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The Marshall Mathers LP

The Marshall Mathers LP is the third full-length album from gangsta rapper Eminem. The bulk of the album was written in Amsterdam, with Dr. Dre (who did much of the production) holding a telephone to his speakers so Eminem could hear the beats. "The Real Slim Shady", the first single and a huge hit, was written back in the United States, as the deadline neared and no radio-friendly singles were yet written.

The Marshall Mathers LP won a Grammy Award for Best Rap Album.

Stylistically, The Marshall Mathers LP includes most of the same elements as his previous recordings. Perhaps most distinctive is his frequent changes in voices, sometimes rapping as three or four characters in a single song, as well as quickly changing emotions and temperament in individual songs; similarly, he frequently uses background sound effects, such as screeching tires. He switches wildly between Southern head-bopping drawls, to deadpan or raspy and desperate, even sobbing and screaming on "Kim". The production behind the lyrics is similarly varied, including Gothic bells, tinkling calypso music and deep, primal thumps.

Eminem was frequently criticized, particularly for this album, for his violent and sexual lyrics. Parents groups complained that it was not suitable for its listeners. In spite of the criticism, the album received rave reviews from both mainstream media and rap outlets, becoming one of the best-selling rap LPs of all time. The Marshall Mathers LP was nominated for a Grammy for Album of the Year, but lost to Steely Dan's latest. Many observers felt that the Academy of Recording Arts and Sciences[?] (which awards the Grammies) didn't want to give the award to Eminem due to the controversy, and not because Steely Dan had a better album. Thom Yorke[?] of Radiohead (who were also nominated for the same award) claimed that this was true, and that The Marshall Mathers LP deserved the award.

Table of contents


The first track is a skit called "Public Announcement 2000". An announcer speaks, telling the listener that Eminem doesn't "give a fuck what you think" and that "if you don't like, you can suck his fucking cock". Furthermore, "Eminem is going to kill you" and "you can kiss his ass". In Eminem's previous album, The Slim Shady LP began with a similar skit that ended with Eminem's pronouncement "don't do drugs".

"Kill You"

"Kill You" is a stream-of-consciousness song. The lyrics don't have a unifying theme, except that Slim Shady is violent and capable of killing anyone. An example of Eminem's distinctive climactic, suggestive rhymes "Blood, guts, guns, cuts/Knives, lives, wives, nuns, sluts" with each word progressively shouted with more and more intensity; "nuns" being placed at the climax is an example of Eminem's macabre and irreverent humor, placed between "wives" and "sluts".

Like several other songs on the album, the lyrics here insult the American media; this song was frequently cited as containing gratuitous violence and drug use. For example, an imitation of his critics says "Oh, now he's raping his own mother, abusing a whore/snorting coke, and we gave him the Rolling Stone cover?", delivered with derision. He also insults radio announcers who "...want me to come on their radio shows/just to argue with 'em cause their ratings stink?". The song includes references to snorting cocaine ("They said I can't rap about bein broke no more/They ain't say I can't rap about coke no more"), taking LSD ("I ain't 'acid rap,' but I rap on acid/Got a new blow-up doll and just had a strap-on added"), taking Vicodain[?] ("I invented violence, you vile venomous volatile bitches/vain Vicodain (sound of chainsaw)"), smoking marijuana and drinking alcohol ("Fuck shots! I hope the weed'll outweigh these drinks").

There are also numerous examples of violence, such as in the chorus ("Bitch I'ma kill you! You don't wanna fuck with me/Girls neither - you ain't nuttin' but a slut to me/.../You better kill me! Ima beat another rapper dead/for popping off at the mouth with shit I shouldn't've said"), and verses ("Slut, you think I won't choke no whore/'Til the vocal cords don't work in her throat no more?", "Put your hands down bitch, I ain't gonna shoot you/I'ma pull you to this bullet, and put it through you/Shut up slut, you're causing too much chaor/Just bend over and take it like a slut, okay Ma?/Oh, now he's raping his own mother, abusing a whore", "I'm triple platinum and tragedies happen in two states/I invented violence, you vile venomous volatile bitches", "Texas Chainsaw, left his brains all/Danglin' from his neck, while his head barely hangs on/Blood, guts, guns, cuts/Knives, lives, wives, nuns, sluts").

