RhoDeo 1951 Grooves

Hello, with over 170 million records sold globally, Marshall Bruce Mathers III is among the best-selling music artists of all time. He was the best-selling music artist in the United States in the 2000s, sigh..such a confused country. Trash sells in America !, but what about all that plastic ?




Today's Artist is another case of rags to riches the US always drools over."At the dawn of the 21st Century, Slim Shady had the biggest mouth in the music biz. And man oh man were people upset about the words coming out of it. Drugs, murder, rape, and attacks on pop culture icons were casual topics; and no matter how ridiculous his stories were he made sure you believed every. single. word. However, his praise was just as large as the controversy, not to mention sales. Clever wording coupled with vicious delivery made him perhaps the most technically skilled MC ever within the mainstream.  . ....... N Joy

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To call Eminem hip-hop's Elvis is correct to a degree, but it's largely inaccurate. Certainly, Eminem was the first white rapper since the Beastie Boys to garner both sales and critical respect, but his impact exceeded this confining distinction. On sheer verbal skills, Eminem was one of the greatest MCs of his generation -- rapid, fluid, dexterous, and unpredictable, as capable of pulling off long-form narratives as he was delivering a withering aside -- and thanks to his mentor Dr. Dre, he had music to match: thick, muscular loops that evoked the terror and paranoia Em's music conjured. And, to be certain, a great deal of the controversy Eminem courted -- and during the turn of the millennium, there was no greater pop cultural bogeyman than Marshall Mathers -- came through in how his violent fantasias, often directed at his mother or his wife, intertwined with flights of absurdity that appealed to listeners too young to absorb the psychodramas Eminem explored on his hit albums, The Slim Shady LP and The Marshall Mathers LP. With hits "My Name Is" and "The Real Slim Shady," he ruled the airwaves, but it wasn't long before some detractors acknowledged his depth, helped in part by singles like the mournful "Stan," written from the perspective of an obsessed fan. Eminem capitalized on this forward momentum by crossing over onto the big screen with 8 Mile, earning acclaim for his performance and an Oscar for the film's anthem "Lose Yourself," but a number of demons led him to shut down for the second half of the decade, an absence that proved life was indeed empty without Em, before he returned in 2009 with Relapse.

Born Marshall Mathers in the Kansas City, Missouri suburb of St. Joseph, Eminem spent his childhood between Missouri and Michigan, settling in Detroit by his teens. At the age of 14, he began rapping with a high-school friend, the two adopting the names "Manix" and "M&M," which soon morphed into Eminem. Under this name, Mathers entered battle rapping, a struggle dramatized in the fictionalized 8 Mile. Initially, the predominantly African-American audience didn't embrace Eminem, but soon his skills gained him a reputation, and he was recruited to join several rap groups. The first of these was the New Jacks, and after they disbanded, he joined Soul Intent, who released a single in 1995. This single also featured Proof, and the two rappers broke off on their own to form D-12, a six-member crew that functioned more as a Wu-Tang-styled collective than a regularly performing group. As he was struggling to establish his career, he and his girlfriend Kim had a daughter, Hailey, forcing him to spend less time rapping and more time providing for his family. During this time, he assembled his first album, Infinite, which received some underground attention in 1996, not all of it positive. After its release, Eminem developed his Slim Shady alter ego, a persona that freed him to dig deep into his dark id, something he needed as he faced a number of personal upheavals, beginning with a bad split with Kim, which led him to move in with his mother and increase his use of drugs and alcohol, capped off with an unsuccessful suicide attempt. All this Sturm und Drang was channeled into The Slim Shady EP, which is where he first demonstrated many of the quirks that became his trademark, including his twitchy, nasal rhyming and disturbingly violent imagery.

The Slim Shady EP opened many doors, the most notable of them being a contract with Interscope Records. After Eminem came in second at the 1997 Rap Olympics MC Battle in Los Angeles, Interscope head Jimmy Iovine sought out the rapper, giving the EP to Dr. Dre, who proved eager to work with Eminem. They quickly cut Em's Interscope debut in the fall of 1998 -- during which time Marshall reconciled with Kim and married her -- and The Slim Shady LP appeared early in 1999, preceded by the single "My Name Is." Both were instant blockbusters and Eminem turned into a lightning rod for attention, earning praise and disdain for his violent, satirical fantasias. Eminem quickly followed The Slim Shady LP with The Marshall Mathers LP in the summer of 2000. By this point, there was little doubt that Eminem was one of the biggest stars in pop music: the album sold by the truckload, selling almost two million copies within the first two weeks of release, but Mathers felt compelled to tweak other celebrities, provoking pop stars in his lyrics, and Insane Clown Posse's entourage in person, providing endless fodder for tabloids. This gossip blended with growing criticism about his violent and homophobic lyrics, and under this fire, he reunited his old crew, D-12, releasing an album in 2001, then touring with the group.

