The Marshall Mathers LP Music

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With his self-entitled LP screaming from the deepest and blackest void of his chaotic intellect, Eminem is letting the world know he is one pi**ed-off muthafu**a, and that's putting it lightly. He's a formidable and intimidating contender in the rap communithy with the audacity to explore the outer limits, that steep-cliff edge of political incorrectness that even produced names like Dr. Dre and Snoopy Dogg won't dare to venture. On the one hand, he's a breath of fresh air after the miserable career failures of notably jeered white rappers, the most infamous mentioned above. On the other, he could become an unwelcome presence in the music industry with his consistent and ingenious ability to offend people. He has already tainted the lollipop-sweetness personas of pop princesses Christina Aguilera and Britney Spears, plus the added heckling of beloved teeny-bopper quintets like N'Sync and Backstreet Boys. On th more precarious side of his demented poetry, he bashes the gay community with lazy threats and makes brief quips about Christopher Reeve, Gianni Versace and the late Sonny Bono that manage to make even his loyal listeners cringe a little. He even makes the implication that he condones and practices domestic abuse on his long-time girlfriend and recently wedded wife, Kim. In all his maniacal and lawless prose, Eminem proves that he is a rebel of fame, refusing to reap the benefits of the spotlight and mocking the self-empowered absurdity of stardom. His blunt, rancorous diatribes state his numerous complaints of the unwelcome attention, including the corporate leeches of the business that make claims of the rapper's debt that go beyond money. Moreover, he expresses amazement over his sudden and overwhelming popularity in songs like "Who Knew" and "Marshall Mathers".

On the whole, Eminem preaches to his audience that fame is a bunch of bull and he won't be a party to it, no matter how much money or attention his music garners. He begs us listeners to not take his angry innuendo so seriously, but his boy-who-cried-wolf act is not exactly a comprehensible tactic. To sum it up, he's a clear-cut, brutally honest individual who could give a damn if the whole world despised him, so long as his daughter Haley grows up to be a well-adjusted young lady. We praise you for your bravery, Em. Just don't make too many people mad...

Eminem spits in the music industry's collective face with his song "The Real Slim Shady," which disses well-known music figures like Christina Aguilera, 'NSync, and Will Smith and includes a great sing-along chorus. Continuing in the same vein is the tongue-in-cheek "Marshall Mathers," which again snarls at boy bands while Eminem ponders why little kids want to be like him. His brutally honest "Drug Ballad" showcases his once back-and-forth relationship with drugs and their brutal effects. Two of the biggest standouts on the album are "Stan" and "Kim." "Stan" illustrates the issue of fan-obsession and its extremes. The song soars with backing vocals by Dido, making it even more captivating. "Kim" is oddly gripping and emotionally exhausting--its haunting melody and lyrics paint a picture of the darker side of a relationship gone too far. Eminem wildly wavers between hate, love, dispair, and hope before ending the song with the utmost tragedy. Eminem's writing skills are amazing--his ability to tell stories conjure up disturbing mental images as he journeys to the dark side of life. Definitely not for the easily offended, Eminem will make you laugh, think, and hit the "repeat" button on your CD player. This album is worth buying and listening.