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The Marshall Mathers LP

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The Marshall Mathers LP is the sophomore major-label album from American rapper Eminem. The bulk of the album was written in Amsterdam, with producer Dr. Dre holding a telephone to his speakers so Eminem could hear the beats.[[Citing sources citation needed]] "The Real Slim Shady," the first single and a huge hit, was written back in the United States, as the deadline neared and no radio-friendly singles were yet written.

In the week following its release, it sold 1.7 million copies, becoming the fastest-selling rap album in history at that time. While it received a great deal of critical praise, its enormous success also provoked a backlash from dissenting critics and social activists, most notably GLAAD, who protested Eminem's use of the word "fag" in several songs. Others claimed that the rapper's lyrics were extremely misogynistic, an allegation that generally centered around the songs "Kill You" and "Kim."

Such protests reached a climax when the album was nominated for four Grammy awards in 2001, including Album of the Year- the first time a rap album has ever been nominated in this category. At the ceremony, Eminem performed "Stan" with famous homosexual artist Elton John on piano in an attempt to silence GLAAD and others who claimed his lyrics were homophobic. The Marshall Mathers LP went on to win Best Rap Album of the Year, but lost to Steely Dan's Two Against Nature for Album of the Year.

As evidenced by Eminem's decision to include his real name in the album's title, this is a more serious and personal album than his major-label debut, The Slim Shady LP, which predominantly featured his exaggerated Slim Shady persona. Much of the CD is spent addressing his rise to fame and attacking those who criticized his first album. Other themes include his relationship with his family, most notably his mother and Kim Mathers, his wife who he subsequently divorced but has remarried in 2006, but divorced again after only 86 days of marriage. The album is considerably darker than his debut; its famous "The Real Slim Shady" single is one of the only upbeat and comical tracks.

Much of the first half of the album is produced by Dr. Dre and Mel-Man, who typically employ sparse, stripped-down beats, allowing Eminem's rapping to take center-stage. F.B.T. Productions and Eminem produced most of the second half, which ranges from the laid-back guitars of "Marshall Mathers" to the gritty atmosphere of "Amityville." The only outside producer on the album is The 45 King, who provides a haunting beat for the famous "Stan" single that samples Dido's "Thank You" with the addition of a slow bassline.

The album is widely considered by fans to be Eminem's best work, and was also his most commercially successful, going 9x platinum in the U.S. In 2003, the album was ranked number 302 on Rolling Stone magazine's list of the 500 greatest albums of all time. It is considered a hip-hop classic by many fans.

Contents

Intro

The first track is a skit called "Public Announcement 2000". Jeff Bass speaks (with whispered prompts from Eminem), telling the listener that Eminem doesn't "give a fuck what you think" and that "if you don't like it, you can suck his fucking cock." Furthermore, "Little did you know, upon purchasing this album, you have just kissed his ass," and "Slim Shady is fed up with your shit, and he's going to kill you." In Eminem's previous album, The Slim Shady LP began with a similar skit that ended with Eminem's pronouncement "don't do drugs." This one ends with Eminem saying "sue me."

In the clean version, this track is just two seconds of silence.

\"Kill You\"

"Kill You" was one of the most often-attacked songs on the album. According to Eminem in his book Angry Blonde, the lyrics don't have any particular point but to present Slim Shady as an unstable character; he dismisses the idea that the whole song is about his mother, claiming that the lyrics mentioning her are unrelated to the rest of the song.

Critics blasted the song as misogynistic and homophobic, citing lines in the chorus ("Bitch I'ma kill you! You don't want to fuck with me/Girls neither -- you ain't nothin' but a slut to me") and in the final verse ("You faggots keep eggin' me on/'Til I have you at knifepoint then you beg me to stop?/Shut up! Gimme your hands and feet/I said shut up when I'm talkin' to you, you hear me? Answer me!"), though the latter could be construed as a vulgar reference to his detractors. Another example of Eminem's distinctive climactic, suggestive rhymes: "Blood, guts, guns, cuts/Knives, lives, wives, nuns, sluts" with each word progressively shouted with more and more intensity; "nuns" being placed at the climax is an example of Eminem's macabre and irreverent humor, placed between "wives" and "sluts".