During this furor, he had his biggest hit in the form of the moody ballad "Stan." Performed at the Grammys as a duet with Elton John, thereby undercutting some accusations of homophobia, the song helped Eminem to cross over to a middlebrow audience, setting the stage for the ultimate crossover of 2001's 8 Mile. Directed by Curtis Hanson, best known as the Oscar-nominated director of L.A. Confidential, the gritty drama fictionalized Eminem's pre-fame Detroit days and earned considerable praise, culminating in one of his biggest hits with the theme "Lose Yourself," which won Mathers an Oscar. After all this, he retreated from the spotlight to record his third album, The Eminem Show. Preceded by the single "Without Me," the album turned into another huge hit, albeit not quite as strong as its predecessor, and there were some criticisms suggesting that Eminem wasn't expanding his horizons much. Encore, released late in 2004, did reach into more mature territory, notably on the anti-George W. Bush "Mosh," but most of the controversy generated by the album was for behind-the-scenes events: a bus crash followed by canceled dates and a stint in rehab. Rumors of retirement flew, and the 2005 appearance of Curtain Call: The Hits did nothing to dampen them, nor did the turmoil of 2006, a year that saw Mathers remarrying and divorcing Kim within a matter of four months, as well as the shooting death of Proof at a Detroit club.

During all this, Em did some minor studio work, but soon he dropped off the radar completely, retreating to his Detroit home. He popped up here and there, most notably debuting the hip-hop channel Shade 45 for Sirius Satellite Radio in September 2008, but it wasn't until early 2009 that he mounted a comeback with Relapse, an album whose very title alluded to some of Mathers' struggles with prescription drugs, but it also announced that after an extended absence, Slim Shady was back. While not quite a blockbuster, the album went platinum, and Eminem followed it at the end of the year with an expanded version of Relapse (dubbed Relapse: Refill) that added outtakes and new recordings. Recovery, initially titled Relapse 2, was issued in June 2010. The album debuted on top of the Billboard 200 chart, where it remained for five consecutive weeks, while its leadoff single, "Not Afraid," debuted on top of the magazine's Hot 100 singles chart.
The year 2010 also brought Eminem back together with Royce da 5'9" under the Bad Meets Evil moniker. In turn, June 2011's Hell: The Sequel marked the release of their first EP as a duo and -- barring the previous month's release of key EP track "Fastlane" as a single -- was their first batch of new material since a 1999 double A-side. After an intense period of recording, Eminem announced in August 2013 that his next solo album would be a nostalgically themed set of new material entitled The Marshall Mathers LP 2, which landed in early November. The album featured the singles "Berzerk," "Rap God," and "Survival," plus the chart-topping hit "The Monster" with Rihanna. In 2014, new tracks landed on the double-disc set Shady XV, which celebrated the Shady label's 15th birthday. The singles "Phenomenal" and "Kings Never Die" featuring Gwen Stefani arrived a year later, both taken from the Southpaw soundtrack.

Eminem resurfaced in October 2017 with a freestyle anti-Trump rap. The track didn't appear on Revival, the December 2017 album that was filled with cameos, including appearances by Beyoncé ("Walk on Water"), Ed Sheeran ("River"), and P!nk ("Need Me"). His seventh straight chart-topper, it ultimately failed to match the sales heights of past efforts, despite the international success of the "River" single. The next year, without warning, Eminem issued his surprise tenth album, Kamikaze. The set featured appearances by Joyner Lucas, Royce da 5'9", and Jessie Reyez, as well as "Venom," from the film of the same name.

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Most people are aware of Eminem’s breakthrough album The Slim Shady LP. It was this album that contained worldwide famous hits like “My Name Is” and catapulted him to platinum-certified fame. However, very few are aware that prior to SSLP, Eminem had another album, one that was less critically acclaimed and considerably less commercially successful. That album? Infinite, the 1996 debut which reportedly only sold around 1,000 copies during its initial release. The album has since received more attention thanks to its limited re-release in 2009 to promote Em’s Relapse album, but since it isn’t available on any streaming or digital download services, most people aren’t aware it exists.
 Infinite is an interesting listen to those who want to hear where Eminem came from, and that's about it.

