Eminem, a name synonymous with lyrical dexterity, raw emotion, and groundbreaking hip-hop, has dominated the music scene for over two decades. From his early days as Slim Shady to his introspective reflections as Marshall Mathers, his music has consistently pushed boundaries and sparked conversations. While commercially successful, Eminem’s artistry goes far beyond platinum records and Grammy wins. His vulnerability, self-doubt, and unflinching honesty, as evident in tracks like “Walk on Water,” reveal a complex artist constantly grappling with his own identity and place in the world. This exploration of weakness and darkness, often delivered with a sardonic wit, has become a hallmark of his best work.
Some listeners gravitate towards the comedic brilliance of “Slim Shady,” often crafted under the guidance of Dr. Dre. Others are drawn to the darker, rock-infused character studies produced with his Detroit collaborators, Jeff and Mark Bass. However, a comprehensive appreciation of Eminem’s discography reveals that these seemingly disparate sides are intrinsically linked, constantly informing and enriching each other. His ability to seamlessly blend humor with profound introspection is a key element that defines his genius.
Eminem’s lyrical explorations of violence and death can be interpreted within the tradition of murder ballads in folk and blues music. Simultaneously, he has faced criticism for perpetuating sexist and homophobic stereotypes. Yet, his rise to prominence as a white MC in hip-hop, a genre historically dominated by Black artists, demanded exceptional talent and a commitment to unfiltered self-expression to avoid being dismissed as a mere novelty. This list of essential Eminem songs delves into the tracks that showcase his unparalleled artistic gifts and unwavering dedication to transparency, solidifying his position as one of the most captivating and multifaceted figures in modern music. Originally compiled in 2017 and updated to commemorate his 2022 Super Bowl performance, this exploration has been further expanded to reflect his continued impact and recent releases, ensuring a thorough representation of his best work.
1. “Bully” (2003)
Emerging online before its official release on the mixtape Straight From the Lab, “Bully” stands out as the strongest track from Eminem’s intense feud with Benzino, Ja Rule, and Irv Gotti of Murder Inc. In this track, Eminem directly addresses accusations of being a “2003 Vanilla Ice,” dismantling racial undertones by rapping, “So now you try to pull the race card/And it backfires in your face hard/’Cause you know we don’t play that black and white shit.” Beyond the diss track bravado, “Bully” delves into a deeper reflection on the violence that plagued hip-hop at the time. He poignantly questions the cost of beef, lamenting the loss of iconic figures: “Now what bothers me the most about hip-hop is we so close to picking up where we left off with Big and Pac/We just lost Jam Master Jay, Big L got blasted away, plus we lost Bugz [of D12], Slang Ton [of the Outsidaz] and Freaky Tah [of Lost Boyz].” This track showcases Eminem’s ability to blend aggressive dissing with thoughtful commentary on the genre he inhabits.
2. “Fuel” (2024)
Eminem performs at Live from Detroit: The Concert at Michigan Central
“I think Eminem’s up there with the best of them,” Diddy declared to Rolling Stone in 2003. Fast forward two decades, and the sentiment is decidedly not mutual, as Eminem unleashes a scathing and technically brilliant assault on the disgraced mogul in “Fuel,” a highlight from his twelfth studio album, The Death of Slim Shady (Coup de Grâce). “Fuel” directly confronts the serious allegations of sexual assault against Diddy. After a verse from J.I.D., Eminem enters with calculated fury: “I’m like a R-A-P-E-R,” he raps, the intentional misspelling hanging heavy in the air. “Got so many S-As [sexual assaults]… Wait, he didn’t just spell the word ‘Rapper’ and leave out a P, did he?” He then twists a tribute to the Notorious B.I.G. and Tupac Shakur to further target Combs, rapping, “I ain’t tryna beef with him, ‘Cause he might put a hit on me like Keffe D did him.” “Fuel” is a masterclass in lyrical aggression, blending sharp wit with justified anger, solidifying its place among Eminem’s best diss tracks and showcasing his continued relevance in contemporary hip-hop.
3. “Godzilla” (feat. Juice WRLD) (2020)
“Godzilla,” a standout track from 2020’s Music to Be Murdered By, is a potent collaboration featuring a posthumous verse from the late emo-rap icon Juice WRLD, who tragically passed away just weeks before the song’s release. However, the track is undeniably dominated by Eminem’s breathtakingly intense performance. Spanning nearly six minutes, Eminem’s verses become progressively faster and more complex, culminating in a mind-bending crescendo where his rapid-fire delivery blurs the lines of human capability. This vocal showcase elevates “Godzilla” from a strong song to an absolute spectacle, demonstrating Eminem’s enduring ability to push his lyrical boundaries and captivate listeners with sheer technical prowess. The inclusion of Juice WRLD adds a layer of poignant collaboration, making “Godzilla” a memorable and impactful track.
4. “Bad Influence” (1999)
eminem bad influence
Eminem has consistently demonstrated a remarkable ability to preempt and neutralize criticism by embracing and exaggerating negative perceptions. “People say that I’m a bad influence,” he raps on “Bad Influence,” featured on the End of Days soundtrack. “I say the world’s already fucked, I’m just addin’ to it.” While the beat, produced by Jeff Bass, might be considered somewhat conventional, Eminem’s lyrical performance as the “human horror film, but with a lot funnier plot” elevates the track. Fuelled by his outsider status, he takes aim at the wealthy elite and hip-hop authority The Source, quipping, “As long as I’m on pills and I got plenty of pot/I’ll be in a canoe paddling, making fun of your yacht/But I would like an award/For the best rapper to get one mic in The Source.” He saves his sharpest barbs for critics like Billboard editor-in-chief Timothy White, who accused Eminem of “exploiting the world’s misery.” Eminem retorts, “You probably think that I’m a negative person, don’t be so sure of it/I don’t promote violence, I just encourage it.” “Bad Influence” is a prime example of Eminem’s defiant persona and his ability to turn criticism into compelling art.
5. “Talkin’ 2 Myself” feat. Kobe (2010)
“Talkin’ 2 Myself,” a deeply personal track from Recovery, showcases Eminem’s willingness to expose his vulnerabilities and internal struggles. In a raw and honest confession, he admits, “I almost made a song dissing Lil Wayne/It was like I was jealous of the attention he was getting/Almost went at Kanye, too.” However, he refrains from blaming other artists for his perceived loss of relevance in the 2010s. Instead, he turns inward, criticizing his own inconsistent output, referencing the tragic murder of his close friend Proof in 2006, and acknowledging his addiction to prescription pills. “The last two albums didn’t count/Encore,I was on drugs, Relapse,I was flushing them out,” he confesses. The track is further enhanced by the dynamic, synth-funk rock production from Aftermath/Shady producer DJ Khalil and Kobe Honeycutt’s emotionally charged chorus, amplifying the song’s introspective drama. DJ Khalil told Complex that Eminem “literally had to pull everything out of himself to deliver that record because the music is so thick. There’s so much music that he’s screaming at the top of his lungs.” “Talkin’ 2 Myself” is a powerful testament to Eminem’s artistic integrity and his commitment to unflinching self-examination.