It was the numerous examples of such cartoonish violence that led parents and citizens activist groups to criticize The Marshall Mathers LP. His supporters argue that these are clearly fictional examples of violence. Many of the instances of violence in the album are unambiguously fictional and, in some cases, physically or medically impossible.


The second song is "Stan", the second single released from the album. It is a haunting story of a fan who writes to Eminem but doesn't receive a swift reply. Unhinged already, the fan (Stan) drives his car off a bridge with his pregnant girlfriend in the trunk. For more information, see Stan (song).

"Who Knew"

This is followed by a brief skit, similar to one on the previous album, The Slim Shady LP. On that album, Eminem's manager leaves a message asking if he could tone down the violence in order to make the album more palatable to record companies. On The Marshall Mathers LP, he calls once again, and begins to make a similar request, only to end suddenly with "Ah, fuck it" and a dial tone.

"Who Knew" is one of many songs on the album about fame and being a celebrity. Eminem raps about how and why he became famous. In the chorus, Eminem expresses his own doubts and insecurities about his celebrity and his unintentional role model status.

"Cause I never knew I, knew I would get this big
I never knew I, knew I'd effect this kid
I never knew I'd, get him to slit his wrist
I never knew I'd, get him to hit this bitch
I never knew I, knew I would get this big
I never knew I, knew I'd effect this kid
I never knew I'd, get him to slit his wrist
I never knew I'd, get him to hit this bitch"

The verses discuss in greater detail how Eminem has become famous and why. Perhaps the simplest explanation exists in the first two lines: "I don't do black music, I don't do white music/I make fight music, for high school kids". Disenchanted youth of all racial and ethnic backgrounds connected with the macabre, humorous lyrics in The Slim Shady LP. Much of the song also addresses Eminem's detractors among the media: "Oh - you want me to watch my mouth, how?/Take my fuckin eyeballs out, and turn em around?", "You want me to fix up lyrics while the President gets his dick sucked?" (referencing former president Bill Clinton and Monica Lewinsky), perhaps most pointedly accusing his critics with the lines "Quit tryin to censor music, this is for your kid's amusement/(The kids!) But don't blame me when lil' Eric jumps off of the terrace/You shoulda been watchin him - apparently you ain't parents"; some listeners believe "Eric" is a reference to Eric Harris[?], the mastermind of the Columbine shootings. Eminem and other musicians were blamed by certain commentators for contributing to "a culture of violence" that allowed horrific violence like the school shootings; it is, however, worth noting that the Columbine killers hated rap music and did not listen to Eminem. The next verse focuses on those who criticized Eminem's violent lyrics, accusing them of hypocrisy in their disapproval of rap but silence in other circumstances.

"And last week, I seen a Schwarzenegger movie
where he's shootin all sorts of these motherfuckers with a uzi
I sees three little kids, up in the front row,
screamin 'Go,' with their 17-year-old Uncle
I'm like, 'Guidance - ain't they got the same moms and dads
who got mad when I asked if they liked violence?'"

Eminem goes onto criticize parents who don't approve of his music but allow their young daughters to wear makeup, and blaming him for teaching children obscene words when, he claims that children are more likely to learn such words from a school bus driver or gym teacher, as he did ("And fuck was the first word I ever learned/up in the third grade, flippin the gym teacher the bird"). The final verse is a veritable parade of offensive lines, making fun of dead and injured celebrities (Sonny Bono, Christopher Reeves[?]).

In the face of intense criticism for obscene, violent and allegedly gratuitous sexual, violent and drug-related content, many of Eminem's supporters use this song to help bolster their case. Many of Eminem's fans have come to a realization about people from a different background than themselves, as Eminem is able to poetically describe circumstances alien to most of his listeners. Thus, the subject matter, which is surely aimed at adults, benefits listeners and society itself by increasing empathy and understanding between people of different backgrounds. Eminem defends himself: "Man, I'm just as fucked up as you woulda been/If you woulda been in my shoes" and "So read up, about how I used to get beat up/Peed on, be on free lunch, and change school every three months/My life's like kinda what my wife's like/Fucked up after I beat her fucking ass every night, Ike".

