Hip-hop fans aren’t content with the prison releases of Bobby Shmurda and Kodak Black. Social media has lit up with a not so new discussion once more, about the freeing of rap star YNW Melly. Twitter Debates If YNW Melly Should Be Freed Twitter users have been debating back and forth whether or not Melly […]
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For a man so often associated with toxic masculinity, Future certainly did his damndest to switch gears and showcase a different side to his layered persona. The result was none other than Hndrxx, Future’s second album of 2017 and his most melodic body of work to date. With today marking the project’s four-year anniversary, it feels appropriate to highlight one of the many extravagant gems, namely the Jake One and Southside-produced “Lookin Exotic.”
For those who don’t believe that Future is versatile, “Lookin Exotic” showcases a different style for the Atlanta rapper, who takes to the percussive beat to let fly some confident flexes. “I came through and took all their bitches with me,” he boasts. “N**ga I get all the way faded, I can’t get tipsy / All these seven-star restaurants on a daily basis? I’m guilty.” Yet despite all of the wealth and lavish luxury, Future seems fixated on finding a soul-mate that meets his specific criteria — including but not exclusive to doglike loyalty.
Happy four-year anniversary to HNDRXX, an album that some still swear deserves placement in Future’s top-five discussion. Should you be among them, sound off with your thoughts on the project below.
Gotta put a whole lot of kush into my lungs
I put a whole lot of work in, I just begun
And when that green money on the turf, it’s their call
Gotta put that steel under my shirt and duck laws
Fuck the cops, she gon’ ride just like my dog
Bay Area rapper Caleborate is gearing up for the release of his new album Light Hit My Skin next month, and shares the first single, “Contact,” featuring Brooklyn rapper Kota The Friend. The cross-coastal collaboration shows the two indie rappers are on the same wavelength despite their distance, as they address their grind from the basement to their current success. While Kota rhymes about the way his girl and his son lifted his spirits through the rough years, Caleb praises his aunt for having his back and sharing her weed with him as he worked his way through his early career.
Although he’s not a household name yet, Berkeley native Caleborate made some noise in 2016 with the release of his album 1993, which led to increased attention on its follow-ups. In 2017, he dropped Real Person, while in 2019, his Hear Me Out EP reassured fans that he was still cooking up. Meanwhile, Kota broke out in 2018 with Anything., received major acclaim in 2019 with Foto, and kept up the momentum in 2020 with Lyrics To Go, Vol. 1 and Everything. He opened this year with Lyrics To Go, Vol. 2, setting himself up for a big 2021.
“Contact” marks the two MCs’ first collaboration, despite their parallel tracks, but it shows they already have remarkable chemistry thanks to their complementary mindsets and independent hustle. Caleborate’s album Light Hit My Skin is due March 26 and also features Duckwrth, Deante’ Hitchcock, Cantrell, Tone Sinatra, and more.
Listen to “Contact” above.
Nigerian Afropop star Davido is the latest artist to grace the Tiny Desk “stage,” delivering a soulful at-home concert from his living room. Splitting the difference between comfy and fashionable styles, he posts up on a stool with his various awards statues prominently displayed and his band occupying whatever free space they can find. He breezes through a set that includes his 2013 hit single “Gobe,” 2014 Nigeria Entertainment Awards-winning Hottest Single of the Year “Aye,” “Risky,” his Popcaan-featuring 2019 single from A Good Time, and “Jowo,” from his 2020 album A Better Time, giving a crisp chronological run-through of his career and accomplishments.
In recent months, Davido has been bridging the gap between his Afrobeats roots and US hip-hop, collaborating with Lil Baby on “So Crazy” in November last year, adding a Nicki Minaj collaboration to his collection with “Holy Ground,” and working with Megan Thee Stallion on an upcoming collaboration with British star Idris Elba (yes, that Idris Elba, who moonlights as a DJ and producer between movies and shows). And though Davido has put those famous American stars’ names on his resume, he still made sure to highlight his fellow up-and-coming African stars on the album as well; in January, he released the video for “The Best” featuring Mayorkun.
