I respect the legacy he has built. But i think i've had enough of his in my lifetime. His whole diss celebrities persona got old after awhile Now when he does it sounds like a sad attempt to stay relevant. I really think he's been meh since after The Marshal Matters LP. And i think he has written some brilliant songs.

But his shocking novelty has worn completely off. And every new song he makes sounds like pop-rap to a t. I am bored when i hear him and what he has to say. And never listen to his music on my own. But people still say how he's one of the best ever. But i feel he only had like 2 great albums.

I'm with you. I enjoyed The SlimShady LP, The Marshall Mathers LP, and The Eminem Show. I also enjoyed the movie 8 Mile and the song "Lose Yourself". I was out after that. I can't say that I enjoy his new stuff though he does continue to make hits. I really dislike "The Monster" but I think it's because of Rihanna's annoying voice intro. Can't tell you how many times and how quick I change the station when that song comes on.

He can do what I cant do and make ppl dance a little .. seems a cool thing to do even if it sometimes seems repetitive. Im sure all artists go thru pidgeonhole scenarios. Everyone loves a comeback and ppl tryin hard to get out whats inside. Stick thru him his skills seem pretty relevant. Take a break from him your prob not supposed to like everything.

I was over him when he startedyelling all the time. Who wants to hear that? But his FLOW is the best I ever heard...he makes my peepee doing doing.

No.

After seeing how he ripped up the Shady CXVPHER (a capella, I might add), I'm not over that MC just yet. I can take a few more years worth of his quality bars.

Totally over him. I enjoyed Infinite (1996), The Slim Shady LP (1999), and The Marshall Mathers LP (2000). I could not believe he remained so popular throughout the 2000's, but I guess there are always teen males who can relate to his angst.

MidniteMagnet said:

I was over him when he started yelling all the time. Who wants to hear that? But his FLOW is the best I ever heard

I have to agree.

Never was into him

MotownSubdivision said:

Being a 42 year old man who still raps like an angsty teenager doesn't help either. Where's the development?

there it is

HuMpThAnG said:

MotownSubdivision said:

Being a 42 year old man who still raps like an angsty teenager doesn't help either. Where's the development?

there it is

new teenage males every year

Cinny said:

Totally over him. I enjoyed Infinite (1996), The Slim Shady LP (1999), and The Marshall Mathers LP (2000). I could not believe he remained so popular throughout the 2000's, but I guess there are always teen males who can relate to his angst.

Whether or not he wants to admit it. Dude went very pop-rap! i mean his songs from 08 and onward. Reek of pop formualic bullshit

Gunsnhalen said:

Cinny said:

Totally over him. I enjoyed Infinite (1996), The Slim Shady LP (1999), and The Marshall Mathers LP (2000). I could not believe he remained so popular throughout the 2000's, but I guess there are always teen males who can relate to his angst.

Whether or not he wants to admit it. Dude went very pop-rap! i mean his songs from 08 and onward. Reek of pop formualic bullshit

Yeah, the old Slim Shady would not have done a song with Rihanna. He probably would've rapped about smacking the shit out of her though. Ouch...too soon? Not.

HuMpThAnG said:

Some of his earlier records are good and even videos but I have always felt overall he was overrated.

I've had many conversations about Em, and heres my opinion: Eminem is great....when he wants to be. The guy is super gifted, a genuinelly God-given talent. But Em chooses to release cheesey music. He now officially caters to the masses, and the crap he puts out is REALLY corny! Its almost as if he has one foot in the underground scene with his freestyles and mixtapes, and the other in the corporate world with the Rihanna top 40 bullshit. His first 3 albums (Infinite included) are just fantastic, but its like as soon as he started seeing that money...thats the direction he mainly took. But see Eminem is also in a peculair spot as well that he could use to his advantage: Eminem could release a very non-commercial, underground album that would appeal to the true rap fans out there and it would guaranteed move at least a million copies no problem based on his name alone. Eminem could teach something to the kids that buy his albums with sheer lyrical skill and not the drab that focuses on that ever-catchy hook. It infuriates me that he wastes his talent by dropping bullshit and not the gold everybody knows he can create. He just ignores his potential. Hes the best MC walking on this planet bar none, but I feel like the guy doesnt acknowledge it.

