Eminem - Slim Shady EP

After the release of the fairly mediocre Infinite (which, contrary to my expectations, I actually enjoyed less on my re-listen for the review), Eminem decided that he was going to need something a bit more interesting to work with for his next project. A white guy rapping about positivity with a flow stolen from AZ and Nas over some generic poppy beats from Denaun Porter wasn't cutting it for the general public, and with artists such as Busta Rhymes and Redman on the scene making wildly zany music to capture the attention of hip-hop heads, Em was going to need to find a way to stand out. 

Enter: Slim Shady.

Slim Shady was a ridiculous character that Eminem created to try and come across as an edgy maniac, and therefore appeal much more to his target listeners, who wanted something a bit different from the basic flows and lyrics that Infinite had (although I will admit that the rhyme schemes on that album were bloody impressive). Of course, anger at the shitty world he had been born into also played a part in the making of this character, we can't forget that. So, what to do with this alter ego? Well, Em got straight to work writing from the perspective of Slim, and what came out of it was an eight track EP released in 1997 into the Detroit underground. Slim Shady EP. The album that got Em recognised by Dr. Dre. 

As a huge Eminem fan for many years, I saw Slim Shady EP as an incredibly important release, but also one that I didn't listen to a whole lot because the idea of actually buying a physical copy of this album was similar to throwing all of my money into a waterfall in return for six songs and two skits that weren't even that phenomenal in the first place. I mean, have you seen how much this thing goes for? Not having a CD of this project meant I didn't listen to it a huge amount even in my Eminem phase, and outside of my Eminem phase it's been pretty much forgotten to me. Since I'm doing these discographies in order, though, I've gotta re-listen to this project, and I'm actually looking forward to going back into this thing. The cover is great, and from what I remember this is a pretty quick and easy listen, albeit an incredibly entertaining one at the same time. 

So, sit back and relax, as I dissect the very first ever outing of the character we would come to know and love as Slim Shady. 

1. Slim Shady (Intro) (prod. Eminem)

Incredibly intriguing intro which also serves to explain what the fuck is going on in the album cover. This is probably the best opening skit in the entire Eminem catalogue, which is pretty crazy considering on this album he had no budget or actors or anything. The only one that even comes close is "Dr. West". 

2. Low Down, Dirty (prod. Da Brigade, co-prod. Denine Porter)

Holy fuck the transition into this track from the last is good. This track is known for being the introduction of Slim Shady, but I mostly remember it for having a chorus that's pretty much a huge homage to Redman (one of my favourite MC's of all time, and one of the most underrated) with a little Notorious B.I.G. sample thrown in there too. I mean, not only do they sample a line from Red's "Soopaman Luva 3" on here, but Eminem also repeats a couplet from Red's "Rated "R"" for the other half of the chorus. Pretty interesting stuff. Anyway, the song itself is pretty great despite this, even if this doesn't seem to be quite as shocking as I know a lot of the other songs on here are. Eminem's lyrical ability seems even better here than it was on Infinite, and his personality shines through more too, even if his vocals sound like they were recorded in a sports hall they're so echoey. The beat from Da Brigade and Mr. Porter is also really stellar, and kind of reminds me of that on the title track from the last album, which is a good thing. This is a great way to open the album, and I very much appreciate any kind of love shown for Redman. I mean, that guy is a legend.

3. If I Had... (prod. DJ Rec)

Big fans of Eminem will know that half of the actual songs here went on to appear on Eminem's next album, his major label debut The Slim Shady LP. What's interesting is that two of them would have completely different instrumentals, meaning "If I Had..." is the only song that made it onto The Slim Shady LP completely unchanged from its form on here. For some reason I always used to dislike this song, but listening now I'm not sure why - the beat's not very interesting, sure, but Em's rhymes certainly are, and that chorus is absolutely iconic. I'll probably leave more thoughts on this one when I go on to do my review of The Slim Shady LP though, so stay tuned for that. 

4. Just Don't Give A Fuck (prod. Denine Porter)

The original version of this song, before it was re-produced to be released as a single in 1998, and then that version was added to The Slim Shady LP in 1999. This beat definitely isn't as good as the one that replaced it in my opinion, as it doesn't feel as dirty or gritty, and instead feels like creepy abandoned theme park music, but it's still alright and sets a decent mood for this creepy song. The rapping itself is aggressive and brutal, and is probably one of Em's best performances ever besides one or two slightly over-the-top lyrics - his flows are also on point, and unlike on most of Infinite he seems to be focusing on actual lyrical content here rather than just dope rhyme schemes. Again, I'll go more in-depth on this one when I review Em's proper debut, but man I've got to note how good this shit is. 