"The Way I Am"

This is followed by a skit in which a record company executive demands that Eminem re-record an album to make it more commercial and marketable. He says "Do you know why Dre's record was so successful? He's rapping about big screen TVs, blunts, forties and bitches. You're rapping about homosexuals and Vicodain. I can't sell this shit! Either change the record or it's not coming out."

Eminem's despair at the end of the previous skit leads into the next song, "The Way I Am", with a depressing, haunting and ominous beat. The song addresses his fans, primarily. He begins by explaining the sources of his music:

"I sit back with this pack of Zig Zags and this bag
of this weed it gives me the shit needed to be
the most meanest MC on this -- on this Earth
And since birth I've been cursed with this curse to just curse
And just blurt this berserk and bizarre shit that works
And it sells and it helps in itself to relieve
all this tension dispensin these sentences
Gettin this stress that's been eatin me recently off of this chest"

The line "And just blurt..." is particularly notable as it is typical Eminem, spitting out alliterative words like poison; the words are unusually incomprehensible for the usually articulate rapper, hence, they actually sound "berserk" and "bizarre", like meaningless shouts of anger that happen to almost form words. The rest of the verse addresses his legions of devoted fans. He makes no apologies for his rude behavior, demanding that he be granted his own privacy: "I'm not Mr. N'Sync, I'm not what your friends think/I'm not Mr. Friendly, I can be a prick". He threatens violence against those who offend him and won't leave him alone, inviting fans so injured to "file you a lawsuit/I'll smile in the courtroom and buy you a wardrobe".

In the next verse, Eminem addresses his critics again; he is angry that "the media immediately points a finger at me" "when a dude's gettin bullied and shoots up his school" (another Columbine reference). He also commiserates with Marilyn Manson, a shock rocker who was similarly blamed for acts of violence. Eminem responds by asking "where were the parents at?"; he then accuses the middle class of ignoring problems like heroin abuse until it hits "Middle America, now it's a tragedy/Now it's so sad to see, an upper class city/havin this happenin". Similar accusations were made in the wake of Columbine and other school shootings, in that such violence in schools had been occurring for decades in largely African-American inner city schools but was ignored by the national media until middle-class white children began killing other middle-class white children.

The final verse is Eminem ranting and raving about the stress of his fame, and his insecurity about being unable "...to top on 'My Name is..'", Eminem's first hit off his previous major label album. With much scrutiny due to his racial background, Eminem also lashes out at those who were unwilling to believe his tales of poverty, drugs and violence, asking him continually "what school did I go to, what hood I grew up in/the why, the who what when, the where, and the how/'til I'm grabbin my hair and I'm tearin it out".

In the chorus to "The Way I Am", Eminem questions losing his identity in the face of massive amounts of attention from millions of strangers. While his previous album, The Slim Shady LP, was somewhat more cartoonish than this album, and he rapped therein as a distinct character who goes by Slim Shady, his critics believed that Eminem, Marshall Mathers and Slim Shady were identical. Similar to other musicians and artists who lost their identity in some fictional construct (David Bowie, Alice Cooper), Eminem expresses his doubts about who he has become.

"And I am, whatever you say I am
If I wasn't, then why would I say I am?
In the paper, the news everyday I am
Radio won't even play my jam
Cause I am, whatever you say I am
If I wasn't, then why would I say I am?
In the paper, the news everyday I am
I don't know it's just the way I am"

"The Real Slim Shady"

"The Real Slim Shady" was a major hit, the first single released off the album. For more information, see "The Real Slim Shady".

"Remember Me"

"Remember Me" is partnership with RBX[?] and Sticky Fingaz[?] (of Onyx[?]). The song begins with RBX shouting "Remember Me"; and adding various menacing statements, ending with "I drop bombs like Hiroshima", and then the sound of an explosion.