6. “Beautiful” (2009)
Eminem Beautiful
While Eminem’s 2009 album Relapse aimed to revive the Slim Shady persona and was met with mixed reception, “Beautiful” emerged as a poignant and deeply personal track. Self-produced and reportedly created during his ongoing struggle with prescription drug addiction, “Beautiful” directly confronts Eminem’s battles with depression. Sampling a hopeful verse from Queen + Paul Rodgers’ “Reaching Out,” Eminem portrays himself as a contemporary Pagliacci, “hides behind the tears of a clown.” He balances his societal alienation with genuine lyrical warmth, singing in an achingly vulnerable voice, “In my shoes, just to see/What it’s like, to be me/But don’t let ’em say you ain’t beautiful/They can all get fucked, just stay true to you.” The rock-ballad melodrama of “Beautiful” foreshadowed his successful comeback album, Recovery, released in 2010. Eminem told The Guardian that he began writing the first verse and part of the second while in rehab during detox. “It brings me back to a time when I was really depressed and down, but at the same time it reminds me of what that space is like and what never to go back to.” “Beautiful” is a raw and emotionally resonant track, solidifying its place among Eminem’s most impactful and honest songs.
7. Busta Rhymes feat. Eminem, “Calm Down” (2014)
“It started off from just doing a dope, high energy hip-hop record into us respectfully competing and damn near battling each other,” Busta Rhymes told Complex regarding the creation of “Calm Down,” a dazzling display of lyrical prowess that took seven months to complete. Initially conceived as a high-energy collaboration, the track evolved into a friendly but intense lyrical duel between two titans of rap. Busta Rhymes revealed that Eminem initially responded with a 42-bar verse, prompting Busta to retaliate with 50, and the lyrical ante continued to rise – 60, 62, 64 – ultimately culminating in a track where each rapper delivers approximately 2 minutes and 30 seconds of uninterrupted verses. “My hat is off to Eminem because he genuinely still cares about the music,” Busta Rhymes stated. “He very much cares about being a thoroughbred MC and wouldn’t ever be the type of artist that has to worry about letting me down or compromising his skill set because he’s trying to do something that people think is cool.” “Calm Down” is a showcase of pure lyrical skill and competitive spirit, cementing its place as a standout collaboration in both artists’ catalogs.
8. Eminem, Slaughterhouse, Yelawolf, “Shady Cxvpher” (2014)
Eminem Slaughterhouse Yelawolf Shady Cxvpher
To promote the 2014 compilation Shady XV, Eminem, alongside Slaughterhouse members (Kxng Crooked, Joe Budden, Joell Ortiz, Royce Da 5’9″) and Yelawolf, participated in the extended a cappella showcase “Shady Cxvpher” for Vevo. Recorded in their respective hometowns, the 18-minute video is a lyrical feast. Eminem’s seven-minute contribution is particularly noteworthy, blending introspection (“Became a millionaire, went downhill from there”), rapid-fire double-time rhymes, controversial jabs at media personalities, and stark honesty (“I think of all them times I compromised my bottom lines/And thought of rhymes that sodomized your daughter’s minds/Then I’m like: dollar signs.”).
Kxng Crooked told Rolling Stone, “It’s about longevity. To me, the verse says, ‘After all the years of classic material, I am still one of the illest rappers to ever do this shit.’ Being a wordsmith in rap music is a dying art. Connecting syllables, metaphors, punchlines and similes is a dying art. For those of us who still love rapping for the sake of showing how good one can rap, Eminem is our only mainstream voice.” “Shady Cxvpher” is a powerful reminder of Eminem’s lyrical dominance and his commitment to the art of rapping.
9. “Stepping Stone” (2018)
Eminem’s 2018 album Kamikaze, true to its name, was a 46-minute barrage of aggressive and ego-driven MCing, where he lashed out at a rap landscape that seemed to have moved on without him. However, amidst the sonic storm, “Stepping Stone” emerged as a track of surprising vulnerability and reconciliation. In a deeply personal and apologetic tone, Eminem addresses his former crew, D12, rapping, “To my partners, I can’t say how sorry I am / This is not how I planned for our story to end.” For an artist who built his career on shocking and often blaming the world for his troubles, the contrition and introspection in “Stepping Stone” were strikingly refreshing. The track showcases a mature Eminem grappling with past decisions and expressing genuine remorse, making it a standout moment of sincerity within the Kamikaze album and a testament to his evolving artistry.
10. The High & Mighty feat. Eminem, “The Last Hit” (1999)
Eminem The High and Mighty
Even as his fame skyrocketed at the turn of the millennium, Eminem remained connected to the underground hip-hop scene that had nurtured his early career, particularly the East Coast artists who inspired him before his 1996 debut album, Infinite. “The Last Hit,” a collaboration with Philadelphia duo The High & Mighty, exemplifies this connection. Featured on their Rawkus Records debut, the track is a fiery boom-bap showcase with samples from EPMD’s “Never Seen Before” and Hambone’s disco-funk track “Hey Music Man,” creating a vintage buddy-cop vibe. While Mr. Eon of High & Mighty also contributes verses, “The Last Hit” is undeniably Slim Shady’s showcase. He delivers a frenetic and unrestrained performance, spitting bars like, “Escaped Bellevue, stuffed the nurse in a purse/Disperse like I added too many words in a verse.” “The Last Hit” is a reminder of Eminem’s roots in underground hip-hop and his ability to shine even in collaborative settings.
11. “My Fault” (1999)
The brief 46-second skit “Lounge (Skit)” from The Slim Shady LP surprisingly served as the inspiration for the intricate narrative song “My Fault,” which immediately follows it on the tracklist. The skit’s whimsical tune, sung by Bass Brothers producer Jeff Bass (“I never meant to give you mushrooms, girl”), sparked an idea in Eminem based on a real-life experience. “He was talking about how worthless he was and how fucked up his life was,” Eminem explained in David Stubbs’ 2006 book Eminem: The Stories Behind Every Song, recalling a friend’s bad drug trip. In “My Fault,” this experience is fictionalized and expanded, with the friend’s gender changed to Susan. Eminem vividly portrays Susan and three other characters at a chaotic rave party, alternating between comedic and grotesque descriptions throughout the song’s narrative. “My Fault” showcases Eminem’s storytelling ability and his knack for turning seemingly mundane inspirations into captivating and complex songs.
12. “Infinite” (1996)
Eminem Infinite
The opening track of Eminem’s 1996 independent debut album, Infinite, firmly established his credentials as a skilled and intricate lyricist with a penchant for vivid and visceral imagery. “I travel through your mind and to your spine like siren drills/I’m slimin’ grills of roaches, with spray that disinfects/And twistin’ necks of rappers/’Til their spinal column disconnects,” he declares in the opening verse. Produced by D12’s Denaun “Kon Artis” Porter, Eminem’s vocal delivery is noticeably more nasal in tone, balanced against a rich sample of Les Baxter’s “Hot Wind” from the 1969 film Hell’s Belles. Jeff Bass of the Bass Brothers, executive producers of the album, told Rolling Stone, “If you ever listen to Michael Jackson before he was Michael Jackson, or Prince, they were younger-sounding, but you can tell there’s something there. When I hear Eminem from 20 years ago, I can hear Eminem today. I can hear the nuances in his tone, and his rhythm was insane, and this is him starting out as a kid. We recognized that there was something there that was special.” “Infinite” provides a crucial glimpse into Eminem’s early artistry, revealing the raw talent and lyrical foundations that would propel him to global stardom.
