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2002 studio album by Eminem

2002 studio anthology by Eminem

The Eminem Evidence
The Eminem Show.jpg
Studio anthology by

Eminem
Released May 26, 2002[1]
Recorded 2001–2002
Studio
  • Encore (Burbank, California)
  • Marshall Mathers' house (Detroit, Michigan)
  • 54 Sound (Ferndale, Michigan)
Genre
  • Hip hop
  • rap rock
  • political hip hop
Length 77:xix
Label
  • Shady
  • Aftermath
  • Interscope
Producer
  • Eminem
  • Jeff Bass
  • Dr. Dre (also exec.)
  • Mr. Porter
Eminem chronology
The Marshall Mathers LP
(2000) 		The Eminem Show
(2002) 		Encore
(2004)
Singles from The Eminem Show
  1. "Without Me"
    Released: May xiv, 2002
  2. "Cleanin' Out My Closet"
    Released: July sixteen, 2002
  3. "Superman"
    Released: January 27, 2003
  4. "Sing for the Moment"
    Released: February 25, 2003
  5. "Business"
    Released: July 22, 2003

The Eminem Prove is the fourth studio album past American rapper Eminem. Afterwards it had originally scheduled for release on June 4, 2002, the album was released on May 26, 2002, by Aftermath Entertainment, Shady Records, and Interscope Records due to pirating and bootlegging of information technology. The anthology saw Eminem take a substantially more than predominant production office; most of information technology was self-produced, with his longtime collaborator Jeff Bass, and Dr. Dre being the anthology's executive producer. It features guest appearances from Obie Trice, D12, Dr. Dre, Nate Dogg, Dina Rae and Eminem's girl Hailie Jade Scott-Mathers.

The anthology incorporates a heavier apply of rap rock than Eminem's previous albums, and its themes are predominantly based on Eminem's prominence in hip hop civilization, likewise as his clashing thoughts of fame. The anthology likewise features political commentary on the Us, including references to ix/eleven, Osama bin Laden, the War on terror, President George Due west. Bush, Lynne Cheney and Tipper Gore. Due to its less satirical and shock factor lyrical approach, The Eminem Show was regarded every bit Eminem'south nearly personal album at the time and a stride back from the Slim Shady change ego.

Widely considered the well-nigh anticipated album of 2002, The Eminem Show debuted at number ane on the Billboard 200 and stood there for six not-consecutive weeks. It sold over 1.3 meg copies in its second week in the U.s., where it registered a full calendar week of sales. It also topped the UK Albums Nautical chart for five consecutive weeks. It produced four commercially successful singles, "Without Me", "Cleanin' Out My Cupboard", "Superman", and "Sing for the Moment", and it features ane of his most popular songs, "'Till I Collapse". The album was met with positive critical reviews, with praise directed at Eminem's mature, introspective lyricism and the album's experimental production.

The Eminem Show was both the all-time-selling album of 2002 in the United states and the best-selling album worldwide of 2002. It was certified Diamond by the Recording Industry Clan of America (RIAA), and its worldwide sales of 27 meg copies brand it one of the best-selling albums of all fourth dimension and the second best-selling album of the 21st century. At the 2003 Grammy Awards, information technology was nominated for Album of the Year and won Best Rap Album, while "Without Me" won Best Music Video. Blender, Muzik and LAUNCH named it the best album of 2002, and several publications named it among the best albums of the 2000s decade.

Background [edit]

Speaking to Spin, Eminem said, "Somewhen, I might need some drama in my life to inspire me [...] With The Marshall Mathers LP, everything that everybody was saying–I took that, and it was my ammo. And so when shit died down a petty bit, I had other turmoil in my personal life, and so that was what I was able to dump out on The Eminem Show. Now, I just gotta wait for the adjacent phase of my life. But something ever seems to happen, man; something's always gotta exist fucking turbulent."[2]