Like several other songs on the album, the lyrics here also insult the American media; this song was frequently cited as containing gratuitous violence and references to drug use. For example, an imitation of his critics says "Oh, now he's raping his own mother, abusing a whore/snorting coke, and we gave him the Rolling Stone cover?", delivered with derision. He also insults radio announcers who "...want me to come on their radio shows/just to argue with 'em cause their ratings stink?". The song includes references to cocaine ("They said I can't rap about bein broke no more/They ain't say I can't rap about coke no more"), taking LSD ("I ain't 'acid rap,' but I rap on acid/Got a new blow-up doll and just had a strap-on added"), taking Vicodin ("I invented violence, you vile venomous volatile bitches/vain Vicodin (sound of chainsaw)"), smoking marijuana and drinking alcohol ("Fuck shots! I hope the weed'll outweigh these drinks").

It was the numerous examples of such graphic violence that led parents and citizens activist groups to criticize The Marshall Mathers LP. His supporters argue that these are clearly fictional examples of violence. Many of the instances of violence in the album are unambiguously fictional and, in some cases, physically or medically impossible.

Jacques Loussier, a French jazz pianist sued Eminem and Dr. Dre for copyright infringement, claiming "Kill You's" beat was stolen from his song "Pulsion". He demanded $10 million, and that all currently unsold copies of The Marshall Mathers LP be destroyed.

In the clean version, this track is called **** you.

\"Stan\"

''Main article: Stan
The third track is "Stan", which was also the third single released from the album. It is a haunting story of a fan who writes to Eminem but doesn't receive a swift reply. Unhinged already, the fan (Stan) drives his car off a bridge with his pregnant girlfriend in the trunk.

The song features a chorus sampled from Thank You by Dido, and came with a very popular music video that was in heavy rotation in its day.

Stan was performed live with Elton John at the 2001 Grammys. A recording of the performance was offered at Eminem's official website, Eminem.com, and later removed and placed onto his greatest hits album, Curtain Call along with the original studio recording.

The song is widely viewed as one of Eminem's best, and has been praised for its vivid storytelling and creative way of addressing the relationship between an artist and their fans. Dr. Dre has stated that it is his favorite song off the album.

\"Paul (Skit)\"

Paul Rosenberg leaves an voicemail message for Eminem. In the message, Paul informs Marshall that he has listened to the album, but is either too exasperated, disgusted, or resigned to explain why, as the track ends with the words "I just...fuck it".

\"Who Knew\"

"Who Knew" is preceded by a brief skit entitled "Paul", which is similar to one on the previous album, The Slim Shady LP. On that album, Eminem's manager leaves a message asking if he could tone down the violence in order to make the album more palatable to record companies. On The Marshall Mathers LP, he calls once again, and begins to make a similar request, only to end suddenly with "Ah, fuck it" and a dial tone.

This segues directly into the song, which is one of many on the album about fame and being a celebrity. Eminem raps about how and why he became famous. In the chorus, Eminem expresses his own doubts and insecurities about his celebrity and his unintentional role model status.

"Cause I never knew I, knew I would get this big
I never knew I, knew I'd affect this kid
I never knew I'd, get him to slit his wrist
I never knew I'd, get him to hit this bitch
The verses discuss in greater detail how Eminem has become famous and why. Perhaps the simplest explanation exists in the first two lines: "I don't do black music, I don't do white music/I make fight music, for high school kids". Disenchanted youth of all racial and ethnic backgrounds connected with the macabre, humorous lyrics in The Slim Shady LP. Much of the song also addresses Eminem's detractors among the media: "Oh - you want me to watch my mouth, how?/Take my fuckin eyeballs out, and turn em around?", "You want me to fix up lyrics while the President gets his dick sucked?" (referencing former president Bill Clinton and Monica Lewinsky), perhaps most pointedly accusing his critics with the lines "Quit tryin to censor music, this is for your kid's amusement/(The kids!) But don't blame me when lil' Eric jumps off of the terrace/You shoulda been watchin him - apparently you ain't parents"; some listeners believe "Eric" is a reference to Eric Harris, the mastermind of the Columbine shootings. Eminem and other musicians were blamed by certain commentators for contributing to "a culture of violence" that allowed horrific violence like the school shootings although the Columbine killers hated rap music. The next verse focuses on those who criticized Eminem's violent lyrics, accusing them of hypocrisy in their disapproval of rap but silence in other circumstances.