It begins with RBX on the first verse, followed by Sticky Fingaz and then Eminem. The first two verses are stream-of-consciousness and semi-coherent, with rapid-fire rhymes like: "Better come better than better to be a competitor/This vet is ahead of/The shit is all redder, you deader and deader/A medic instead-a the cheddars and credda/settle vendetta one metal Beretta from ghetto to ghetto/Evidence? NOPE! Never leave a shred-of" (from the second verse). Both RBX and Sticky Fingaz have distinctively bass voices, and a frenetic, threatening and chaotic style of rapping. Their lines seem haphazard, in spite of the clearly well-planned out alliterative and assonating rhymes, and are shouted as though their voices are themselves violently uncontrollable; this is particularly true of Sticky Fingaz.

The third verse is Eminem rapping, beginning with a memorable pun: "When I go out, I'ma go out shootin'/I don't mean when I die, I mean when I go out to the club, stupid". Once again, Eminem addresses his critics, specifically, those who disliked "97 Bonnie and Clyde", a song from The Slim Shady LP about Eminem disposing of three bodies (his wife, her lover and his son) with his young daughter in attendance: "My baby's mom, bitch made me an angry blonde/So I made me a song, killed her and put Hailie on". Eminem defended "97 Bonnie and Clyde" by claiming that, like many of his songs, he is able to work out his own hostility towards friends and family by rapping about violence instead of actually acting out on such desires. The verse also goes back to the Columbine shootings; Eminem was criticized for creating a "culture of violence" and, partly, causing such acts. In typical Eminem fashion, he exaggerates his own influence by claiming that someone broke into his house and stole "two loaded machine guns and both of my trenchcoats" (the Columbine killers were part of the "Trenchcoat Mafia"). The song ends with Eminem hoarsely screaming "Remember me?".

"I'm Back"

In "I'm Back", Eminem reacts to a variety of issues and ideas. The chorus is simple, and states that "They call me Slim Shady/I'm back". In the verses, Eminem tackles subjects from racism and violence to homosexuality and drug abuse.

As often happens when an artist is controversial, Eminem begins by exaggerating and proudly stating that "You never heard of a mind as perverted as mine", "I'm waiting for hell. Like hell, shit I'm anxious as hell" and "I used to get punked, bullied on my block/'Till I cut a kitten's head off and stuck it in this kid's mailbox". He soon moves on to tackle race. Some commentators have observed that Eminem became such an incredible celebrity precisely because he is white and not because of his skills as a rapper (though few doubt that he is quite skilled). Eminem apparently agrees: "Became a commodity because I'm W-H-I/T-E, cuz MTV was so friendly to me".

The second verse describes Eminem's warped view of the "sick world we live in these days". He seems to exult in the degeneracy, though, ("I take each degenerate's head and reach into/Just to see if he's influenced by me"). He mentions Ken Kaniff (see the skit below), a homosexual who is "on the Internet/Tryin' to lure your kids into his bed", as a further example of the dangerous and cruel world he lives in. Eminem then makes a second joke about actor Christopher Reeves[?], paralyzed from the neck down after a horse-riding accident. An imitation of a critic then says "Slim, it's a touchy subject, try and just don't mention it", effectively summing up one of the main arguments in favor of Eminem's adult subject matter; the fact that no one mentions an issue does not make the issue irrelevant, and does not make it go away.

The third verse begins by referring to Columbine again: "I take seven (kids) from (Columbine), stand 'em all in line/Add an AK-47, a revolver, a nine/A mack-11 and it oughta solve the problem of mine/And that's a whole school of bullies shot up all at one time". The words "kids" and "Columbine" are not actually spoken; Eminem uses a common technique, omitting the actual words in favor of a beat. The missing words can be easily deduced from the rhymes. Eminem goes on to criticize the media's attention paid to the Y2K crisis ("... they call me as crazy/As the world was over the whole Y2K thing") and then goes on to criticize 'N Sync and other pop musicians, reiterating his hatred for boy bands. Eminem ends by dispelling a rumor that he was having sex with Christina Aguilera, explaining that "... if I ever stuck it to any singer in show biz/It'd be Jennifer Lopez and Puffy you know this/I'm sorry Puff, but I don't give a fuck if this chick was my own mother/I'd still fuck her with no rubber and cum inside of her/And have a son and a new brother at the same time/And just say that it ain't mine; what's my name?".

