(0 users) 
Cover NOT yet available in
Join Patreon for 4K upload/download access
Your Rating (Click a star below)
Track List
01) Curtains Up (skit)
02) White America
03) Business
04) Cleanin Out My Closet
05) Square Dance
06) The Kiss (skit)
07) Soldier
08) Say Goodbye Hollywood
09) Drips
10) Without Me
11) Paul Rosenberg (skit)
12) Sing for the Moment
13) Superman
14) Hailie's Song
15) Steve Berman (skit)
16) When the Music Stops
17) Say What You Say
18) 'Till I Collapse
19) My Dad's Gone Crazy
20) Curtains Close (skit)
01) Curtains Up (skit)
02) White America
03) Business
04) Cleanin Out My Closet
05) Square Dance
06) The Kiss (skit)
07) Soldier
08) Say Goodbye Hollywood
09) Drips
10) Without Me
11) Paul Rosenberg (skit)
12) Sing for the Moment
13) Superman
14) Hailie's Song
15) Steve Berman (skit)
16) When the Music Stops
17) Say What You Say
18) 'Till I Collapse
19) My Dad's Gone Crazy
20) Curtains Close (skit)
0:34
5:26
4:16
5:00
5:28
1:18
3:49
4:37
4:50
4:21
0:25
5:42
5:52
5:23
0:35
4:32
5:14
5:00
4:29
1:02
Data Complete
90%
Total Rating
90%Total Rating
(4 users)
Back Cover
CD Art
3D Case
3D Thumb
3D Flat
3D Face
3D Spine
First Released
2002
Hip-Hop
Angry
Urban/R&B
---
Medium
Album
30,000,000 copies
Album Description
Available in:
The Eminem Show es el cuarto álbum de estudio de Eminem y tercero tras firmar por Aftermath, lanzado en 2002. Fue el segundo álbum musical más vendido ese año en todo el mundo con 19 millones de copias, el primer sencillo, y el más exitoso, fue Without Me.
En 2007, la National Association of Recording Merchandisers y el Salón de la Fama del Rock lo colocaron en el puesto número #63 en su lista de "Los 200 álbumes definitivos que todo amante de la música debería tener".
Aunque fue muy exitoso, no obtuvo la misma popularidad que The Marshall Mathers LP, debido a que Eminem no mostraba la misma fuerza, este álbum se caracteriza por ser un poco más personal, aunque mostró controversia tras insultar a su madre Cleanin' Out My Closet, su posición en el negocio del rap Without Me y Business, su sex-appeal "Drips" y Superman y criticó al gobierno estadounidense "White America", aunque también le hizo saber a la gente como influye en los jóvenes Sing for the Moment y mostró su amor por su hija Hailie "Hailie's Song" y "My Dad's Gone Crazy". En las versiones limpias del álbum "Drips" no aparece debido al contenido de las letras.
User Album Review
The sleeve of ‘The Eminem Show’ sees our anti-hero pensive, in a dinner jacket, just out of the spotlight as the red velvet curtains open. “What the fuck,” you can almost hear him thinking, “am I going to do for an encore?”
Eminem‘s last album, 2000’s ‘The Marshall Mathers LP’, made him nothing less than the biggest and best pop star in the world. A true artist, no one since Kurt has raged so hard and articulately, no-one since – [a]David Bowie[/a]
has played with their persona with more intelligence, and no-one since the Sex Pistols
has pissed more people off. To do all this, and to do it while selling millions of records to the disenfranchised, supposedly dumbed down “little hellions” he always wanted to reach, is about as much as any musician could hope for.
Eminem‘s career is now all about extending that high. Part of the power of ‘The Marshall Mathers LP’ was that it seemed to come from nowhere – certainly it was a quantum leap from his 1999 debut. Fame and familiarity means that Eminem can never pull that trick off again, but he can improve his music, find new things to talk about, refine his amazing flow. ‘The Eminem Show’ sees Marshall Mathers doing all these things, backing away from the scorched-earth nihilism of his last album towards a more personal, vulnerable, even – gulp – mature artistic vision.
