Is MMLP *really* a classic?

Started by python, Dec 30, 2016, in Eminem Add to Reading List

  1. python
    Posts: 639
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    python

    in the nighttime

    Dec 30, 2016
    I see MMLP being cited all the time as one of the all-time classic hip hop records (mostly by Eminem fans, but still), which I legitimately don't understand. While it did have a massive impact at the time, and has some great songs on it, I really don't see how it holds a candle to albums like Stankonia, Low End Theory, MBDTF, The Black Album, or Madvillainy. Classics are supposed to be damn near flawless front to back, while MMLP is awkwardly structured and has really subpar tracks and lyrics scattered everywhere. It seems almost like an insult to those albums to consider MMLP to be on par with them tbh.

    What do you guys think?
     
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  2. Pinocchio
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    Dec 30, 2016
    kys
     
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  3. python
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    python

    in the nighttime

    Dec 30, 2016
    :hov:
     
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  4. Intel
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    Dec 30, 2016
    You're asking it in the Eminem Section, pretty obvious what you'll get.
     
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  5. Zeezus
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    Zeezus

    Not the one from KTT

    Dec 30, 2016
    Not even em's best album let alone one of the greatest hip hop albums of all time
     
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  6. CallMeSas
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    Dec 30, 2016
    no
     
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  7. 83837477
    Posts: 23,089
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    83837477

    Test Account

    Dec 30, 2016
    Not a bad song
    Best Em album
    Easy 2 enjoy but dark and psychotic
    Emotional but hilarious
    Just the best depiction of Eminem you could ask for f--king perfect album.
     
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  8. VR46
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    VR46

    Kamikaze

    Dec 30, 2016
    no , its trash garbage unlistenable

    eminem was never good
     
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  9. Rebeliant
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    Dec 30, 2016
    Has been said many times. Yes, it is.
     
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  10. Xmipod
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    Xmipod

    The GOAT

    Dec 30, 2016
    [​IMG]
     
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  11. python
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    python

    in the nighttime

    Dec 30, 2016
    Why? I'm sure Eminem stans are smart, insightful and completely capable of explaining why they disagree in an intelligent manner :kanye2:
     
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  12. Pinocchio
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    Dec 30, 2016
    ok anime f--ker, I will eat your bait.

    1- It has multiple undisputed classics: 1- Stan, 2- The Way I am, 3- The Real Slim Shady ... MBTDF doesn't touch any of these songs

    2- It is what made rap loved by cacs and internationally, love it or hate it, it really did, and maybe solved racism cuz white kids started acting wiggers and loving the culture

    3- It didn't sacrifice lyrics for selling, like we see nowadays

    4- It influenced J Cole, Big Sean, Kendrick Lamar, etc... , according to them, and they @ the top I guess

    5- Kanye west trying to replicated him in the most cringy way, and Kanye is 2016 rap fans circle jerk :/
     
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  13. Groovy Tony
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    Groovy Tony

    Grandma's baby Eddie Kane

    Dec 30, 2016
    Yes its a classic.There are no bad tracks on MMLP just tracks that feel outdated
     
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  14. Koolo
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    Koolo

    SAS IS THE NEW KANYE

    Dec 30, 2016
    Yes it is

    Only fags who nitpick and have a bad childhood would deny it
     
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  15. gustavojax
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    gustavojax

    Love gonna get you killed

    Dec 30, 2016
    Eminem's 1999 triple-platinum major-label debut, The Slim Shady LP, was a shot in hip-hop's arm, the grand entrance of a hurricane dressed as a Detroit kid with major-league skills and a potential mental disorder. This time out, he's more funny and much more scary. On The Marshall Mathers LP he hits you with the lyrical complexity and detailed narratives of Biggie, the hilarious, is-he-kidding-or-not button-pushing of Howard Stern, the disaffected angry-white-boy-ness of Fight Club and the fearless, kill-me-if-you-can energy of Tupac. He has a macabre imagination to rival Satan's and an incredible ability to create new rhyme patterns. He has a frightening proclivity to spit venom one moment and humor the next, and a never-ending slew of jaw-dropping punch lines. He is, simply, better than any other MC in hip-hop except for Jay-Z — yes, better than Beanie Sigel, Pharoahe Monch, Snoop, Common, Prodigy, Xzibit, Redman, Big Pun and all of the Lox. It feels dangerous to think of a white boy nearing the aesthetic zenith of the celebration of black maleness called hip-hop, but just as blacks have to be twice as good to get ahead in life, to get ahead in hip-hop Eminem has had to be twice as ill.


