Eminem The Marshall Mathers Lp Zip 20005

. ' Released: August 27, 2013. ' Released: October 8, 2013. ' Released: October 15, 2013. ' Released: October 29, 2013. ' Released: February 5, 2014 The Marshall Mathers LP 2 is the eighth by American rapper, released on November 5, 2013 by, and.

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It serves as a sequel to his third album (2000). And served as executive producers for The Marshall Mathers LP 2. The album was recorded from 2012 to 2013 with several producers, including Rick Rubin, and. It also features from, and rapper, among others.

The album title was revealed during the on August 25, 2013, alongside a preview of its ', which subsequently peaked at number 3 on the US. It was followed by two more singles: ' and '; the former debuted at number 17 on the Billboard Hot 100, and the latter debuted at number 7 and became certified triple platinum by (RIAA) in the United States. ', featuring Rihanna, was released as the album's fourth single on October 29, 2013; it went number one in several countries and was certified triple platinum in the United States. The album's fifth single ', featuring Ruess, was released on February 5, 2014. The Marshall Mathers LP 2 received positive reviews from critics, who praised Eminem's technical rapping abilities and production choices. The album marked an improvement in reception over Eminem's previous three albums, and was named on multiple 'Albums of the Year' year-end lists.

It also debuted at number one on the US and was the second-best selling album sales of 2013. As of early 2014, the album has sold 3.8 million copies worldwide. The album won the at the. 'Calling it The Marshall Mathers LP 2, obviously I knew that there might be certain expectations. I wouldn't want to call it that just for the sake of calling it that. I had to make sure that I had the right songs – and just when you think you got it, you listen and you're like, 'Fuck, man. I feel like it needs this or that,' to paint the whole picture.

So there's not gonna be, like, continuations of every old song on there or anything like that. To me, it's more about the vibe, and it's more about the nostalgia.' — Eminem, speaking about the album's title with On May 24, 2012, Eminem revealed that he has been working on his next album, during an interview on Hot 97's morning show with Peter Rosenberg. On June 30, 2012, Eminem talked about the album with, on his own radio station,. He stated that the material was taking shape, and that will be involved in some way.

Eminem explained: 'I usually get going and kind of start going a certain direction and just record what I'm feeling. Then I'll go see Dre and fill in some of those pieces.' On August 1, 2012, Nick Craig interviewed Eminem on, where he explained that he was working on the album, but was focused on finishing 's Shady Records debut, On August 10 however, Eminem appeared on Shade 45 and told: 'We actually just finished the Slaughterhouse album last week.

Now I've got time to be able to start doing things for my own project.' Appeared on 's RapFix, hosted by Calloway, with his group Slaughterhouse, on August 30, 2012, and talked about Eminem's album. Royce confessed: 'Marshall is the studio right now, laying the most awesome lyrics in the world.

I'm not so sure how the world is going to respond from some of the things that I've heard from him.' On February 8, 2013, president and Eminem's manager told that Eminem's eighth studio album would be released after, 2013 (May 27). 'We fully expect to be releasing a new Eminem album in 2013.

He's been working on it for some time,' said Rosenberg. 'It's safe to say that it will be post-Memorial Day at some point, but we're not exactly sure when. We've got some dates locked in for him to perform live in Europe in August, so we're trying to see what else lines up.' On March 22, 2013, during an interview with, Dr. Dre said that he was working with Eminem, and that Eminem was 'finishing up his project.' On June 17, 2013, Shady Records producer appeared on RapFix Live, and tweeted to shadygodz (One of the Stan fans aka Sanket Kale Mathers) about Eminem's upcoming album: 'That's my boss.

I DJ for him and I'm not at liberty to speak on much, but you know his caliber and what he does. Clearly going to further territories. I think what you would expect, especially after the last go-round. He was just getting his feet back on and then Recovery just came with the smash hits and everything and I think now — he's Eminem.' Prior to the announcement of the album's name, it was named to multiple 'Most Anticipated Albums of 2013' lists; including MTV, where it was listed in sixth position (and later on in second); and, where it was listed in fifth. Recording and production. (left) and (right) served as the album's executive producers.

On June 17, 2013, producer told: 'I've been working on Eminem's new album and I'm very excited about that.' The track list reveal showed ' as the opening track, and S1 confirmed that he and vocalist, one half of S1's duo The Dividends, are featured on the song. He also credited Aussie and Streetrunner as co-producers. M-Phazes himself confirmed this in an October 2013 interview. Tim Riley, vice president of music affairs at, explained to Billboard in August 2013 that he was contacted by Eminem's manager Rosenberg in March to partner Eminem with.

In June, Riley and members of his team flew to Detroit to meet Eminem and Rosenberg. The team was showcased a 'handful' of songs, while Eminem was shown early concept art and gameplay footage of Ghosts.

'Survival' was picked as the best-fitting song, but the final version differed vastly from the earliest version of the track. Over the next couple of months, Eminem turned in five successive versions of the song, each one 'bigger and more anthemic sounding than the last.' – The final version was turned in only a day before its reveal on August 14. In a behind the scenes video for 'Berzerk', released in October 2013, Rubin explained that he met Rosenberg a few years back and that they had discussed the possibility of him and Eminem working together. He stated that the idea of 'throwback' song to earlier hip hop recordings was an idea conceived later in the creative process of the album.

He noted that initial sample the song was built around ended up not being used, and that the final product differs greatly from the original. In an October 2013 interview with MTV, said that the instrumental for 'Rap God' had been in the making two years prior to the track's release. While the instrumental had been offered to rappers such as and, the producer didn't feel the record fit their music. He estimated that Shady Records got hold of the instrumental around Fall 2012, and DVLP himself did not hear 'Rap God' until Eminem phoned him after its release. The idea of a sequel to The Marshall Mathers LP came about after Eminem recorded a handful of songs in the early stages of the creation of the album that reminded him and his friends, namely Rosenberg, of Eminem's earlier recordings; ' The more I listened to it, the more it made sense to call it that,' said Eminem.

