... Marshall Mathers
12. Ken Kaniff [skit]
13. Drug Ballad
14. Amityville
15. Bitch Please II
16. Kim
17. Under The Influence
18. Criminal
Public service announcement 2000, A short skit not really that funny or clever. 4/10
Kill you, Yay for a song, with anger and venom wih his rhymes ... Read review
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dealing it with it disgracefully. The Detroit rapper's multiple identities are more mixed up than ever, with Marshall Mathers fighting for prominence against his alt...
Real Slim Shady Remember Me? Feat. RBX/Sticky Fingaz I'm Back Marshall Mathers Ken Kaniff Drug Ballad Amityville Feat. Bizarre B**** Please II Feat. Dr. Dre/Sno...
dealing it with it disgracefully. The Detroit rapper's multiple identities are more mixed up than ever, with Marshall Mathers fighting for prominence against his alter egos: Eminem, Slim Shady, Kenneth Kaniff and his public image. Don't be fooled by the album title: apart from the eponymous "Marshall Mathers" (which runs the lyrical gamut from maudlin to maniacal) you won't learn too much about "the real Slim Shady" here. As fiction bleeds into reality, Eminem aggravates the wound to increase the flow. The Dr Dre/Mel-Man productions on this record don't have the slap-happy bounce of those from the Slim Shady LP; all drums and bass, they're ghostly, minimised slabs of roto-funk. Except, of course for the gleefully self-referential single "The Real Slim Shady", for which Dre appropriately cuts in some of the picked-guitar from his own "Forgot About Dre". Eminem's own co-productions with F.B.T. veer from the bounce to the ounce of "Drug Ballad" to the full-metal jacket of "Kim", where you get to find out all the gruesome details of how Eminem's paramour ended up in the back of that trunk (from Slim Shady's "'97 Bonnie and Clyde"). And believe me, it ain't pretty. If anything there's a lesson to be learnt here: money, success, drugs, murderous intent, mental trauma and schizophrenia are all just as American as apple pie. --Chris Campion
dealing it with it disgracefully. The Detroit rapper's multiple identities are more mixed up than ever, with Marshall Mathers fighting for prominence against his alter egos: Eminem, Slim Shady, Kenneth Kaniff and his public image. Don't be fooled by the album title: apart from the eponymous "Marshall Mathers" (which runs the lyrical gamut from maudlin to maniacal) you won't learn too much about "the real Slim Shady" here. As fiction bleeds into reality, Eminem aggravates the wound to increase the flow. The Dr Dre/Mel-Man productions on this record don't have the slap-happy bounce of those from the Slim Shady LP; all drums and bass, they're ghostly, minimised slabs of roto-funk. Except, of course for the gleefully self-referential single "The Real Slim Shady", for which Dre appropriately cuts in some of the picked-guitar from his own "Forgot About Dre". Eminem's own co-productions with F.B.T. veer from the bounce to the ounce of "Drug Ballad" to the full-metal jacket of "Kim", where you get to find out all the gruesome details of how Eminem's paramour ended up in the back of that trunk (from Slim Shady's "'97 Bonnie and Clyde"). And believe me, it ain't pretty. If anything there's a lesson to be learnt here: money, success, drugs, murderous intent, mental trauma and schizophrenia are all just as American as apple pie. --Chris Campion
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dealing it with it disgracefully. The Detroit rapper's multiple identities are more mixed up than ever, with Marshall Mathers fighting for prominence against his alter egos: Eminem, Slim Shady, Kenneth Kaniff and his public image. Don't be fooled by the album title: apart from the eponymous "Marshall Mathers" (which runs the lyrical gamut from maudlin to maniacal) you won't learn too much about "the real Slim Shady" here. As fiction bleeds into reality, Eminem aggravates the wound to increase the flow. The Dr Dre/Mel-Man productions on this record don't have the slap-happy bounce of those from the Slim Shady LP; all drums and bass, they're ghostly, minimised slabs of roto-funk. Except, of