"Marshall Mathers"

"Marshall Mathers" is a litany of insults directed towards various aspects of society, percieved as being shallow and overly commercial. The first verse begins in typical Eminem fashion, with a bizarre rant of mounting intensity and absurdity: "Yo, you might see me joggin, you might see me walkin/You might see me walkin a dead Rottweiler[?] dog/with it's head chopped off in the park with a spiked collar/hollerin at him cause the son of a bitch won't quit barkin". He then goes on to criticize "cheap imitations" of the late rappers Tupac Shakur and The Notorious B.I.G. that "get dollars that shoulda been theirs (Tupac and Biggie) like they switched wallets". Eminem's reaction to such shallowness in the pop cultural world is to "... walk around with an empty bottle of Remi Martin[?]/startin shit like some 26-year-old skinny Cartman ("God damnit!")/I'm anti-Backstreet and Ricky Martin/with instincts to kill N'Sync, don't get me started/These fuckin brats can't sing and Britney's garbage/What's this bitch retarded? Gimme back my sixteen dollars". This is followed by a section which parallels in rhythm the very beginning in its climaxing intensity and absurdity: "All I see is sissies in magazines smiling/Whatever happened to whylin out and bein violent?/Whatever happened to catchin a good-ol' fashioned/passionate ass-whoopin and gettin your shoes coat and your hat tooken?" Later, Eminem goes onto express disgust over groupies, angrily telling one "...get off me, go fuck Puffy. He also discusses his family, specifically his mother's lawsuit alleging defamation of character in The Slim Shady LP and various interviews. He defends himself by claiming that he told the truth, and that he (as claimed) learned to use drugs from her: "where the fuck you think I picked up the habit?/All I had to do was go in her room and lift up her mattress". On the subject of the rest of the family: "Family fightin and fussin over who wants to invite me to supper/All the sudden, I got 90 some cousins (Hey it's me!)/A half-brother and sister who never seen me/or even bothered to call me until they saw me on TV".

"Drug Ballad"

"Drug Ballad" is, appropriately enough, all about drugs. Eminem mentions drinking copious amounts of alcohol, Ecstacy and marijuana, as well as huffing[?] glue "through a tube and play Rubix Cube[?]". Ironically, the atmosphere and style of delivery make the song sound like a party song, reminiscent of West Coast rap songs from Dr. Dre and Snoop Doggy Dogg, among others. Instead of exulting a party-heavy lifestyle, Eminem describes the dark side of that existence. This begins with the rapidfire beginning: 'We used to mix Hen' with Bacardi Dark/And when it, kicks in you can hardly talk/And by the, sixth gin you're gonna probably crawl/And you'll be, sick then and you'll probably barf/And my pre-diction is you're gonna probably fall/Either somewhere in the lobby or the hallway wall". In addition, drunkenness is described as giving the drunkard "permission to officially slap bitches/You have the right to remain violent and begin whylin'" and "get in your car/drive it/and cause a 42-car pile-up". The second verse focuses on the effect of heavy drug use on interpersonal relationships. Most interestingly is the effect of Ecstacy, notorious for increasing and empathy and causing strangers to fall deeply in love for brief periods, often ending when the drug wears off: "(I'm) Getting sentimental as fuck spillin' guts to you/We just met/But I think I'm in love with you". In the third verse, Eminem ends by refusing to apologize for his past: "If I could take it all back now, I wouldn't/I would have did more shit that people said that I shouldn't".