Eminem also wanted to experiment with 'retro, vintage' sounds such as beatbreaks and scratches, and he felt that Rubin could help him 'take that to another level.' Is featured on the track 'The Monster', marking the pair's fourth collaboration following the worldwide hit, ', its sequel ' and '., with whom Eminem previously collaborated on ' from Eminem's previous studio effort, (2010), was featured on the song 'The Monster'.

On September 11, 2013, she hinted at the collaboration on Twitter: 'Just left the studio. Recorded a #monster hook for one of my favorite artists! And that's all I can give you. Upon the track list announcement, Staten Island singer Bebe Rexha revealed on Twitter that she had co-written the Rihanna collaboration featured on the album. Rexha recorded 'The Monster' in November 2012 in Harlem's Stadium Red studio while working on her debut album. The producer of the track, auditioned records for Shady Records VP of A&R Riggs Morales, who 'freaked out' upon hearing 'The Monster', instantly requesting for the verses to be stripped and sessions sent to Eminem. Eminem added his own verses and tweaked the instrumental, while keeping Rexha's backing vocals.

The song was revealed to be a part of the album with the reveal of the track listing. In an October 2013 interview, Rexha claimed that she said 'This is an Eminem record, y'all' while standing in the booth after she recorded the chorus, and that she 'knows when Eminem heard it, it spoke to him.' Rapper and fellow Aftermath Entertainment artist, who toured with Eminem in 2013, was featured on 'Love Game', while the frontman of the band was featured on '., a frequent Eminem collaborator since Recovery was featured on the song 'Asshole'.

In an October 2013 interview with, 'Love the Way You Lie' producer revealed that he has submitted further beats for Eminem, but said 'you never know what they're going to use or not going to use.' He would later be confirmed as the producer of 'Asshole' and two of the deluxe edition bonus tracks. 'Asshole' was initially created during a studio session with Alex and Eminem in Detroit in 2012. Grey was writing songs for her Eminem-executive-produced album in Detroit, and visited Eminem to exchange song ideas and hooks. She wrote the hook for 'Asshole' during the trip, while in her hotel room.

' was written approximately two years ago during a session between Russian singer-songwriter and songwriter David Brook in New York. A few months later, Polina visited Interscope executive Neil Jacobson, who, upon hearing the song, commanded her: 'Don't play this for anyone. It's an Eminem record.' The following week, Polina and Brook joined Emile in the studio where he produced the song and then sent it to Eminem. Eminem added his own verses to the song, but left Polina's vocals untouched. In July 2012, Eminem's close friend and label-mate stated that he was involved in the recording for Eminem's upcoming album and would probably appear on the or second single, but ended up not being featured on the album at all. Music and songs The opening track 'Bad Guy' is produced by S1, M-Phazes, and Streetrunner, with a chorus sung by Sarah Jaffe, the song has been described as a sequel to Eminem's ' from.

'Survival' features a chorus sung by Liz Rodrigues and production. On the anthemic track, Eminem celebrates his return over 'breakneck, arena-rock' electric guitars and 'trashy' drums. 'Berzerk' is produced by Rubin and pays homage to.

With from the ' ' and ', and 's ', the track is 'a punchy, guitar-and-beats driven song which channels ' ' and -era Beastie Boys.' Produced by DVLP, 'Rap God' sees Eminem rapping over an -inspired instrumental with varied flows. He pays tribute to many influential hip hop acts, but also proclaims himself an all-time best, with the closing line stating: 'Why be a king when you can be a god?' 'The Monster' is a 'dark', 'demon-battling' song, with the production that was handled and provided by Frequency. The track features backing vocals from Bebe Rexha and a chorus by Rihanna.

Artwork and packaging The artwork was revealed on September 20, 2013 on Eminem's Twitter account. The cover features a picture of Eminem's childhood home, although now the house is in a dilapidated state. It is very similar in design to the cover of the artwork from The Marshall Mathers LP; which also features a picture of the house, but with Eminem sitting on the porch, the windows uncovered and the door replaced by a screen door.

On October 25, 2013, the artwork for the deluxe edition was revealed. The deluxe artwork is a variation of the standard artwork, in which the house is being looked at through a car window. On the internet, there are many other covers. For example, Eminem sitting at the doorstep of the house and on the door it is written, '19946'. In November 2013, the house went up in flames for unknown reasons, damaging the upper portion of the home. As of 2014, the house had been demolished and plans to rebuild are in progress. The deluxe edition comes with two discs, one being the standard album, and the other containing bonus tracks.

The discs' artwork is designed after the Detroit city seal and, respectively. The album's artwork direction was handled by Mike Saputo, with photography by Kevin Mazur.

In December 2013, the album cover was named the tenth best of 2013 by Complex. Release and promotion On October 29, 2012, the 'Eminem Baseball Tribute Champ Hat' was made available on the official Eminem online store, with a side panel 'dedicated to the landmark Eminem solo albums,' and the final date being 2013, hinting at the release year for Eminem's eight studio album. On August 25, 2013, two commercials aired during the revealed that Eminem's eighth studio album would be titled The Marshall Mathers LP 2 and would be released on November 5, 2013, with previews of the lead single 'Berzerk' and its music video, where Eminem was shown with his hair dyed blond again.

On September 5, 2013, it was announced that 'Berzerk' would be used as the featured song for the 2013 season of on from September 14 to December 7, and that a sneak peek for the song's music video would premiere during halftime of No. 14 Notre Dame at No.