course for the gleefully self-referential single "The Real Slim Shady", for which Dre appropriately cuts in some of the picked-guitar from his own "Forgot About Dre". Eminem's own co-productions with F.B.T. veer from the bounce to the ounce of "Drug Ballad" to the full-metal jacket of "Kim", where you get to find out all the gruesome details of how Eminem's paramour ended up in the back of that trunk (from Slim Shady's "'97 Bonnie and Clyde"). And believe me, it ain't pretty. If anything there's a lesson to be learnt here: money, success, drugs, murderous intent, mental trauma and schizophrenia are all just as American as apple pie. --Chris Campion
dealing it with it disgracefully. The Detroit rapper's multiple identities are more mixed up than ever, with Marshall Mathers fighting for prominence against his alter egos: Eminem, Slim Shady, Kenneth Kaniff and his public image. Don't be fooled by the album title: apart from the eponymous "Marshall Mathers" (which runs the lyrical gamut from maudlin to maniacal) you won't learn too much about "the real Slim Shady" here. As fiction bleeds into reality, Eminem aggravates the wound to increase the flow. The Dr Dre/Mel-Man productions on this record don't have the slap-happy bounce of those from theSlim ShadyLP; all drums and bass, they're ghostly, minimised slabs of roto-funk. Except, of course for the gleefully self-referential single "The Real Slim Shady", for which Dre appropriately cuts in some of the picked-guitar from his own "Forgot About Dre". Eminem's own co-productions with F.B.T. veer from the bounce to the ounce of "Drug Ballad" to the full-metal jacket of "Kim", where you get to find out all the gruesome details of how Eminem's paramour ended up in the back of that trunk (fromSlim Shady's"'97 Bonnie and Clyde"). And believe me, it ain't pretty. If anything there's a lesson to be learnt here: money, success, drugs, murderous intent, mental trauma and schizophrenia are all just as American as apple pie.--Chris Campion
dealing it with it disgracefully. The Detroit rapper's multiple identities are more mixed up than ever, with Marshall Mathers fighting for prominence against his alter egos: Eminem, Slim Shady, Kenneth Kaniff and his public image. Don't be fooled by the album title: apart from the eponymous "Marshall Mathers" (which runs the lyrical gamut from maudlin to maniacal) you won't learn too much about "the real Slim Shady" here. As fiction bleeds into reality, Eminem aggravates the wound to increase the flow. The Dr Dre/Mel-Man productions on this record don't have the slap-happy bounce of those from theSlim ShadyLP; all drums and bass, they're ghostly, minimised slabs of roto-funk. Except, of course for the gleefully self-referential single "The Real Slim Shady", for which Dre appropriately cuts in some of the picked-guitar from his own "Forgot About Dre". Eminem's own co-productions with F.B.T. veer from the bounce to the ounce of "Drug Ballad" to the full-metal jacket of "Kim", where you get to find out all the gruesome details of how Eminem's paramour ended up in the back of that trunk (fromSlim Shady's"'97 Bonnie and Clyde"). And believe me, it ain't pretty. If anything there's a lesson to be learnt here: money, success, drugs, murderous intent, mental trauma and schizophrenia are all just as American as apple pie.--Chris Campion
dealing it with it disgracefully. The Detroit rapper's multiple identities are more mixed up than ever, with Marshall Mathers fighting for prominence against his alter egos: Eminem, Slim Shady, Kenneth Kaniff and his public image. Don't be fooled by the album title: apart from the eponymous "Marshall Mathers" (which runs the lyrical gamut from maudlin to maniacal) you won't learn too much about "the real Slim Shady" here. As fiction bleeds into reality, Eminem aggravates the wound to increase the flow. The Dr Dre/Mel-Man productions on this record don't have the slap-happy bounce of those from theSlim ShadyLP; all drums and bass, they're ghostly, minimised slabs of roto-funk. Except, of course for the gleefully self-referential single "The Real Slim Shady", for which Dre appropriately cuts in some of the picked-guitar from his own "Forgot About Dre". Eminem's own co-productions with F.B.T. veer from the bounce to the ounce of "Drug Ballad" to the full-metal jacket of "Kim", where you get to find out all the gruesome details of how Eminem's paramour ended up in the back of that trunk (fromSlim Shady's"'97 Bonnie and Clyde"). And believe me, it ain't pretty. If anything there's a lesson to be learnt here: money, success, drugs, murderous intent, mental trauma and schizophrenia are all just as American as apple pie.--Chris Campion