Not that this means he’s gone soft, mind. On ‘My Dad’s Gone Crazy’, Eminem responds to his mom’s advice ‘if you can’t say anything nice, don’t say anything’ like this: “…lick/A million motherfucking cocks per second/I’d rather make a motherfucking gospel record”. And ‘The Eminem Show’ sees the rapper saying a great deal of not-very-nice things: about groupies (“put anthrax on a Tampax and slap you ’til you can’t stand”), his mother (“I hope you fucking burn in hell”), his ex-wife (“addicted to smack”), his father (“just fucking wish he would die”), as well as lesser targets George Bush, R Kelly, Canibus, Jermaine Dupri, Limp Bizkit and Moby. Even his expressions of affection are obnoxious. Though it’s partially masked (the only censored line on the album), on ‘Hailie’s Song’, an otherwise tender eulogy to his daughter, Eminem clearly raps the line “I’m so glad her mom didn’t abort her”. Gay campaigners, however, can claim a victory. While ‘The Marshall Mathers LP’ was full of vituperative remarks about homosexuals, ‘The Eminem Show’ contains just a couple of “faggots” and on its last track, the claim “I’m out the closet, I’ve been lying my ass off/All this time, me and Dre been fucking with hats [condoms] off”.
However, the majority of ‘The Eminem Show’ is preoccupied with Mathers’ fame and family situation. We get plenty on the lawsuits and, on ‘Cleaning Out My Closet’, a stunning outpouring of grief-stricken anger against his mother. Though often hidden by strident beats and Eminem‘s ferocious articulacy, the album’s recurrent emotion is the loneliness created by fame, money, and failed relationships. As the panic-stricken rap on ‘Say Goodbye Hollywood’ has it, “It’s like the boy in the bubble who never could adapt /I’ve sold my soul to the devil, I ain’t never get it back…/All I wanted was to give Hailie the life I never had/Instead, I forced us to live alienated”.
Musically, though, things have never looked brighter. ‘The Eminem Show’ is bigger, bolder and far more consistent than its predecessors, tackling disco (‘Without Me’), bombastic funk (‘Til I Collapse’), Dirty South-style hip-hop (the amazing ‘Squaredance’) and rock (‘White America’) with aplomb. In short, it’s a third album that avoids all the pitfalls of third albums: introspective without being self-pitying, expansive in scope without being pompous, exploring new directions without disappearing up its own arse. Its genius is mighty, its flaws are small. It’s the greatest ‘Show’ on earth.
SOURCE: https://www.nme.com/reviews/album/reviews-nme-6410#BUAOouKBMkTLiOgJ.99
External Album Reviews
None...
User Comments
Available in:
The Eminem Show es el cuarto álbum de estudio de Eminem y tercero tras firmar por Aftermath, lanzado en 2002. Fue el segundo álbum musical más vendido ese año en todo el mundo con 19 millones de copias, el primer sencillo, y el más exitoso, fue Without Me.
En 2007, la National Association of Recording Merchandisers y el Salón de la Fama del Rock lo colocaron en el puesto número #63 en su lista de "Los 200 álbumes definitivos que todo amante de la música debería tener".
Aunque fue muy exitoso, no obtuvo la misma popularidad que The Marshall Mathers LP, debido a que Eminem no mostraba la misma fuerza, este álbum se caracteriza por ser un poco más personal, aunque mostró controversia tras insultar a su madre Cleanin' Out My Closet, su posición en el negocio del rap Without Me y Business, su sex-appeal "Drips" y Superman y criticó al gobierno estadounidense "White America", aunque también le hizo saber a la gente como influye en los jóvenes Sing for the Moment y mostró su amor por su hija Hailie "Hailie's Song" y "My Dad's Gone Crazy". En las versiones limpias del álbum "Drips" no aparece debido al contenido de las letras.