"Amityville" begins with gruff, almost doo-wop nonsense vocals and a barely audible whisper repeating "kill kill kill". When the verses begin, they are incoherent strings of extremely violent, often cartoonish images. Guest rapper Bizarre[?] does the second verse. First verse:

  • "I get lifted and spin til I'm half-twisted/Feet planted and stand with a grin full of chapped lipstick"
  • "Drink gin til my chin's full of splashed whiskers/Hash, whiskey and ash til I slap bitches"
Second verse:
  • "I fucked my cousin in his asshole, slit my mother's throat"
  • "My little sister's birthday, she'll remember me/For a gift I had ten of my boys take her virginity"
Third verse:
  • "We don't do drivebys, we park in front of houses and shoot/and when the police come we fuckin shoot it out with them too"
  • "Cause once I snap I can't be held accountable for my acts/and that's when accidents happen/when a thousand bullets come at your house/and collapse the foundation around and they found you"

"Bitch Please II"

This is a collaboration between Eminem, Dr. Dre, Snoop Doggy Dogg, Xzibit[?] and Nate Dogg[?]. In the first verse, Dr. Dre describes the audiences at West Coast rap concerts; they are "These grown-ass ignorant men with hair-triggers again". In the second verse, Snoop's characteristically lazy, stoned funky voice describes his own part in the scene, "Hit-and-run, get it done, get the funds, split and run/Got about fifty guns, and I love all of 'em the same - bang bang!". The third verse is Xzibit continuing much the same idea: "Your little lungs is too small to hotbox with God", "It's like ashes to ashes and dust to dust/I might leave in the bodybag, but never in cuffs", "When things get rough I'm in the club shootin with Puff/Bitch, please - you must have a mental disease/Assume the position and get back down on your knees - c'mon". Eminem then appears, impersonating Snoop's voice discussing Eminem's comically large genitalia. In his verse, Eminem claims: " I'm just a criminal, makin a living/off of the world's misery - what in the world gives me the right/to say what I like, and walk around flippin the bird/Livin the urban life, like a white kid from the 'burbs/Dreamin at night of screamin at mom, schemin to leave/Run away from home and grow to be as evil as me".


"Kim" was perhaps the most controversial song on The Marshall Mathers LP. It is a sequel of sorts to "'97 Bonnie and Clyde" (from The Slim Shady LP), which was the story of Eminem and his young daughter disposing of three bodies: his wife, her lover and his son; the previous song was a deliberate send-up of the sentimental father-child songs of Will Smith ("Just the Two of Us") and other rappers. In "Kim", we hear the actual murder of Eminem's wife, Kim. The song is unlike virtually anything else in rap music, in its short, screamed and barely rhythmic lines; some critics deemed the song "unlistenable" and even "painful" due to the harshness of the delivery. Eminem's enraged voice is hoarse and raspy. Drunk and angry, Eminem begins by yelling at Kim, and explaining why he wants to kill her: "Quit crying bitch, why do you always make me shout at you?", "But not for him to take my place, are you out you're mind?/This couch, this TV, this whole house is mine!". He then puts her in his car, while her sobs can be heard. Amid honking cars in the background, Eminem continues shouting at her and threatening to kill her. Finally, in the third verse Eminem remembers a happy time in their marriage right before killing her: "Hey remember the time we went to Brian's party?/And you were like so drunk that you threw up all over Archie/That was funny wasn't it?". The song ends with Eminem strangling her, and the sound of Kim choking.

The graphic violence of the song caused many activist groups to criticize Eminem. They objected to the detailed description of spousal abuse, and the endless hatred spewed at his crying wife. Defenders of the song point out the multi-faceted character of Eminem, who loudly proclaims his love for his wife just before murdering her, and his clear and unambigous mental instability ruling him out as a role model for any stable person.