dealing it with it disgracefully. The Detroit rapper's multiple identities are more mixed up than ever, with Marshall Mathers fighting for prominence against his alter egos: Eminem, Slim Shady, Kenneth Kaniff and his public image. Don't be fooled by the album title: apart from the eponymous "Marshall Mathers" (which runs the lyrical gamut from maudlin to maniacal) you won't learn too much about "the real Slim Shady" here. As fiction bleeds into reality, Eminem aggravates the wound to increase the flow. The Dr Dre/Mel-Man productions on this record don't have the slap-happy bounce of those from theSlim ShadyLP; all drums and bass, they're ghostly, minimised slabs of roto-funk. Except, of course for the gleefully self-referential single "The Real Slim Shady", for which Dre appropriately cuts in some of the picked-guitar from his own "Forgot About Dre". Eminem's own co-productions with F.B.T. veer from the bounce to the ounce of "Drug Ballad" to the full-metal jacket of "Kim", where you get to find out all the gruesome details of how Eminem's paramour ended up in the back of that trunk (fromSlim Shady's"'97 Bonnie and Clyde"). And believe me, it ain't pretty. If anything there's a lesson to be learnt here: money, success, drugs, murderous intent, mental trauma and schizophrenia are all just as American as apple pie.--Chris Campion
dealing it with it disgracefully. The Detroit rapper's multiple identities are more mixed up than ever, with Marshall Mathers fighting for prominence against his alter egos: Eminem, Slim Shady, Kenneth Kaniff and his public image. Don't be fooled by the album title: apart from the eponymous "Marshall Mathers" (which runs the lyrical gamut from maudlin to maniacal) you won't learn too much about "the real Slim Shady" here. As fiction bleeds into reality, Eminem aggravates the wound to increase the flow. The Dr Dre/Mel-Man productions on this record don't have the slap-happy bounce of those from theSlim ShadyLP; all drums and bass, they're ghostly, minimised slabs of roto-funk. Except, of course for the gleefully self-referential single "The Real Slim Shady", for which Dre appropriately cuts in some of the picked-guitar from his own "Forgot About Dre". Eminem's own co-productions with F.B.T. veer from the bounce to the ounce of "Drug Ballad" to the full-metal jacket of "Kim", where you get to find out all the gruesome details of how Eminem's paramour ended up in the back of that trunk (fromSlim Shady's"'97 Bonnie and Clyde"). And believe me, it ain't pretty. If anything there's a lesson to be learnt here: money, success, drugs, murderous intent, mental trauma and schizophrenia are all just as American as apple pie.--Chris Campion
A review by iamasadlittleboy on Marshall Mathers LP, The (Explicit) - Eminem June 21st, 2006
Author's product rating:
Originality
Definitely a cut above the rest
Lyrics
Sublime
Quality and consistency of tracks
Mixed
Value for Money
Good
Advantages:
Lyrics, tunes . flow
Disadvantages:
May be to coarse for some
Recommend to potential buyers:
yes
Full review
Track listing:
1. Public Service Anouncement 2000 2. Kill You 3. Stan 4. Paul [skit] 5. Who Knew 6. Steve Berman [skit] 7. The Way I Am 8. The Real Slim Shady 9. Remember Me 10. I'm Back 11. Marshall Mathers 12. Ken Kaniff [skit] 13. Drug Ballad 14. Amityville 15. Bitch Please II 16. Kim 17. Under The Influence 18. Criminal
Public service announcement 2000, A short skit not really that funny or clever. 4/10
Kill you, Yay for a song, with anger and venom wih his rhymes simpler than some of the others on the album but (bar the swearing) it' an easy listen with a decent medlody. Not outstanding but above average. 6/10