"And last week, I seen a Schwarzenegger movie
where he's shootin all sorts of these motherfuckers with a uzi
I see these three little kids, up in the front row,
screamin 'Go,' with their 17-year-old Uncle
I'm like, 'Guidance - ain't they got the same moms and dads
who got mad when I asked if they liked violence?'"
This is a reference to the opening verse of Eminem's first single My Name Is. Eminem goes onto criticize parents who don't approve of his music but allow their young daughters to wear makeup, and blaming him for teaching children obscene words when, he claims that children are more likely to learn such words from a school bus driver or gym teacher, as he did ("And fuck was the first word I ever learned/up in the third grade, flippin the gym teacher the bird"). The final verse is a veritable parade of offensive lines, making fun of dead and injured celebrities (Sonny Bono, Christopher Reeve).

In the face of intense criticism for obscene, violent and allegedly gratuitous sexual, violent and drug-related content, many of Eminem's supporters use this song to help bolster their case. Many of Eminem's fans have come to a realization about people from a different background than themselves, as Eminem is able to poetically describe circumstances alien to most of his listeners. Thus, the subject matter, which is surely aimed at adults, benefits listeners and society itself by increasing empathy and understanding between people of different backgrounds. Eminem defends himself: "Man, I'm just as fucked up as you woulda been/If you woulda been in my shoes" and "So read up, about how I used to get beat up/Peed on, be on free lunch, and change school every three months/My life's like kinda what my wife's like/Fucked up after I beat her fucking ass every night, Ike".

\"Steve Berman (Skit)\"

This skit deals with a record company executive ("Steve Berman") demanding that Eminem re-record the album to make it more commercial and marketable. He says "Do you know why Dre's record was so successful? He's rapping about big screen TVs, blunts, forties and bitches. You're rapping about homosexuals and Vicodin. I can't sell this shit! Either change the record or it's not coming out."

\"The Way I Am\"

Eminem's despair at the end of the previous skit leads into the next song, "The Way I Am", with a depressing, haunting and ominous beat. The song addresses his fans, primarily. He begins by explaining the sources of his music:

"I sit back with this pack of Zig Zags and this bag
of this weed it gives me the shit needed to be
the most meanest MC on this -- on this Earth
And since birth I've been cursed with this curse to just curse
And just blurt this berserk and bizarre shit that works
And it sells and it helps in itself to relieve
all this tension dispensin these sentences
Gettin this stress that's been eatin me recently off of this chest"
The rest of the verse addresses his legions of devoted fans. He makes no apologies for his rude behavior, demanding that he be granted his own privacy: "I'm not Mr. 'N Sync, I'm not what your friends think/I'm not Mr. Friendly, I can be a prick". He threatens violence against those who offend him and won't leave him alone, inviting fans so injured to "file you a lawsuit/I'll smile in the courtroom and buy you a wardrobe".

In the next verse, Eminem addresses his critics again; he is angry that "the media immediately points a finger at me" "when a dude's gettin bullied and shoots up his school" (another Columbine reference). He also commiserates with Marilyn Manson, a shock rocker who was similarly blamed for acts of violence. Eminem responds by asking "where were the parents at?"; he then accuses the middle class of ignoring problems like heroin abuse until it hits "Middle America, now it's a tragedy/Now it's so sad to see, an upper class city/havin this happenin". Similar accusations were made in the wake of Columbine and other school shootings, in that such violence in schools had been occurring for decades in largely working-class African-American inner-city schools, but was ignored by the national media until middle-class white suburban children began killing other middle-class white suburban children.

The final verse is Eminem ranting and raving about the stress of his fame, and his insecurity about being unable "...to top 'My Name is..'", Eminem's first hit off his previous major label album. With much scrutiny due to his racial background, Eminem also lashes out at those who were unwilling to believe his tales of poverty, drugs and violence, asking him continually "what school did I go to, what hood I grew up in/the why, the who what when, the where, and the how/'til I'm grabbin my hair and I'm tearin it out".

In the chorus to "The Way I Am", Eminem questions his identity in the face of massive amounts of attention from millions of strangers. While his previous album, The Slim Shady LP, was somewhat more cartoonish than this album, and he rapped therein as a distinct character who goes by Slim Shady, his critics believed that Eminem, Marshall Mathers and Slim Shady were identical. Similar to other musicians and artists who lost their identity in some fictional construct (David Bowie, Alice Cooper), Eminem expresses his doubts about who he has become.

