The Marshall Mathers LP
The Marshall Mathers LP | ||||
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Studio album by | ||||
Released | May 23, 2000 | |||
Recorded | 1999–2000[1] | |||
Studio |
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Genre | ||||
Length | 72:04 | |||
Label | ||||
Producer |
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Eminem chronology | ||||
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Alternate cover art | ||||
Tour Edition cover art | ||||
Singles from The Marshall Mathers LP | ||||
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The Marshall Mathers LP is the third
Like its predecessor, The Marshall Mathers LP was surrounded by significant controversy upon its release, while also propelling Eminem to the forefront of
The album debuted at number one on the
The Marshall Mathers LP has been included in numerous all-time lists and is widely regarded as Eminem's greatest album. It has sold 25 million copies worldwide, making it one of the
Background
Inspired by the disappointment of his debut album,
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.
Eminem considered naming the album Amsterdam after a trip to the city shortly after the release of The Slim Shady LP, in which he and his friends engaged in heavy drug use.[7] 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.[7][8]
Recording
The Marshall Mathers LP was recorded in a two-month-long "creative binge", which often involved 20-hour-long studio sessions.[9] 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.[9] He described himself as a "studio rat" who benefited creatively from the isolated environment of the studio.[10] 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."[11] 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.[10] "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.[11]
"Kim" was the first song the rapper recorded for the album, shortly after finishing work on The Slim Shady LP.
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."[15] After the album was finished, the record label felt that there were no songs that had potential to be a lead single.[15] 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."[15] 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".[15] The song also discusses Eminem killing Dr. Dre. 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."[11]
Music and lyrics
Considered both a
The Marshall Mathers LP is considered a transgressive work,[20] and contains more autobiographical themes in comparison to The Slim Shady LP.[21] 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, including his mother and Kim Mathers, his ex-wife.[22] 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 music critic Stephen Thomas Erlewine writing that the album's lyrics "[blur] the distinction between reality and fiction, humor and horror, satire and documentary".[19] 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."[21] According to Neil Strauss of The New York Times, "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."[23]
Most songs cover Eminem's childhood struggles and family issues, involving his mother ("Kill You"), the relationship struggles with his wife ("
The record also contains lyrics that have been considered to be
Songs
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.
"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".
"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".
"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".[17] 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.[38] As the song ends, Eminem kills her while taunting, "Bleed, bitch, bleed!"[38] "Kim" is followed by "Under the Influence", which sees Eminem speaking in gibberish for the chorus, and later rap group D12 "runs rampant" on the track.[24] "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...'".[24] 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".[39]
Release
The Marshall Mathers LP was released on May 23, 2000, by Aftermath Entertainment, Interscope Records, in the United States,[40] and on 11 September 2000, by Polydor Records in the United Kingdom.[41] 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.[15] 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."[15] The other cover features the rapper seated in a fetal position beneath a loading dock with alcohol and prescription pill bottles at his feet.[29] Will Hermes of Entertainment Weekly likened Eminem's appearance on the cover to a "dysfunctional Little Rascal", 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."[29]
Censorship
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."[42]
This version of the album often either omits words completely or obscures them with added sound effects.[42] The clean version of the album did not censor all profanity. 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 the label decided to use the radio edit. References to violence and weapons were also significantly altered, and the titles to the songs "Kill You", "Drug Ballad", and "Bitch Please II" are censored on the back cover.[42] The song "Kim" is removed completely and replaced by "The Kids", a South Park-themed track about drug usage and the American youth which is also featured on the special edition of the album.[43]