Stan, The song of the album, with a sample of Dido being used as the hook, with a story of an almost stalker like fan. Probably the stand out for lyric as well as overall brillance. 10/10
Paul (skit), Slightly better than the previous skit, but still nothing special. 5/10
Who knew, Class song, this is what we want, we don't want pointless skits, we want lyrical brilliance like this. He rhymes about how people seem to take his music too seriously, and yet also sound fresh and wonderful. 9/10
Steve Berman (skit), Not even worth talking about. Seriouly Marshall should have stopped these before they even strted. 3/10
The way I am, Catchy, angry and bitter. Wonderful song which for one of the few times in the album shows Eminem's angry writing. It's a song thats attributed to being about the people who dislike him, see even he can hate himself. 9/10
Real slim shady, The first single off the album (I think) and still a classic, with soft gentle but yet wonderful rhyme's over a beat that's there but you won't be listening to it. A catchy as hell hook that'll have you singing it in your head and tapping your shoes to it. Fun to listen to. 10/10
Remember me, A song that seems to flow into the following song seemlessly. Another angry sounding one with a cameo from Dr. Dre. Seems like he's talking to you, but should be a comeback song, not a middle of an album song. 8/10
I'm back, See seemlessl coming into each other. A more fun song than most of the album, with esily rememberable lyrics an a great tune. 8/10
Marshall Mathers, A softer sadder start than most of the other. A song about Em' and his life though how much creative liscence he's been allowed to use is argueable. Fit's the album well, but not much else to say about it. 7/10
Ken Kaniff (skit)... Yay a skit about a guy getting head, yippee...Total filler, and should only be used to fill a toilet. 1/10
Drug Balled, A great song, wonderful lyrics and fun to liten to with a wide variation of images and tunes, overall one of the best songs to listen to and the start of the best part of the album. 9/10
Amityville, Angry but yet fun with amazing lines of poetic genius. Why didn't we get this sort of thing right through the album? One of the best song's on the album. 9/10
Bitch Please II, Listen to it, be amazed. With Dre, Snoop, Nate Dogg and Xzibit all in on this beauty of a rap song. Fun to listen to even if it does seem sexist, you know their's no malice in the song. Not really anything I can say to covey just how great this song is.10/10
Kim, A bit of a sick and saddistic song about His Ex wife, and the mother of his daughter. You can relly feel the anger from his voice, and the lyrics are of an above average standard, but kess than Em's high ones. 7/10
Under the influence, Why, why, why write such a song? Although not terrible it is somewhat distasteful and yet some how incredibly ddictive to listen to. D12 at their absolute best. 9/10
Criminal, Another odd but yet brilliant song, showing signs of anger again, but unlike Kim, the anger goes to sitting in an awsome lyrical composition. Brilliant end to such an album. 8/10
Advantages: So easy to relate to what he says in his songs! Disadvantages: Isnt any!!
I am a very big fan of eminem, hes a lyrical genius and i cannot stop listening to this album! Its my favourite of his. It shows his angry but wity side of eminem and a more personal side. Eminem writes with amazing wit and anger about the circumstances of his life and beliefs! Eminem wants the fans and target auditance to not take it so literal! Its a must listen to and fantastic album by the lyrical genius! If your not really into eminem but would ... ...the album to buy!
one word WOW!
Some of my favourite tracks on the album is stan, the way i am, kill you, criminal and the real slim shady! There all amazing!
Eminem is such a fantastic rapper and deserves alot of respect! ...
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Ciao members have rated this review on average helpful
Originality
Lyrics
Quality and consistency...
