The Marshall Mathers LP is often seen by fans as Eminem's crowning achievement. After his previous success with The Slim Shady LP, Eminem was now the target of both MTV and controversy from the religious right and feminist groups for his "misogynistic", "homophobic" and "violent" lyrics. This album was much like a reaction against his new found fame and his critics. Eminem raps about the problems with his new found fame, where he finds both frustration and humor in. The album differs from his relatively poor lifestyle portrayed on his previous two albums, as he is now a "somebody." At the same time, his first major album was such a hit some doubted whether or not he could create a successful followup. Eminem pokes fun at the pressure he is given from record label executives, while also feeling the weight of the world at times.
The album was released slightly over a year after his previous one, and about 6 months after Dr. Dre's huge hit Chronic 2001.
The album was once again handled primarily by Dr. Dre, the unsung hero Mel-Man, and The Bass Brothers, with a track by The 45 King and Eminem himself. Like his previous album, Eminem oversaw a lot of the beats. The beats are some of the better beats in hip hop ever produced.
The MMLP is seen as Eminem's best, but does it really hold up with all the hype? I've already given the SSLP a solid A rating, let's see what this album will get.
So after the "edgy" disclaimer opener, we are greeted with the album's first track and first banger, "Kill You." Since most people probably skip over "My Name Is" on the SSLP, "Kill You" is good example of an album with an amazing opening. One of the more controversial Eminem songs at the time (pretty much based on the title alone), this track also marks the introduction of Eminem's trademark video game-esque beat. As soon as you hear it, you will know what I am am talking about. His previous album did not have this, but Eminem would use this style beat on many of his songs, especially his singles. It's almost like a G-Funk style with synthesizers but in a schizophrenic, crazy, Slim Shady kind of way. Basically, it sounds like a Dre beat, but in Eminem's style.
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| Music the whole family can enjoy! |
So yeah, "Kill You" has a catchy beat, great rhyming schemes, and is one of the Eminem's most popular non-single tracks to this day. Opening with this was definitely a great idea, as it is an introduction to the mood of the album, and his style in general.
Next we got the classic "Stan," a tale of an obsessed Eminem fan eventually following in the steps of Eminem's song "99 Bonnie and Clyde," where Eminem kills his wife. The song is rapped very well, and much like "Guilty Conscience" on his last album, the gimmick/basis of the song is pulled off excellently. The song is very relevant to this day, as fans can be even "closer" to their idols with the introduction of social media. I don't listen to this track much due to it's length and it's over saturation, but it's a great song. Oh, and the beat by 45 King Cole featuring Dido's "Thank You" bass line. Really good idea to make that into a beat, especially only a year after it came out.
"Who Knew?" is Eminem's first song on the album (and pretty much a subject covered in the rest of discography) about his new found fame and the world's reaction to him. This song is another straight banger. The beat is one of my favorites on the album, it's just infectious. Eminem pulls off good rhymes while adding a signature touch of humor.
Then we get the "Steve Berman" skit, which reflects the attitudes of the record executives who put pressure on Eminem to match the success of his first album. The skit ties directly into "The Way I Am", Eminem's first serious single. Produced by Eminem himself, the beat is a sinister sounding piano loop with church bell rings in the chorus. You can really feel Eminem's anger in this track about the media blaming him for the Columbine Massacre (the two shooters didn't listen to rap, and Eminem had barely been in the spotlight by the time of the shooting in April 1999), as well as fans harassing him in public when he's just trying to catch some downtime. One of the best tracks on the album, even if it's a radio hit.
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| This video wasn't bad either. |
Next we get the primary single off the album, "The Real Slim Shady." The song is in the same vein as "My Name Is," being the catchy, comedic lead single for his album. The beat contains that trademark Eminem sound first broad casted in "Kill You." There's a lot of pop culture references, some of which might feel dated (Tom Green?). Overall, an enjoyable nostalgic track that I take as a guilty pleasure. It's just a fun a song, even if it's been overplayed and is a bit outdated.
