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Disable your prejudgment button and you'll hear a work of art whose immense entertainment value in no way compromises its intimations of a pathology that's both personal and political, created by one of those charming rogues you encounter so much more often on the page...
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An airtight masterpiece of rhyme-
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The ever increasing variety in Eminem's voice (drawled Southern-bounce cadences, impatiently curt throaty staccatos, flat Beck-like deadpans, crying and screaming) somehow feels completely conversational, and the musical backdrop (calypso/Caribbean, Gothic etherea, jiggy disco evolving into P.M. Dawn) is frequently, of all things, beautiful.
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He is, simply, better than any other MC in hip-hop except for Jay-Z.... 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.
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Checkout.comThere are songs on Mathers that are very, very good; as a result, when Eminem misses the mark, it feels incredibly frustrating, because you know what he's capable of.
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Eminem has crafted the best album of the year so far with The Marshall Mathers LP and it comes dangerously close to being a classic.
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Gruelling assault course of lyrical genius that pours itself into the 18 tracks on this album-
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It's smartly crafted black comedy from hip-hop's greatest white MC, a strong storyteller and a master of the metaphor, who produces staggeringly popular music that's mostly meant to be enjoyed with both a pained grimace and a smirk.
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The words are now injected with a new industrial strength venom that make the last album seem like Hanson's Christmas disc.
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A fairly brilliant expansion of his debut, turning his spare, menacing hip-hop into a hyper-surreal, wittily disturbing thrill ride.
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What's most pure is Eminem's liberating fearlessness in taking hip-hop left turns and acting the fool. The best hip-hop stand-up comic since Biz Markie; all that and a bag o' chronic.
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''The Marshall Mathers LP'' is indefensible and critic-proof, hypocritical and heartbreaking, unlistenable and undeniable; it's a disposable shock-rap session, and the first great pop record of the 21st century.
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Aside from the horrifyingly detailed stalker narrative of "Stan" and the homicidal fantasy of "Kim," nothing on Marshall Mathers rises above the level of locker-room insults -- nearly every song seems to feature Eminem's giving someone the finger.
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Mathers is frequently brilliant and unique, if extremely flawed.
Awards & Rankings
User score distribution:
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Positive: 1,792 out of 1964
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Mixed: 31 out of 1964
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Negative: 141 out of 1964
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Oct 13, 2010
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Oct 25, 2010
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Jan 27, 2015