Special attention was given to editing aggressive and violent lyrics that were aimed at police, prostitutes, women, homosexuals, bullies, minors, and schools. In response to the attack that had occurred at Columbine High School 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.[39] Mike Rubin of Spin called the censorship a "curious decision, given that lyrics like 'Take drugs / Rape sluts' are apparently permissible".[39] Eminem commented on his lyrics regarding the shooting, calling the specific Columbine incident "so fucking touchy." He elaborated being saying, "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."[39] The full line appears uncensored in Eminem's song "Rap God" from The Marshall Mathers LP 2.[44]
The line "It doesn't matter, [your attorney Fred Gibson's a] faggot" was also censored from "Marshall Mathers"; the line 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.[45]
Commercial performance
The Marshall Mathers LP sold 1.78 million copies in its first week, which made it one of the
According to Billboard, as of 2022, The Marshall Mathers LP is one of the 15 best-performing 21st-century albums without any of its singles being number-one hits on the Billboard Hot 100.[51] The first single, "The Real Slim Shady", became Eminem's biggest hit up to that point. It peaked at number four on the Billboard Hot 100 and topped the UK Singles Chart.[52][53] "The Way I Am", which was released as the album's second single, peaked at number eight on the UK Singles Chart[52] and 58 on the Billboard Hot 100. "Stan", the third single released from the album, became a number-one hit in both the United Kingdom[52] and Australia.[54] The song, which details around a crazed fan of the same name, has been highlighted as a work of poetry by critics, and soon gave rise to the Oxford English Dictionary term stan.[55][56][57]
In 2010,
Critical reception
Aggregate scores | |
---|---|
Source | Rating |
Metacritic | 78/100[62] |
Review scores | |
Source | Rating |
Chicago Sun-Times | [63] |
Entertainment Weekly | A−[29] |
Los Angeles Times | [21] |
Melody Maker | [64] |
NME | 9/10[65] |
Q | [66] |
Rolling Stone | [17] |
The Source | 4/5[67] |
USA Today | [68] |
The Village Voice | A[69] |
The Marshall Mathers LP was met with highly positive reviews. At
Rolling Stone magazine's Touré applauded 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.[17] Melody Maker said that Eminem's startlingly intense vision of "rap's self-consciousness" is truly unique,[64] while Steve Sutherland of NME praised the album as a misanthropic and "gruelling assault course of lyrical genius" that critiques malevolent aspects of contemporary society.[65] Chuck Eddy from The Village Voice said that Eminem is backed by attractive music and displays an emotionally complex and witting quality unlike his previous work.[70] In the newspaper's consumer guide column, Robert Christgau 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".[69] Will Hermes of Entertainment Weekly wrote that as the first significant popular music album of the 2000s, The Marshall Mathers LP is "indefensible and critic-proof, hypocritical and heartbreaking, unlistenable and undeniable".[29]
On the other hand, music journalist Greg Kot said the reaction to The Marshall Mathers LP was "mixed", or reluctantly positive, among critics who praised Eminem's "verbal skills and transgressive humor" but decried some of the subject matter.[71] In his review for the Los Angeles Times, Robert Hilburn 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 de rigueur in commercial rap, but which still is unacceptable."[21] Steve Jones of USA Today opined that Eminem's "vicious and patently personal lyrical assaults" would "almost grow tedious if he weren't as inventive as he is tasteless."[68] Q magazine felt that the subject matter does not make for an enjoyable listen, even though Eminem's disaffected and nihilistic lyrics can be provocative.[66] Slant Magazine'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".[72] On the other hand, Spin felt that the rapping is excellent, but plagued more so by unremarkable music and lackluster tracks.[73]
Among other publications, Rolling Stone and Melody Maker named The Marshall Mathers LP the best album of 2000.[citation needed] In 2000, the album won in the Best Album category at the MTV Europe Music Awards.[74] It also won in the Best Rap Album category at the 43rd Grammy Awards in 2001.[75] The Marshall Mathers LP was nominated for Album of the Year, but lost to jazz-rock duo Steely Dan's Two Against Nature.[76]
Legacy and reappraisal
Review scores | |
---|---|
Source | Rating |
The Great Rock Discography | 9/10[citation needed] |
Pitchfork | 9.4/10[78] |
The Rolling Stone Album Guide | [79] |
Sputnikmusic | 5/5[80] |
Tom Hull – on the Web | A[81] |
XXL | 5/5[82] |
Since its initial release, The Marshall Mathers LP has been highly acclaimed in retrospective critic reviews. It has been regarded by critics as Eminem's best album and has been ranked in multiple lists of the greatest albums of all time.
Jeff Weiss of
Eminem's upending of the mainstream, particularly through the release of The Marshall Mathers LP, earned him countless enemies. From religious groups to government officials, he faced no shortage of protesters, but while Middle America – as well as occupants of other suburban areas around the world – hated him, their kids loved him, his music and his rebellious nature. You can love him or loathe him, but the fact we're still talking about The Marshall Mathers LP 20 years later speaks to its undeniable impact.