Value for Money
helpful
08.07.2008
legend Review ofMarshall Mathers LP, The (Explicit) - Eminemby
craigsterr
Advantages: eminem = legend Disadvantages: none
what an artist and what an album, i wasnt a very big fan at all of eminem for at least 2 years, but his music grew on me and i now have all his albums and alot of his pirate / unreleased / underground music, anyway this album is a great example of eminem and the whole " EMINEM CULTURE " as a whole. cant wait to see his return after the tragic loss of PROOF RIP brother, have to see him show love and respec. this is one of my personally favourite albums ...
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Ciao members have rated this review on average somewhat helpful
Advantages: Very thoughful, intelligent and serious. Disadvantages: One weak track, too offensive for many, too many skits
...'The MarshallMathersLP' is the record breaking 2000 album from Detroit rap superstar Eminem, which would be his second mainstream LP and fourth in total. The album sold over 1.75 million copies in its first week of release, breaking all music records for first week sales (and Snoop Doggs record for rap music from Doggstyle's sales), it went 5 times platinum within its first month of release, making Eminem one of 3 rappers ever to do this, the others being legends 2pac and The Notorious BIG. The album has since sold over 22 million copies worldwide, is Eminems biggest selling album, and changed him from being a famous rapper to being a superstar in music in general and known worldwide.
This album is a far more serious and intelligent album than 'The Slim Shady LP' and deals with many dark subject matters, from the pressures of fame...
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Ciao members have rated this review on average very helpful
Advantages: Brilliant thought provoking lyrics Disadvantages: Some of the tracks are very similar in sound, offensive to some
...this is what I think.
I'll not bother going into the various skits on the album as most of them are simply Eminem making waves, letting the world know what a 'Bad Boy' he is. I've never quite got to grips with the skit thing anyway, the first time you hear them you can have a bit of a chuckle I suppose but after that they just sort of get in the way of the music.
Starting off with a 'Public Service Announcement' someone (I have a suspicion it's Nate Dogg but don't quote me on it!) speaking on behalf of Eminem informs you that 'Slim Shady does not give a f*ck what you think, if you don't like it you can suck his f*cking cock'. And so starts The MarshallMathersLP!
Eminem kicks off with a track called 'Kill You'. God knows how many times I'm going to use the word angry in this review, but this song is definitely angry. At first...
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Ciao members have rated this review on average very helpful
Advantages: Some well known, very good singles Disadvantages: Little variety in tracks.
...have the “MarshallMathers” album by Eminem and, true, it is littered with four letter words and some potentially offensive lyrics but despite that I enjoy it immensely and rap music isn’t even normally my sort of thing being a Punk/Indie/Metal kind of gal!
I have the special edition of the album with 19 tracks and, I have to admit, some of the tracks sound very samey but there is some cleverly amusing stuff on there. The momentary skits in between tracks are amusing for one.
Tha album contains the smash hit single “Stan” which remains one of my favourite tracks for it’s clever musical composition and chilling lyrics about an obsessive, snubbed fan who kills his girlfriend.
Other known tracks by being singles are “The Way I am” and “The Real Slim Shady” both of which stand...
