The Marshall Mathers LP
Released: May 23, 2000
Peak: 18 US, 14 RB, 12 UK, 113 CN, 11 AU
Sales (in millions): 10.21 US, 2.23 UK, 23.35 world (includes US and UK)
Song Title (Writers) [time] (date of single release, chart peaks) Click for codes to singles charts.
Songs by Bass/ Bass/ Mathers unless noted otherwise.
Total Running Time: 72:04
3.922 out of 5.00 (average of 27 ratings)
Awards: (Click on award to learn more).
About the Album:
“It’s hard to know what to make of Eminem.” AMG “His debut, The Slim Shady LP, established [him] as a major force in both hip-hop and broader contemporary culture, but there was still doubt as to whether he would be the latest in a string of short-lived white rap novelties.” TL “Even if you know that half of what he says is sincere and half is a put-on; the trick is realizing that there’s truth in the joke, and vice versa. Many dismissed his considerable skills as a rapper and social satirist because the vulgarity and gross-out humor on The Slim Shady LP were too detailed for some to believe that it was anything but real.” AMG
“To Eminem’s credit, he decided to exploit that confusion on his masterful second record, The Marshall Mathers LP.” AMG Songs like “The Real Slim Shady and Bitch Please II vaulted Eminem from a shock rapper with a sense of humor to the voice of a generation.” RS’20 “Rap’s superlative wordsmith blurs the line between autobiography and cartoons in hilarious and vulgar high-velocity rhymes.” UT It is “a fairly brilliant expansion of his debut, turning his spare, menacing hip-hop into a hyper-surreal, wittily disturbing thrill ride. It’s both funnier and darker than his debut, and Eminem’s writing is so sharp and clever that the jokes cut as deeply as the explorations of his ruptured psyche.” AMG “He lashed out at the hypocrisy of American society, exposed the prejudices that fuelled rap music, and held his constituency’s psychosis up to the light.” VU “The Marshall Mathers LP raised the stakes, raised his profile, and damn near raised the dead.” TL
“Eminem delivered dizzying, blistering rhymes that laid bare his neuroses, his fury, and his confusion. He jumped from laugh-out-loud funny to chillingly menacing from one line to the next, and went after his critics (The Way I Am) and his fans (Stan, the mesmerizing high-wire act in a stalker’s voice) with equal fever.” TL With the latter, he “created a verb and a meme to describe extreme fandom in our era. “ RS’20
“The production is nearly as evocative as the raps, with liquid basslines, stuttering rhythms, slight sound effects, and spacious soundscapes. There may not be overpowering hooks on every track, but the album works as a whole, always drawing the listener in. But, once you’re in, Eminem doesn’t care if you understand exactly where he’s at, and he doesn’t offer any apologies if you can’t sort the fact from the fiction. As an artist, he’s supposed to create his own world, and with this terrific second effort, he certainly has. It may be a world that is as infuriating as it is intriguing, but it is without question his own, which is far more than most of his peers are able to accomplish at the dawn of a new millennium.” AMG
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First posted 3/12/2008; last updated 4/23/2022.
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