5. Mommy 

A skit consisting of the sound of Eminem dragging someone's body into his boot (or as you Americans call it, "trunk"). This leads directly into the next song. 

6. Just the Two Of Us (prod. DJ Head)

The original version of a song that would go on to be titled "'97 Bonnie & Clyde", and similar to "Just Don't Give a Fuck", this version of the song with a different beat doesn't work as well as the later rendition of the track. I just really dislike the beat here, and I think it's pretty obvious that the version which appeared on The Slim Shady LP had an instrumental that far better fit the tone of the track. That said, this song is still a masterpiece, and one of the darkest and most creative songs in the entire Eminem catalogue. Don't believe me? Just listen to it! Not this version, though - the 1999 one's a lot better.

7. No One's Iller (feat. Swift, Bizarre Kid & Fuzz) (prod. DJ Head)

For those that had heard The Slim Shady LP before checking this EP out (read: literally everyone), this would be the second completely new track after the first song, and it's worth the wait, as this early D12 posse cut is grimy, brutal, and emphasizes the implied nature of the group far more than both of their solo albums could ever hope to (even if neither of those were actually bad in my opinion). Swifty McVay starts this one off with a stellar verse that pretty much consists of dissing rival rappers in various ways, while Bizarre is surprisingly still completely ridiculous and vulgar, even this early in his career. That said, his verse here is actually pretty dope outside some of the more horrific imagery, and it honestly makes me want to check out his 1997 EP. That said, I still think Eminem has the best performance on the track, with a great verse that incorporates lines such as "new Lugz, that give the crew hugs, guzzle two mugs / before I do drugs that make me throw up like flu bugs". Oh, and Fuzz kinda ruins the end of the song by spending most of his verse talking about gay anal sex, but oh well - it doesn't take away from the fact that this is a fucking great track overall. 

8. Murder, Murder (prod. DJ Rec)

The final song on this EP features a poignant instrumental suitable for closing things out on - the drums on here actually remind me of those on Em's later hit "Like Toy Soldiers". However, since Em has gone full Slim Shady on this project, there's no somber reflections to be found on this track, but instead two tales of murder that both end badly for him - in the first, he's shot and killed by police, and in the second he's surrounded by the pigs. Admittedly, most rappers wouldn't admit to being caught in their crimes, but then again most rappers aren't late '90s Eminem. I wouldn't say this beat is one of my absolute favourites here, but I think Eminem's storytelling makes it worthwhile, and the scratching on the chorus is also a great touch. This is a dope song. 

While Slim Shady EP is a very short listen, it still serves as pretty much the perfect introduction to Eminem's alter ago, bringing the mania, great ear for beats, and more mania that the character was known for. This project, first of all, is a huge, huge step above Infinite - there isn't a single bad song to be found here, and furthermore, the highs of this project are better than the highs on Em's previous work - "Low Down, Dirty", "Just Don't Give a Fuck", "Just the Two Of Us" and "No One's Iller" are four absolute bangers that also have some of Em's most creative lines and concepts. And two of these were so good that he had to include them on his major label debut, albeit with slightly different beats since the ones on here sounded like carousel music. To be honest, though, the other two songs have some of the best beats I've heard Eminem rap over full stop - I love the underground, bass-filled sound, and I think Em and his fellow rappers compliment these styles very well. And bringing it to Eminem himself, his rapping on here is more charismatic and creative than ever before, and I think here is where he decided that he could sacrifice some of the crazy rhyme schemes on Infinite in exchange for having more interesting lyrical content, and it pays off well. In my opinion, this is Eminem's first truly great project, and what makes it better is that he would soon even further improve on this with some of his major label work. It's no wonder that this is the tape that made Dr. Dre sign a random white boy from the Midwest - it's fucking great. 

Best Tracks: Low Down Dirty, Just Don't Give a Fuck, Just the Two Of Us, No One's Iller

Worst Tracks: honestly, none. Even the skits are great!

Catch up on Eminem here, and be sure that there's a lot more to come about him too!

Eminem - Infinite

What with Eminem releasing his new album yesterday, and the fact that this is the guy that actually got me into hip-hop in the first place, I figured that it was finally time to get on with the task of reviewing his discography. Yes, it's spotty, but that will surely make for more entertaining write-ups anyway.