"And I am, whatever you say I am
If I wasn't, then why would I say I am?
In the paper, the news everyday I am-
Radio won't even play my jam
Cause I am, whatever you say I am
If I wasn't, then why would I say I am?
In the paper, the news everyday I am...
I don't know it's just the way I am"
The chorus is similar to a rhyme used by rapper Rakim in the song "As The Rhyme Goes On".
I’m the R the A to the K-I-M
If I wasn’t, then why would I say I am?
Eminem has said recently this was the second to last song recorded for the album. When asked by Interscope to record another record like "My Name Is" for a first single, his frustration produced "The Way I Am". He went on to record "The Real Slim Shady" shortly upon finishing this record, after he realized he didn't really have an opening song.

\"The Real Slim Shady\"

"The Real Slim Shady" was a major hit, and was the first single released off the album. In it, Eminem makes fun of Will Smith for his speech at the 1999 MTV Video Music Awards. Smith was awarded for his album, and during his acceptance speech he said, "I didn't kill nobody in none of my records, I didn't use no profanity in none of my records...gangsta rap is whack." In the song, Eminem says "Will Smith don't gotta cuss in his raps to sell records, well I do, so fuck him and fuck you too."

\"Remember Me?\"

"Remember Me?" is partnership with RBX and Sticky Fingaz (of Onyx). The song begins with RBX shouting "Remember Me"; and adding various menacing statements, ending with "I drop bombs like Hiroshima", (a reference to the song "High Powered" from Dr Dre's The Chronic) and then the sound of an explosion.

It begins with RBX on the first verse, followed by Sticky Fingaz and then Eminem. The first two verses are stream-of-consciousness and semi-coherent, with rapid-fire rhymes like: "Better come better than better to be a competitor/This vet is ahead of/The shit is all redder, you deader and deader/A medic instead-a the cheddars and credda/settle vendetta one metal Beretta from ghetto to ghetto/Evidence? NOPE! Never leave a shred-of" (from the second verse). Both RBX and Sticky Fingaz have distinctively bass voices, and a frenetic, threatening and chaotic style of rapping. Their lines seem haphazard, in spite of the clearly well-planned out alliterative and assonating rhymes, and are shouted as though their voices are themselves violently uncontrollable; this is particularly true of Sticky Fingaz.

On Eminems chorus, he put in lines from the songs "Just don't give a fuck", "Still don't give a fuck", "Low down dirty" & "I'm Shady". Everyone from The Slim Shady LP except "Low down dirty", who's from the Slim Shady EP. The third verse is Eminem rapping, beginning with a memorable pun: "When I go out, I'ma go out shootin'/I don't mean when I die, I mean when I go out to the club, stupid". Once again, Eminem addresses his critics, specifically, those who disliked "97 Bonnie and Clyde", a song from The Slim Shady LP about Eminem disposing of three bodies (his wife, her lover and his son) with his young daughter in attendance: "My baby's mom, bitch made me an angry blonde/So I made me a song, killed her and put Hailie on". Eminem defended "97 Bonnie and Clyde" by claiming that, like many of his songs, he is able to work out his own hostility towards friends and family by rapping about violence instead of actually acting out on such desires. The verse also goes back to the Columbine shootings; Eminem was criticized for creating a "culture of violence" and, partly, causing such acts. In typical Eminem fashion, he exaggerates his own influence by claiming that someone broke into his house and stole "two loaded machine guns and both of my trenchcoats" (the Columbine killers associated with members of the "Trenchcoat Mafia"). The song ends with Eminem hoarsely screaming "Remember me?".

\"I'm Back\"

In "I'm Back", Eminem reacts to a variety of issues and ideas. The chorus is simple, and states that "They call me Slim Shady/I'm back". In the verses, Eminem tackles subjects from racism and violence to homosexuality and drug abuse.

As often happens when an artist is controversial, Eminem begins by exaggerating and proudly boasting that "You never heard of a mind as perverted as mine", "I'm waiting for hell. Like hell, shit I'm anxious as hell" and "I used to get punked and bullied on my block/'Till I cut a kitten's head off and stuck it in this kid's mailbox". He soon moves on to tackle race. Some commentators have observed that Eminem became such an incredible celebrity precisely because he is white and not because of his skills as a rapper (though few doubt that he is quite skilled). Eminem apparently agrees: "Became a commodity because I'm W-H-I-T-E, cuz MTV was so friendly to me".