User Album Review
The sleeve of ‘The Eminem Show’ sees our anti-hero pensive, in a dinner jacket, just out of the spotlight as the red velvet curtains open. “What the fuck,” you can almost hear him thinking, “am I going to do for an encore?”
Eminem‘s last album, 2000’s ‘The Marshall Mathers LP’, made him nothing less than the biggest and best pop star in the world. A true artist, no one since Kurt has raged so hard and articulately, no-one since – [a]David Bowie[/a]
has played with their persona with more intelligence, and no-one since the Sex Pistols
has pissed more people off. To do all this, and to do it while selling millions of records to the disenfranchised, supposedly dumbed down “little hellions” he always wanted to reach, is about as much as any musician could hope for.
Eminem‘s career is now all about extending that high. Part of the power of ‘The Marshall Mathers LP’ was that it seemed to come from nowhere – certainly it was a quantum leap from his 1999 debut. Fame and familiarity means that Eminem can never pull that trick off again, but he can improve his music, find new things to talk about, refine his amazing flow. ‘The Eminem Show’ sees Marshall Mathers doing all these things, backing away from the scorched-earth nihilism of his last album towards a more personal, vulnerable, even – gulp – mature artistic vision.
Not that this means he’s gone soft, mind. On ‘My Dad’s Gone Crazy’, Eminem responds to his mom’s advice ‘if you can’t say anything nice, don’t say anything’ like this: “…lick/A million motherfucking cocks per second/I’d rather make a motherfucking gospel record”. And ‘The Eminem Show’ sees the rapper saying a great deal of not-very-nice things: about groupies (“put anthrax on a Tampax and slap you ’til you can’t stand”), his mother (“I hope you fucking burn in hell”), his ex-wife (“addicted to smack”), his father (“just fucking wish he would die”), as well as lesser targets George Bush, R Kelly, Canibus, Jermaine Dupri, Limp Bizkit and Moby. Even his expressions of affection are obnoxious. Though it’s partially masked (the only censored line on the album), on ‘Hailie’s Song’, an otherwise tender eulogy to his daughter, Eminem clearly raps the line “I’m so glad her mom didn’t abort her”. Gay campaigners, however, can claim a victory. While ‘The Marshall Mathers LP’ was full of vituperative remarks about homosexuals, ‘The Eminem Show’ contains just a couple of “faggots” and on its last track, the claim “I’m out the closet, I’ve been lying my ass off/All this time, me and Dre been fucking with hats [condoms] off”.
However, the majority of ‘The Eminem Show’ is preoccupied with Mathers’ fame and family situation. We get plenty on the lawsuits and, on ‘Cleaning Out My Closet’, a stunning outpouring of grief-stricken anger against his mother. Though often hidden by strident beats and Eminem‘s ferocious articulacy, the album’s recurrent emotion is the loneliness created by fame, money, and failed relationships. As the panic-stricken rap on ‘Say Goodbye Hollywood’ has it, “It’s like the boy in the bubble who never could adapt /I’ve sold my soul to the devil, I ain’t never get it back…/All I wanted was to give Hailie the life I never had/Instead, I forced us to live alienated”.
Musically, though, things have never looked brighter. ‘The Eminem Show’ is bigger, bolder and far more consistent than its predecessors, tackling disco (‘Without Me’), bombastic funk (‘Til I Collapse’), Dirty South-style hip-hop (the amazing ‘Squaredance’) and rock (‘White America’) with aplomb. In short, it’s a third album that avoids all the pitfalls of third albums: introspective without being self-pitying, expansive in scope without being pompous, exploring new directions without disappearing up its own arse. Its genius is mighty, its flaws are small. It’s the greatest ‘Show’ on earth.
SOURCE: https://www.nme.com/reviews/album/reviews-nme-6410#BUAOouKBMkTLiOgJ.99
External Album Reviews
None...
User Comments
No comments yet...
Status
unlockedRank: External Links