17 Michigan on September 7; Eminem was interviewed by and during the halftime, and the clip, described as 'awkward' and 'bizzare', became a viral online video. Announced on September 9, 2013, that players who preordered Call of Duty: Ghosts would receive a bonus track in addition to 'Survival'. The track listing was revealed on October 10, 2013.

On October 17, 2013, pre-order bundles featuring a deluxe CD and various merchandise options were made available on Eminem's website. During August 2013, Eminem performed four concerts in. The group of shows featured supporting acts Slaughterhouse, Kendrick Lamar, ( & ), and.

In February 2014, Eminem toured and on the. The four shows also featured Kendrick Lamar, and. Eminem reportedly handpicked the artists to join him on tour. Singles On August 25, 2013, he revealed that the first single ' would be released on August 27, 2013 in the US. The song was premiered on Shade 45 the day before its retail release.

The single debuted at number two on the, number three on the US, and among the top 40 in many other countries. On September 9, 2013, the music video for 'Berzerk' premiered on.

The video featured cameo appearances from Kendrick Lamar, Slaughterhouse, Yelawolf, Rick Rubin and Paul Rosenberg. On August 14, 2013, a song titled ' featuring Liz Rodrigues, with production by was premiered in the multiplayer trailer for the video game. A following press release revealed the first single from his eighth studio album would be released soon. On October 8, 2013, 'Survival' was released on for digital download as the album's second single along with its music video. 'Survival' has since peaked at number 16 on the Billboard Hot 100. On October 14, 2013, the audio to ' premiered on Eminem's channel.

It was then released to iTunes the following day, as the album's third single. It debuted at number seven on the. On November 27, 2013, the music video was released for 'Rap God'.

On October 24, 2013, it was revealed that the Rihanna collaboration ', would be released as the album's fourth single. The Frequency-produced song premiered on October 28, 2013. The song was then released as the album's fourth official single the following day. The song became Eminem's fifth single to reach number one on the Billboard Hot 100.

On December 16, 2013, the music video was released for 'The Monster' featuring Rihanna. ', which features American singer, was released as the album's fifth single in Australia on February 5, 2014. 'Headlights' has since peaked at number 45 on the Billboard Hot 100. Critical reception Professional ratings Aggregate scores Source Rating 6.5/10 72/100 Review scores Source Rating B C+ 4.7/10 8/10 The Marshall Mathers LP 2 has received generally positive reviews from. At, which assigns a normalized rating out of 100 to reviews from mainstream critics, the album received an average score of 72, based on 33 reviews, indicating 'generally favorable reviews.' Paul MacInnes of gave the album a perfect five star rating saying, 'His flows are exceptional, the wordplay is dazzling.

The jokes, in places offensive, are relentless. There is no apology; no concession; just a virtuoso application of talent.' Jon Dolan of the said, 'Nostalgia is everywhere. He's playing his best character, the demon spawn of Trailer Hell, America, hitting middle age with his middle finger up his nose while he cleans off the Kool-Aid his kids spilled on the couch'.

Christopher Weingarten of stated, 'If rapping were purely an athletic competition, Eminem would be Michael Phelps and Lou Retton combined: pure ability and flexibility, like a bullet with only white-hot hate in his wake'. He would go on to add that 'we get rhymes more rhymes than some rappers manage in a whole career'. Mikael Wood of the said, 'Eminem sounds more alive – angrier yet fully present – than he has in years Eminem burns with purpose on 'MMLP2'. And if you don't like what he (still) has to say, there's a chance he doesn't either'. Of said, Eminem 'recaptures the original release's wild, clever, emotional brilliance in a flurry of caustic, brazenly honest, rapid-fire rhymes and aggressive beats'. Sarah Rodman of gave the album a positive review saying, 'If anything, the sequel is more intense than the original, as the Detroit rapper explodes like an M-80.

Many memorable ones to be heard here, as Eminem doubles down on his manic flow, bursting with analogies, jokes, illusions, and ingenious wordplay with dizzying speed and skill'. Dan Rys of XXL gave the album a rating of XL saying, 'the thing that carries Em through is the diversity of his flows, and his ability to rap over anything.

You're getting one with more perspective, a version which has seen 13 more years and has a different outlook on some of the same topics that he first visited in 2000'. Evan Rytlewski of gave the album a B rating, saying 'after years of stagnancy and tedious anger, he shows real growth on The Marshall Mathers LP. Eminem has always rapped with forceful determination out of compulsive drives to prove himself to doubters, cut down his enemies, and retain his commercial foothold. For the first time in far too long, he sounds like he's rapping because he enjoys it, too.' Jon Carmanica of gave the album a positive review saying, 'His lyrics are best viewed under a microscope. To see how he gets from one rhyme to the next in unexpected ways. He'll dominate almost any sound.

But he still has some old habits, still heavy-handed with homophobic slurs. Eminem is still rapping from deep inside his cave, as if he's had no new experiences to draw from.' David Jeffries of spoke of the album saying, it is a 'vicious, infectious, hilarious triumph. A super villain so familiar with hate and depression, he's powered by all shades of anger.

Most of the best moments on MMLP2 are just as angry and just as irresponsible. Eminem at his very best.'

Luke Fox of gave the album an eight out ten rating praising the albums 'astounding wordplay and creative beat choices'. In a mixed review, of the gave the album two out of four stars saying, 'it reaffirms his prodigious agility with rhymes. Eminem still crunches together syllables, silliness, and storytelling flights of ridiculousness with acrobatic skill' and 'The sense that we've all been here before, twice, is exacerbated by tired samples and interpolations.

Eminem tries to cover up his retreat by doing cartwheels and back-flips with his rhymes'. Craig Jenkins of gave the album a mixed review saying, 'Eminem is a titan with wordplay, but MMLP2 once again finds him at a loss for how to apply his talents.' Nick Catucci of gave the album a C+ criticizing Eminem's use of slurs on the album, saying 'Eminem wouldn't be Eminem. If he didn't allot some of his whizbang homophobic slurs and misogynistic fantasies.