In the early '90s, a young white rapper from Detroit named Marshall Mathers, going under the pseudonym M&M, got together with some other white rappers to form the group Soul Intent, and while their catalogue of tapes had some interesting cuts, it was clear that this group of white boys were never going to get taken seriously, and if any sort of career was to be made, they would have to split apart. M&M, now going by the better name Eminem instead, got straight to the task of recording a full-length LP and, with the help of some of his underground friends on the mic and behind the boards, he was able to release his debut album Infinite completely independently in late 1996, pressing the album up on cassette tapes and selling them from the trunk of his car in the streets of Detroit. Yes, it's a far cry from what Em would be up to in three years time, but back then he was ecstatic to be able to actually sell his own work, and manage to form some kind of following - remember, he grew up in an unfortunately rough household, dealing with a deadbeat dad and a mother who suffered from something called munchhausen, which meant she thought Marshall was ill constantly, and would feed him pills he didn't need. Managing to make hip-hop music and actually get people to buy it (albeit in small quantities) was a big thing for Em, albeit not quite big enough to get him the deal he so sorely aspired to. 

It would take a couple more years for an Eminem tape to fall into the hands of Dr. Dre, but back in 1996 Marshall was yet to invent the Slim Shady persona that would define most of his important music, at least up until he started collaborating with Rihanna and P!nk, with occasionally painful results. So was his pre- Slim music any good? Well, it's been a long, long while since I listened to this album (and Eminem in general to be honest), so I'ma go back through it, and see if my opinion has changed at all.

All songs are produced by Denaun Porter.

1. Infinite

Possibly the most surprising Eminem song in that it's his first, and also possibly the most technically impressive song of his whole career. Denaun Porter of D12 provides a masterful bassy beat which introduces wavy synths during the chorus, and it doesn't take a Stan to admit that Eminem absolutely rips this shit to shreds with some unbelievably good rhyme schemes, and astounding technical ability. The chorus on here is also absolutely phenomenal, being both catchy and equally as impressively written as the verses. "In fact, I can't see, or can't imagine a man who ain't a lover of beats or a fan of scratchin'" is probably my favourite line in the song, but there are plenty others that are great. A lot of people claim that Eminem was biting Nas for this song and album, but then again wasn't everyone to some extent? This shit is dope as hell, and something Eminem's many haters should probably listen to.

2. W.E.G.O. (Interlude)

Proof and DJ Head introduce the next song over a nice little jazzy beat. The presence of this interlude helps give the album that underground hip-hop feel, which I love. A rare instance of a skit that actually works.

3. It's O.K. (feat. Eye-Kyu)

Eminem once again proves to be an incredible MC on this song, giving rhyme schemes to rival the best of the times, but unfortunately he is let down heavily by his collaborators on this one. Denaun's beat is as dull as a loaf of wholemeal bread, and I don't know what in the late '80s motivational rap music Eye-Kyu thought he was doing with that hook, but it sucks nonetheless. I guess Em thought this would have a chance at radio play, but in 1996 this really wasn't what the hip-hop heads were looking for. Despite Eminem's stellar work with the rhymes, which touch on his having a daughter, and his daily struggle to earn money, this song doesn't really go down very well as a whole.

4. Tonite

Eminem takes another poppy and mainstream sounding beat from Denaun with some thankfully solid drums that distract us from the really boring melody. The rapping on here is pretty good, but not great, with Eminem throwing out random punchlines and disses to whack MCs in a way that doesn't make you go "ugh", but doesn't make you go "oooh" either. Also, the chorus sucks. I remember this used to be my favourite song on the album, and why that ever was I don't know. 

5. 313 (feat. Eye-Kyu)

Man, I thought this album was about to be trash after those previous two songs, but thankfully this song really picked the pace up a lot. On this one, we get quite a gritty instrumental from Denaun, and a pretty great chorus that kinda reminds me of that "what you know about MCin'" bridge from GZA's "Living In the World Today" track released the year prior. Eye-Kyu rips the first verse apart with some great rhyming, and Eminem drops some of his best quotables yet, with "your ass forgot, so just in case you don't remember me I'll run your brain around the block to jog your fuckin' memory" being an absolute favourite. I also loved the jazzy elements that Denaun bought into this beat towards the end. This shit is dope!