Never understood the hype. Yeah, dude can flow for sure, but his voice is beyond annoying IMHO. Give me Chuck D from PE any day

loves Public Enemy ..

I got a letter from the government the other day

I opened and read it, it said they were suckas

They wanted me for their army or whatever

Picture me giving a damn I said, "Never!"

There's still this M&M...

mjscarousal said:

Some of his earlier records are good and even videos but I have always felt overall he was overrated.

he is

Cinny said:

MidniteMagnet said:

I was over him when he started yelling all the time. Who wants to hear that? But his FLOW is the best I ever heard

I have to agree.

Yeah, I've always had hard time believing all those songs got played on the radio and on the video channels so much.

Of course, the reason why they got so much exposure was that he was such a big star for years, but listening to his aggressive vocals on the radio felt just weird and really out of place with the rest of the programming. I never thought it sounded that good, for that matter, and I've listened to a lot of "music with yelling" over the years. His technique for doing that is just sort of weak, although he does sound genuinely angry as a result, I guess. He really sounds like someone who would be about to hit someone.

Gifted wordsmith but his flow and his voice are absolutely grating. Unlistenable.

I think MMII is his best work.

I thought he did a great job at the Concert for Valor a month ago:

I posted this video over on the Beautiful Dark Twisted Fantasy thread. Chris Rock also says Kanye is a better rapper than Eminem. And when they start talking back and forth about lyricism, Chris Rock says "you're talking about a computer print-out of who is the best lyricist" and there is truth to that. There's not much arguing Em's skill but LOTS of people overrate his music for it.

Cinny said:

Cinny said:

The discussion begins at 9:20!

I agree with Chris Rock but it seems like he was never really that much into Eminem in the first place. You can't deny he is a legend in the world of hip-hop. But he is starting to reminde me of LL Cool J or someone who I just wish would go away soon or stop making records.

http://www.theatlantic.co...rs/383571/

“Did you hear that!? The guy drove off a bridge. I have to hear that again!”

That was my first exposure to Eminem: a series of exclamations from my mother after hearing “Stan” on the car radio 15 years ago. Seated in the backseat during my awkward pre-teen years, nodding along, I was alarmingly oblivious to the song’s lyrical content, about a crazed fan professing his love for Eminem before committing suicide with his pregnant wife in the trunk of the car. It was a harrowing tale I couldn’t fully grasp, but my mother’s reaction told me I should probably listen harder. So I did.

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Every Celebrity Eminem Has Ever Dissed

Though Eminem became my favorite artist, I had vowed I would never write about him. There was something about his angst and audacity that appealed to straight-laced me, who couldn’t dream of saying or even thinking of the things he did. I didn’t want to criticize him and become one of those people he’d called out in “Sing for the Moment”: “Now these critics crucify you, journalists try to burn you, fans turn on you.”

Yet with the release of Eminem’s latest offering SHADYXV—also marking 15 years of his record company Shady Records—it’s become clear that while the rapper’s lyrical abilities and technical prowess have only grown stronger, he’s become a worse artist. One worthy of criticism.

Writers have noted this gradual decline for years. Last year’s Marshall Mathers LP 2 (while successful commercially to the tune of 792,000 copies sold in its first week) received polarizing reviews, some of which argued that Eminem had run out of things to talk about. That charge may be partly correct: Eminem’s earlier habit of mercilessly lampooning turn-of-the-millennium pop culture was refreshing at the time. The shtick has since turned stale, but even so, the continued rehashing of old topics in of itself is not what aged him. The Detroit native has always balanced the satirical serial-killer persona with insightful cultural criticism. Eminem is who he is, sometimes to a fault. He rapped about rape at age 26 the same way he does now at 42—most recently on the track “Vegas,” which was then blasted by lyric...ggy Azelea.