Eminem cited that the inspiration for the anthology was taken from the Peter Weir-directed 1998 science fiction one-act-drama flick The Truman Show. Jim Carrey starred in the film as the atomic number 82 graphic symbol Truman Burbank, a man who unwittingly lives inside a Idiot box show, where his life is broadcast to viewers around the earth.[2] Eminem spoke on the film'south influence, maxim, "My life felt like it was becoming a circus around that fourth dimension, and I felt similar I was always existence watched [...] Basically, Jim Carrey wrote my album."[2]

Recording [edit]

Speaking with Rolling Stone in 2002, Eminem said ""Sing for the Moment" was the first vocal I wrote for the album; "Cleanin Out My Closet" was the 2nd. I had the line in "Cleanin Out My Closet" — "I'd like to welcome y'all out to The Eminem Evidence" — and it was but a line, but I sat back and I was like, "My life is really like a fucking show." I have songs on the album that I wrote when I was in that shit last year, with a possible jail sentence hangin' over my head and all the emotions going through the divorce. I went through a lot of shit concluding year [lawsuits, divorce and the threat of jail time] that I resolved at the same time, all in the aforementioned year. And, yeah, that's when one-half of the album was wrote.[iii]

Eminem had started recording the album around the same time he was filming eight Mile. Production was used for both the soundtrack of the film and his album. The album also saw Eminem have a substantially more predominant production part; most of it was self-produced, with his longtime collaborator Jeff Bass co-producing several tracks (mainly the songs which somewhen, became the released singles). Dr. Dre, in addition to being the anthology's executive producer, produced but three private tracks: "Business", "Say What You Say", and "My Dad's Gone Crazy". Regarding his increase in producing, Eminem told Rolling Stone, "I really know how to plan a drum machine now. Information technology used to exist so unproblematic — just writing lyrics and raps, laying vocals and leaving the studio was bully. But now that I'm and then into producing, it's a fucking job."[3]

Music and lyrics [edit]

Stylistically, The Eminem Show has a lighter tone than The Marshall Mathers LP [iv] and incorporates a heavier use of rap rock than Eminem's previous albums,[5] featuring mixed guitar-driven melodies with hip hop rhythms. In an interview with British magazine The Confront in April 2002, Eminem said that he treated the anthology like it was a rock record. He connected that he "tried to get the best of both worlds" on the anthology.[half-dozen] Eminem spoke on specific stone influences, saying, "I listened to a lot of '70s stone growing up, when I was real lilliputian. When I go back and listen to them songs, similar Led Zeppelin or Aerosmith, Jimi Hendrix...'70s rock had this incredible feel to information technology."[vii] Notably, "Sing For The Moment" contains a sample of Aerosmith'southward "Dream On" likewise as a reinterpretation of its guitar solo. Another rock sample on the album is the kick-clap beat of "'Till I Plummet", which is an interpolation of the intro from Queen's "We Will Rock You".[8]

The themes of The Eminem Prove are predominantly based on Eminem'south prominence in hip hop civilization and the subsequent envy towards him, besides as his thoughts on his unexpected enormous success and its consequential negative effects on his life.[4] The album also touches on Eminem'southward thoughts on themes surrounding American politics, including references to nine/11,[nine] Osama bin Laden,[9] the war on terror[10] President George W. Bush,[11] Lynne Cheney[12] and Tipper Gore.[12] Speaking on his use of political commentary on the album, Eminem told Rolling Stone, "You put your shit out there for the world to see and to judge, and whoever agrees with you lot agrees with you. Even my well-nigh dice-difficult fans don't agree with everything I say. These are my views, this is how I run into it. You may have your ain opinion, but y'all may not get to project information technology to the globe similar I do."[three] Writing for Spin, stone critic Alan Lite said that the album may have proved that Eminem is the nearly "dexterous, vivid writer in pop music".[thirteen] The album besides sees Eminem dissing several artists, including Mariah Carey, Moby, Canibus and Limp Bizkit, while Dr. Dre disses Jermaine Dupri on the vocal "Say What You Say".[12]