The second verse describes Eminem's warped view of the "sick world we live in these days". He seems to exult in the degeneracy, though, ("I'll take each individual degenerate's head and reach into it/Just to see if he's influenced by me"). He mentions Ken Kaniff (see the skit below), a homosexual who is "on the Internet/Tryin' to lure your kids/ with him into bed", as a further example of the dangerous and cruel world he lives in. Eminem then makes a second joke about actor Christopher Reeves, paralyzed from the neck down after a horse-riding accident. An imitation of a critic then says "Slim, it's a touchy subject, try and just don't mention it", effectively summing up one of the main arguments in favor of Eminem's adult subject matter; the fact that no one mentions an issue does not make the issue irrelevant, and does not make it go away.

The third verse begins by referring to Columbine again: "I take seven (kids) from (Columbine), stand 'em all in line/Add an AK-47, a revolver, a nine/A Mac-11 and it oughta solve the problem of mine/And that's a whole school of bullies shot up all at one time". The words "kids" and "Columbine" are not actually spoken; they were omitted for censoring reasons. Eminem goes on to criticize the media's attention paid to the Y2K crisis ("... they call me as crazy/As the world was over the whole Y2K thing") and then goes on to criticize *NSYNC and other pop musicians, reiterating his hatred for boy bands. Eminem ends by dispelling a rumor that he was having sex with Christina Aguilera, explaining that "... if I ever stuck it to any singer in show biz/It'd be Jennifer Lopez and Puffy you know this/I'm sorry Puff, but I don't give a fuck if this chick was my own mother/I'd still fuck her with no rubber and cum inside her/And have a son and a new brother at the same time/And just say that it ain't mine; what's my name?".

\"Marshall Mathers\"

"Marshall Mathers" is a litany of insults directed towards various aspects of society, perceived as being shallow and overly commercial. The first verse begins in typical Eminem fashion, with a bizarre rant of mounting intensity and absurdity: "Yo, you might see me joggin, you might see me walkin/You might see me walkin a dead Rottweiler dog/with its head chopped off in the park with a spiked collar/hollerin at him cause the son of a bitch won't quit barkin". He then goes on to criticize "cheap imitations" of the late rappers Tupac Shakur and The Notorious B.I.G. that "get dollars that shoulda been theirs (Tupac and Biggie) like they switched wallets". Eminem's reaction to such shallowness in the pop cultural world is to "... walk around with an empty bottle of Rémy Martin/startin shit like some 26-year-old skinny Cartman ("God damnit!")/I'm anti-Backstreet and Ricky Martin/with instincts to kill *NSYNC, don't get me started/These fuckin brats can't sing and Britney's garbage/What's this bitch retarded? Gimme back my sixteen dollars". This is followed by a section which parallels in rhythm the very beginning in its climaxing intensity and absurdity: "All I see is sissies in magazines smiling/Whatever happened to whylin out and bein violent?/Whatever happened to catchin a good-ol' fashioned/passionate ass-whoopin and gettin your shoes coat and your hat tooken?" Eminem then launches into a mocking rant referencing several pop sensations, mimicking the chorus of LFO's "Summer Girls": "New Kids on the Block sucked a lot of dick/Boy-girl groups make me sick/and I can't wait till I catch all you faggots in public, I'ma love it".

Next, Eminem devotes time to a counterattack on the Insane Clown Posse, who had remixed his "My Name Is" into "Slim Anus": "Plus I was put here to put fear into faggots who spray Faygo root beer/ and call themselves clowns because they look queer/Faggy 2 Dope and Silent Gay/claimin' Detroit, when y'all live twenty miles away/and I don't wrestle but I'll knock you fuckin' faggots the fuck out/...I don't need help from D-12/to beat up two females/in makeup, who may try to scratch me with Lee Nails/"Slim Anus," you're damn right slim anus/I don't get fucked in mine like you two little flaming faggots." Later, Eminem goes onto express disgust over groupies, angrily telling one "...get off me, go fuck Puffy."

He then goes on to address his underground detractors, rapping, "Now because of this blond mop that's on top/Of this fucked up head that I've got, I've gone pop?/The underground just spunned around and did a 360/Now these kids diss me and act like some big sissies/'Oh, he just did some shit with Missy/So now he thinks he's too big to do some shit with MC Get-Bizzy.'" He also discusses his family, specifically his mother's lawsuit alleging defamation of character in The Slim Shady LP and various interviews. He defends himself by claiming that he told the truth, and that he (as claimed) learned to use drugs from her: "where the fuck you think I picked up the habit?/All I had to do was go in her room and lift up her mattress". On the subject of the rest of the family: "Family fightin' and fussin' over who wants to invite me to supper/All the sudden, I got 90 some cousins (Hey it's me!)/A half-brother and sister who never seen me/or even bothered to call me until they saw me on TV".