13. “Stimulate” (2002)
“Stimulate,” an often-overlooked gem, was included as a bonus track on the 8 Mile soundtrack, overshadowed by the more overtly inspirational anthem “Lose Yourself.” However, “Stimulate” offers a methodical and nuanced reflection on Eminem’s approach to his art and life, conveying a profound message with the same energy as his more comedic rants. The song embodies a complex mix of regret and confidence, exhaustion and determination, uncertainty and power, creating a uniquely unsettling yet compelling atmosphere. The production, with its woozy, flanging guitar and overall sonic texture, suggests a sedated edginess, mirroring the subtle cracks in Eminem’s vocal delivery. This sonic unease contrasts with lyrics that seem to downplay his struggles – “I’m just partying,” the Slick Rick-referencing “I’m just a man who’s on the mic” – hinting at a realization that the expressive freedom he once cherished might have become a different kind of constraint. “Stimulate” is a sophisticated and introspective track that rewards deeper listening and offers a unique perspective on Eminem’s artistic journey.
14. D12, “My Band” (2004)
Eminem D12 My Band
D12, Eminem’s Detroit-based horrorcore group, which he joined in 1996 and used to hone his Slim Shady persona, achieved their highest-charting single with “My Band.” The song humorously addresses the “lead singer syndrome” often seen in rock bands, but with a hip-hop twist. Touré, in a 2004 Rolling Stone profile of D12, noted, “’My Band’ is a parody, but as with any good joke, there are truths within it. For example, at the concert, an unscientific poll of people in the VIP room found most couldn’t name any of the members of D12. A few recognized Bizarre, who stands out because of his twisted imagination, and Proof, well known to be Eminem’s best friend. But two people asked me if I was a member of D12.” Despite the comedic exaggeration, the song touches upon the reality of Eminem’s overshadowing fame within the group. However, D12 maintained a positive perspective. Kuniva stated, “We grew up together, lived together, flipped burgers together. We used to just sit on the porch and drink and think about hip-hop, think about makin’ it. There’s a bond there that nobody can break… He knows [that] without D12 there wouldn’t be a Slim Shady.” “My Band” is a clever and self-aware track that showcases D12’s unique dynamic and their relationship with Eminem’s stardom.
15. Missy Elliott feat. Eminem, “Busa Rhyme” (1999)
Missy Elliott played a crucial role in giving Eminem early co-sign from a prominent Black artist. “He hadn’t even come out with ‘My Name Is’ yet,” she recalled in a Billboard interview. “I heard something of his and instantly told [producer] Tim[baland], ‘I need this guy on my album… He’s special.’” Despite their different musical backgrounds, Missy Elliott, known for her experimental and genre-bending style, proved to be a welcoming host for Eminem’s unique brand of rap. In “Busa Rhyme,” Missy handles the intro, chorus, and bridge, providing infectious energy and support for her raw young guest. Eminem, in Slim Shady mode, delivers a manic verse over Timbaland’s playful synth-bass driven beat. However, the track takes an unexpected turn midway through. After Missy interjects to lighten the mood, Timbaland abruptly shifts the production into a dramatically intense, breakbeat-driven chase scene, perfectly complementing Eminem’s sharpened mania as he spits, “I’m homicidal and suicidal with no friends/Holding a gun with no handle, just a barrel at both ends… Fucking mad dog, foaming at the mouth/Fuck mouth, my whole house is foaming at the couch.” “Busa Rhyme” is a dynamic and unexpected collaboration that showcases both artists’ strengths and highlights Missy Elliott’s early recognition of Eminem’s exceptional talent.
16. OldWorlDisorder feat. Eminem, “3hree6ix5ive” (1998)
Eminem 3hree6ix5ive
Before the breakthrough success of The Slim Shady LP, Eminem utilized the underground rap scene to test and refine his Slim Shady alter ego. “3hree6ix5ive,” a collaboration with Skam, a Miami rapper and visual artist mentioned in “Stan,” under the group name OldWorlDisorder, is a prime example. Here, Slim Shady adopts Andre 3000’s line – “I’m just releasing anger!” – as his driving force. The track is filled with outrageous and gleefully violent lyrics. One particularly striking example is, “I’ll take it back before we knew each other’s name/Run in the ultrasound and snatch you out your mother’s frame/I’ll take it further back than that, back to lovers’ lane/To the night you was thought up and cock-block your father’s game.” Producer DJ Spinna recalled in a MySpace interview that Eminem was “on point and quiet” during the recording session. However, his lyrics were becoming increasingly violent and distinctively outrageous, foreshadowing the controversial persona that would soon captivate the mainstream. “3hree6ix5ive” is a valuable artifact from Eminem’s pre-fame era, showcasing the development of his Slim Shady persona and his increasingly provocative lyrical style.
17. “Mockingbird” (2005)
Some critics dismissed “Mockingbird,” from Eminem’s transitional fifth album Encore, as a sentimental exploitation of his daughter Hailie Jade. However, Eminem himself told Rolling Stone that it was “his most emotional song ever,” a vulnerably fair-minded and delicately crafted track. In “Mockingbird,” Eminem approaches the song with the nuance and depth of a stage actor immersing himself in a role. This commitment to emotional authenticity is key to the listener’s belief in his sincerity as a father, balancing his public persona as a controversial pop star with his private role as a concerned parent. He keeps the exaggerated antics in check and presents himself as Marshall Mathers, a 32-year-old single father navigating a turbulent marriage while raising three children – Hailie, niece Alaina (also mentioned in the song), and half-brother Nate. Remarkably, in “Mockingbird,” Eminem makes this “normcore” persona just as compelling as the unhinged maniac he often portrays in his music. The song’s emotional depth and sincerity resonate deeply, solidifying its place as a standout track in Eminem’s discography and showcasing his capacity for heartfelt vulnerability.
18. “Headlights” feat. Nate Ruess (2013)
Eminem Headlights
Contrary to his reputation as a fearless provocateur, Eminem has consistently incorporated sentimental and introspective songs into his catalog, providing context and nuance to his more explosive outbursts. “Headlights,” from The Marshall Mathers LP 2, is perhaps the most significant addition to this less-celebrated aspect of his artistry, as it marks his attempt to reconcile with his mother, Debbie Mathers. He had previously mocked her relentlessly in “My Name Is” (1999) and excoriated her in the heartbreaking “Cleanin’ Out My Closet” (2002). Eminem’s portrayal of Debbie Mathers as a musical antagonist severely strained their relationship and led to a lawsuit. However, in “Headlights,” he takes responsibility for his part in their estrangement, rapping, “I went in head first/Never thinking about who what I said hurt/And what verse/My ma probably got it the worst.” He doesn’t minimize their conflicts, including her kicking him out on Christmas Eve as a teenager and their limited contact since his career took off. Yet, he resists resorting to the blind rage that characterized his past portrayals of their relationship. “I hope you get this message that I will always love you from afar,” he concludes. When questioned about “Headlights” during a SiriusXM Town Hall session, Eminem stated, “What I said on the record is what I have to say about that… There’s no need for me to elaborate on it.” “Headlights” is a powerful and mature act of contrition, offering a nuanced perspective on a complex and often painful relationship.