The misogynistic content on his albums has been a polarizing issue throughout Eminem’s entire career. One side points to the idea of artistic license, noting how his outlandish demeanor brought him much of his early success. But there’s something to be said for how societal progress should shape artistic endeavors. Molly Lambert of Grantland postulates that Eminem’s sheer obliviousness to the world around him comes across “as if he’s been frozen in amber for the last decade while the world has changed around him.” And she’s right: While he’s claimed in his interviews that he does not in fact have any explicit anti-gay or misogynistic agenda, his lyrics, however satirical or non-serious, can feel at odds with the evolving sensibilities of his audience. Still, while his lack of social awareness is up for debate, it’s never been a deal-breaker for a lot of fans, since controversy is such a core part of the Eminem ethos.

But on ShadyXV, longtime listeners may notice a seemingly subtler sign of how the rapper has changed for the worse: by trading in his once-harmonic and methodical rapping approach for a hectic and increasingly complex one.

The new album’s track listing, which contains both new songs and old classics, makes explicit the big difference between the Eminem of the past and present. Take the previously unreleased demo version of what would become his magnum opus “Lose Yourself.” The lyrics lack the impact of the finished version, but the track offers a rare 2014 look at Eminem in his prime. It’s a throwback to a time when his rapping cadence wasn’t rooted in double time, but when he flowed on a beat slowly and cautiously, doling out melodic barbs with his trademark charisma.

It’s as though Eminem has morphed from a free-flowing abstract painter—where his genius seemed to appear almost accidentally—to a more efficient but ultimately less appealing robot. Before, the pleasure of listening to Eminem was rooted in surface simplicity and underlying complexity, the entrancing way his words and the beat worked together. Now it takes me scouring Rap Genius, deciphering complicated word-laden sentences like an overzealous historian, before I can enjoy his songs.

To be sure, his technical skills, namely his rhyming technique and economy of words, may be better than they’ve ever been. Last year’s performance of “Rap God,” where Eminem orates at neck-breaking speeds, ranks among the most impressive moments of his career. But at times, nouveau Eminem seems like a bizarro-version of himself. Like a genius gone off the rails, muttering to himself on a street corner or a highly advanced computer program stuck in a glitch.

The shift seems to stem from Eminem’s almost obsessive need to prove himself to the critics who’ve claimed he’s lost it. His 2005 critical-flop Encore and subsequent hibernation from rap brought on a slew of naysayers, whom he addressed on “Careful What You Wish For” during a brief return. But when the Detroit rapper made his full-fledged comeback and was criticized for certain elements of his new style—in the case of 2009’s Relapse, an odd accent—he switched from the artist who “Doesn’t Give a F***” to one who clearly does, with each subsequent album being an apology of sorts for the previous output.

On 2010’s Recovery, he badmouthed Relapse, describing it as “ehh” and claiming he “wasn’t going back to that” on “Not Afraid.” Critics nonetheless slammed Eminem for Recovery’s overly poppy, self-indulgent optimistic tone. When he titled last year’s album Marshall Mathers’ LP 2, a reference back to his most critically acclaimed work 13 years earlier, it felt like a retreat as well. But the old charm wasn’t there; instead, Eminem just doubled down on his new, grating, rapid-fire method.

Of course, maybe it’s still not fair to criticize Eminem for trying to stay relevant. He’s doing a better job of it than most other rappers his age. The entire genre is going through growing pains, as its biggest artists still attempt take music for listeners 25 years their junior. Eminem’s solution is to try and make people marvel that a middle-aged guy can spit so fast. And I do marvel, initially. But then, months later, I just get sad when I realize that the newest songs by one of my favorite artists lie dormant in the basement of my iTunes library.

i feel a bit embarrassed that i bought into the hype, he's laughing all the way to the bank,he's a multi

millionaire so he makes these shit records about how fucked-up he is and then he goes and counts

his money,those hate preachers arent usually allowed into britain yet the power of the pop music

industry ensures that a twisted knobhead like him is allowed to play wembley and make more cash.

Eminem lost me when he started hanging out with Rihanna. If not for that, I would still be on his team.