\"Ken Kaniff (Skit)\"

An incredibly disgusting skit and diss song against the Insane Clown Posse, which features Kaniff receiving oral sex from Shaggy and Violent J. The skit ends with Ken yelling, "Say my name." Shaggy says "Eminem", which causes Ken to run out in anger. Eminem provides all the voices.

\"Drug Ballad\"

"Drug Ballad" is, appropriately enough, all about drugs. Eminem mentions drinking copious amounts of alcohol, ecstasy and marijuana, as well as huffing glue "through a tube and play Rubik's Cube". Ironically, the atmosphere and style of delivery makes the song sound like a party song, reminiscent of West Coast rap songs from Dr. Dre and Snoop Dogg, among others. Instead of exulting a party-heavy lifestyle, Eminem describes the dark side of that existence. This begins with the rapidfire beginning: 'We used to mix Hen' with Bacardi Dark/And when it, kicks in you can hardly talk/And by the, sixth gin you're gonna probably crawl/And you'll be, sick then and you'll probably barf/And my pre-diction is you're gonna probably fall/Either somewhere in the lobby or the hallway wall". In addition, drunkenness is described as giving the drunkard "permission to officially slap bitches/You have the right to remain violent and start whylin'" and "get in your car/drive it/and cause a 42-car pile-up". The second verse focuses on the effect of heavy drug use on interpersonal relationships. Most interestingly is the effect of Ecstacy, notorious for increasing and empathy and causing strangers to fall deeply in love for brief periods, often ending when the drug wears off: "(I'm) Getting sentimental as fuck spillin' guts to you/We just met/But I think I'm in love with you". In the third verse, Eminem ends by refusing to apologize for his past: "If I could take it all back now, I wouldn't/I would have did more shit that people said that I shouldn't".

On the edited version, the track name is just simply "Ballad"

\"Amityville\"

"Amityville" begins with gruff, almost doo-wop nonsense vocals and a barely audible whisper repeating "kill kill kill". When the verses begin, they are incoherent strings of extremely violent images. Guest rapper Bizarre, a member of D12 who would later become notorious for sick sexual lyrics, does the second verse. First verse: Second verse: Third verse: "Amityville" contains samples from "Sorcerer of Isis" by Power of Zeus.

\"Bitch Please II\"

This is a collaboration between Eminem, Dr. Dre, Snoop Dogg, Xzibit and Nate Dogg, Part 2 of Bitch Please (Snoop Dogg feat. Nate Dogg, Xzibit). The beat for the original "Bitch Please" was produced by Dr. Dre, and reprises itself here in a remixed version produced by album engineer Richard "Segal" Huredia. In the first verse, Dr. Dre describes the audiences at West Coast rap concerts, and describes himself and his proteges as "These grown-ass ignorant men with hair-triggers again". In the second verse, Snoop's characteristically lazy, stoned funky voice describes his own part in the scene, "Hit-and-run, get it done, get the funds, split and run/Got about fifty guns, and I love all of 'em the same - bang bang!". The third verse is Xzibit continuing much the same idea: "Your little lungs is too small to hotbox with God", "It's like ashes to ashes and dust to dust/I might leave in the bodybag, but never in cuffs", "When things get rough I'm in the club shootin with Puff/Bitch, please - you must have a mental disease/Assume the position and get back down on your knees - c'mon". Eminem then appears, impersonating Snoop's first verse from "Bitch Please." In his verse, Eminem plays off of Timothy White's characterization of him: "what if he's right/I'm just a criminal/ makin a living off/ of the world's misery-- what in the world gives me the right/to say what I like, and walk around flippin the bird/Livin the urban life, like a white kid from the 'burbs/Screamin at night and screamin at mom, schemin to leave/Run away from home and grow to be as evil as me".

This track is listed as ***** Please II in the clean version of the record.