Watch Davido’s Tiny Desk Concert above.
Even though the pandemic pushed everything back last year, including films and albums, it was 21 Savage and Metro Boomin who still emerged victorious with the release of Savage Mode II. The sequel to their 2016 collaborative was even bigger and refined the sound that Savage and Metro chased in the first place. This was the musical equivalent of a big-budget Hollywood horror film that actually lived up to the hype.
The pair continue to dole out new visuals from the project with the latest being for “Glock In My Lap.” Metro and Savage unite for a neo-noir-inspired visual that finds the two artists lurking through the shadowy abandoned town after getting into a car crash. As they walk through the haunted streets, they finally encounter a Leatherface-like character but they certainly don’t go out like anyone in Texas Chainsaw Massacre. The song is called, “Glock In My Lap,” after all.
Check out the visual above.
Eminem and 50 Cent have a long and storied history as friends and collaborators, building a reputation as one of hip-hop’s most iconic duos. Though their consistency has certainly slowed of late, many still look back fondly on the work they put in while actively repping the Shady Records movement. Boasting twenty collaborations to their name, it feels appropriate to celebrate their legacy by highlighting each of their team-ups and ranking them in numerical order, subjective though such a process may be.
As this piece is on the lengthier side, consider this introduction to be similar to 50 Cent’s Get Rich Or Die Tryin intro: which is to say, short. Here are All Eminem & 50 Cent Songs, Ranked; share your thoughts in the comments below.
Turns out it would be Ed Sheeran that would reunite Eminem and 50 Cent for their first collaboration in seven years. A clear fan of the Shady/Aftermath dynasty, it was a welcome move from Sheeran, who went on to rap alongside the two emcees on 2019’s “Remember The Name.” For the most part, the track was carried by nostalgia, with Em and 50 bringing little intensity to the piano-driven beat. Considering their established track record, many fans had been eager to hear what a modern-day duet between the “Patiently Waiting” team would sound like. Yet in spite of Sheeran’s wholesome intentions, the end result was a little too pop-friendly to really resonate.
LISTEN: Ed Sheeran ft. Eminem & 50 Cent – Remember The Name
Some might be confused to see this one ranked so low, given how popular the track was upon its release. In truth, there’s nothing inherently wrong with 50 Cent and Eminem’s Adam Levine-assisted “My Life,” though it does take a major stylistic deviation from everything the pair had done prior. Easily the most radio-friendly collaboration on this entire list, the 2012 track arrived at an interesting era for both parties. In 50’s case, it was clear that music was no longer his dominant interest, and the fabled Street King Immortal album was slowly taking on mythical Detox qualities. On Em’s side, he continued to explore new sounds in the wake of Recovery, seeming to adapt a more in-your-face style of delivery.
Though both parties hold it down, something about “My Life” feels a little on the listless side, especially when contrasted with some of their classic collaborations from years prior. To be fair, 50 and Em were both adapting to a shifting hip-hop landscape, having moved beyond the years in which their names alone would guarantee chart success. A noble effort, but one void of the character we’ve come to love from the Shady Records veterans.
LISTEN: 50 Cent ft Eminem & Adam Levine – My Life
A strange addition to Eminem and 50 Cent’s catalog, “Peep Show” arrived on 50 Cent’s 2007 album Curtis. It’s important to understand the context surrounding its release. Following Fif’s dominant run as hip-hop’s juggernaut, many were beginning to turn on the once-beloved antihero. A widely-hyped sales duel against Kanye West’s Graduation found 50 Cent facing his first public loss; meanwhile, Eminem was in the throes of addiction, a battle that took a notable toll on his music. Despite the circumstances, 50 and Slim were able to come together for one of Curtis’ weirder cuts, the unsettling deviant anthem “Peep Show.”