Rightly considered a rap great for his technical prowess, wicked humor, and tenacity. Which make his flashes of hatred for women and gay men all the more alarming.'

Accolades. See also: Closing out the year, The Marshall Mathers LP 2 was ranked in multiple 'Albums of the Year' lists. XXL named it the second best album of the year. They commented saying, 'Three years after his widely praised album Recovery, Em tapped into his former self for Marshall Mathers LP 2. Slim Shady, along with the characters and stories from the first installment, are peppered throughout his latest effort.

The Rap God also displays his lyrical prowess on songs like “Love Game” with Kendrick Lamar, the tribute to his mother in “,' and the old school rap-rock ode 'Berzerk.' Em also supplies the world with another Rihanna collaboration that ups the expectations for fans every time their name is paired together. Overall, Eminem proves once again that his second wind is just as good as his glory days.'

Complex ranked the album number six, on their list of the 50 best albums of 2013, praising it as Eminem's best album since The Eminem Show. Music critic named it the seventh best album of 2013 in his year-end list for. Placed it at number 14 on their list of the best albums of 2013. It was placed at number 24 on Rolling Stone's list of the 50 best albums of 2013.

Also ranked it at number 28 on their list of the 50 best albums of 2013, saying 'His eighth solo album, The Marshall Mathers LP 2, is an unwieldy beast; an imperfect yet mostly thrilling verbal-gymnastics routine that sticks the landing in the zone of Bad Taste with arms proudly raised.' It was also listed at number 48 on the list of the best albums of 2013. It was positioned at number 64 on 's list of the top 100 of the year. Aalias – producer. Erik Alcock – guitar. Maurice 'Malex' Alexander – vocal engineer.

Maki Athanasiou – instrumentation. Bebe –. Jeff Bhasker – producer. Delbert Bowers – mixing assistant.

Phillip Broussard Jr. – assistant engineer. Tony Campana –. Larry Chatman – project coordinator. R.J. Colston – mixing assistant. David Covell – assistant engineer.

Dennis Dennehy –,. Jeremy Deputat – cover photo,. DJ Khalil – producer.

DJ Mormile –. Dr. Dre –,. DVLP – instrumentation, producer. Eminem – producer, primary artist. Filthy – producer.

John Fisher – A&R. Frequency – producer. Chris Galland – mixing assistant. Brian 'Big Bass' Gardner –. Alicia Graham – A&R. Skylar Grey – featured artist.

Emile Haynie – producer. I.L.O.

. ' Released: April 15, 2000. ' Released: September 7, 2000.

' Released: October 17, 2000. ' Released: April 3, 2001 The Marshall Mathers LP is the third studio album by American rapper, released on May 23, 2000 by and. The album was produced mostly by and Eminem, along with, the, and. It was recorded over a two-month period in several studios in the Detroit area, and during this time, Eminem felt significant pressure to improve upon the success of his previous record. Released a year after Eminem's breakout album, the album features more introspective lyricism including the rapper's response to his sudden rise to fame and controversy surrounding his lyrics.

Musically, the album has been associated with the genres of and. In addition to his relationship with fame, the rapper also discusses his relationship with wife Kim Mathers and his mother, who are both negatively depicted throughout the album. Like The Slim Shady LP, The Marshall Mathers LP was surrounded by significant controversy upon its release. Criticism centered around lyrics that were considered violent, homophobic, and misogynistic.

Criticized the lyrics at a hearing, while the Canadian government considered refusing Eminem's entry into the country. Despite the controversy, the record received acclaim from critics, who praised the rapper's lyrical ability and emotional depth. Retrospectively, the album has appeared on several lists of the greatest albums of all time. The album sold more than 1.78 million copies in the US in its first week alone, becoming the fastest-selling studio album by any solo artist in American music history at that time. In 2001, the album won the and was nominated for, losing the latter to 's. The album was certified Diamond by the in March 2011 for shipping 10 million copies in the United States.

By December 2016, the album had sold over 11 million copies in the United States and over 21 million copies worldwide. A to the album titled was released on November 5, 2013. Contents. Background Inspired by the disappointment of his debut album, (1996), created the Slim Shady, whom he introduced on the (1997). After placing second in the annual, Eminem was noticed by the staff at and eventually CEO, who played the Slim Shady EP for hip hop producer. Eminem and Dr.

Dre then recorded (1999), which was noted for its over-the-top lyrical depictions of drugs and violence. The Slim Shady LP was a critical and commercial success, debuting at number two on the chart and selling 283,000 copies in its first week. At the in 2000, the record won, while the album's lead single ' won. The Slim Shady LP turned Eminem from an underground rapper into a high-profile celebrity. The rapper, who had previously struggled to provide for his daughter Hailie, noted a drastic change in his lifestyle.

In June 1999, he married his girlfriend Kimberly Ann 'Kim' Scott, the mother of Hailie, despite the fact that the song '97 Bonnie & Clyde' from The Slim Shady LP contains references to killing her. The rapper became uncomfortable with the level of fame he had achieved, and said, 'I don't trust nobody now because everybody I meet is meeting me as Eminem.I don't know if they are hanging with me 'cause they like me or because I'm a celebrity or because they think they can get something from me.' Eminem also became a highly controversial figure due to his lyrical content. He was labeled as 'misogynist, a nihilist and an advocate of domestic violence', and in an editorial, editor in chief accused Eminem of 'making money by exploiting the world's misery'. Recording. Eminem (pictured in 1999) wrote the majority of The Marshall Mathers LP while in the studio. The Marshall Mathers LP was recorded in a two-month-long 'creative binge', which often involved 20-hour-long studio sessions.