\"Kim\"

"Kim" was perhaps the most infamous song on The Marshall Mathers LP, frequently cited by critics as extremely misogynistic and disturbing. It is a prequel to "'97 Bonnie and Clyde" (from The Slim Shady LP), which was the story of Eminem and his young daughter disposing of three bodies: his wife, her lover and his son; the previous song was a deliberate send-up of the sentimental father-child songs of Will Smith ("Just the Two of Us") and other rappers. In "Kim," we hear the actual murder of Eminem's wife, Kim. The song is unlike virtually anything else in rap music, in its short, screamed and barely rhythmic lines; some critics deemed the song "unlistenable" and even "painful" due to the harshness of the delivery. Eminem's enraged voice is hoarse and raspy. Drunk and angry, Eminem begins by yelling at Kim, and explaining why he wants to kill her: "Quit crying bitch, why do you always make me shout at you?", "But not for him to take my place, are you out your mind?/This couch, this TV, this whole house is mine!". He then puts her in his car, while her sobs can be heard. Amid honking cars in the background, Eminem continues shouting at her and threatening to kill her. Finally, in the third verse Eminem remembers a happy time in their marriage right before killing her: "Hey remember the time we went to Brian's party?/And you were like so drunk that you threw up all over Archie/That was funny wasn't it?". Finally, the song ends with Eminem cutting her throat, and the sound of Kim choking. Scraping painfully over the sounds of death are hate filled words from Emenim: "You were supposed to love me/Now bleed, bitch, bleed!!!" followed by a very intense, hoarsely screaming "bleeeeeeed!!!". After the music ends, we hear what sounds like Eminem dragging Kim's body back to the car, opening the trunk, and stuffing her in.

An uncensored version of this song circulated on the internet prior to the album's release under the name "Bitch So Wrong".

The graphic violence of the song caused many activist groups to criticize Eminem. They objected to the detailed description of spousal abuse, and the endless hatred spewed at his crying wife. Defenders of the song point out the multi-faceted character of Eminem, who loudly proclaims his love for his wife just before murdering her, and his clear and unambigous mental instability ruling him out as a role model for any stable person.

The edited version of The Marshall Mathers LP replaces "Kim" with a different song called "The Kids", which begins as a parody of South Park[link]

Contains drums sampled from "When The Levee Breaks" by Led Zeppelin.

\"Under the Influence\"

This track begins with nonsense vocals followed by Eminem rapping the chorus: "Translation: So you can suck my dick if you don't like...my shit/Cuz I was high when I wrote this so suck...my dick." His opening verse is reminiscient of The Slim Shady LP in its lyrics, as he raps, "Two pills I pop 'til my pupils swell up like two pennies/I'm Clint Eastwood in his mid-twenties." The other five verses are done by members of Eminem's six-person group D12, and contain shock-oriented material similar to that found on their 2001 debut Devil's Night.

When the album is played in a computer on Windows Media Player, the artists come up as Eminem, and curiously, "D-Age" instead of D12.

\"Criminal\"

The final track mirrors "Still Don't Give A Fuck" from The Slim Shady LP, beginning with Eminem talking: "A lot of people ask me...stupid fucking questions/A lot of people think that...what I say on records/Or what I talk about on a record, that I actually do in real life/Or that I believe in it/.../Well shit...if you believe that/Then I'll kill you/You know why? Cuz I'm a CRIMINAL!" The song then starts, featuring a fast-paced beat built over a frantic piano loop. Eminem delivers his lines rapidly, opening with, "My words are like a dagger with a jagged edge/That'll stab you in the head, whether you're a fag or lez/Or the homosex, hermaph or a trans-a-vest/Pants or dress - hate fags? The answer's 'yes.'" GLAAD frequently cited these lines as proof that Eminem was homophobic, though critics such as Robert Christgau have pointed out that the song is about words' power to cause pain. However, in the track Eminem also mocks murdered homosexual fashion designer Gianni Versace with the lines, "Hey it's me, Versace! Whoops, somebody shot me/And I was just checkin' the mail - get it? Checkin' the 'male?'" Many critics considered this rather tasteless. The rest of the song features Eminem implying that his critics are wrong for labelling him a negative influence, exaggerating his persona as that of a criminal. Toward the end of the final verse, he raps, "Shit half the shit I say I just make it up, to make you mad/So kiss my white naked ass!" The song ends with him rapping "I am a CRIMINAL!" and the sound of a gunshot.

Between the second and final verses, there is an interlude where Eminem and Dr. Dre rob a bank.