Musically, “Peep Show” does contain some of the elements present in Em and 50’s strongest work. Unfortunately, though 50 does bring a charismatic intensity to the table, the sexually-charged subject matter hardly made for the most compelling thematic anchor — especially once Em swerves head-first into scatological territory. The pizzicato-smut banger is not entirely without merit, but it’s hardly the shining point of an otherwise stellar partnership.
LISTEN: 50 Cent ft. Eminem – Peep Show
A duet that often falls under the radar, Eminem and 50 Cent’s “The Re-Up” is one of the more musically experimental selections on the list. Produced by Eminem and Luis Resto, the percussive beat-box-fueled instrumental flips a 50 Cent vocal sample over a smothering blast of church organ — something like a boom-bap funeral march. In terms of the performances, it’s clear that Em brought a potent dose of frustration to the booth, his cadence brimming with barely restrained anger. There’s a sense he’s grown entirely sick of his detractors, a crowd that was beginning to grow in numbers.
While Em’s clever flow and direct lyricism still hit, it’s 50 who drives this one home with his closing verse. “I carried Game’s style for nine months and gave birth to it,” he spits, taking a shot at his former G-Unit affiliate. “Now I’m feeling like a proud father watching him do it / Every day Dre day, front and cause a melee.” Overall, not exactly a career-defining moment for either emcee, but an enjoyable enough display of camaraderie to please die-hard fans of the label’s signature sound and spirit.
LISTEN: Eminem & 50 Cent – The Re-Up
If you’re dedicated to reading this complete list, you’ll come to notice a pattern. With many of their collaborations having been recorded amidst a heated feud with Murder, Inc, the lyrical content of Em and 50’s duets tend to steer into aggressive territory — almost as if their emboldened by one another’s presence. Ja Rule recently acknowledged Dr. Dre, Eminem, 50 Cent, and Jimmy Iovine as a “juggernaut,” a quality that tended to bleed into the music. Nowhere was that untouchable swagger more evident than on The Invasion II: Conspiracy Theory, the DJ Green Lantern-hosted Shady mixtape from 2003.
On the tape’s sixth track, Em and 50 brought Busta Rhymes into the mix for a revised take on 2Pac’s classic “Hail Mary.” For the most part, Em channels Pac’s verse down to a science, flipping the lyrics to paint Ja Rule as a fake thug fueled by ecstasy-courage; while an artful homage, it’s not exactly the most original approach. It’s 50 who brings the most intensity in his follow-up verse, attacking Ja’s character with a direct comparison to his own. By the time Busta spits — drawn into the feud after Ja Rule attacked his involvement with Dre and 50 — it feels akin to a hammer slamming a nail into a coffin. A scathing assault, but one that feels like somewhat of a cover, drawing heavily from Pac’s 1996 anthem. As such, it’s hard to truly place this one at the top of the list, enjoyable though it is as a piece of Shady history.
LISTEN: Eminem ft. 50 Cent & Busta Rhymes – Hail Mary
When Eminem, 50 Cent, and Dr. Dre line up for a collaboration, it’s hard not to think back to the iconic XXL Cover that premiered in February 2003, coinciding with the release of Get Rich Or Die Tryin. During that era, the trifecta could do no wrong, easily recognized as one of the most dominant cliques in the entire rap game. In truth, they seldom crossed paths on wax; of Eminem and 50 Cent’s twenty-collaborations, only three boast production from Dr. Dre. Though they would ultimately connect for a proper “three-headed-monster” anthem on 2004’s Encore, their next reunion would occur five years later on the Relapse single “Crack A Bottle.”
On paper, there’s plenty to enjoy about “Crack A Bottle,” if only on the basis of nostalgia. Though the lyrical content is relatively low-stakes, braggadocious bars from three well-established titans, there’s a level of spectacle that only such a collaboration can achieve. As such, “Crack A Bottle” feels like an event, one that merits Eminem’s ringmaster-esque energy, signalling a return that many hoped would be recurring. Alas, “Crack A Bottle” marked the final time the three would connect to spit bars over Dre production, the rare time a triumphant return doubles as a swan song.