Lyrically, the album shows Eminem's personal and musical growth with there being a lack of misogyny and homophobia compared to The Marshall Mathers LP.[fourteen] Eminem told Spin, "Ane of the frustrating things was people maxim, 'He's got to cuss to sell records,' [...] That'southward why with this anthology, I toned information technology downward a bit as far as daze value. I wanted to show that I'm a solid artist, and I'm here to stay."[fifteen] Due to its less satirical and shock factor lyrical approach, The Eminem Bear witness was regarded as a departure from Eminem's previous albums[4] with it being more than personal and reflective and a step dorsum of the Slim Shady alter ego.[16] Eminem said during an interview with MTV that he felt that The Eminem Evidence was his "best record then far".[17] In 2006, Q said that Eminem'due south first two albums "aired dirty laundry, then the world's most celebrated rapper [Eminem] examined life in the hall of mirrors he'd built for himself."[4]

With the release of The Eminem Testify, Eminem was considered to be more socially acceptable: in that location were no protests over his lyrics, boycotts, and talk shows discussing his impact on America'southward youth. A columnist of The New York Observer wrote that Eminem had get a "guilty pleasure" for baby boomers, describing him as "the virtually compelling figure to have emerged from popular music since the holy trinity of [Bob] Dylan, [John] Lennon, and [Mick] Jagger."[xiii]

Censored version [edit]

The "clean version" of The Eminem Show censors many more than profanities and derogatory words than in clean versions of Eminem's previous albums, in which the words "goddamn", "prick", "bastard", "piss", "bitch", "donkey", and "shit" were allowed.[18] This album immune no profanities, and the profanities were either muted, obscured by sound effects, or back-masked.[18] In improver to this, unabridged sentences were sometimes removed from the censored version for being very sexually charged.[xviii] The entire song "Drips" was removed in early make clean versions and is heard only as iv seconds of silence moving on to the side by side track, "Without Me". Subsequently, digital releases of the clean version removed "Drips" completely, moving the next eleven songs up on the tracklist. Some copies of the clean version, however, feature an edited version of "Drips".[eighteen]

In that location are some inconsistencies in clean version's censorship. In the skit "The Kiss", Eminem's shouting of the give-and-take "motherfucker!" is still audible in the censored version.[xviii] In the track, "Soldier", which is a continuation of "The Kiss", the give-and-take "bitch" was used three times, and can exist clearly heard one time.[18] "Hailie's Song" contains the back masked phrase "want her" which can be easily mistaken as "arrest her" on both the explicit and make clean versions.[xviii] Also, in "White America", the word "flag" is back masked when he raps, "To burn the flag and replace it with a parental informational sticker".[18]

Disquisitional reception [edit]

Professional ratings
Aggregate scores
Source Rating
Metacritic 75/100[nineteen]
Review scores
Source Rating
AllMusic [xx]
Christgau's Consumer Guide A−[21]
Entertainment Weekly B+[22]
Houston Relate iv/5[23]
NME ix/10[24]
Pitchfork ix.one/10[25]
Q [26]
Rolling Rock [27]
The Rolling Rock Anthology Guide [28]
USA Today [29]

The Eminem Testify received generally positive reviews from critics.[19] At Metacritic, which assigns a normalized rating out of 100 to reviews from mainstream publications, the anthology received an boilerplate score of 75, based on twenty reviews.[30]

Alex Needham of NME hailed The Eminem Evidence every bit a "fantastic 3rd anthology" that "is bigger, bolder and far more consistent than its predecessors".[24] David Browne of Entertainment Weekly felt the anthology'due south more than personal lyrics "succeed in fleshing out Eminem'due south complexities and contradictions", nonetheless concluding that "[l]ike its predecessors, though, The Eminem Show is a attestation to the skills of its star. The sludgy rapping of such guests every bit D12 only confirms Eminem'due south dizzying prowess, gob-spewing individuality, and wickedly prankish humor."[22] Writing for Rolling Rock, Kris Ex argued that Eminem "may have made the best rap stone album in history."[31]

Slant Magazine's Sal Cinquemani wrote that he "peels back some of the bullshit façade and reveals a little bit of the existent Marshall Mathers" on an album that "displays a—cartel I say information technology?—more 'mature' Eminem."[32] In his review for AllMusic, Stephen Thomas Erlewine said the album "proves Eminem is the gold standard in pop music in 2002, delivering stylish, catchy, dumbo, funny, political music that rarely panders".[twenty] Critic Robert Christgau wrote: "I call back it represents an articulate, coherent, formally appropriate response to Eminem's changing position and role, one that acknowledges the privileges and alienations that accrue to all fame likewise as the resolution of Marshall Mathers's worst traumas and the specifics of his success."[21]