19. “Love Game” feat. Kendrick Lamar (2013)
Eminem Love Game
“Love Game,” a darkly comedic exploration of the perils of love, was an unexpected collaboration between two of hip-hop’s most celebrated lyricists. The track’s unusual origins trace back to Rick Rubin, who presented Eminem with the upbeat, vintage sample (Wayne Fontana and the Mindbenders’ 1965 hit “A Groovy Kind of Love”) because he felt only Eminem could work with it. Rubin told Complex he wasn’t sure about featuring Jay-Z on the track. However, it was Eminem’s idea to feature Kendrick Lamar, whom he had recently met, surprising Rubin. Even Eminem was taken aback by Lamar’s contribution. When the two MCs met in the studio, Eminem reportedly asked Lamar’s crew to leave, seemingly to verify that Lamar indeed wrote his own lyrics. The collaboration yielded not only a catchy hook and an outrageous Slim Shady-esque verse from Lamar but also a song that challenged listeners to appreciate the conceptual brilliance of both rappers. “Love Game” is a unique and memorable track that highlights the unexpected chemistry between Eminem and Kendrick Lamar and showcases their lyrical creativity over an unconventional beat.
20. “So Far” (2013)
Eminem So Far
In 2013, Jay-Z and Eminem became pioneering examples of how iconic rappers navigate their forties. While Jay-Z embraced maturity by investing in art and sports teams, Eminem took a different approach, brilliantly portraying himself as a bewildered hermit in “So Far,” set to the churning Joe Walsh riffs. The lyrics humorously address the challenges of aging in the digital age. He raps about a fan noticing his wrinkles, his struggles to understand downloads and Facebook, and his continued embarrassment when caught picking his nose by attractive women. As he told Zane Lowe, “I’m complaining about shit that I have no business really complaining about.” “So Far” is a self-deprecating and relatable track that showcases Eminem’s ability to find humor in his own aging and evolving role in popular culture.
21. “Love the Way You Lie” feat. Rihanna (2010)
The blockbuster collaboration “Love the Way You Lie” between Eminem and Rihanna originated from a loop created by British producer Alex Da Kid and given to songwriter Skylar Grey. Grey drew inspiration from her experiences of mistreatment in the music industry. When Eminem heard the track, he wanted it for his Recovery album but felt that only Rihanna could deliver the necessary emotional depth. With Rihanna’s involvement, the song’s central metaphor shifted to the volatile dynamics of romantic relationships and the cycle of violence that can erupt between partners. Eminem drew upon his tumultuous relationship with ex-wife Kim, while Rihanna’s personal experience with domestic violence at the hands of Chris Brown infused her unforgettable and haunting vocals on the chorus. Rihanna told Access Hollywood, “It’s something that we’ve both experienced on different sides of the table. [Eminem] pretty much just broke down the cycle of domestic violence, and it’s something that people don’t have a lot of insight on.” “Love the Way You Lie” is a powerful and emotionally charged track that resonated deeply with audiences due to its raw honesty and the compelling performances of both Eminem and Rihanna.
22. Nicki Minaj feat. Eminem, “Roman’s Revenge” (2010)
Eminem Nicki Minaj Romans Revenge
“Roman’s Revenge” is a high-energy clash between two of the 21st century’s most technically gifted and commercially successful crossover MCs, Eminem and Nicki Minaj. The track features rapid-fire verses and contemporary references (iPods, Eli Manning, and a nod to Busta Rhymes’ verse on A Tribe Called Quest’s “Scenario”) over a chaotic, malfunctioning-Nintendo-esque beat crafted by Swizz Beatz. Nicki Minaj, in her Roman Zolanski persona, described “Roman’s Revenge” as “Absolutely the most fun song on Pink Friday – it gave me life, dahling,” during an MTV interview. Clarifying that she collaborated with “Slim Shady” rather than Eminem himself, Minaj was asked who embodied the “crazier” character. She laughed and exclaimed, “It has got to be Slim!” “Roman’s Revenge” is a thrilling and humorous track that showcases the dynamic personalities and lyrical abilities of both Eminem and Nicki Minaj.
23. Bad Meets Evil, “Scary Movies” (1999)
In August 1998, many considered Royce da 5’9″ to be Detroit’s top MC. That month, he and Eminem paid a visit to Stretch Armstrong and Bobbito Garcia’s influential New York underground radio show, a rite of passage for aspiring rappers. Eminem and Royce unleashed a relentless 12-minute freestyle session, fueled by what Noah Callahan-Bever described as “a pharmacopeia of drugs.” Just over a year after this dazzling display and the transformative impact of The Slim Shady LP (which featured Royce on the track “Bad Meets Evil”), the duo released an indie 12-inch. The B-side, “Scary Movies,” emerged as the standout track, a quintessential late-90s indie banger with sweeping strings, a gritty RZA-inspired beat, and some of Eminem’s most ferocious rhymes – “Any man plannin’ to battle’ll get snatched outta his clothes so fast it’ll look like an invisible man standin’.” However, playing second fiddle to Eminem didn’t align with Royce’s ambitions, and their paths diverged until they eventually reconciled and reunited after the 2006 death of their mutual friend, D12’s Proof, leading to a full Bad Meets Evil reunion album years later. “Scary Movies” is a crucial early collaboration between Eminem and Royce da 5’9″, showcasing their undeniable chemistry and lyrical prowess.
24. “Without Me” (2002)
Eminem Without Me
“Without Me” functions as the unofficial sequel to Eminem’s 1998 breakthrough hit “My Name Is” and 2000’s “The Real Slim Shady.” It’s a frantic and satirical whirlwind through Eminem’s list of grievances, launching acid-tongued attacks and flipping the bird at both real and imagined enemies. Targets included then-Vice President Dick Cheney (whose wife Lynne criticized Eminem); DJ/producer Moby (for “running his fucking mouth” at the Grammys); the Federal Communications Commission (for fining a radio station for playing the clean version of “The Real Slim Shady”); and his own mother (who had sued him over his lyrics in “My Name Is”). Eminem told The Face, “It’s, like, I need drama in my life to inspire me a lot, instead of just trying to reach for something.” “Without Me” is a quintessential Eminem track, showcasing his sharp wit, confrontational persona, and ability to turn controversy into compelling and commercially successful music.
25. “If I Had” (1999)
Eminem If I Had
While Eminem is renowned for his manic energy, aggressive delivery, and dense, syllable-packed verses, “If I Had” showcases a surprisingly even-keeled and charming side of his artistry. This is largely due to the minimalist production by the Bass Brothers, who helmed much of The Slim Shady LP. Their sparse instrumental backdrop puts Eminem’s tongue-twisting lyrical abilities squarely in the spotlight. The rapper articulates a clear sense of class consciousness, reminiscent of themes often found in country music: “I’m tired of bein’ white trash, broke and always poor/Tired of takin’ pop bottles back to the party store/I’m tired of not havin’ a phone/Tired of not havin’ a home to have one in if I did have one on.” However, in classic Eminem fashion, he subverts expectations by concluding not with a grand statement but with a crude punchline: “If I had one wish,” Eminem concludes, “I would ask for a big enough ass for the whole world to kiss.” “If I Had” is a unique track in Eminem’s catalog, blending social commentary with his signature humor and showcasing his lyrical prowess over a stripped-down beat.