Eminem hoped to keep publicity down during the recording in order to stay focused on working and figuring out how to 'map out' each song. He described himself as a 'studio rat' who benefited creatively from the isolated environment of the studio. Much of the album was written spontaneously in the studio; Dr. Dre noted, 'We don't wake up at two in the morning, call each other, and say, 'I have an idea. We gotta get to the studio.' We just wait and see what happens when we get there.' Eminem observed that much of his favorite material on the album evolved from 'fucking around' in the studio; 'Marshall Mathers' developed from the rapper watching Jeff Bass casually strumming a guitar, while 'Criminal' was based on a piano riff Eminem overheard Bass playing in studio next door.

'Kill You' was written when Eminem heard the track playing in the background while talking to Dr. Dre on the phone and developed an interest in using it for a song. He then wrote the lyrics at home and met up with Dr. Dre and the two recorded the song together. 'Kim' was the first song the rapper recorded for the album, shortly after finishing work on The Slim Shady LP in late 1998. Eminem wrote 'Kim' at a time in which he and his wife were separated, and he had just watched a romantic movie alone at a theater.

Originally intending to write a love song for her while using, the rapper hoped to avoid overt sentimentality and thus began writing a song of hate. With the track, the rapper aimed to create a short horror story in the form of a song. Once the couple reconciled, Eminem recalls, 'I asked her to tell me what she thought of it. I remember my dumb ass saying, 'I know this is a fucked-up song, but it shows how much I care about you. To even think about you this much.

To even put you on a song like this'.' The song ' was produced. Eminem's manager, sent Eminem a tape of the producer's beats, and the second track featured a sample of English singer-songwriter 's '.

Upon hearing the song's lyrics, Eminem felt they described an obsessed fan, which became the inspiration for the song. The writing process for 'Stan' differed greatly from Eminem's usual strategy, in which song concepts form during the writing: 'Stan' was one of the few songs that I actually sat down and had everything mapped out for. I knew what it was going to be about.'

Dido later heard 'Stan' and enjoyed it, and observed, 'I got this letter out of the blue one day. It said, 'We like your album, we've used this track. Hope you don't mind, and hope you like it.' When they sent 'Stan' to me and I played it in my hotel room, I was like, 'Wow! This track's amazing.' ' The record label speculated that Eminem would be the first artist to sell one million copies in an album's first week of release.

These expectations placed a large burden on Eminem, who recalled, 'I was scared to death. I wanted to be successful, but before anything, I want respect.' After the album was finished, the record label felt that there were no songs that had potential to be a lead single. Feeling pressured, Eminem returned to the studio and wrote 'The Way I Am' as his way of saying, 'Look, this is the best I can do. I can't give you another 'My Name Is.' I can't just sit in there and make that magic happen.'

However, after the song was added to the album, Eminem felt the urge to write another song, and gave a hook to Dr. Dre for him to create a beat, and went home to write new lyrics; the song eventually became 'The Real Slim Shady'. The song also discusses Eminem killing Dr.

The producer stated, 'It was funny to me. As long as it's hot, let's roll with it. In my opinion, the crazier it is the better.

Let's have fun with it and excite people.' Music and lyrics. ( pictured in 2008) produced most of the first half of the album, together with Considered both a album and a album, much of the album's first half was produced by Dr. Dre and, who employed their typical sparse, stripped-down beats, to put more focus on Eminem's vocals. The background music on the record employs 'liquid basslines, stuttering rhythms, slight sound effects, and spacious soundscapes'. And Eminem produced most of the second half, which ranges from the laid-back guitars of 'Marshall Mathers' to the atmosphere of 'Amityville'.

The only outside producer on the album was The 45 King, who sampled a verse from Dido's song 'Thank You' for 'Stan', while adding a slow bass line. The Marshall Mathers LP contains more autobiographical themes in comparison to The Slim Shady LP. Much of the album is spent addressing his rise to fame and attacking those who criticized his previous album.

Other themes include his relationship with his family, most notably his mother and Kim Mathers, his former wife. Unlike Eminem's major-label debut, The Slim Shady LP, The Marshall Mathers LP is more introspective in its lyrics and uses less of the Slim Shady persona, with writing that the album's lyrics 'blur the distinction between reality and fiction, humor and horror, satire and documentary'.

The record showcases a variety of moods, ranging from irreverent and humorous to 'dark and unsettling enough to make you want to enlarge the parental warning stickers on the album.' According to of, 'Eminem never makes it clear which character—Slim Shady or Marshall Mathers—is the mask and which is the real person, because there is no clear-cut answer, except that there's a little bit of each character in all of us.' Most songs cover Eminem's childhood struggles and family issues, involving his mother ('Kill You'), the relationship struggles with his wife ('), his struggles with his superstardom and expectations ('Stan', 'I'm Back', and 'Marshall Mathers'), his return and effect on the music industry ('Remember Me?' , 'Bitch Please II'), his drug use ('Drug Ballad', 'The Kids'), his effect on the American youth and society (', 'Who Knew'), and reactionary barbs to critical response of his vulgarity and dark themes ('Criminal'). Despite the large amount of controversy regarding the lyrics, the lyrics on the album were overwhelmingly well received among critics and the community, many praising Eminem's verbal energy and dense rhyme patterns. The record also contains lyrics that have been considered to be. The song 'Criminal' features the line 'My words are like a dagger with a jagged edge/That'll stab you in the head whether you're a or.Hate fags?/The answer's yes'.

The (GLAAD) condemned his lyrics and criticized the album for 'encouraging violence against gay men and lesbians'. However, writing for the interest magazine, editor Dave White writes, 'If he has gay-bashed you or me, then it logically follows that he has also raped his own mother, killed his wife, and murdered his producer, Dr. If he's to be taken literally, then so is ' invitation to '.' Eminem noted that he began using the word 'faggot' more frequently when 'people got all up in arms about it.to piss them off worse', but added, 'I think it's hard for some people to understand that for me the word 'faggot' has nothing to do with sexual preference. I meant something more like assholes or dickheads.' Songs Tracks 1–9. The album's third single has been referred to as the album's centerpiece and features a sample of 's '.