Edna Gundersen of U.s. Today wrote that Eminem is "as good as he gets only in the end inflicts more than damage on himself, hoisting The Eminem Show to a level of cocky-absorption rivaled simply past Woody Allen", and despite the presence of some mediocre tracks, he "displays an admirable dexterity in blending invective and invention, even though his arroyo is more reactionary than revolutionary."[29] Uncut wrote, "Behind the hype and the swagger, he'due south nonetheless baring enough of his soul for The Eminem Show to be compelling theatre."[33] Q was more mixed in its assessment, stating that as "Eminem outgrows his old alter-id, so the obligatory pantomime villainy, skits and crass cameos by Shady Records signings get a hindrance."[26] Marc L. Hill of PopMatters felt that the anthology lacked the shock gene of his previous albums and described information technology equally "a disappointing combination of promising musical experimentation and uninspired lyrics."[34]

On June three, 2002, Pitchfork Media'south Ethan P. published a review of The Eminem Show which infamously consisted of a meandering stream of consciousness monologue. While giving information technology a nine.i/10, P. vulgarly and comedically criticized various aspects of the album, including its lead singles, its lyrics, and especially "My Dad's Gone Crazy", which he described as a "saccharine-sweetened lemon incest gone faggy".[25] The review, making use of line breaks and written entirely in lowercase, referred in one department to "the him fucking dre thing / dyeing your hair and wearing earrings affair from the aerosmith song / or hailie being 'the only lady he adores' / sleazy disco / little eric and erica / dre is batman and he's the burt ward robin / etc".[25] Despite its comedically self-referential sections, including a paragraph where P. states "if y'all're reading this judgement then wow i really got an unedited review on pfork [sic]", and several offhand remarks ("yeah dude timbaland is biting aphex twins white donkey too haha i dunno fuck information technology here are some more bullshit things about the actual tape like correct on schedule pfork review style"),[25] the review has remained on the Pitchfork website, and P.'s rating for The Eminem Show continues to be the publication's official rating of the album.

Blender, Muzik and LAUNCH named The Eminem Show the best anthology of 2002.[35] The album became Eminem's tertiary to win the Grammy Award for Best Rap Anthology, while "Without Me" won Eminem his first Best Music Video honor.[36] The anthology swept the MTV Music Video Awards, winning 4 awards for All-time Male Video, Video of the Year, All-time Direction, and Best Rap Video. The album also won All-time Anthology at the 2002 MTV Europe Music Awards,[37] both Album of the Year and Superlative R&B/Hip Hop Album at the 2002 Billboard Music Awards,[38] both Favorite Rap/Hip-Hop Album and Favorite Pop/Rock Album at the 2003 American Music Awards, All-time International Album at the 2003 Brit Awards, and International Album of the Year at the Juno Awards of 2003.[39]

Reappraisal [edit]

The Eminem Show received disquisitional praise by near music critics and is oftentimes debated as Eminem'south virtually personal and best work. The album cemented Eminem's "three-peat" of classic hip hop albums, following the critical appraisal of The Slim Shady LP and The Marshall Mathers LP.[xl] In 2003, the album was ranked number 317 on Rolling Stone's listing of The 500 Greatest Albums of All Time, and was later ranked at number 84 on the same magazine's Best Albums of the 2000s Decade.[41] In 2007, it was ranked number 63 by The National Association of Recording Merchandisers, in conjunction with the Rock and Roll Hall of Fame, in their list of the Definite 200 Albums of All Time.[42] In 2012, Complex mag deemed information technology a "classic" album that "cemented Eminem's identify as one of the most important figures in rap history",[43] and has included it on their list of 100 Best Albums of the Complex Decade, placing it at number five,[44] Following the 15th anniversary of the album, the Grammy Awards also described The Eminem Show as a "classic album".[45] Popdose ranked the album at 79 on its All-time Albums of the Decade list.[46] In 2015, The Eminem Show was ranked number 56 on the Greatest of All Time Billboard 200 Albums.[47]

