influence: Reshaping Hip-Hop and Culture** - **Commercial Legacy**: MMLP proved white rappers could dominate globally, paving the way for artists like Machine Gun Kelly and Post Malone. Its sales forced rock radio to play rap . - **Artistic Blueprint**: Kendrick Lamar cited MMLP’s narrative clarity as foundational; its confessional style influenced Drake’s emotional transparency . - **Controversy as Catalyst**: Lynne Cheney’s Senate condemnation and Canadian border debates amplified discussions about artistic responsibility vs. censorship . - **Cultural Lexicon**: "Stan" entered the Oxford Dictionary (2017), defining obsessive fandom. The VMA performance with Eminem clones became a meta-pop-culture landmark . --- ### **Pros vs. Cons Summary** | **Pros** | **Cons** | |-------------------------------------------|-------------------------------------------| | Lyrical innovation and narrative depth | Homophobic/misogynistic slurs, aged poorly | | Genre-blending production (Dre + Eminem) | Overlong runtime (72 mins), pacing issues | | Cultural impact (sales, language shifts) | Skits disrupt album flow | | Raw emotional authenticity | Exhausting, unrelenting nihilism | | Technical rapping virtuosity | Chorus vocals often weak ("tone-deaf") | --- ### **Verdict** *The Marshall Mathers LP* is a landmark of contradictions: lyrically brilliant yet morally fraught, sonically diverse yet occasionally repetitive. It captures Eminem at his most creatively fearless, using transgression as both weapon and shield. While its homophobia and violence remain indefensible, the album’s exploration of fame, identity, and trauma redefined hip-hop’s emotional range. As a cultural document, it mirrors the angst of pre-9/11 America—raw, irreverent, and unapologetically messy . > **Key Tracks**: "Stan," "The Way I Am," "The Real Slim Shady," "Criminal" > **Avoid**: "Kim" (triggering), "Ken Kaniff" (dated humor)
It's vulgar and at times very intense (Kim), but it's creative and artistic. Eminem clearly has a lot of demons at this point in time, and so many of these lyrics don't hold up in 2025. It's also easy to forget Lynne Cheney trying to get him banned from all outlets so this is him embracing this villain role she tried to enhance. A lot of mixed thoughts on this album. Stan and The Real Slim Shady are obvious standouts. Drug Ballad and I'm Back surprised me. It's an extremely unique album, and that alone is worth a high rating.
Classic Eminem!
Classic!
i love eminem
Here’s a problem with 5 stars, I’ve give worse rap records three stars but I don’t feel like this is top for me, it’s like 3,7. Anyways maybe 3
The Marshall Mathers LP - Eminem ⭐️⭐️⭐️⭐️⭐️ Probably the angriest, most offensive, relentless beast of an album to ever debut at number one with sales of well over 25 million copies before the dust settled. It's an exceptionally well-done album all around, the flows are head-spinningly brilliant, the wordplay is astounding, the beats vicious, rapid fire and clever his jokes (if they are jokes) are homophobic, misogynistic and more often than not hilarious with absolutely no concession just raw stark talent. The Marshall Mathers LP might very well leave you offended but it will also leave you impressed... like it not.
Lol, I was just wondering the other day when Eminem would show up in my list, and here we are. I listen to Eminem a good amount already; he's one of my favorite hip hop artists. So, this is a pretty easy one to rate cause I already listen to it from time to time, though I admit that the bias will be strong with this one. Eminem is something of a lyrical genius for me, and one of the GOATs, and he keeps getting better at it as the years go on. The Marshall Mathers LP was earlier in his career, and as much as I like this era of Eminem, I think he's gotten much better since this record—with a few proverbial bumps in the road along the way (Revival was pretty rough for me to get through). So, while I think he's pretty much perfected the art at this point, this record happened way before that. That said, for its day, this was about one of the best hip hop records you could find. I know plenty of hip hop heads would disagree with me on this point; some people would argue that this record hasn't aged well because of its "blatant misogyny and homophobia" (I've read plenty of reviews here that echo that sentiment). Whether that's a major sticking point or not for some people, I think it would be hard to argue that—even at this point in this point in his career—Eminem is not already one of the best in the business at lyricism, wordplay, flow, delivery, punchlines, etc. The dude is—and was, even at this point—just brilliant, whether you care for his subject matter or not. So, really, I'm rating this by holding it up against other Eminem records. He has 5-star records to hold up as something of a measuring stick for the lesser records; for me, I feel like I can really only compare him to himself, because I don't think there are many who really compare. 4.7/5—rounding up
Finally an album by a rap titan. This record along with 2001 are two of the best produced records of all time. Eminem became a household name and has stayed top of the game since this release
En riktig klassiker och troligen den enda rapplatta jag älskar. Femma
One of the best rap albums out there, Eminem is so good, 9/10, a lot of nostalgia with this one
GOAT
Questionable lyrics about gay people
25 years on, this album is just as aggressive, transgressive, and fun as it's ever been. I don't think the skits have aged particularly well, but I could listen to almost every other track on here on repeat.
goated
This is definitely a must listen, especially if and because the subject matter makes you uncomfortable
This is the album that made me realise that there was a whole world of music outside Nu-Metal. I remember picking it up from HMV in harrow on CD and would listen to it while doing some temp work for the finance team. I also hid this album from my friends as I was ashamed that I enjoyed it as it didn't make me a true metal head. Objectively....it's got some real flaws and the language/slurs are from a very different time. Also the track where shaggy 2 dope is sucking off silent jay is a track I will skip 100% of the time and I also remember as a younger man not actually understanding what was going on. But in spite of this...I will never not love this album
Very good musically, but a tough listen because of all the hurt, pain, and rage Mr Mathers expresses about his mother and society in general. A younger listener might not have any idea who Mr Mathers is describing in some of the songs.