26. “Rap God” (2013)
Eminem Rap God
“Rap God” is a breathtaking and defiant testament to Eminem’s own legacy. The track is a showcase of lyrical acrobatics, with Eminem executing a dizzying array of rhyme schemes and technical feats to demonstrate, chronicle, and critique his place in hip-hop history. Despite the song’s complexity and demanding performance, Eminem downplays its creation, stating that it was recorded in a single take and that he barely remembers the session, viewing it as just another day of crafting intricate rhyme patterns. In the third verse of this six-minute lyrical exhibition, he famously references J.J. Fad’s “Supersonic,” rapping at an astonishing, Twista-esque speed and agility. Eminem told MTV News, “Everybody, every time, when they make a song, wants to say: I’m still here. Don’t forget about me.” While some of his later pop culture references occasionally date his work, “Rap God” transcends time with its sheer lyrical brilliance and its celebration of hip-hop history.
27. “Brain Damage” (1999)
In “Brain Damage,” Eminem recounts his experiences with DeAngelo Bailey, a bully who tormented him in junior high. In April 1999, shortly after The Slim Shady LP’s release, the real DeAngelo Bailey gave an interview to Rolling Stone, confirming that the graphic and exaggerated song, where young Marshall’s brain falls out of his skull, was loosely based on real events. “There was a bunch of us that used to mess with him. You know, bully-type things… We flipped him right on his head at recess,” Bailey recalled. However, in 2001, after Eminem’s rise to fame and his mother Debbie Mathers’ legal victory regarding his lyrics, Bailey changed his stance and unsuccessfully sued the rapper for $1 million. “Brain Damage” is a controversial but compelling track that blends autobiographical elements with Eminem’s signature dark humor and exaggerated storytelling.
28. “Wake Up Show Freestyle” (1997)
Eminem Wake Up Show Freestyle
In 1997, an unknown Eminem traveled from Detroit to Los Angeles to compete in the Rap Olympics battle rap competition. With sparse attendance, DJs Sway and King Tech, hosts of the influential Wake Up Show, offered Eminem and other competitors airtime to increase their exposure. Eminem’s two verses in the “Wake Up Show Freestyle” showcased Big L-inspired multisyllabic mastery (“But I’m more toward droppin’ an acapella/To chop a fella into mozzarella worse than a helicopter propeller”) combined with biting humor (their favorite line: “Doctor Kevorkian has arrived/To perform an autopsy on you while you scream, “I’m still alive!”).
Sway and King Tech told Rolling Stone via email, “His verse stood out because it was hardcore, funny and skillful at the same time. Humor at that level was really new. People were more impressed with lyrical/metaphor masters at that time. He had that and was adding a weird humor to it, so he definitely stood out. The feedback for weeks was all positive… We just remember driving home and saying, ‘That kid had mad skills, man. It was unusual but dope.’” The “Wake Up Show Freestyle” is a crucial early performance that highlighted Eminem’s raw talent and foreshadowed his future success.
29. “Criminal” (2000)
Eminem Criminal
“’Criminal’ was my new ‘Still Don’t Give a Fuck’ for The Marshall Mathers LP,” Eminem wrote in his 2000 book Angry Blonde. “That’s why it’s the last song on the record. It sums up the whole album.” “Criminal” serves as a commentary on the controversy surrounding Eminem’s debut while simultaneously ensuring even greater outrage for his follow-up album. The first verse’s provocative line, “Hate fags? The answer’s yes,” was often cited in discussions about Eminem’s alleged homophobia. However, this line, like the subsequent “Relax, guy, I like gay men,” feels more like a calculated shock-value punchline than a genuine declaration of hate. Politically, “Criminal” is intentionally irresponsible and scattershot, but as a thesis statement for Eminem’s rejection of societal responsibility in the name of artistic freedom, it is remarkably effective. “Criminal” is a deliberately provocative and controversial track that encapsulates the rebellious spirit of The Marshall Mathers LP.
30. “Any Man” (1999)
Eminem Any Man
“So, I walk into D&D [Studios] and Eminem is sittin’ in the lounge – doesn’t look like a rapper, regular guy,” recalled producer Mr. Walt of Da Beatminerz in a Hiphopdx interview. “I play beats for [Eminem] and he picks the beat for ‘Any Man.’ I never heard this guy rhyme [before]… So, he gets in the vocal booth and the first thing he says [in a high-pitched nasally tone] is ‘Hi!’ I look at my engineer like, ‘Oh my God, what did I just get myself into?’” Eminem then unleashes a barrage of wildly lewd and offensive verses, pushing boundaries and breaking taboos over a classic New York boom-bap beat. “I hope God forgives me for my sins,” he raps. “It probably all depends on if I keep on killin’ my girlfriends.” The recording session left Mr. Walt stunned: “I looked at my engineer,” he said, “I was like, ‘Yo, what just happened?’” “Any Man” is a raw and unrestrained track that showcases Eminem’s shock-value humor and his ability to deliver outrageous lyrics over a traditional hip-hop beat.
31. “’97 Bonnie & Clyde” (1999)
If Eminem is often portrayed as the flawed protagonist in his own music, Kim, his ex-wife and mother of his daughter Hailie, frequently represents his Achilles’ heel. “’97 Bonnie & Clyde” is one of the earliest and most chillingly explicit depictions of his turbulent relationship with her. Using Bill Withers’ “Just the Two of Us” as a disturbingly ironic backdrop, Eminem fantasizes about murdering Kim and dumping her body into the ocean… with his young daughter Hailie in the car. Hailie even appears on the track, adding to the song’s unsettling nature. Eminem told Rolling Stone, “I lied to Kim and told her I was taking Hailie to Chuck E. Cheese that day. But I took her to the studio. When she found out I used our daughter to write a song about killing her, she fucking blew.” Aware of the potential impact on his daughter, Eminem stated, “When she gets old enough, I’m going to explain it to her. I’ll let her know that mommy and daddy weren’t getting along at the time.” Years later, he reflected, “Shit, hindsight is 20/20. At that time, that was how I dealt with things. I didn’t really think about… what was right or wrong or whatever.” “’97 Bonnie & Clyde” is a deeply disturbing and controversial track that offers a glimpse into the dark and troubled aspects of Eminem’s personal life and artistry.
32. Jay-Z feat. Eminem, “Renegade” (2001)
Eminem Renegade
Although featured on Jay-Z’s landmark album The Blueprint, “Renegade” is fundamentally an Eminem song. He produced the track and originally recorded it with Royce da 5’9″ as Bad Meets Evil. Thus, when Nas famously dissed Jay-Z on “Ether” in 2001, claiming “Eminem murdered you on your own shit,” it was a misrepresentation in several ways. Jay-Z’s verse on “Renegade” is far from overshadowed; it features insightful and captivating metaphors, functioning both as introspection and inspiration. Unlike many other MCs who collaborated with Eminem, Jay-Z doesn’t attempt to compete on Eminem’s aggressive and spiteful lyrical terrain. He confidently follows his own artistic path. This was a wise choice, as Eminem’s tightly packed internal rhymes burst with assonance, and his flow is both relaxed and forceful, with his characteristic anger only intensifying towards the end of his final verse, making it feel earned and impactful. On 2009’s “A Star Is Born,” Jay-Z officially acknowledged Eminem’s dominance on the track: “His flow on ‘Renegade,’ fucking awesome, applaud him.” “Renegade” is a classic collaboration that showcases the distinct strengths of both Eminem and Jay-Z, with Eminem’s production and lyrical ferocity taking center stage.
