（16Bit）（FLAC）（Hip Hop, Rap） Eminem - The Slim Shady LP (Expanded Edition) 2019 16/44.1

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封面:

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简介:
Grammy Award for Best Rap Album !
Happy 20th Anniversary to Eminem’s second studio album & major-label debut The Slim Shady LP, originally released February 23, 1999.

The video is slightly over a minute long. Comedian Chris D’Elia sits in his car and does the best Eminem impression ever captured on video. Made up of equal parts unintelligible growling and spittle, a few phrases can be deciphered, such as, “You’re in a Ford Taurus getting an abortion and divorce at the same time as Harrison Ford!” Then there’s the coup de grace, “YOU’RE USING TOO MANY NAPKINS! BAPKINS! LAPKINS! YOU’RE USING CHAPSTICK AND NAPKINS WHILE I’M PAPKIN! FLAPPING AROUND LIKE A BAPKIN!”

This is Marshall “Eminem” Mathers now, for all intents and purposes. Minute-long viral videos by D’Elia have been the most interesting thing about Eminem as an artist over the past few years. They’re certainly preferable to Kamikaze, his most recent anger-fueled album that he released in early fall 2018. The project is 45 minutes of Em railing against everyone who didn’t like his previous album, the equally unlistenable Revival (2017).

Eminem wasn’t always a caricature that churned out stinkers like Kamikaze. He’s one of the biggest selling hip-hop artists of all time, and one of the most decorated. He has sold over 47 million albums in the US, over 220 million worldwide, and has 15 GRAMMY awards to his name. That includes five for best hip-hop album.

He’s also been extremely influential. And yes, much of his power and appeal has come from the fact that he’s a white rapper that appealed to segments of the population that had never listened to hip-hop before he came around. Love him or hate him, he brought hip-hop to a wider audience, and influenced the careers of many of the genre’s current superstars, including artists like Kendrick Lamar and the entire TDE, Tyler, The Creator and the rest of Odd Future, Nicki Minaj, Lil Wayne, Chance the Rapper, J. Cole, and Logic. And the genesis of his career as a rap superstar began with The Slim Shady LP, which was released 20 years ago.

Eminem is not the creation of an A&R or focus group targeted towards appealing to the 18-25 demographic. He lived what he rapped about and he came up the “right” way, toiling in the Detroit’s hip-hop underground scene, working small shows and open mic nights. He earned his stripes in ultra-competitive hip-hop cyphers and battles, finishing second in the 1997 Scribble Jam freestyle competition and participating in the Rap Olympics.

He also collaborated with his other underground peers at the time, recording with Shabaam Sahdeeq, Old World Disorder, and The Anonymous, and became an affiliate of the New Jersey-based Outsidaz camp. And he always kept his original camp close to him, rolling with the Dirty Dozen a.k.a. D12, which included Detroit underground heavies like Proof, Denaun Porter, and Bizarre. Along the way, he recorded Infinite (1996) and The Slim Shady EP (1997), the latter of which really got him noticed.

As the title suggests, The Slim Shady LP is a repackaged and expanded version of the Slim Shady EP. It features about half the songs that appear on the EP, plus another eleven new tracks. And the album is largely ruled by the “Slim Shady” alter ego that Eminem created. While Em was working to make his name as an emcee, he was going through serious substance abuse issues and some major obstacles on the home front. As a means to cope, Em famously created the “Slim Shady” character, assuming the guise of a rapper who could say all the foul, violent, drug-induced thoughts that ricocheted around his head.

The album’s pure lyrical highlight is “Bad Meets Evil,” one of Em’s earliest recorded pairings with fellow Detroit-born lyrical brawler Royce Da 5’9”. The two tag-team throughout the song, throwing stiff haymakers over the guitar-driven, Old West-themed track. Em raps likes a man possessed, even as he raps about possessing Royce: “I translate when my voice is read through a seismograph / And the noise is spread, picked up and transmitted through Royce’s head / Trap him in his room, possess him and hoist his bed / ’Til the evilness flows through his blood like poisonous lead.” Meanwhile, Royce shows some of the ferocity that he would become known for throughout his career, rapping, “Whipping human ass, throwing blows, cracking jaws / With my fists wrapped in gauze, dipped in glue and glass / I’m blazing emcees, at the same time amazing emcees / Somehow, emcees ain't that eyebrow-raising to me.”