"Remember Me" is another underrated classic from this album. This this the first rap guest appearance on the album, featuring RBX and Sticky Fingaz of New York rap group Onyx. Apparently this song (at least Sticky's verse) was supposed to be on 2001 but Eminem loved Sticky's verse so much, he convinced him to do it on Eminem's album instead. RBX's verse is alright. You might remember RBX (you should) from 1992's The Chronic album, where he made numerous appearances. Although he had a solo career, it never took off like many thought it would (there were some issues with Death Row). Ironically, the song's hook is based off of RBX's song "A.W.O.L.", which was a diss to Dr. Dre back in the day.But yeah, his verse is decent, but Sticky Fingaz verse is spectacular. You may have heard people rave about it before, but this is easily his best verse he's ever recorded. Eminem's verse is great too, especially the rhyme scheme he pulls off towards the end. You'll have to check it out. The dark beat also goes to this song perfectly.
"I'm Back", much like "Who Knew?", is another self aware track about Eminem's success and influence on the youth. The chorus often gets stuck in my head for no reason, even when I haven't listened to the song in awhile. Good song, but not much else to say about it.
"Marshall Mathers" is the first Bass Brothers track, and it follows in the same footsteps as their work on the SSLP: fucking brilliant. The acoustic guitar beat is awesome. Many love this song, but many like to point out the faults in it. Eminem disses Insane Clown Posse, which many felt was unnecessary. I can't really understand those claims, as ICP had recently made fun of Eminem on a radio show. The jab at ICP in the verse is better than an entire diss song on them. Also, the song sounds a bit dated when it references $16 CD's and the days of Brittney Spears and NSYNC. Still, the ominous beat is great, especially with the guitar solo fade out.
So...so far, the album is really, really god. There hasn't been one bad track yet. As a matter of fact, all the tracks have been above average quality, most of them considered to be Eminem's best songs. Even the singles are only annoying due to the media over playing them. Although the album in no way gets terrible, the bar is lowered a little. We get the "Ken Kaniff" skit, which marks the halfway point in the album. This skit was just dumb. It's supposed to be the sounds of Violent Jay and Shaggy 2 Dope of ICP performing oral sex on the character Ken Kaniff, which sounds funny, and I'll admit, is kind of funny, but just kind of comes off as random and immature. The sucking sounds are also pretty cringe worthy, and if you hate the sound of anything "moist," well, you won't like it either.
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| How every white male listens to Eminem. |
Then we are hit with "Amityville," yet another Eminem classic I'm about to tear open. I do like this song...for the most part. The beat is really cool and has a very haunting vibe to it, perfect for the comparisons of Detroit, Michigan and the supposedly haunted house in Amityville, Long Island, in which a bunch of terrible horror movies were based off of. Eminem's verses are even quite well put together. This is about to be one of the best tracks on the album, until we get Bizarre's turn on mic.
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| "Hey, Hey, Hey! It's everyone's least favorite rapper of D12!" |
Bizarre is a TERRIBLE RAPPER. I love D12. I think all the members of D12 are great rappers..except Bizarre. To describe his style, it's basically all the shock value of Eminem, but without any of the wit or skills of Eminem. He's decent on D12's early tracks from before they first broke up, and he's even good on Eminem's indie classic "No One's Iller." But when D12 got signed after Eminem made it big, his lazy writing just seemed to get even lazier. He should not have been on this track. This song, especially with it's horror theme, would've been a great Bad Meets Evil collab with Royce Da 5'9", but Eminem and Royce's relationship was strained, due in part to Royce's feud with D12. While they were in their rap battle stage in the feud yet, I'm sure they weren't buddy buddy at the moment. Even another member of D12 would've been an excellent substitute, or perhaps, just Eminem in general. Just not Bizarre. Song would've been nearly perfect without him.