– Will Lavin of NME, speaking on The Marshall Mathers LP[90]
In 2003, The Marshall Mathers LP was ranked number 302 on
Controversies
Nobody is excluded from my poking at. Nobody. 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.[110]
While the album was hugely controversial and criticized, Eminem propelled to the forefront of
On October 26, 2000, Eminem was on the co-headlining
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 gangsta rap music in general reaches 22%.[117][118] 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."[118] A fifteen-year-old boy in Fresno, California was arrested in September 2015 for making terrorist threats, after sharing the Columbine-related lyrics to "I'm Back" on Instagram.[119]
Reactions from other artists
Protests against the album's content reached a climax when it was nominated for four
Singer Christina Aguilera was upset about the lyric, "Christina Aguilera better switch me chairs so I can sit next to Carson Daly and Fred Durst / and hear 'em argue over who she gave head to first" from "The Real Slim Shady", calling the rapper's claim "disgusting, offensive and, above all, not true".[123] 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.[123] However, the two later settled their differences after hugging backstage at the 2002 MTV Video Music Awards, with the singer appearing at the premiere of 8 Mile months later.[123]
In 2002, French jazz pianist Jacques Loussier filed a $10 million lawsuit against Eminem that was later settled out of court. The lawsuit claimed the beat for "Kill You" was stolen from his song "Pulsion".[124]
Track listing
Credits adapted from the album's liner notes[125] and Tidal[126]
No. | Title | Writer(s) | Producer(s) | Length |
---|---|---|---|---|
1. | "Public Service Announcement 2000" | 0:25 | ||
2. | " Denaun Porter |
| 5:21 | |
18. | "Criminal" |
|
| 5:18 |
Total length: | 72:04 |
No. | Title | Writer(s) | Producer(s) | Length |
---|---|---|---|---|
19. | "The Kids" |
|
| 5:06 |
Total length: | 77:10 |
No. | Title | Writer(s) | Producer(s) | Length |
---|---|---|---|---|
1. | "The Real Slim Shady" (instrumental) |
| 4:46 | |
2. | "The Way I Am" (instrumental) | Eminem | 4:52 | |
3. | "Stan" (instrumental) |
| 6:45 | |
4. | "The Kids" (explicit version) |
|
| 5:06 |
5. | "The Way I Am" (Danny Lohner remix, with Marilyn Manson) |
|
| 4:58 |
Total length: | 98:31 |
No. | Title | Director(s) | Length |
---|---|---|---|
6. | "The Real Slim Shady" (music video) (director's cut) |
| 4:27 |
7. | "The Way I Am" (music video) (LP version) | Paul Hunter | 5:01 |
8. | "Stan" (music video) (director's cut) |
| 8:09 |
Total length: | 116:08 |
Notes
Personnel
Credits adapted from the album's liner notes[125] and Tidal[126]
- Eminem – vocals (tracks 1–3, 5–19), production (tracks 1, 7, 11, 13, 14, 17–19), mixing (tracks 3, 14, 17, 19), co-production (track 3)
- Dr. Dre – mixing (tracks 1, 2, 4–6, 8–13, 15, 16, 18), production (tracks 2, 5, 6, 8–10, 12, 15), vocals (track 15)
- Richard "Segal" Huredia – engineering (tracks 2, 3, 5–18)
- Mike Elizondo – bass (tracks 2, 3, 5, 7–10, 14, 15), guitar (tracks 7, 8), keyboards (tracks 15)
- F.B.T. – production (tracks 1, 11, 13, 14, 16–19)
- Mel-Man– production (tracks 2, 5, 6, 8–10, 12)
- Jim McCrone – engineering assistance (tracks 2, 5, 8, 10, 14, 15)
- Thomas Coster Jr. – keyboards (tracks 2, 5, 7, 8, 10, 12)
- DJ Head – drum programming (tracks 11, 13, 14, 17–19)
- Michelle Forbes – engineering assistance (tracks 6, 8, 12)
- Sean Cruse – guitar (tracks 2, 3)