The Kids (Some Copies)

This is a bonus track, which appears on international releases and the clean version, to replace "Kim". * A Spoof of South Park, which talks about Marjuiana, Estacsy and Magic Mushrooms and it's effects (On the edited track, they are backmasked). This is a send-up of the cartoon. anti-drug PSA's

Track listing

  1. "Public Service Announcement 2000" (Performed by Eminem and Jeff Bass) - 0:25
  2. "Kill You" (Bradford/Mathers/Young) (Produced by Dr. Dre and Mel-Man) - 4:24
  3. "Stan" (Armstrong/Herman/Mathers) (Produced by The 45 King) - 6:43
  4. "Paul (skit)" (Performed by Paul Rosenberg) - 0:10
  5. "Who Knew" (Bradford/Elizondo/Mathers/Young) (Produced by Dr. Dre and Mel-Man) - 3:47
  6. "Steve Berman" (Mathers) (Performed by Eminem and Steve Berman) - 0:53
  7. "The Way I Am" (Mathers) (Produced by Eminem) - 4:44
  8. "The Real Slim Shady" (Coster/Elizondo/Mathers/Young) (Produced by Dr. Dre and Mel-Man) - 4:50
  9. "Remember Me?" (featuring RBX and Sticky Fingaz) (Collins/Jones/Mathers/Young) (Produced by Dr. Dre and Mel-Man) - 3:38
  10. "I'm Back" (Bradford/Elizondo/Mathers/Young) (Produced by Dr. Dre and Mel-Man) - 5:10
  11. "Marshall Mathers" (Bass/Bass/Mathers) (Produced by F.B.T. and Eminem) - 5:20
  12. "Ken Kaniff (skit)" - 1:01
  13. "Drug Ballad" (Bass/Bass/Mathers) (Produced by F.B.T. and Eminem) - 5:00
  14. "Amityville" (featuring Bizarre of D12) (Bass/Bass/Johnson/Mathers) (Produced by F.B.T. and Eminem) - 4:14
  15. "Bitch Please II" (featuring Dr. Dre, Nate Dogg, Snoop Dogg, and Xzibit) (Bradford/Broadus/Elizondo/Joyner/Mathers/Young) (Produced by Richard "Segal" Huredia) - 4:48
  16. "Kim" (Bass/Bass/Mathers) (Produced by F.B.T.) - 6:17
  17. "Under the Influence" (featuring D12) (Carlisle/Holton/Johnson/Mathers/Moore/Porter) (Produced by F.B.T. and Eminem) - 5:22
  18. "Criminal" (Bass/Bass/Mathers) (Produced by F.B.T. and Eminem) - 5:19

Personnel

Chart positions

Billboard Music Charts (North America) - album 
2000 The Billboard 200 No. 1
2000 Internet Albums No. 1
2000 Top R&B/Hip-Hop Albums No. 1
2000 Top Canadian Albums No. 1
2002 The Billboard 200 No. 1
Billboard (North America) - singles 
2000 The Real Slim Shady The Billboard Hot 100 No. 4
2000 The Way I Am The Billboard Hot 100 No. 58
2000 Stan The Billboard Hot 100 No. 51
2000 The Real Slim Shady Hot Rap Singles No. 7
2000 The Way I Am Hot Rap Singles No. 24
2000 The Real Slim Shady Latin Pop Airplay No. 28
2000 The Real Slim Shady Latin Tropical/Salsa Airplay No. 23
2000 The Real Slim Shady Hot R&B/Hip-Hop Singles & Tracks No. 11
2000 The Way I Am Hot R&B/Hip-Hop Singles & Tracks No. 26
2000 Stan Hot R&B/Hip-Hop Singles & Tracks No. 36
2000 Bitch Please II Hot R&B/Hip-Hop Singles & Tracks No. 61
2000 The Real Slim Shady Rhythmic Top 40 No. 1
2000 The Way I Am Rhythmic Top 40 No. 5
2000 Stan Rhythmic Top 40 No. 9
2000 The Real Slim Shady Top 40 Mainstream No. 13
2000 Stan Top 40 Mainstream No. 33
2000 The Real Slim Shady Top 40 Tracks No. 9
2000 The Way I Am Top 40 Tracks No. 36
2000 Stan Top 40 Tracks No. 34
2000 The Real Slim Shady Canadian Singles Chart No. 15
2000 The Real Slim Shady Modern Rock Tracks No. 19

External links

 

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