6. Maxine (feat. Three & Denaun)

After four songs of plain ol' rhyming, on this one we get more of a storytelling type track which serves to bash this prostitute they all like to fuck who has managed to contract AIDS. Or at least that's what I can make out. Eminem and Denaun both come across as bland and uninteresting, while the creatively-named "Three" manages to actually be the worst, what with his miserably grating voice. This song is mean-spirited and awkward, and the beat isn't any good either. Straight skip.

7. Open Mic (feat. Thyme)

Over a pretty hardcore instrumental, Eminem drops his most aggressive rhymes on the LP so far - "I used to give a fuck, now I give a fuck less", "If I wanna battle then I chase 'em in the Jason mask". Eminem's rapping on this track is pretty entertaining, as is the intense instrumental, but I must say my favourite element of this one is that hook from Thyme, who channels his inner M.O.P. for an absolutely manic performance. "MAAN who the FUCK passed YOU the mic??" I enjoy this one a lot. 

8. Never 2 Far

Aside from Eminem's hilarious delivery of the word "baby" during the chorus, and the dialogue throughout between Em and Denaun, nothing really stands out about this one. Eminem's motivational rapping is a bit cringeworthy, and this production is again just really mainstream and bland. I really could not give less of a shit about this track.

9. Searchin' (feat. Eye-Kyu & Angela Workman)

This one stands out on the album as being the only track to feature a female singer, which is something Eminem would become more and more familiar with as his career progressed. Production is again bland as anything, and the love raps from Em and Eye-Kyu are pretty dismal in all honesty, with the lyrical content being as sappy as a large tree. Also, Eye-Kyu's attempt at singing is probably the worst moment on this whole record.

10. Backstabber

Even though the hook that samples both Craig Mack and LL Cool J repeats itself way too many times, this is still easily one of my favourite tracks on this LP. Eminem spits a story about attempting to apprehend a green-haired psycho who's on the loose, and while his rhyme schemes are the most basic on here, the actual content is pretty interesting and fun. The instrumental is iffy, but the story on this one is what makes it into one of the best tracks here.

11. Jealousy Woes II

Anyone else think the melody in this beat (which actually comes from the LL Cool J song "Jealous") sounds almost exactly the same as that on Nas' "Dr. Knockboot"? This track is about a woman that Eminem is tired of being in a relationship with, and while it's kinda dull, this is musical heaven in comparison to the relationship songs he would do in the 2010s. In contrast to a lot of the other songs here, I actually enjoyed this one more than I remember. It still isn't very good, though. However, the Nas "The World Is Yours" sample was appreciated!!

Overall, Infinite is a mixed bag, an album that has a few very dope underground hip-hop tracks, and quite a few badly produced duds as well. Production on this album has two moods - gritty and grimy (examples being "313" and "Open Mic") or poppy and dull (see "It's O.K." and "Searchin", among others), and unfortunately it tends to lean towards the latter. I wouldn't say the production on this album is bad, but it is certainly bland for the most part, and that teamed with the abundance of weak hooks makes most of this album sonically uninteresting. If it wasn't for Eminem's intricate lyricism, this could have come out in the late '80s, and it's actually thanks to Eminem himself that this album is good at all. Where the only features who do a good job are Eye-Kyu on "313" and Thyme on the hook of "Open Mic", Eminem manages to kill a lot of these verses, with him clearly specialising in rhyme schemes and lyricism throughout this effort. Yes, some of the actual content on here leaves a lot to be desired, but at least Eminem is enough of a technically skilled rapper to keep me at least somewhat engaged most of the time. Unfortunately, his vocal delivery is nowhere near interesting or charismatic enough for these already boring beats, and a song like "Never 2 Far" or "Tonite" ends up being practically impossible to focus on. I will say that there are some fantastic cuts on here, with the title track being one of my favourite Eminem songs of all time, but outside of that there's really nothing that's essential listening here unless you're a '90s hip-hop fan looking for a way to get into Em. Then you can check out all of the best tracks. Steer clear of the rest of this album, though, as it really isn't that great. Thankfully, it was only a short amount of time before Eminem would redeem himself with the rise of a persona that would change hip-hop as a genre forever, and Infinite would be lost in the shuffle like so many slap bracelets. Thanks for reading!

Best Tracks: Infinite, 313, Open Mic, Backstabber

Worst Tracks: It's O.K., Tonite, Maxine, Searchin

More Eminem reviews to come!