33. “Role Model” (1999)
Eminem Role Model
More than any other mainstream artist, Eminem has consistently questioned and satirized the public’s tendency to elevate celebrities into moral authorities. In “Role Model,” he unleashes absurd insults, engages in self-deprecation, and envisions himself embodying Norman Bates (“Mother, are you there? I love you”) or assaulting Foghorn Leghorn “with an acorn,” humorously mocking the very notion that young fans would emulate him. Eminem wrote in Angry Blonde, “To me it’s just a rap record. The message behind it was just complete sarcasm. I wanted to be clear: Don’t look at me like I’m a fucking role model.” “Role Model” is a witty and satirical track that directly challenges the idea of celebrity role models and reinforces Eminem’s rebellious persona.
34. “White America” (2002)
Eminem White America
By the time of 2002’s The Eminem Show, Eminem had faced criticism from two consecutive vice-presidential wives (Tipper Gore and Lynne Cheney) for his controversial lyrics. “White America,” the album’s opening track, is his direct response, questioning how he became a public enemy. In print, his examination of his position as a wealthy and famous white rapper seems almost matter-of-fact. (“It’s obvious to me that I sold double the records because I’m white,” he told Rolling Stone.) However, in “White America,” set to his own arena rock-sized production – heavy percussion and fighter jet sound effects – these sentiments take on a state-of-emergency urgency. “See, the problem is,” he raps, portraying himself as a generational figure, “I speak to suburban kids/Who otherwise woulda never knew these words exist/Whose moms probably woulda never gave two squirts of piss/’Til I created so much motherfuckin’ turbulence.” “White America” is a powerful and politically charged track that addresses issues of race, censorship, and Eminem’s complex relationship with mainstream fame.
35. “Marshall Mathers” (2000)
Eminem Marshall Mathers
“Marshall Mathers,” the title track from his critically acclaimed album, delves into the man behind the various personas. Here, Eminem grapples with paranoia and disdain for the constant scrutiny that followed his fame. He petulantly criticizes bubblegum pop, boy bands, and fellow Detroit rappers Insane Clown Posse. Eminem wrote in Angry Blonde, “I felt that what I needed to talk about in the verses was just me and my opinions. So I touched on everything from the newest trends in hip hop (which I’m not really with), to ICP, to my mother, to my family members who don’t know me and always wanna come around. I wanted to just spit fire in each verse and have the soft-ass innocent chorus.” The song embodies Eminem’s mid-career style, captivating millions with his passion and skill while potentially alienating others with his casual slurs. “Marshall Mathers” is an introspective and confrontational track that reveals the artist’s struggles with fame and his unapologetic persona.
36. “‘Till I Collapse” feat. Nate Dogg (2002)
Eminem Till I Collapse
Recorded around the same time as “Lose Yourself,” “‘Till I Collapse,” from The Eminem Show, is built upon the iconic beat from Queen’s “We Will Rock You” and serves as a lyrical companion piece to 8 Mile‘s themes of struggle and perseverance. “You gotta search within you/And gotta find that inner strength/And just pull that shit out of you,” Eminem declares at the song’s outset. However, it was Eminem’s ranking of the greatest rappers of all time, delivered midway through the song, that generated headlines: “I got a list… /It goes Reggie [a.k.a. Redman], Jay-Z, 2Pac and Biggie/Andre from Outkast, Jada, Kurupt, Nas and then me.” This sparked debate among hip-hop enthusiasts, but Eminem clarified his deep respect for the genre’s legends. He told Rolling Stone, “Being a student of hip-hop, in general, you take technical aspects from [different] places. You may take a rhyme pattern or flow from Big Daddy Kane or Kool G Rap. But then you go to Tupac and he made songs. His fucking songs felt like something – “Holy shit! I want to fucking punch someone in the face when I put this CD in.” Biggie told stories. I wanted to do all that shit. My goal… is to be technically able to satisfy every underground or every great rapper there is and also be able to try to incorporate it into a song. And make the song feel like something.” “‘Till I Collapse” is an anthemic and motivational track that blends personal struggle with a tribute to hip-hop’s greats, becoming a staple in Eminem’s live performances and a fan favorite for its empowering message.
37. “Guilty Conscience” feat. Dr. Dre (1999)
“I remember Animal House when the girl passes out and the guy was about to rape her. He had a devil on one shoulder and the angel on the other saying don’t do it,” Eminem explained, defending “Guilty Conscience” to the Los Angeles Times. “So, we did the same thing, only [with] a little more graphic detail.” “Guilty Conscience,” from The Slim Shady LP, presents three distinct scenarios, each more morally ambiguous than the last. Eminem and Dr. Dre take on the roles of the characters’ inner good and bad consciences, engaging in a compelling and often humorous dialogue. The album version resembles a series of skits connected by voice-over, while the single version layers different eras of teenage desire. The chorus draws inspiration from Little Peggy March’s chaste 1960s hit “I Will Follow Him”; Dr. Dre’s beat samples Ronald Stein’s “Pigs Go Home” from the Vietnam-era film Getting Straight; and Dre and Eminem’s lyrical interplay reflects the cynicism of the MTV generation. References to Son Doobie of Funkdoobiest’s foray into porn, the 1995 movie Kids, and Dr. Dre’s own history of assault contribute to a deft satire of violent male impulses. “Guilty Conscience” is a creatively structured and thought-provoking track that explores moral dilemmas with dark humor and sharp social commentary.
38. “Kim” (1999)
Eminem Kim
While “Lose Yourself” from 8 Mile became Eminem’s Oscar-winning hit, “Kim” arguably represents his most cinematic performance. This six-minute-plus track is a harrowing dramatization of his dysfunctional marriage to Kim Scott Mathers. Eminem’s jealous and intensely detailed rage ebbs and flows in an abusive call and response, fueled by the Bass Brothers’ intense, rock-influenced production. The track reaches a fever pitch at the end of the second verse, where he screams, “Get the fuck away from me! Don’t touch me!/I hate you! I hate you! I swear to God, I hate you!” before collapsing into tears: “Oh my God, I love you!” The “Kim” character (also voiced by Eminem) offers apologies, but her voice is drowned out by her husband’s anguished cries. The song’s structure and emotional intensity evoke John Cassavetes’ A Woman Under the Influence, reimagined from the husband’s perspective, culminating in a Tarantino-esque third act of graphic violence. Despite the controversial depiction of violence against a woman, Eminem’s performance on “Kim” is undeniably powerful and disturbing, showcasing his dramatic range and willingness to explore the darkest aspects of his personal life in his music. The real-life Kim sued Eminem for $10 million and reached a settlement following the song’s release.