During the verses, Eminem portrays both himself and an obsessive fan, with pen-scratching sounds in the background to indicate communication via letters. Problems playing these files?

The first track, 'Kill You', discusses the controversy that surrounded the rapper's first album, nightmares of 'ladies' screams', and being raised by a single mother. In the song, Eminem also talks of raping his mother, and 'notes the irony of magazines trumpeting his mother-raping self on their covers'.

' The six-and-a-half minute long 'Stan' samples Dido's 'Thank You' and tells the story of an exchange between the rapper and an obsessive fan, where the titular character berates Eminem for not responding to his letters. On 'Who Knew', the rapper addresses criticism regarding glorification of violence in his lyrics, pointing out perceived hypocrisy in American society. According to Gabriel Alvarez of, Eminem's response ranges oscillates from 'smart-ass ('Oh, you want me to watch my mouth, how?/Take my fuckin' eyeballs out and turn 'em around?' ) to smart ('Ain't they got the same moms and dads who got mad when I asked if they liked violence?/And told me that my tape taught 'em to swear/What about the makeup you allow your 12-year-old daughter to wear?'

'Who Knew' is followed by the 'Steve Berman' skit, where the president of sales at Interscope Records angrily confronts the rapper about his lyrical content. He notes that Dr. Dre was successful because he rapped about 'big-screen TVs, blunts, 40's, and bitches', while Eminem raps about 'homosexuals and Vicodin', and believes that the album will be a commercial disaster. 'The Way I Am' is a meditation on the pressure to maintain his fame, and his fear of being 'pigeon-holed into some poppy sensation/to cop me rotation at rock 'n' roll stations'. He also laments the negative media attention received by controversial public figures such as himself and in the wake of disasters such as the. The rapper criticizes the media for focusing on tragedies such as school shootings while ignoring inner-city violence that occurs on a daily basis.

'The Real Slim Shady' pokes fun at pop culture icons such as Spears, and. 'Remember Me?' Follows and features rappers and, who 'kick seriously darkness on the ominous track'. In the song, he states 'I'm tryna clean up my fuckin' image / So I promised the fuckin' critics / I wouldn't say 'fuckin' for six minutes/(Six minutes, Slim Shady, you're on)'. Despite saying the word 'fuck' one more time in 'Remember Me', and three times at the beginning of 'I'm Back', he does not say the word 'fuckin' seven minutes and 29 after delivering the original promise, in the song 'Marshall Mathers'. Tracks 10–18.

The album's most controversial track, 'Kim' is a chaotic murder fantasy where Eminem plays both himself and the voice of his wife Kim. The production samples '. Problems playing these files?

'I'm Back' features Eminem's observations regarding his rise to fame, explaining that he 'became a commodity/'Cause I'm W-H-I-T-E'. The next song, 'Marshall Mathers' mocks the chorus of 's ', while criticizing the lack of artistic merit of pop stars such as Britney Spears, the, and. 'Drug Ballad' features Dina Rae and describes the rapper's struggles with his drug addiction, and writes about some of his experiences under the influence, including ecstasy which makes him 'sentimental as fuck, spilling guts to you/we just met, but I think I'm in love with you'. 'Amityville' is a bass-heavy ode to living in Detroit, where the rapper discusses the city's crowning as murder capital of the United States. 'Bitch Please II' features Dr. Dre, and, and contains elements of, as well as crooning from Nate Dogg on the chorus. 'Kim', the prequel to '97 Bonnie and Clyde' from The Slim Shady LP, features Eminem 'screaming at his ex in an insane stream-of-consciousness hate spew'.

The song begins with Eminem talking softly to his daughter, but as the beat starts, the rapper takes on portraying two characters, utilizing his own enraged, threatening voice, and the terrified shrieks of his wife Kim. As the song ends, Eminem kills her while taunting, 'Bleed, bitch, bleed!' 'Kim' is followed by 'Under the Influence', which sees Eminem speaking in gibberish for the chorus, and later rap group 'runs rampant' on the track.

'Criminal' features production from F.B.T., which consists of 'piano licks, swerving synth, and a deceptively simplistic bass rumble over which Em snakes and snarls and warns that 'you can't stop me from topping these charts.' He pokes fun at critics who take his lyrical content seriously, explaining that 'half the shit I say, I just make it up to make you mad'. Censorship. Lyrics referencing the were censored on The Marshall Mathers LP In his book Edited Clean Version: Technology and the Culture of Control, author Raiford Guins writes that the clean version of The Marshall Mathers LP 'resembles a cross between a cell phone chat with terrible reception.and a noted hip-hop lyricist suffering from an incurable case of hiccups.'

This version of the album often either omits words completely or obscures them with added sound effects. The clean version of the album did not censor all profanity. Mahabharat all episodes hd torrent. Words like 'ass', 'bitch', 'goddamn', and 'shit' were uncensored. However, on the track 'The Real Slim Shady', the words 'bitch' and 'shit' were censored out, as they used the clean version released for radio.

References to violence and weapons were also significantly altered, and the songs 'Kill You', 'Drug Ballad' and 'Bitch Please II' are written as '. You', 'Ballad' and '. Please II' on the back cover of the album. The song 'Kim' is removed completely and replaced by the -themed 'The Kids'. Significant edits were made to aggressive and violent lyrics that were aimed at police, prostitutes, women, homosexuals, and schools. In response to that had occurred at in April 1999, names of guns and sounds of them firing were censored. Interscope Records insisted on censoring the words 'kids' and 'Columbine' from the line, 'I take seven kids from Columbine, stand them all in line' from 'I'm Back', even on the explicit version of the album.