"Bitch Please II" is a great song, but it just feels like an outtake from 2001. Or hell, it could've been a Snoop outtake for all we know, since "Bitch Please" was on a Snoop Dogg album. It's produced by Dre and Mel-Man, and has Dr. Dre, Snoop Dogg, Xzibit, Nate Dogg and Eminem on it, essentially a huge part of the cast from the 2001 album. It just kind of feels like this was put on the album to appeal to the black rap fans who still weren't on board with the Shady Express. Eminem, unlike his verses on 2001, doesn't even really outshine the other rappers on this track. Dr. Dre's verse goes surprisingly very hard and Xzbit's is up there too. It's a really catchy song, don't get me wrong, but it just feels out of place for an Eminem album.
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| "Bitch Please II" is a great song, but it sounded like an attempt to make Eminem for viable to the black community. |
"Kim" is, without a doubt, the worst song on the album. The beat is really eerie and atmospheric, but the song is just garbage. Sure, it's very emotional, but it's not pulled off in the best way. Eminem chooses to "sing" the lyrics to the song in an angry, sobbing sounding way. I guess it does it's job of protraying his emotions, but the song is just off putting. I don't see anyone bumping this in their car. You could argue that Eminem wanted to make a serious song, but he has made serious songs that aren't in a cry baby fashion. He should've rapped to the beat at least. Besides the instrumental, this is the worst song on the album.
By the same logic I used to say that "Bitch Please II" should've been on another album, the track "Under the Influence" should be put in the same category. After all, it is a D12 song. However, I feel this was a good way to introduce Eminem's rap group before the release of their major label debut a year later. This is probably where most people heard D12 for the first time, and it is one of D12's finer tracks that helps sum up their style of offensive rap music. The beat is excellent, and all the members are featured and drop good bars...except for Bizarre. Granted, it's not his worst verse, but just the idea that Eminem gave this guy two verses on the album is baffling.
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| Bizarre...Again. This guy somehow got two guest appearances on one of the most highly praised rap albums of all time. Just let that sink in. |
The album definitely took a slight nose dive after the cringe inducing "Ken Kaniff" skit, but luckily, the album leaves off on the classic "Criminal." Considered to be on of Eminem's best tracks to date, it was definitely worthy of being the ending climax to the album. The beat is catchy, and offers an ominous tone, especially to the deranged lyrics. Compared to the SSLP, the MMLP had a better opening and a better closer to the album. Most version nowadays come with "The Kids" as a bonus track. I originally dismissed this song, but the extremely soothing piano beat and funny lyrics are actually quite memorable. The South Park references sound a little dated, but it's still a good track . I actually prefer it to a few original tracks.
This version also comes with a "The Way I Am" remix by Marilyn Manson remix. Nothing special or anything really worthy listening to unless you like industrial music.
So overall, The Marshall Mathers LP is a stellar album. The album offers a lot of bangers, many of which are considered his best to this day. However, does this mean the album is as perfect as everyone says it is?
Personally, I don't think so.
While nearly 2/3rd's of the album is classic Shady material, the album does have a few down sides many would care not to bring out. The album feels dated with it's pop culture references. One could argue that any pop culture references feel dated, but boy band references in today's music? Sorry, but One Direction isn't as big as NSYNC was.
The album also suffers from a few tracks that were either kind of sub par or did not feel like they belonged on this album. "Drug Ballad" is a very painfully average track that somehow became a huge fan favorite. "Bitch Please II" sounds out of place despite being a straight banger, "Kim" is just obnoxious and cringe worthy, and the disease known as Bizarre has a guest appearance on two separate tracks.
The album does feel a bit long too. The album would feel a little less cluttered if they got rid 2-3 of those tracks I listed above and released them on an EP or another album or something (Or in "Kim"'s case, the recycling bin on the producer's computer).
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| Typical Eminem fan...don't be mad that I don't like this album as much as it's predecessor |
The Slim Shady LP is a little more charming to me, as it is a simpler time for Eminem. Without exposure from the mainstream, most of his songs didn't rely on self aware humor of how edgy he was acting. On the down side, that album offers more toilet style humor that may not be as appealing to the growth of Eminem's music. You may not agree, but whatever
Rating: A -
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