39. “Cleanin’ Out My Closet” (2002)
Eminem Cleanin Out My Closet
Eminem, a naturally combative MC, created his Slim Shady alter ego to unleash his unfiltered thoughts on the world – morality police, music critics, and other white rappers. However, his most consistent targets have been his wife Kim and his mother Debbie. Among his songs about his mother, which range from absurd to apologetic, “Cleanin’ Out My Closet” stands out as the most deeply affecting, even becoming a Top Ten pop hit. DJ Head’s syncopated drum loop, paired with the dark and minimal instrumentation (bass, guitar, keyboards by co-producer Jeff Bass), creates a somber backdrop as Eminem delves into a lifetime of painful parental emotions. The song’s tone shifts subtly, particularly with the haunting “I’m sorry, mama” chorus. The track culminates in a devastating betrayal – Eminem claims his mother wished he had died instead of his uncle/best friend Ronnie (who committed suicide in 1991). Eminem’s chilling response, barked into the void, is, “Well, guess what? I am dead – dead to you as can be!” In 2014, fellow Detroit artist Angel Haze was inspired to reimagine “Cleanin’ Out My Closet,” using the track to tell her own story of childhood sexual abuse. She told The Telegraph, “I was so angry. It was like catharsis to listen to [Eminem].” “Cleanin’ Out My Closet” is a deeply personal and emotionally resonant track that showcases Eminem’s vulnerability and his ability to connect with listeners through raw honesty about his difficult upbringing.
40. “Get You Mad” (1999)
Eminem Get You Mad
For his appearance on This or That, an Interscope-backed mixtape from influential Bay Area radio hosts Sway and King Tech, Eminem recorded a studio version of reference-packed bars initially delivered on their Wake Up Show. Similar to his later pop-star takedowns, “Get You Mad” satirizes current rap trends and controversies, critiques platinum-selling MCs, reignites early industry feuds, makes tasteless jokes, and skewers the record business (“Don’t act like a fan, you wanna get signed/Get the whitest A&R you can find, pull him aside and rap as wack as you can”). Producer King Tech told HipHopDX about compiling their 1999 mixtape, which also featured early performances from Tech N9ne and Crooked I, “All we did was reach out to people that we knew were dope, and were gonna last. I’m from an era where if the beat is bangin’, just let him roll. Let him do what he does. I remember him callin’ me, ‘Tech, you think I gotta change the hook? I might’ve been too crazy.’ I was like, ‘Kid, I love that shit!’” “Get You Mad” is a raw and unfiltered track that captures Eminem’s early rebellious spirit and his willingness to push boundaries and provoke reactions.
41. “Bitch Please II” feat. Dr. Dre, Snoop Dogg, Nate Dogg, Xzibit (2000)
“Bitch Please II” is more than just a collaboration between some of Dr. Dre’s most iconic collaborators; it embodies the confident swagger that underpins Eminem’s unapologetic attitude. This take-me-or-leave-me persona works because he consistently tempers his cynicism with humor. From his Snoop Dogg-mocking opening lines to Nate Dogg’s intentionally off-key harmonies, Eminem’s playful glee permeates the track, contrasting with Dr. Dre’s typically solid and serious production. At his core, Eminem wants listeners to recognize his comedic intent – “somewhere deep down there’s a decent human being in me” – without sacrificing any of his music’s rebellious energy and impact. “Bitch Please II” is a quintessential posse cut that showcases the chemistry between Eminem and his Aftermath collaborators, blending humor with bravado and solidifying its place as a fan favorite.
42. “The Way I Am” (2000)
Eminem The Way I Am
“If you think I’m an asshole, then I’m gonna show you an asshole,” Eminem told SPIN, explaining the motivation behind “The Way I Am,” the angst-ridden 2000 single that interpolates lines from Eric B. & Rakim’s “As the Rhyme Goes On.” “If you call me a misogynist, I’m a misogynist. If you say I hate gay people, then I hate gay people.” Following the release of The Slim Shady LP, Eminem became a lightning rod for controversy. PTA meetings debated his violent lyrics, and conservative groups condemned him as a corrupting influence on young people. This reaction was not unexpected to the rapper. Eminem told Rolling Stone, “Look, I know what people say and how they feel about some of the language I use, topics I rap about and stuff I present.” In “The Way I Am,” the self-flagellating second single from The Marshall Mathers LP, Eminem preemptively responds to his critics. He embraces the role of the villain, aggressively playing into the negative perceptions to reclaim control of his narrative. “The Way I Am” is a defiant and introspective track that directly addresses the controversy surrounding Eminem’s persona and his music.
43. “Just Don’t Give a Fuck” (1997)
In the summer of 1998, Aftermath/Interscope distributed 12-inch promos of “Just Don’t Give a Fuck” as the lead single from Eminem’s major-label debut, positioning him as a battle-rap underground sensation poised for mainstream breakthrough. This rebellious anthem introduced the wider world to the irreverent white MC, immediately establishing his alter ego “Slim Shady” in the opening line. A goofier intro – “My name is Marshall Mathers, I’m an alcoholic” – further complicated his persona, introducing a third identity, his government name. This multi-layered introduction was intentionally disorienting: Who is this artist? Are any of these personas reliable narrators? While not as overtly pop-oriented as the follow-up hit “My Name Is,” “Just Don’t Give a Fuck” was a defining statement in its own right – more polished, exciting, and provocative than the original version on 1997’s Slim Shady EP (thanks to Dr. Dre’s executive production). The track is a defiant declaration of independence, with the three-headed rapper proclaiming, “two Glocks, screamin’ ‘Fuck the world’ like 2Pac.” “Just Don’t Give a Fuck” is a foundational track in Eminem’s career, introducing his Slim Shady persona and his rebellious, unapologetic attitude to a wider audience.
44. The Notorious B.I.G. feat. Eminem, “Dead Wrong” (1999)
Eminem Dead Wrong
Even at the height of his own fame, it was audacious for Eminem to feature on a track with a posthumous verse from the legendary Notorious B.I.G. Biggie’s lines on the thunderous “Dead Wrong,” produced by Bad Boy Hitmen Chucky Thompson and Mario Winans with Diddy’s oversight, were among his most intensely scathing. Yet, Eminem rises to the challenge, crafting an antiheroic verse that scorns societal norms and good taste. Instead of imitating Biggie’s iconic blunt delivery, Eminem adopts a more subtle and abstract approach, as if writing a Wikipedia entry on theistic Satanism: “There’s several different levels to devil worshipping…” This seemingly banal opening belies the verse’s descent into a labyrinth of malevolence and brutality. “Dead Wrong” is a remarkable collaboration that showcases Eminem’s ability to hold his own alongside one of hip-hop’s greatest artists, delivering a verse that is both technically impressive and thematically dark.
45. “Kill You” (2000)
Eminem Kill You
In late 1999, Eminem contacted Dr. Dre, ostensibly to discuss another topic, but he was immediately captivated by a frenetic jazz loop Dre was working on (possibly sampled from Jacques Loussier’s 1979 composition “Pulsion”). Despite already achieving triple-platinum status, Grammy wins, and a Rolling Stone cover proclaiming his “dirty white boy rap,” Eminem was determined to prove he was just getting started. As he wrote in Angry Blonde, “If anything… I got worse.” “Kill You” unleashes a torrent of comic-book-style revenge, blending irony with savagery to bait and mock his critics. The track is most notable for its absurdly specific and self-aware portrayal of an unhinged superstar, although much of the aggression is unfortunately directed at women and includes a homophobic slur. Lynne Cheney, then Second Lady, cited “Kill You” during a 2000 Senate hearing – specifically, Eminem’s violent revenge fantasy against his mother, who had sued him for $10 million – as justification for music industry ratings and labeling systems to protect children from harmful content. “Kill You” is a deliberately shocking and controversial track that exemplifies Eminem’s confrontational persona and his willingness to push boundaries, even at the expense of perpetuating harmful stereotypes.