Mike Rubin of Spin called the censorship a 'curious decision, given that lyrics like 'Take drugs / Rape sluts' are apparently permissible'. Eminem commented on his lyrics regarding the shooting, 'That Columbine shit is so fucking touchy.

As much sympathy as we give the Columbine shootings, nobody ever looked at it from the fuckin' point of view of the kids who were bullied—I mean, they took their own fucking life! And it was because they were pushed so far to the fucking edge that they were fucking so mad. I've been that mad.' The full line appears uncensored in Eminem's song ' from. The line 'It doesn't matter your attorney Fred Gibson's a faggot' was also censored from 'Marshall Mathers', which refers to his mother Debbie Nelson's lawyer, who assisted her in filing a lawsuit against the rapper for defamation regarding lyrics from The Slim Shady LP.

Release and commercial performance. Eminem (left) at the for the, in June 2000, a month after the album's release Eminem considered naming the album Amsterdam after a trip to shortly after the release of The Slim Shady LP, in which he and his friends engaged in heavy drug use. The 'free' use of drugs Eminem observed during his time in Amsterdam greatly influenced his desire to openly discuss drug use in his music and inspired some of the content on the album. The Marshall Mathers LP was released on May 23, 2000, by, in the United States, and on September 11, 2000, by in the United Kingdom. The Marshall Mathers LP was released with two different album covers.

The original features Eminem sitting on the porch of the house he lived in during his teenage years. He reflected on the photo shoot by saying, 'I had mixed feelings because I had a lot of good and bad memories in that house. But to go back to where I grew up and finally say, 'I've made it', is the greatest feeling in the world to me. ' The other cover features the rapper seated in a fetal position beneath a with alcohol and prescription pill bottles at his feet. Will Hermes of likened Eminem's appearance on the cover to a 'dysfunctional ', viewing the image as indicative of the rapper's musical evolution: 'Easy to read, right? The debut: a violent fantasy, the acting-out of a persona. The follow-up: the vulnerable artist unmasked.'

The Marshall Mathers LP sold 1.76 million copies in its first week, which made it the fastest-selling rap album in history and also was fastest selling album by a solo artist until surpassed the record with in November 2015, selling over 3 million copies first week. It sold twice as much as the previous record holder, 's 1993 album, and also topped ' record for highest 1-week sales by any solo artist. The album sold over 800,000 in its 2nd week, 600,000 in its 3rd week, and 520,000 copies in its 4th week for a 4-week total of 3.65 million.

It also became one of the few albums to sell over half a million copies for 4 consecutive weeks. In total, the album spent 8 weeks at #1 on the US music chart, good enough for 4th on the current all-time list of weeks spent at #1 by a Hip-Hop album. By the end of 2000, The Marshall Mathers LP had become the second highest-selling album of the year with over 8 million sold. The album's 1st single, ', became Eminem's biggest hit up to that point and peaked at #4 on the music chart and topping the UK Singles Charts.

'The Way I Am', which was released as the album's second single, peaked at #8 on the UK Singles Chart and #58 on the Billboard Hot 100 music chart. 'Stan', the 3rd single released from the album, became a #1 hit in both the United Kingdom and Australia. 'I'm Back' was released as a single on April 3, 2001, in France, where it charted at #49.

In 2010, the Nielsen Company reported that up until November 2009, The Marshall Mathers LP had sold 10,216,000 copies in the US, making it the 4th-best selling album of the decade. By February 2014, The Marshall Mathers LP had sold 10,818,000 copies in the United States, being Eminem's best selling album in his home country. The Marshall Mathers LP sold at least 11 million copies in the United States. Worldwide, The Marshall Mathers LP sold at least 32 million copies. A sequel to the album, was released on November 5, 2013. Reception and legacy Contemporary reception Contemporary reviews Aggregate scores Source Rating 78/100 Review scores Source Rating A− 9/10 4/5 A The Marshall Mathers LP received generally positive reviews from critics. At, which assigns a rating out of 100 to reviews from mainstream publications, the album received an score of 78, based on 21 reviews.

Magazine's complimented Dr. Dre's production and Eminem's varied lyrical style on what is a 'car-crash record: loud, wild, dangerous, out of control, grotesque, unsettling', but ultimately captivating.

Said that Eminem's startlingly intense vision of 'rap's self-consciousness' is truly unique, while Steve Sutherland of praised the album as a and 'gruelling assault course of lyrical genius' that critiques malevolent aspects of contemporary society. From said that Eminem is backed by attractive music and displays an emotionally complex and witting quality unlike his previous work. In the newspaper's consumer guide column, called him 'exceptionally witty and musical, discernibly thoughtful and good-hearted, indubitably dangerous and full of shit', while declaring the album 'a work of art whose immense entertainment value in no way compromises its intimations of a pathology that's both personal and political'.

Of wrote that as the first significant album of the 2000s, The Marshall Mathers LP is 'indefensible and critic-proof, hypocritical and heartbreaking, unlistenable and undeniable'. On the other hand, music journalist said the reaction to The Marshall Mathers LP was 'mixed', or reluctantly positive, among critics who praised Eminem's 'verbal skills and humor' but decried some of the subject matter. In his review for the, reserved his praise because of homophobic lyrics on what he felt is an otherwise conceptual and personal work, 'docked a half star because of the recurring homophobia—something that may be in commercial rap, but which still is unacceptable.' Steve Jones of opined that Eminem's 'vicious and patently personal lyrical assaults' would 'almost grow tedious if he weren't as inventive as he is tasteless.' Magazine felt that the subject matter does not make for an enjoyable listen, even though Eminem's disaffected and nihilistic lyrics can be provocative. 's Sal Cinquemani was more critical in a one-and-a-half star review and found his raps extremely distasteful: 'The only thing worse than Eminem's homophobia is the immaturity with which he displays it'.