Track listing

  1. Public Service Announcement 2000 (skit)
  2. Kill You (Bradford/Eminem/Young)
  3. Stan (Eminem/Dido)
  4. Paul (Skit)
  5. Who Knew (Bradford/Dr. Dre/Eminem)
  6. Steve Berman performed by Eminem / Steve Berman
  7. The Way I Am (Eminem)
  8. The Real Slim Shady (Bradford/Eminem/Young)
  9. Remember Me? (Eminem/RBX[?]/Sticky Fingaz[?])
  10. I'm Back (Bradford/Dr.Dre/Eminem)
  11. Marshall Mathers (Bass Brothers[?]/Eminem)
  12. Ken Kaniff (Skit)
  13. Drug Ballad (Bass Brothers/Eminem)
  14. Amityville (Eminem/Bizarre[?])
  15. Bitch Please II (Eminem/Dr.DreSnoop Dogg/Xzibit[?]
  16. Kim (Bass Brothers/Eminem)
  17. Under the Influence (Eminem/D-12[?]
  18. Criminal (Bass Brothers/Eminem)


  • The 45 King & Louie[?] - Producer
  • Dr. Dre - Producer
  • Snoop Dogg - Performer
  • Jeff Bass[?] - Performer
  • Steve Berman - Performer
  • John Bigham[?] - Guitar
  • Chris Conway - Engineer, Mixing
  • Richard Huredia - Engineer, Mixing
  • Steven King - Engineer
  • Joe Martin - Production Coordination
  • Lance Pierre - Engineer
  • Michelle Lynn Forbes - Engineer, Mixing
  • Xzibit[?] - Performer
  • Tom Coster, Jr.[?] - Keyboards
  • Mark Bass - Producer
  • Mike Elizondo[?] - Bass, Guitar, Keyboards
  • Larry Chatman - Project Coordinator
  • Aaron Lepley - Engineer
  • Eminem - Vocals, Producer, Mixing
  • Camara Kambon - Keyboards
  • Rick Behrens - Engineer, Mixing
  • Joe Mama-Nitzberg - Photography, Art Coordinator
  • Mel-Man[?] - Producer
  • Sticky Fingaz[?] - Performer
  • Les Scurry - Production Coordination
  • Kirdis Tucker - Project Coordinator
  • Jason Noto - Art Direction, Design
  • James McCrone - Engineer
  • Mike Butler - Engineer, Mixing
  • Rob Ebeling - Engineer, Mixing
  • Akane Nakamura - Engineer, Mixing
  • Jeff Bass - Producer

Chart positions Billboard Music Charts (North America) - album

 2000	The Billboard 200	                No. 1
 2000	Internet Albums	                        No. 1
 2000	Top R&B/Hip-Hop Albums	                No. 1
 2000	Top Canadian Albums	                No. 1
 2002	The Billboard 200	                No. 1
Billboard (North America) - singles
 2000	The Real Slim Shady	The Billboard Hot 100	                No. 4
 2000	The Way I Am	        The Billboard Hot 100	                No. 58
 2000	Stan	                The Billboard Hot 100	                No. 51
 2000	The Real Slim Shady	Hot Rap Singles	                        No. 7
 2000	The Way I Am	        Hot Rap Singles	                        No. 24
 2000	The Real Slim Shady	Latin Pop Airplay	                No. 28
 2000	The Real Slim Shady	Latin Tropical/Salsa Airplay	        No. 23
 2000	The Real Slim Shady	Hot R&B/Hip-Hop Singles & Tracks        No. 11
 2000	The Way I Am	        Hot R&B/Hip-Hop Singles & Tracks        No. 26
 2000	Stan	                Hot R&B/Hip-Hop Singles & Tracks        No. 36
 2000	Bitch Please II	        Hot R&B/Hip-Hop Singles & Tracks        No. 61
 2000	The Real Slim Shady	Rhythmic Top 40	                        No. 1
 2000	The Way I Am	        Rhythmic Top 40	                        No. 5
 2000	Stan	                Rhythmic Top 40	                        No. 9
 2000	The Real Slim Shady	Top 40 Mainstream	                No. 13
 2000	Stan	                Top 40 Mainstream	                No. 33
 2000	The Real Slim Shady	Top 40 Tracks	                        No. 9
 2000	The Way I Am	        Top 40 Tracks	                        No. 36
 2000	Stan	                Top 40 Tracks	                        No. 34
 2000	The Real Slim Shady     Canadian Singles Chart	                No. 15
 2000	The Real Slim Shady	Modern Rock Tracks	                No. 19

External links

  • for lyrics (http://www.purelyrics.com/index.php?lyrics=zerxctgu)

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