Classic!
I’m not the biggest rap fan ever but this has been a favourite of mine since its original release. It’s main weakness, and this seems to be a trope of the genre, is that I could quite happily live without the skits. Top Track - Stan
I grew up listening to Eminem and this album is still one of my favourites
Goat
Man, this one takes me back. I haven’t listened to this thing in ages. Fucking great album. Dope beats. Sick flows. Fun skits. Brutal diss tracks. Lyrics that made old ladies clutch their pearls. The good old days, before the PC Police started canceling people for using words they don’t like. Believe it or not, you can listen to angry music with vile lyrics and not think it’s an endorsement of that behavior. Well, you can if you’re not a complete cunt.
Still holds up to me. Before Eminem got too crazy with his rhyme schemes and was super listenable.
Peak Eminem. This album absolutely dominated 2000. It was such a huge crossover success, and for good reason. Em’s flow, rhyming patterns, lyrics and overall mastery is on full display throughout. The album it a bit long, and taking out the 3 D12 songs would probably make this a perfect 100. Dre’s production and oversight rings this into nothing shy of a hip-hop classic. 9.6/10 76/1001
The Marshall Mathers LP es un grito en verso, una infancia rota hecha metralla y tempo. Un disco que arde, hiere y no pide perdón.
Classic
Pearl clutchers get a grip… 5 stars. No debate.
Whether it be satire or shock value or both, this album is nothing id ever go out of my way to listen to (besides the hits). This is my second time listening to it and it still holds up as a weird, artful, twisted, witty classic.
Homophobic, misogynistic, insane, funny, charismatic, worrying, bipolar. Barring all the insane shit, it's a great record. If you can let go a little.
Teenage memories
I love this album. My daughter started listening to it when she was in her early teens and I wanted to see what all the fuss was about. His lyrics absolutely stunned me, as did his delivery. The musicianship on this album is fantastic. I was not expecting much, but what I got was one of the best albums I can ever remember listening to. Powerful.
Riquísimo bro, tremendo
An classic album of 90s where Eminem describes his life in Detroit and hard times he met along his way.
Chill music, vibes, somehow works for studying and getting the thoughts moving and I wrote the ending to my junior research paper to this. Minor imperfections.
Iconic album. One of the best in its genre of all time. Funny skits, sharp, cutting and dark commentary that’s still relevant today. Maybe a little dated with the gay slurs, intent be damned, but not a deal breaker by any means. The song “Stan” in and of itself is one of the best ways to depict a parasocial relationship in an accurate, concise, and scary way. I can’t think of a better thing to even compare it to. “The Real Slim Shady” and “I’m Back” are absolutely iconic, and the features on this album are all genuine legends of their craft. I mean hell, “Bitch Please II” has 5 artists credited, all of which are insanely popular and talented in their own right. Just, maybe be cautious of your surrounding area when the Ken skit starts up. While funny, it’s not something I’d ever want someone to hear me listening to with or without context.
Феноменальный альбом
Nog niet helemaal afgeluisterd, maar klinkt wel echt fucking goed
I have a vinyl version of this that replaces the song Kim with the B side track The Kids. As someone who always found Kim to be the sort disturbing thing Eminem has ever released, its my favourite version of the album. Hopefully Slim Shady isn't truly dead.
Excellent album love it!!
Goat. Nobody does it like Em. Controversial, raw, unique, bold, catchy, comedic, obscene.
Klasyczny Eminem. 12/10
One of the greatest rap albums of all time and solidified Eminem as the most popular and talented rapper in the world at the time. Don't think he ever hit these heights again but rode the wave a long time. It's an iconic album. 4.5/5. Rounding up to 5.
well i kinda love it
One of Eminem's best. Great featuring artists and story telling. Classics like Stan, Bitch Please II, The Real Slim Shady all hold up. Favourites off the album would be Amityville, Stan and Bitch Please II . Kim is a hard listen but finishes strong with Criminal. Album is a 9/10.
Excellent
Holy Jesus! The rudeness!
