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Subject: [143167]-[#altbin@EFNet]-[ Eminem-The_Slim_Shady_LP-2CD-(Special_Edition)-1999-DNR ]-[02/35] "000-eminem-the_slim_shady_lp-2cd-(special_edition)-1999-dnr.nfo" (1/1)
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000-eminem-the_slim_shady_lp-2cd-(special_edition)-1999-dnr.nfo
Eminem - The Slim Shady LP (Special Edition)
ARTIST : Eminem
TITLE : The Slim Shady LP (Special Edition)
LABEL : Aftermath
GENRE : Rap
ENCODER : Lame DNR (3.97) -V 2 --vbr-new
GRABBER : EAC
QUALiTY : 44.1KHZ / Joint-Stereo
SiZE : 83,7 MB
CD1
01. Public Service Announcement (Feat. Jeff Bass) 00:33
02. My Name Is 04:28
03. Guilty Conscience (Feat. Dr. Dre) 03:19
04. Brain Damage 03:47
05. Paul (Skit) 00:16
06. If I Had 04:06
07. 97' Bonnie & Clyde (Feat. Hailie Jade) 05:16
08. Bitch (Skit) 00:20
09. Role Model 03:25
10. Lounge 00:47
11. My Fault 04:02
12. Ken Kaniff (Skit) 01:16
13. Cum On Everybody 03:39
14. Rock Bottom 03:34
15. Just Don't Give A Fuck 04:03
16. Soap (Skit) 00:35
17. As The World Turns 04:25
18. I'm Shady 03:32
19. Bad Meets Evil (Feat. Royce Da 5'9") 04:13
20. Still Don't Give A Fuck 04:13
CD2 (Bonus Disc)
01. Hazardous Youth (Acapella Version) 00:45
02. Get You Mad (Feat. King Tech) 04:22
03. Greg (Acapella Version) 00:53
Hyped hip-hop phenoms are like new cars: They depreciate
in value as soon as they drive off the lot. For every Nas
living up to his advance buzz, there's a Canibus done in
by the heads' great expectations. Eminem has plenty of
hype to justify. He's not only the first new protege from
Dr. Dre in years, he's the first new sound from Dr. Dre
in years. He's also a white MC in a rap scene that hasn't
gotten any less black in two decades. A
twenty-four-year-old ghetto child from Detroit - a town
with a history of race tricksters, from Funkadelic to
Madonna -- Eminem has to bring something new to the
table, and he does with The Slim Shady LP. Simply put,
Eminem will crack you up -- proclaiming, "I try to keep
it positive/And play it cool/Shoot up the playground/And
tell the kids to stay in school," he's the dizziest
hip-hop clown since Biz Markie first got the vapors.
If Eminem has a white-rap precedent, it's Rodney
Dangerfield in his strictly-for-tha-hardcore 1983 hit,
"Rappin' Rodney," in which R-Boogie busted rhymes like,
"Steak and sex, my favorite pair/I have them both the
same way: very rare." Eminem is on some serious
Dangerfield shit in loser anthems like "My Name Is,"
"Brain Damage" and "I'm Shady." He plays the race card
for laughs, goofing on his role as the ultimate white
geek, the "class-clown freshman/ Dressed like Les
Nessman." The whine in his upper register recalls other
hip-hop comics, like the Beasties' Ad-Rock, Public
Enemy's Flavor Flav and Cypress Hill's B-Real, but Eminem
has his own flat Midwestern twang to help him parody the
white cornball in a black world, kind of like that cop on
Sanford and Son or Bentley on The Jeffersons. It's a good
joke, and Eminem milks it - he reminds you how much
Eighties hip-hop heads loved Pee-wee Herman.
The beats on Slim Shady are low-affect West Coast funk in
the Dre style, with the Doctor producing or co-producing
three cuts. But the steady midtempo grooves won't
distract anyone from the voice. Eminem has skills -- he's
a warp-speed human rhyming dictionary with LL Cool J's
gift for the killer dis. He doesn't rap about the
hustling high life, just minimum-wage jobs, high school
beat-downs and decidedly ill drug dementia, while tossing
curves like, "I bought Lauryn Hill's tape so her kids
could starve." Eminem's Zen-like pursuit of the ultimate
gross-out joke leads him down roads you may not care to
travel, but on such an avowedly offensive album, that's
the name of the game. The bitch bashing gets tired fast;
the wife-killing jokes of "'97 Bonnie and Clyde" aren't
any funnier than Garth Brooks', and "My Fault" belongs on
some sorry-ass Bloodhound Gang record. But the sicko
giggles keep coming whenever Eminem rips into his
favorite target: himself.
A hip-hop disciple inheriting a twisted American racial
history he didn't create, Eminem probably speaks for a
lot of his fans when he asks, "How the fuck can I be
white?/I don't even exist." Other white people are
incomprehensible to him; cowboys, hippies, ravers, frat
boys and British twits all appear on Slim Shady as
cartoon stereotypes, barely worth the trouble of laughing
at. Eminem doesn't have many peeps to shout out to, not
even his old hood, and there's something lonely about the
sound of one voice rapping for nearly a whole album -- he
has hardly any homeys making cameos. Eminem is clever
enough to make a running gag out of his cultural
alienation, but that doesn't mean it's not real. For all
the alienation on Slim Shady, Eminem earns his buzz as a
bona fide rap star one tasteless insult at a time,
battling the world with a mouthful of adjectives and a
boxful of laxatives.
www.eminem.com
years to come.
a big shout goes out to the DNR crew, it wouldn't
be possible without you.
Think you got what it takes ? Got something to offer us ?
We can show you how deep the rabbit hole goes...
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