Commercial performance [edit]

The Eminem Show was originally scheduled for release on June iv, 2002; however, pirated and bootlegged copies appeared online via peer-to-peer networks and began surfacing on the streets. It was provided by Rabid Neurosis (RNS), an MP3 warez release organisation who pirated the album twenty-five days prior to release.[48] Radio show Opie and Anthony circulate the entire album on May 17, 2002.[49] Interscope decided to release the album before than planned, on May 28 to prevent bootlegging. Even so, many stores in the U.s.a. began selling information technology even before than the new release date on Sun, May 26, and some put the album out as early equally Friday.[50] Promotional posters in stores read, "America Couldn't Await". Due to the premature release by many retailers on a Sun, the anthology had only one day of official sales for the nautical chart week and was unavailable in Walmart stores during that period.[l] [51] The Eminem Show was Eminem's start album to include lyrics to all its songs inside the CD booklet.[52] Additionally, the first 2,000,000 copies of the album shipped in the United States included a bonus DVD with an sectional interview and live footage.[51] A week before the album'southward release, information technology was the second-virtually played CD on computers, the highest ranking e'er for an unreleased title.[53] It was considered the about predictable anthology of 2002.[53]

Despite the confusion over the exact release date, the anthology still managed to take a very successful debut on the charts. The Eminem Show debuted at number one on the Billboard 200, selling approximately 284,000 copies in its first day,[50] marking the first time an anthology had topped the chart from only a 24-hour interval's sale.[45] It sold 1,322,000 copies in the following week, its kickoff full calendar week of sales,[54] [55] and then sold 809,000 copies in its 3rd week and 529,562 copies in its fourth week to bring its 4-week sales full to but under 3 million copies.[56] [57] The anthology sold 381,000 copies in its fifth week and topped the Billboard 200 for a fifth and final consecutive calendar week.[58] [59] [lx] On March 7, 2011, the album was certified Diamond past the Recording Industry Association of America (RIAA) for shipping 10 million copies,[61] making it Eminem's second anthology to receive a Diamond certification in the United States. It has as well achieved Diamond certification in Canada[62] and Double Diamond in Australia.[63]

The Eminem Show has sold 27 million copies worldwide, making it one of the best-selling albums of all time and Eminem's best-selling album.[64] It reached number one in 18 other countries: Argentina, Australia, Austria, Belgium, Canada, Czech Republic, the Netherlands, Finland, Germany, Hellenic republic, Ireland, Italy, New Zealand, Norway, Southward Africa, Sweden, Switzerland and the UK. The album likewise spent v sequent weeks at the pinnacle of the UK Albums Chart.[65]

Track listing [edit]