    Expect, during this summer of Shady, to hear Marshall Mathers following you around the hip-hop nation, flowing from boomboxes, trucks and lips the same way Dre's The Chronic, Raekwon's Only Built 4 Cuban Linx . . . and B.I.G.'s Life After Death once did. You may find Eminem popping out of your own mouth, because he's the most quotable MC alive, both consistently funny and ridiculously far over the top. He rarely uses the same rhyme pattern twice, and he changes his vocal style again and again on Marshall Mathers, often in the space of one verse — he uses six different voices in one stretch of "Criminal." His feelings on Jennifer Lopez: "I'm sorry, Puff/But I don't give a f--k if this chick was my own mother/I'd still f--k her with no rubber." And life in Detroit: "That's why we're crowned the murder capital still!/This ain't Detroit!/This is motherfuckin' Hamburger Hill!/We don't do drive-bys/We park in front of houses and shoot/And when the police come, we f--king' shoot it out with 'em, too!"

    Expect, also, many of these tracks to become the beat of the summer. Dr. Dre and partner-of-late Mel-Man produced much of the album, while Eminem and his Detroit crew, F.B.T., handled most of the rest. The sound shifts between slick, bright, melodic funk that's so R&B-ish, you can dance to it ("Who Knew," "The Real Slimy Shady") and slow, driving, outrageous-bass hardcore raw hip-hop made for cruising in lowriders ("Amityville," "I'm Back"). Seven years after The Chronic and fourteen after the dawn of N.W.A, Dre is that legendary coach taking a third different team to a national title, still making your head hurt from all the nodding, still crazy dope after all these years.

    Finally, this summer you'll also see Eminem become 2000's Luther Campbell or Sister Souljah, the rapper attacked in public for supposedly bringing our standards to new lows. His insistent, tiring gay bashing almost begs you to hate him: "I'll stab you in the head, whether you're fag or les/Or a homosex, a hermaph or a trans-a-ves. . . ./Hate fags? The answer's yes." This may just be grade-school bullshyt, as Eminem claims, but it's bullshyt nonetheless. But the man who pronounced that he was sent here to "piss the world off" knows that being hated is essential to his appeal. It creates a boundary between his fans and outsiders, whether they be parents or his much-maligned TRL peer Christina Aguilera.

    But there's too much anger on The Marshall Mathers LP for it to be just a calculated scheme to win fans. Eminem is a kid who was brutally beaten up in school and raised by a mother who recently hit him with a $10 million defamation-of-character lawsuit for saying things like "A mother did drugs, tar, liquor, cigarettes and speed/The baby came out disfigured, ligaments indeed/It was a seed who would grow up just as crazy as she/Don't dare make fun of that baby/'Cause that baby was me. . . ./How the f--k you supposed to grow up when you weren't raised?" The album opens with "Kill You," in which he threatens Mom with guess what.

    Things degenerate from there into the mountain of bile reserved for Kim, the mother of his baby and the star of the world's most public ongoing murder fantasy. The song named after her on Marshall Mathers is the prequel to the previous album's " '97 Bonnie and Clyde" — in which Eminem speaks to his daughter, Hailie, as he dumps Kim's body in a lake. But where "Bonnie and Clyde" is a clever takeoff on Will Smith's "Just the Two of Us," "Kim" has Eminem screaming at his ex in an insane stream-of-consciousness hate spew. There's little humor to blunt the shock of the hellbent animosity of "Kim." What makes it powerful is that, of course, he doesn't just hate her. It's the most harrowing sick-love song since Guns n' Roses' "Used to Love Her."

    Eminem could be the Axl Rose of hip-hop, a rage-filled, drug-addled, homicidal, charismatic talent and bona fide megastar. The Marshall Mathers LP is a car-crash record: loud, wild, dangerous, out of control, grotesque, unsettling. It's also impossible to pull your ears away from.

    http://www.rollingstone.com/music/albumreviews/the-marshall-mathers-lp-20000706
     
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  16. GawDEDEDE
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    Dec 30, 2016
    Is water *really* wet?
     
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  17. TrxggerShot
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    Dec 30, 2016
    Ι stopped reading @ ''mostly by eminem fans''
     
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  18. Michael Myers
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    Michael Myers

    The Boogeyman is coming

    Dec 30, 2016
    Yes even if its not in my top 10
     
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  19. mow
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    mow

    Red Panda Nation

    Dec 30, 2016
    kim tho
     
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  20. Munch
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    Dec 30, 2016
    Yup. Classic.
     
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