Eminem's rapping isn't particularly bad or anything, but it smacks of someone who hasn't carved out any kind of unique style or identity yet. Just another rapper doing his thing, bragging about his skills, etc. Eminem isn't bad as a rapper here, but not much interesting stuff is going on. The most interesting things to hear are Eminem's early revering of A Tribe Called Quest, when he shouts out Phife Dawg twice on the album. Em would mention this once again 18 years later on MMLP2's "Legacy". Lot of his naysayers claimed he sounded like Nas or AZ, I don't hear the Nas, maybe a little bit of the AZ, but you be the judge. Eminem isn't awful here, the production is. This sounds like something that was made in someone's home garage. And yes I understand that it was cheap and that was all they could do so I don't hold it against them, but that doesn't make the music any better. Eminem needed some real production, there's not really any track here standing out. This is worth a look for hardcore Eminem fans just because there's an inherent fascination at looking at where Eminem came from.

 Eminem - Infinite  (flac   237mb)

01 Infinite 4:01
02 W.E.G.O. (feat. DJ Head & Proof) 0:22
03 It's O.K. (feat. Eye-Kyu) 3:31
04 313 (feat. Eye-Kyu) 4:11
05 Tonite 3:43
06 Maxine (feat. Denaun Porter & 3) 3:55
07 Open Mic (feat. Thyme) 4:02
08 Never 2 Far 3:38
09 Searchin' (feat. Denaun Porter) 3:44
10 Backstabber (feat. Denaun Porter) 3:24
11 Jealousy Woes II 3:19

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There is no doubt the impact Eminem's second studio album and major label debut "The Slim Shady LP" had on hip hop and pop culture was so huge the record rightly holds the state of being one of the most important albums of the late nineties. It also catapulted Eminem to unlikely stardom, a white rapper from the trailers, whose songs range from killing fantasies of his ex wife to darkly humorous self-destruction anthems and bad taste attacks against pop culture, with the lyrical skills of a dictionary, plus the rare charisma of a self-aware schizophrenic bad role model, equally making fun of himself and others.

Given his subsequent superstardom, culminating in no less than an Academy Award, it may be easy to overlook exactly how demonized Eminem was once his mainstream debut album, The Slim Shady LP, grabbed the attention of pop music upon its release in 1999. Then, it wasn't clear to every listener that Eminem was, as they say, an unreliable narrator, somebody who slung satire, lies, uncomfortable truths, and lacerating insights with vigor and venom, blurring the line between reality and parody, all seemingly without effort. The Slim Shady LP bristles with this tension, since it's never always clear when Marshall Mathers is joking and when he's dead serious. This was unsettling in 1999, when nobody knew his back-story, and years later, when his personal turmoil is public knowledge, it still can be unsettling, because his words and delivery are that powerful. Of course, nowhere is this more true than on "97 Bonnie and Clyde," a notorious track where he imagines killing his wife and then disposing of the body with his baby daughter in tow. There have been more violent songs in rap, but few more disturbing, and it's not because of what it describes, it's how he describes it -- how the perfectly modulated phrasing enhances the horror and black humor of his words. Eminem's supreme gifts are an expansive vocabulary and vivid imagination, which he unleashes with wicked humor and unsparing anger in equal measure. The production -- masterminded by Dr. Dre but also helmed in large doses by Marky and Jeff Bass, along with Marshall himself -- mirrors his rhymes, with their spare, intricately layered arrangements enhancing his narratives, which are always at the forefront. As well they should be -- there are few rappers as wildly gifted verbally as Eminem. At a time when many rappers were stuck in the stultifying swamp of gangsta clichés, Eminem broke through the hardcore murk by abandoning the genre's familiar themes and flaunting a style with more verbal muscle and imagination than any of his contemporaries. Years later, as the shock has faded, it's those lyrical skills and the subtle mastery of the music that still resonate, and they're what make The Slim Shady LP one of the great debuts in both hip-hop and modern pop music.

 Eminem - The Slim Shady LP Special Ed    (flac   371mb)

01 Public Service Announcement 0:34
02 My Name Is 4:29
03 Guilty Conscience (feat. Dr. Dre) 3:21
04 Brain Damage 3:48
05 Paul 0:17
06 If I Had 4:05
07 97' Bonnie & Clyde 5:14
08 Bitch 0:21
09 Role Model 3:26
10 Lounge 0:48
11 My Fault 4:00
12 Ken Kaniff 1:18
13 Cum on Everybody 3:39
14 Rock Bottom 3:34
15 Just Don't Give a Fuck 4:02
16 Soap 0:36
17 As the World Turns 4:26
18 I'm Shady 3:33
19 Bad Meets Evil (feat. Royce da 5'9") 4:15
20 Still Don't Give a Fuck 4:09
Bonus
21 Hazardous Youth (Acapella Version) 0:44
22 Sway & King Tech - Get You Mad 4:22
23 Greg (Acapella Version) 0:54

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The Marshall Mathers LP takes the dark shock humor of its predecessor and adds an unexpected emotional depth, painting Eminem as not just a sadistic hellraiser but also a father, husband and normal guy struggling to cope with his fame. Here, Em ditches the black-and-white attitude to morals, relishing in the ambiguity and uncertainty of the grey areas - it’s never clear when he’s joking and when he’s not. It's hard to know what to make of Eminem, 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. To Eminem's credit, he decided to exploit that confusion on his masterful second record, The Marshall Mathers LP. Eminem is all about blurring the distinction between reality and fiction, humor and horror, satire and documentary, so it makes perfect sense that The Marshall Mathers LP is no more or no less "real" than The Slim Shady LP. It is, however, 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. 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.