No. Title Author(s) Producer(s) Length
1. "Curtains Up" (Skit) Marshall Mathers Eminem 0:30
ii. "White America"
  • Mathers
  • Jeff Bass
  • Luis Resto
  • Steve Male monarch
  • Eminem
  • Bass[a]
5:24
3. "Business"
  • Mathers
  • Andre Young
  • Theron Feemster
  • Mike Elizondo
 Dr. Dre 4:xi
4. "Cleanin' Out My Closet"
  • Mathers
  • Bass
  • Eminem
  • Bass
 four:57
five. "Foursquare Dance"
  • Mathers
  • Bass
  • Resto
  • Eminem
  • Bass[a]
5:23
6. "The Buss" (Skit)
  • Mathers
  • Bass
 Eminem ane:15
7. "Soldier"
  • Mathers
  • Resto
 Eminem 3:46
8. "Say Cheerio Hollywood"
  • Mathers
  • Elizondo
  • Resto
 Eminem 4:32
9. "Drips" (featuring Obie Trice)
  • Mathers
  • Obie Trice
  • Denaun Porter
  • Bass
 Eminem 4:45
10. "Without Me"
  • Mathers
  • Bass
  • Kevin Bong
  • Anne Dudley
  • Malcolm McLaren
  • Trevor Horn
  • Eminem
  • Bass[a]
  • DJ Head[b]
iv:50
eleven. "Paul Rosenberg" (Skit) Mathers
  • Mr. Porter
  • Dr. Dre[b]
0:22
12. "Sing for the Moment"
  • Mathers
  • Bass
  • Resto
  • Rex
  • Steven Tyler
  • Eminem
  • Bass[a]
5:39
13. "Superman" (featuring Dina Rae)
  • Mathers
  • Bass
  • King
  • Eminem
  • Bass[b]
5:50
14. "Hailie's Vocal"
  • Mathers
  • Resto
 Eminem v:20
xv. "Steve Berman" (Skit) Mathers
  • Eminem
  • Mike Elizondo
 0:33
16. "When the Music Stops" (featuring D12)
  • Mathers
  • Ondre Moore
  • Porter
  • Von Carlisle
  • DeShaun Holton
  • Rufus Johnson
  • Feemster
  • Eminem
  • Mr. Porter[a]
4:29
17. "Say What You Say" (featuring Dr. Dre)
  • Mathers
  • Young
  • Feemster
  • Elizondo
 Dr. Dre 5:09
18. "'Till I Collapse" (featuring Nate Dogg)
  • Mathers
  • Nathaniel Unhurt
  • Resto
 Eminem four:57
nineteen. "My Dad'south Gone Crazy" (featuring Hailie Jade)
  • Mathers
  • Young
  • Feemster
  • Elizondo
 Dr. Dre four:27
20. "Curtains Shut" (Skit) Mathers
  • Eminem
  • Resto[b]
1:01
Total length: 77:19
Special Edition Bonus DVD [66]
No. Championship Feature(s) Length
1. "Brain Harm / Just Don't Give a Fuck" Live at "Tramps", New York
ii. "Eminem's Life and New Album" Featurette
3. "Just Don't Requite a Fuck" Music video
4. "Eminem: All Admission Europe" Preview
5. "Producing Tracks" Featurette
6. "The Way I Am" Alive at the Fuji Rock Festival
7. "The Existent Slim Shady" Alive at the Fuji Stone Festival
8. "Thanks's" Featurette
ix. "viii Mile" Trailer
x. "Slimshank Redemption" The Slim Shady Show Skit
11. "New Victims" Featurette
Japanese Collector's Box Bonus DVD [67]
No. Title Feature(s) Length
1. "Without Me" Music Video
2. "Without Me" Karaoke Video Prune
3. "Without Me" Behind the Scenes
4. "Eminem Talk" Interview

Notes

  • ^[a] signifies a co-producer.
  • ^[b] signifies an additional producer.
  • Early make clean versions of the anthology supersede "Drips" with iv seconds of silence. Later clean versions feature an edited version of the song.
  • Some other censored version of the anthology did not allow the words "goddamn", "prick", "bastard", "piss", "bowwow", "ass", "shit" and "fuck" to exist left uncensored.
  • "Drape Close (skit)" is performed by Ken Kaniff, who Eminem portrays at the end of the anthology before continuing on with the persona on Relapse in 2009, equally displayed in the album booklet.

Personnel [edit]

Credits adapted from the album's liner notes.[68]