Em and Royce’s chemistry together was evident and the duo continued to record together in the immediate future and for years to come. Though this was chronologically the first track that Em and Royce recorded together, they released a 12” as the group Bad Meets Evil through indie hip-hop label Game Recordings. While the ostensible single was “Nuthin’ To Do,” it was the B-side, “Scary Movie,” that got the most attention, eventually featured in the parody horror film of the same name. The two didn’t release a project together until the Hell: The Sequel EP in 2011. By then Em had signed Royce’s Slaughterhouse super-group to his Shady Records.

It’s fitting that the album ends with “Still Don’t Give A Fuck,” Em’s defiant pledge that neither money nor fame will change him. He raps, “My brain's gone, my soul's worn, and my spirit is torn / The rest of my body's still being operated on / I’m ducked the fuck down while I'm writing this rhyme / ’Cause I'm probably gonna get struck with lightning this time.” He emerges from the crucible of his life thus far battered and bruised, but stronger and more resolute that he won’t compromise his character.

And, for better or worse, Em never changed who he is throughout his 20-year recording career. He remains a committed lyricist, and a master at putting together words and phrases. What’s faltered is the presentation. Em has produced more of his own material as his career progressed, and he has glaring deficiencies behind the board. And while he’s as sharp as ever at crafting complicated rhyme patterns, too often these days he relies on shouting his lyrics. Or failing that, Em raps using an over-exaggerated accent that renders many of the songs unlistenable (see: Relapse).

I don’t know if Em can escape his current musical malaise. It’s not as simple as “going back to his roots” of The Slim Shady LP, because in many ways, he’s never left them. But the obstacles that he now faces clearly have nothing to do with poverty (he’s worth over $200 million). Instead he’s in the grips of artistic stagnation. From The Slim Shady LP on, his career has been about reacting to his surroundings and translating what he feels into his art. Until he finds a way to become re-inspired, I’ll have to be content to enjoy the times he was able to take the pain in his life and transform it into something worth listening to.



hires音乐资源的曲目:

Eminem - 2019 The Slim Shady LP (Expanded Edition)

1 Public Service Announcement  0:33
2 My Name Is  4:28
3 Guilty Conscience (feat. Dr. Dre)   3:19
4 Brain Damage  3:46
5 Paul (Skit) Eminem & Paul "Bunyan" Rosenberg  0:15
6 If I Had  4:05
7 '97 Bonnie & Clyde  5:16
8 Bitch Eminem & Zoe Winkler  0:19
9 Role Model  3:25
10 Lounge (Skit) Eminem, Jeff Bass & Mark Bass  0:46
11 My Fault   4:01
12 Ken Kaniff (Skit) Eminem, Aristotle & Mark Bass  1:16
13 Cum on Everybody  3:39
14 Rock Bottom  3:34
15 Just Don't Give a F**k  4:02
16 Soap (Skit) Eminem, Jeff Bass & Royce da 5'9"  0:34
17 As the World Turns  4:25
18 I'm Shady  3:31
19 Bad Meets Evil (feat. Royce da 5'9")  4:13
20 Still Don't Give a F**k   4:17
21 Hazardous Youth (A Cappella)  0:44
22 Get You Mad Eminem & Sway & King Tech  4:22
23 Greg (A Cappella)  0:52
24 Bad Guys Always Die (From "Wild Wild West" Soundtrack) Eminem & Dr. Dre  4:39
25 Guilty Conscience (feat. Dr. Dre) [Radio Version]  3:19
26 Guilty Conscience (feat. Dr. Dre) [Instrumental]  3:20
27 Guilty Conscience (feat. Dr. Dre) [A Cappella]  3:16
28 My Name Is (Instrumental)  4:29
29 Just Don't Give a F**k (A Cappella)  3:35
30 Just Don't Give a F**k (Instrumental)  4:08

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