I just love this album. Had happened to buy it vinyls a few days before. Brings back memories from college days
awesome, loved it. old shady og boss man
Classic
I'm struggling with this one more than I thought I would. I already had The Slim Shady LP, which I rated a 4, expecting to rate The Marshall Mathers LP an easy 5 because childhood me remembers it being better. And it is better. The production is better, his skills as a rapper are better, but as a teen I did not realize how much he complains about being famous and how annoying that is. Listen, when we're talking about Eminem's lyrics, I know there are worse things than that. Much worse. But I was prepared and expected them because I remember those songs. But half the tracks seem like there's at least one line where he complains about fame or being recognized or something like that. And the skits. Good lord. I hate skits on rap albums but Eminem always seemed to have the most obnoxious ones. With all that being said, this is a fantastic album that really changed the game. I remember staying up late listening to the radio to hear "Stan" for the first time. I remember before the song even came out there was so much hype around it and how it was groundbreaking. The Dido "Thank You" sample was absolutely perfect in it. For a period of time, "Stan" was almost profound in early 2000s rap. Eminem performing it at the Grammy's with Elton John was a huge cultural moment. "Stan" kind of makes me cringe a little as an adult, but the impact it had at the time cannot be ignored, and it's still one of the best tracks on the album. Even though I don't vibe with Eminem much anymore because as an adult the angry, bitter lyrics just don't do it for me, "Kill You" is still one of my go-to songs to listen to when I'm mad, and I still remember all the words. "Bitch Please II," "Amityville," and "Criminal" still stand out all these years later, and I appreciate "The Way I Am" so much more as an adult than I did when I was younger, because back then I largely found it boring. And "The Real Slim Shady" remains such a banger. I can't be mad at anyone who hates this album because of the lyrics. Some of them are bad, and shocking, and listening to "Kim" for the first time as an adult was honestly painful. Even when I was trying to be an edgy teen, I knew that song was too much, and it's even worse now. I've been putting lyrics aside for the most part in this challenge, but this album puts that to the test in a way even the Slim Shady LP didn't. I really thought this was be an easy 5 stars for me, but it's not. I'm still giving it a 5 because I'm rounding up from a 4.5, but I'm really seeing the cracks in this album as an adult. With that said, though, Eminem is so good and so talented on this record, and it was such a cultural milestone. And it made a huge impression on me when I was young in a way most albums, even ones I loved, didn't. It's shocking. It's violent. It's of it's time and yet not at all. Some of the most challenging lyrics you'll ever come across, but some of the most talented rapping you'll ever hear. This is 5 stars, but probably the most difficult of all the ones I've given a 5 to so far.
The Marshall Mathers LP is the Follow up to the Slim Shady LP, when Eminem had to confront commercial success and media controversy inspired by the violent, misogynistic and homophobic lyrical content of his debut. The rapper's response was to double down on his antisocial persona with "Kill You" while simultaneously calling out the hypocrisy of parents who expect popular culture to be a babysitter in their absence. "Kill You" is followed immediately by the Dido sampling radio single "Stan" which inspired a millennial slang about toxic and pathological celebrity worship. "Who Knew" reflects on Eminem's rags to riches story while reflecting on "how much damage can one pen do?" His flow is prodigious and the production is much better than the debut, and after revisiting his debut I feel like the homophobic content protested by GLAAD was sort of blown out of proportion.
"Car-crash record: loud, wild, dangerous, out of control, grotesque, unsettling", but ultimately captivating" - Rolling Stone magazine's Touré
So many good songs on here. Em's lyrical flow is what you would expect. Top notch bars with a lot of edge and anger to them. This seems to be around the time he really started to pop and was dealing with fame, exposure, and having a fandom.
I said goddamn! This is one of, if not THE, greatest hip hop album of all time. Nuff said.
Fantastisches Album, fast jedes Lied top
Classic.
Classic Em, every song is good
It’s hard to believe how many culturally important songs are on this one single record. Maybe I am biased because I grew up listening to it, but it really seems to have helped to define a generation. Stan is 6 minutes, but you wouldn’t know by listening to it. The Way I Am is so angry but so honest. Amiteyville goes insanely hard. The whole album is just such a sweaty violent trip. It is offensive. It is disgusting, shitty in a lot of ways. It certainly enabled a lot of homophobia in the early 2000s. But what it does, it does perfectly - is arguably the best. I can’t exactly recommend it. But if you want to listen to some violent horror rap, there is no substitute.
Hmm. It definitely has a lot of shock factor that it acknowledges and it knows it’s gonna cause a lot of controversy and conversation. I initially thought maybe it was just over the top, but by the time I got to the end I think he’s just shining a light on real feelings people have. And there are points on the album it can get very uncomfortable to listen to, but that’s art. And to diminish the album to just middle school angst and dick jokes does it a disservice. I usually don’t care much for the cultural impact of the albums as much as the music itself, but I do think this album is worth an intentional listen through. At the very least, if you aren’t an Eminem fan because all you’ve heard is Lose Yourself and Real Slim Shady, listen to Stan.
The best of the best
I was 20 when this came out and angry. And even though I was a metal head, this was still up my alley. Listening now, it's a little harder to take. Kim is ROUGH. But I still get it. And this record, as wild as it is, it's still full of touch points.
People acting shocked that Em said some crazy shit not knowing he's been about that life. 🙌🙌
Awesome, made what he thinks...
É o Eminem. Não tem como ser ruim
Love this album so much and still know probably 90% of the words. Will certainly continue my multi-decade streak of never listening to the track "Kim" again, though. Perpetual yikes on that one!