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Ciao members have rated this review on average helpful
Album Notes: Personnel: Eminem, Snoop, Xzibit, Nate Dogg, Sticky Fingaz (rap vocals); Dido (vocals); Jeff Bass, Steve Berman, Paul "Bunyan" Rosenberg (spoken vocals); Mike Elizondo (guitar, keyboards, bass); Sean Cruise, John Bingham (guitar); Tommy Coster, Jr., Camara Kambon (keyboards); DJ Head (programming). D-12: Kon Artis, Proof, Kuniva, Swifty, Bizarre (rap vocals). Producers include: Dr. Dre, The 45 King, Mel-Man, F.B.T., Eminem. Engineers: Richard "Segal" Huredia, Mike Butler, Aaron Lepley. THE MARSHALL MATHERS LP won the 2001 Grammy Award for Best Rap Album. "The Real Slim Shady" won the 2001 Grammy Award for Best Rap Solo Performance. THE MARSHALL MATHERS LP was nominated for the 2001 Grammy Award for Album Of The Year. A Caucasian rapper from Detroit, a Dr. Dre disciple with bright blonde hair--by rights Eminem should be the biggest cheeseball in the hip-hop universe. However, his debut, THE SLIM SHADY LP, contained clever rhymes and even the occasional innovation. His sophomore effort, THE MARSHALL MATHERS LP, is about as subtle as a Detroit Devil's Night and proves Eminem's no fluke, but instead a most unlikely rap visionary. While his horror/shock rap can be repetitive, it's more often hilarious, as he and his Slim Shady character skewer anyone and everyone, notably the MTV-based world that surrounded him after the success of his first record. Few can come up with rhymes as consistently clever as this Motor City madman, and lines which will be repeated as long as this CD is spun. The most startling moment has to be "Stan," featuring haunting, ethereal guest vocals from Dido; an incongruously sublime track, it spins an o henry-meets-'60s teenage-death-song tale of obsessed fan worship gone terribly wrong.
Album Reviews: Rolling Stone (1/4/01, p.106) - Ranked #1 in Rolling Stone's Top 10 Albums of 2000 - "...His tortured conscience gives the album its complex emotional kick..." Spin (1/01, p.73) - Ranked #3 in Spin's "Top 20 Albums of the Year [2000]" - "...What 'going too far' means: really, finally brought that psycho rude s*** home to the 'burbs....leaving more things unsettled than when he started." Q (1/01, p.90) - Included in Q's "50 Best Albums of 2000". NME (12/30/00, p.77) - Ranked #7 in NME's "Top 50 Albums Of The Year". CMJ (1/08/01, p.10) - Included in CMJ's "Best of the Year" for 2000. The Source (8/00, pp.225-6) - 4 mics out of 5 - "...You wanna peep [this LP], if not for the intense lyrics and witty punch lines, at least for the chance of witnessing one of the craziest MCs grow up right before ya ears." Vibe (8/00, p.162) - "...Should forever erase the notion that [he] is the Elvis Presley of hardcore hip hop. If anything, he's rap's Eric Clapton: a white boy who can hang with the best black talent based on sheer skill - enhancing the art form instead of stealing from it." Rap Pages (7/00, p.45) - "...Even more abrasive and offensive....proving again that his imagery and storytelling abilities stand tall over most other rappers..." Rolling Stone (7/20/00, pp.135-6) - 4 stars out of 5 - "...He's more funny and much more scary....A car-crash record: loud, wild, dangerous, out of control, grotesque, unsettling. It's also impossible to pull your ears awat from." Q (8/00, p.98) - 3 stars out of 5 - "...[His] disaffection sucks you in and the wholesale nihilism can still provoke shivers..." Uncut (8/00, p.90) - 4 stars out of 5 - "...You might not like where he's dragging you, but there's no denying the style with which he does it..." Melody Maker (6/6/00, p.54) - 4 stars out of 5 - "...It has an answer to everything, filling every parking-spot in the towering multi-storey of ego with a triple-bluffmobile....No one else puts such a rocket under rap's self-consciousness or makes it so shocking..." NME (6/3/00, p.39) - 9 out of 10 - "...Real twisted...one long, disillusioned whine....[It] may be the white noise of America's Most Unwanted, but it also the product of a talent supremely Untouchable." Entertainment Weekly (6/2/00, pp.76-7) - "...Indefensible and critic-proof, hypocritical and heartbreaking, unlistenable and undeniable; it's a disposable shock-rap session, and the first great pop record of the 21st century..." - Rating: A- CMJ (6/12/00, p.3) - "...Musically, the album is a triumph....You can't deny [the lyrics'] searing honesty, and that's what makes [him] one of pop's compelling artists."
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