On the other hand, felt that the rapping is excellent, but plagued more so by unremarkable music and lackluster tracks. In 2000, The Marshall Mathers LP won in the Best Album category at the. It also won in the category at the in 2001. The Marshall Mathers LP was nominated for, but lost to duo 's. Retrospective acclaim Retrospective reviews Review scores Source Rating 9/10 9.4/10 5/5 In 2003, The Marshall Mathers LP was ranked number 302 on Rolling Stone Magazine's list of; it was moved up to number 244 in the magazine's revised 2012 edition of the list.

Named it the twenty-fourth greatest rap album of all time in a 2004 list. According to 's Nick Butler, The Marshall Mathers LP stands as a culturally significant record in American popular music, but also 'remains a truly special album, unique in rap's canon, owing its spirit to rock and its heritage to rap, in a way I've rarely heard'. In (2004), Christian Hoard said that the album 'delved much deeper into personal pain than The Slim Shady LP, and the result was a minor masterpiece that merged iller-than- with a brilliant sense of the.'

In 2006, The Marshall Mathers LP was chosen by Magazine as one of the 100 greatest albums of all time. That same year, Q ranked it number 85 on a list of the greatest albums of all time, the highest position held by any rap album on the list.

The Marshall Mathers LP was also the highest ranked rap album on the & the 's list of the 200 greatest albums of all time, where it was placed at number 28. It has been named one of the greatest albums of the 2000s decade by Rolling Stone Magazine, who ranked it seventh, Magazine, who ranked it fourth, and, who ranked it 119th. The Marshall Mathers LP has been ranked as one of the greatest hip hop albums of all time by Magazine, Magazine, and Magazine. In 2010, ranked it at number 1 on their list of 'The 10 Best Albums by White Rappers'. In 2015, the album was ranked number 81 by About.com on their list of '100 Best Hip-hop Albums of All Time'. The album was also included in the book.

Controversy Reactions from politicians. 'Nobody is excluded from my poking.

I don't discriminate, I don't exclude nobody. If you do something fucked up, you're bound to be made fun of. If I do something fucked up, I'll make fun of myself—I'm not excluded from this.'

—Eminem, on the album's controversy. At a hearing, criticized Eminem and sponsor for 'promoting violence of the most degrading kind against women', labeling him as 'a rap singer who advocates murder and rape'. She specifically cited lyrics from 'Kill You', explaining, 'He talks about murdering and raping his mother. He talks about choking women slowly so he can hear their screams for a long time. He talks about using 's machete on women, and this is a man who is honored by the recording industry'.

Cheney drew a link between the Columbine massacre and violent music, mentioning artists Eminem and as musicians who contribute to the United States' culture of violence. Although she stated that she has 'long been a vocal supporter of free speech', Cheney called for the music industry to impose age-restrictions on those who can purchase music with violent content. On October 26, 2000, Eminem was to perform at a concert in Toronto's. However, Attorney General argued that Canada should stop Eminem at the border.

'I personally don't want anyone coming to Canada who will come here and advocate ', he said. Flaherty claims to have been 'disgusted' when reading transcriptions of Eminem's song 'Kill You', which includes lines like 'Slut, you think I won't choke no whore/till the vocal cords don't work in her throat no more?' Eminem's fans argued that this was a matter of and that he was unfairly singled out. Suggested that the government let Eminem perform and then prosecute him for violating Canada's laws, despite the fact that Canada's hate-crime legislation does not include violence against women. In an editorial in, author Robert Everett-Green wrote, 'Being offensive is Eminem's job description.'

Eminem was granted entry into Canada. A 2001 and 2004 study by Edward Armstrong found that of the 14 songs on The Marshall Mathers LP eleven contain violent and misogynistic lyrics and nine depict killing women through choking, stabbing, drowning, shooting, head and throat splitting. According to the study, Eminem scores 78% for violent misogyny while music in general reaches 22%. Armstrong argues that violent misogyny characterizes most of Eminem's music and that the rapper 'authenticates his self-presentations by outdoing other gangsta rappers in terms of his violent misogyny.' A fifteen-year-old boy in was arrested in September 2015 for making terrorist threats, after sharing the Columbine-related lyrics to 'I'm Back' on. Reactions from other artists.

Performed 'Stan' with Eminem at the Grammys despite negative reactions from the LGBT community. Protests against the album's content reached a climax when it was nominated for four in 2001 including. At the ceremony, Eminem performed 'Stan' in a duet with openly gay artist playing piano and singing the chorus.

This performance was a direct response to claims by GLAAD and others who claimed his lyrics were homophobic, with Eminem stating, 'Of course I'd heard of Elton John, but I didn't know he was gay. I didn't know anything about his personal life. I didn't really care, but being that he was gay and he had my back, I think it made a statement in itself saying that he understood where I was coming from.' GLAAD did not change its position, however, and spoke out against Elton John's decision. Despite significant protests and debate, The Marshall Mathers LP went on to win. Singer was upset about the lyric, 'Christina Aguilera better switch me chairs so I can sit next to and / and hear 'em argue over who she to first' from 'The Real Slim Shady', calling the rapper's claim 'disgusting, offensive and, above all, not true'. Eminem included this line after becoming angry with the singer for informing the public during an MTV special without his consent about the rapper's secret marriage to Kim Mathers.

However, the two later settled their differences after hugging backstage at the, with the singer appearing at the premiere of months later. In 2002, French pianist filed a $10 million lawsuit against Eminem, claiming the beat for 'Kill You' was stolen from his song 'Pulsion'.

Track listing No. Title Writer(s) Producer(s) Length 1. 'Public Service Announcement 2000' (skit) 0:25 2.