46. “My Name Is” (1998)
Eminem My Name Is
Eminem’s 1998 breakthrough single, “My Name Is,” emerged from his initial meeting with the legendary producer Dr. Dre, who had been experimenting with a sample from Labi Siffre’s 1975 soul track “I Got The…” Dr. Dre recounted in the documentary The Defiant Ones, “I was, like, man, listen, I put this sample together – tell me if you like it. And I hit the drum machine, and maybe two or three seconds went by, and he went, ‘Hi! My name is… My name is… Like, ‘Yo, stop. Shit’s hot.’ That’s what happened on our first day, in our first few minutes of being in the studio.” Eminem’s blend of rapid-fire pop-culture references (Nine Inch Nails, the Spice Girls, Pamela Anderson Lee, Kris Kross in the first verse), intricate rhyme schemes delivered in his Michigan accent, cartoonishly violent imagery, and a music video that gleefully parodied TV commercials, transformed “My Name Is” into a parental-advisory-labeled crossover phenomenon and MTV staple (albeit heavily censored). Despite peaking at only Number 36 on the Billboard Hot 100, it earned Eminem a Grammy for Best Rap Performance in 2000, establishing him as a major force in both hip-hop and pop music. “My Name Is” is a groundbreaking track that launched Eminem into mainstream stardom, showcasing his unique blend of humor, lyrical skill, and pop sensibility.
47. “Lose Yourself” (2002)
Eminem Lose Yourself
Eminem has consistently emphasized that 8 Mile‘s protagonist, Rabbit, is not a direct autobiographical representation. While loosely inspired by his own come-up, the character’s story is not strictly his own. However, the raw emotion and underdog spirit of “Lose Yourself,” the film’s lead single, undeniably reflect Eminem’s own struggles and ambitions. It is the realism and the overcoming-all-odds message of “Lose Yourself” that propelled it to become Eminem’s biggest hit and the first rap song to win the Academy Award for Best Original Song. Eminem and producer Jeff Bass had created a demo version years prior but revisited it during the Detroit production of 8 Mile. Eminem wrote the song’s confessional lyrics only after receiving the film’s script. He told Funkmaster Flex, “I had to make the song while I was in the movie. Because once I stepped out of that movie I wouldn’t feel like I was in [the character].” He recorded the track with remarkable speed. Engineer Steven King recalled, “He came in and laid down all three verses in one take. Jaws dropped – we were, like, ‘Oh, my God!’ This story had been building up in him.” “Lose Yourself” is a timeless anthem of perseverance and self-belief, capturing the essence of Eminem’s artistry and his ability to connect with listeners on a deeply emotional level.
48. Dr. Dre feat. Eminem, “Forgot About Dre” (2000)
Eminem Forgot About Dre
Despite its origin as a scathing diss track aimed at Suge Knight – secretly written by Eminem and presented to Dr. Dre – “Forgot About Dre” transcended its initial purpose to become a career-defining moment for Dr. Dre. The track, which won a Grammy and achieved widespread pop culture recognition, marked Dre’s return to the forefront of music five years after his last Top 40 hit. Dr. Dre told Rolling Stone, “People were saying that I didn’t have it anymore and that I hadn’t made a good record in years. I just can’t ignore that shit… Now what do you people have to say?” The track’s ominous and creeping atmosphere, reminiscent of a thriller film score, creates a sense of impending threat. “Forgot About Dre” is not only a validation of Dr. Dre’s enduring talent but also a testament to Eminem’s songwriting and production skills. The artful verse structure crafted by Eminem for both himself and Dre allows them to deliver both scathing insults and self-affirmations with precision and impact. Eminem also voices the unforgettable chorus, blending battle-rap intensity with a catchy melodic hook. “Forgot About Dre” is a landmark collaboration that solidified both artists’ legacies and remains one of hip-hop’s most iconic tracks.
49. “Stan” (2000)
Eminem Stan
In 2003, Nobel Prize laureate Seamus Heaney commented on Eminem’s cultural impact: “[Eminem] has sent a voltage around his generation. He has done this not just through his subversive attitude but also his verbal energy.” While Heaney didn’t cite specific lyrics, “Stan,” an epic diary of obsession, is arguably Eminem’s most deserving song of such praise. Using an ironically altered sample (by producer DJ Mark the 45 King) of Dido’s gentle ballad “Thank You,” Eminem narrates the story of Stan, an increasingly disturbed fan who becomes obsessed with, and then feels abandoned by, Eminem’s Slim Shady persona. Eminem, as himself, eventually responds, but tragically, it is too late. The song’s brilliance lies in its complex interplay of personas and perspectives, shifting from compassionate to cruel to bewildered. While Eminem often described “Stan” as a cautionary tale for fans, he also acknowledged its deeper layers. He told MTV, “It’s kind of like a message to the fans to let them know that everything I say is not meant to be taken literally. Just most of the things that I say.” “Stan” is a groundbreaking and emotionally complex track that explores themes of fandom, obsession, and the blurred lines between artist and persona, cementing its place as one of Eminem’s most impactful and critically acclaimed songs.
50. “The Real Slim Shady” (2000)
Eminem The Real Slim Shady
After hearing an early version of The Marshall Mathers LP, Interscope Records head Jimmy Iovine delivered a blunt assessment: the album lacked a lead single. Iovine recalled in a VH1 special, “I thought that the album was spectacular, but I thought they hadn’t taken it as far as they could. They needed a song to introduce the album.” Dr. Dre agreed, acknowledging, “I knew we had a second or third single, but we needed that big opener.” This pressure frustrated Eminem. “I can’t give you another ‘My Name Is,’” he lamented. “I can’t just sit in there and make that magic happen.”
However, Eminem didn’t just replicate “My Name Is”; he surpassed it with “The Real Slim Shady,” which became his biggest hit to that point, reaching Number Four on the Hot 100. While Eminem would later transition to creating more somber and world-conquering anthems like “Lose Yourself” and “Cleanin’ Out My Closet,” “The Real Slim Shady” is purely uproarious, featuring a carnivalesque synth melody and a lyrical nod to comedian Tom Green. The rapper takes aim at a wide range of targets – pop stars, music critics, Will Smith, and even himself – but these seemingly random insults serve a unifying purpose: “I guess there’s a Slim Shady in all of us,” Eminem concludes. “Fuck it, let’s all stand up.” “The Real Slim Shady” is a witty, irreverent, and hugely successful track that solidified Eminem’s mainstream dominance and became an instant anthem.
Conclusion
Eminem’s best songs are a testament to his multifaceted artistry. From the comedic highs of “My Name Is” and “The Real Slim Shady” to the emotional depths of “Stan” and “Cleanin’ Out My Closet,” his discography is a rich tapestry of lyrical innovation, raw emotion, and cultural impact. This exploration of 50 essential tracks only scratches the surface of his vast catalog, but it provides a comprehensive overview of the songs that have defined his career and cemented his status as a hip-hop icon. Whether you’re a longtime fan or a new listener, diving into these tracks is essential to understanding the genius and complexity of Eminem, an artist who continues to challenge, provoke, and captivate audiences worldwide. His ability to blend technical brilliance with genuine vulnerability is what truly sets him apart, ensuring his music remains relevant and impactful for generations to come.