  • Jeff Bass — producer (runway 4), co-producer (2, ten, 12), additional production (13), keyboards (4, v, 7, 9, 10, 12, 13), guitars (2, 4, 7, 9, 10, 12), bass (2, iv, ix, 10, 12, thirteen)
  • Steve Baughman — engineer and mixing (track 16)
  • Steve Berman — performer (runway 15)
  • Bizarre — featured vocals (runway 16)
  • Bob Canero — assistant engineer (tracks 3, xix)
  • Dr. Dre — featured vocals (track 17), producer (three, 17, nineteen), mixing (3, x, fourteen, 17, 19)
  • Mike Elizondo — keyboards (tracks 1, 17, nineteen), bass (3, viii, nineteen), guitars (3, 17), additional keyboards (seven)
  • Eminem — vocals, producer (tracks i, 2, 4-x, 12-14, xvi, 18)
  • Ron Feemster — keyboards (tracks 1, 3, 16, 17, xix)
  • Shy Felder — background vocals (rail 3)
  • Francis Forde — banana engineer (tracks 1, 16)
  • Marti Frederiksen — Joe Perry'due south guitar engineer (track 12)
  • Brian "Large Bass" Gardner — mastering
  • DJ Head — boosted product (rails ten), drum programming (ii, 12), additional drum programming (4, 7)
  • Mauricio "Veto" Iragorri — engineer (tracks 1, 3, 16, 17, 19), additional engineering science (10), mixing (ane), mix engineer (14)
  • Steve King — engineer (tracks ii-x, 12, thirteen, 17-19), mixing (2, 4-9, 12-14, eighteen), mix engineer (14), guitar and bass (18), additional guitars (2), telly voiceover (19)
  • Gary Kozlowski — background vocals (track six)
  • Urban Kris — assistant engineer (tracks 2-iv, 7-ten, 13, 14, 18, 19)
  • Kuniva — featured vocals (track xvi)
  • Hailie Jade Mathers — featured vocals (track nineteen)
  • James "Flea" McCrone — assistant engineer (tracks 3, 14, 17, nineteen)
  • Swifty McVay — featured vocals (track 16)
  • Mel-Man — drum programming (track 8)
  • Nate Dogg — featured vocals (runway 18)
  • Traci Nelson — groundwork vocals (track 3)
  • Conesha Monet Owens — background vocals (track 3)
  • Joe Perry — guitar solo (track 12)
  • Denaun "Kon Artis" Porter — featured vocals, co-producer, and drum programming (runway 16)
  • Proof — featured vocals (rail xvi)
  • Lynette Purdy — background vocals (rails half dozen)
  • Dina Rae — featured vocals (rail xiii), boosted groundwork vocals (rails ii)
  • Luis Resto — keyboards (track 8)
  • Alex Reverberi — assistant engineer (tracks 3, ten, 19)
  • Paul D. Rosenberg, Esq. — performer (track 11)
  • Thomas Rounds — assistant engineer (track sixteen)
  • Mike Foreign — assistant engineer (tracks ii-10, 12-fourteen, 17-19)
  • Timbaland — phone telephone call (rail 17)
  • Obie Trice — featured vocals (track nine)
  • Barbara Wilson — background vocals (track three)

Charts [edit]

Decade-end charts [edit]

Certifications and sales [edit]

Run across besides [edit]

  • Album era
  • Grammy Award for Best Rap Album
  • List of all-time-selling albums in the The states
  • List of all-time-selling albums
  • List of fastest-selling albums worldwide

References [edit]

  1. ^ "Eminem Show Moved Up Over again - Album In Stores Sunday". Mtv.com . Retrieved Dec 28, 2017.
  2. ^ a b c "18 Years Of 'The Eminem Show': xv Facts Virtually Eminem's 2002 Magnum Opus". TheThings. April 17, 2020. Retrieved May 23, 2020.
  3. ^ a b c Bozza, Anthony (July 4, 2002). "Eminem: The Rolling Rock Interview". Rolling Rock . Retrieved May 25, 2020.
  4. ^ a b c d Eminem. epubli.
  5. ^ Ex, Kris (June six, 2002). "The Eminem Testify". Rolling Stone . Retrieved November 15, 2019.
  6. ^ Graff, Gary (April 17, 2002). "New Eminem Album Shows Aerosmith, Zeppelin & Hendrix Influences". Eminem News on Yahoo! Music. Yahoo!. Retrieved September 26, 2011.
  7. ^ "New Eminem Album Shows Aerosmith, Zeppelin & Hendrix Influences". idobi.com . Retrieved May 25, 2020.
  8. ^ "'The Eminem Show' At fifteen". GRAMMY.com. May 25, 2017. Retrieved Nov 15, 2019.
  9. ^ a b Melnick, Jeffrey (September 15, 2011). 9/xi Culture. John Wiley & Sons. ISBN978-1-4443-5815-5.
  10. ^ Marzorati, Gerald (May 30, 2002). "Inside Eminem's paranoid delusions". Slate Magazine . Retrieved May 23, 2020.
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