Eminem - The Marshall Mathers Ltd Ed (flac   618mb)

1 Public Service Announcement 2000 0:25
2 Kill You 4:24
3 Stan (feat. Dido) 6:44
4 Paul (Skit) 0:10
5 Who Knew 3:47
6 Steve Berman (skit) 0:53
7 The Way I Am 4:50
8 The Real Slim Shady 4:44
9 Remember Me? (feat. RBX & Sticky Fingaz) 3:38
10 I'm Back 5:10
11 Marshall Mathers 5:20
12 Ken Kaniff (Skit) 1:01
13 Drug Ballad 5:00
14 Amityville (feat. Bizarre from D-12) 4:14
15 Bitch Please II  (feat. Dr. Dre, Snoop Dogg, Xzibit, Nate Dogg)4:48
16 Kim 6:17
17 Under the Influence feat. (D-12) 5:22
18 Criminal 5:13
Bonus
19 The Real Slim Shady (Instrumental) 4:46
20 The Way I Am (Instrumental) 4:53
21 Stan (Instrumental) 6:46
22 The Kids (Explicit Version) 5:07
23 The Way I Am (Danny Lohner Remix) 4:59

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Wherever rapper Eminem goes, controversy and headlines are sure to follow. With so many people unsure about whether to love him or hate him, five young rappers have decided to join him on his latest project, D12. Also known as the Dirty Dozen, D12 is a sextet of Detroit-based rappers -- all between the ages of 23 and 25. Members Bizarre, Swift, Kon Artis, Proof, and Kuniva claim they are "here to bring the sick, the obscene, the disgusting." With this agenda in tow, D12 could prove to be the sequel to the controversial parade that Eminem started with the explicit lyrics on his solo album Slim Shady (Interscope, 1999) and the in-your-face single "Way I Am" (2000, Interscope).

It's tempting to dismiss D12's debut album, Devil's Night, as exploitative juvenilia, similar to how fellow Detroit hardcore rap acts such as ICP and Esham had been treated in the past. In fact, it's hard not to dismiss this album as shock rap because that's exactly what it is -- there's no denying it. As witty as Eminem may be -- and he's by far the most creative member of the group -- the countless forays into theatrical perversity far outnumber the more literate moments. But to dismiss the album strictly because of its themes would be unfortunate. As challenging as it may be for many to stomach the constant and incredibly explicit sex, violence, and drug references, there is a stunning album lurking beneath that deserves recognition. Functioning as the album's executive producer and as the producer for most of the album's beats, Eminem has done a wonderful job crafting this album and its foreboding feel. Influenced by the style of sparse beats Dr. Dre employed on Eminem's past solo hits, the troublemaking MC's beatmaking steals the show here, particularly on the album's standout moment, "Purple Pills." In fact, Eminem's beats often contest the couple equally impressive tracks that Dre contributes. Besides the remarkable production, Eminem also showcases his songwriting genius on several of the song's hooks, bringing a catchy pop-rap approach to hardcore lyrics. Yet no matter how accomplished this album is from a production and songwriting angle, it's impossible to look past the disturbing lyrics, especially those of Bizarre, and also Eminem's moments of unnecessary instigation. This album is obviously targeting those with a taste for perversity. If that means you, then you'll love this; if that doesn't mean you, then the album is still worth investigating, if only for Eminem's show-stealing performance as not only an MC but also as an adept producer and songwriter.

D12 - Devil's Night  (flac   478mb)

01 Lolo (Intro) 0:40
02 The Watcher 3:28
03 Fuck You 3:25
04 Still D.R.E. 4:28
05 Big Ego's 4:01
06 Xxplosive 3:35
07 What's The Difference 4:04
08 Bar One 0:51
09 Light Speed 2:30
10 Forgot About Dre 3:54
11 Next Episode 2:42
12 Let's Get High 2:27
13 Bitch Niggaz 4:14
14 Murder Ink 2:28
15 Some L.A. Niggaz 4:25
16 Pause 4 Porno 1:33
17 Housewife 4:03
18 Ackrite 3:40
19 Bang Bang 3:42
20 The Message  5:11

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