- John Bigham – guitar (tracks 5, 10)
- Jeff Bass – vocals (track 1)
- The 45 King – production (track 3)
- Dido – vocals (track 3)
- Paul "Bunyan" Rosenberg – vocals (track 4)
- Steve Berman – vocals (track 6)
- Thomas Rounds – engineering assistance (track 7)
- RBX – vocals (track 9)
- Sticky Fingaz – vocals (track 9)
- Camara Kambon – keyboards (track 9)
- Dina Rae – vocals (track 13)
- Bizarre – vocals (track 14)
- Snoop Dogg – vocals (track 15)
- Xzibit – vocals (track 15)
- Nate Dogg – vocals (track 15)
- D-12 – vocals (track 17)
- Mike Butler – engineering (track 17)
- Aaron Lepley – engineering (track 17)
- Credits
- Dr. Dre – executive production
- Paul D. Rosenberg, Esq. – Eminem management
- Joel Martin – F.B.T. productions management
- Joe Mama-Nitzberg – photography and art coordination
- Jason Noto – art direction and design
- Jonathan "Xtra Gangsta" Mannion – photography
- Karen Pinegar – F.B.T. assistance
- Sarah Catlett – F.B.T. assistance
- Richard Segal Huredia – engineering
- Steve King – engineering
- Chris Conway – engineering
- Mike Butler – engineering
- Lance Pierre – engineering
- Rob Ebeling – engineering
- James McCrone – engineering
- Aaron Lepley – engineering
- Rich Behrens – engineering
- Michelle Forbes – engineering
- Akane Nakamura – engineering
- Brian "Big Bass" Gardner – mastering
- Cara Lewis – Eminem booking
- Marc Labelle – Eminem road management
Charts
Weekly charts
|
Year-end charts
Decade-end charts
|
Certifications and sales
Region | Certification | Certified units/sales |
---|---|---|
Argentina (CAPIF)[220] | Gold | 30,000^ |
Australia (ARIA)[221] | 4× Platinum | 280,000^ |
Austria (IFPI Austria)[222] | Platinum | 50,000* |
Belgium (BEA)[223] | 2× Platinum | 100,000* |
Brazil (Pro-Música Brasil)[224] | Gold | 100,000* |
Canada (Music Canada)[225] | 8× Platinum | 800,000^ |
Central America (CFC)[226] | Platinum | |
Denmark (IFPI Danmark)[227] | 6× Platinum | 120,000‡ |
Finland (Musiikkituottajat)[228] | Platinum | 40,055[228] |
France ( SNEP)[229]
|
2× Platinum | 600,000* |
Germany (BVMI)[230] | 3× Platinum | 900,000‡ |
Greece (IFPI Greece)[140] | Gold | 15,000^ |
Hungary (MAHASZ)[231] | Gold | |
Italy 2000-2001 sales |
— | 200,000[232] |
Italy (FIMI)[233] sales since 2009 |
Platinum | 50,000‡ |
Japan (RIAJ)[234] | Platinum | 200,000^ |
Mexico (AMPROFON)[235] | Platinum | 150,000^ |
Netherlands (NVPI)[236] | Platinum | 80,000^ |
New Zealand (RMNZ)[237] | 5× Platinum | 75,000^ |
Norway (IFPI Norway)[238] | 2× Platinum | 100,000* |
Poland (ZPAV)[239] | Platinum | 100,000* |
South Africa (RISA)[149] | 2× Platinum | 100,000* |
South Korea | — | 106,486[240] |
Spain (PROMUSICAE)[241] | Platinum | 100,000^ |
Sweden (GLF)[242] | 2× Platinum | 160,000^ |
Switzerland (IFPI Switzerland)[243] | 4× Platinum | 200,000^ |
United Kingdom (BPI)[244] | 9× Platinum | 2,700,000‡ |
United States (RIAA)[247] | 11× Platinum | 11,000,000 ‡ / 12,540,000[245][246] |
Summaries | ||
Europe (IFPI)[248] | 6× Platinum | 6,000,000* |
* Sales figures based on certification alone. |
See also
- Grammy Award for Best Rap Album
- List of fastest-selling albums
- List of best-selling albums in the United States
- List of best-selling albums
- The Marshall Mathers LP 2
- Misogyny in hip hop culture
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- ISBN 9780066209227.
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Dina Rae sweetens the deal with some funky vocal flourishes
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