LISTEN: Eminem ft. Dr. Dre & 50 Cent – Crack A Bottle
A rare thematic deviation from the usual charted course, the Encore posse cut “Spend Some Times” is a straightforward ode to the broken heart. For that alone, this particular reflection on the ups and downs of romance is somewhat of a niche anthem, one that will likely resonate more with some than others. Yet for the ones willing to take the plunge, perhaps those nursing a broken or otherwise wounded heart, “Spend Some Time” features some unexpectedly vulnerable penmanship from Em and about what you’d expect from 50.
In Em’s case, betrayal at the hands of a female is not exactly rare ground, though it’s rare to see him tackle it with such restraint. In lieu of an abstract emotional stream-of-consciousness, Slim sets the stage through storytelling, walking through a vividly rendered arc complete with beginning, middle, and end. In Fif’s case his opening bars paint a compelling and hilariously direct picture, his driving desire for fellatio being a recurring topic in his brief verse. In terms of emotional connectivity, “Spend Some Time” is probably the most direct we’ve seen from Em and 50 thus far.
LISTEN: Eminem ft. Obie Trice, Stat Quo, & 50 Cent – Spend Some Time
For any rap fan who actively lived through the beef between Shady and the joint alliance of Murder Inc and The Source, it’s hard not to looks back on the feud with a sense of fondness. Though it ultimately took those involved to some dark places, it’s impossible to deny that the relentless music coming out of the Shady camp was some of the label’s best. Taking place at the height of 50 Cent’s popularity, Em appeared emboldened by the presence of his new signee, taking on some of his more aggressive characteristics and imbuing them within his verses.
On “Bump Heads,” Em enlisted G-Unit to assassinate Ja Rule on wax, culminating in his most lyrically direct attack on the Pain Is Love rapper. Though 50 Cent didn’t offer up a verse — perhaps the incendiary “Back Down” had tapped him out of Jeffery Atkins hate bars — his presence remains felt by way of the menacing chorus. Instead, he delegates clean-up duties to Lloyd Banks and Tony Yayo, back when he was on better terms with the G-Unit rappers. While it would have probably benefited from some pointed 50 Cent bars, the attitude surrounding “Bump Heads” captures a label at the apex of its confidence.
LISTEN: Eminem ft. Lloyd Banks, 50 Cent, & Tony Yayo – Bump Heads
Who doesn’t love a posse cut? When “You Don’t Know” dropped as the lead single of 2006’s The Re-Up compilation album, Shady Records was in the midst of a reinvention. Having added the likes of Stat Quo, Bobby Creekwater, and Cashis to the roster, it fell upon the established Em and 50 to introduce the newcomers to the world. Despite coming off their least acclaimed projects in Encore and Curtis, the fans still had love for the 50 and Em partnership, responding rather favorably to the aggressive single upon its release.
As with many of their collaborations, “You Don’t Know” centers around the dominance of the Shady Records empire, which was admittedly nearing the end of its triumphant run. Though this posse cut lacks the intensity of “We All Die One Day,” falling short of the Cheers standout in nearly every department, it still remains an enjoyable listen — if only for the fact that it was a genuine lyrical banger that placed bars at the forefront while still retaining commercial appeal.
LISTEN: Eminem ft. 50 Cent, Lloyd Banks, & Cashis – You Don’t Know
It’s hard to really consider D12’s “Rap Game” as a full-fledged Em and 50 collaboration, as the G-Unit rapper is largely charged with the hook and bridge. And yet despite his minimal role, Fif is a welcome addition to the somber dark banger, a nightmarish reflection on the world’s most dangerous game over which his menacing cadence is most welcome. Paired with Em’s carnivalesque production preferences, Fif’s singsong delivery takes on a particularly haunting quality, a detached lullaby designed to lull listeners to a permanent sleep.
Though it might have been interesting to hear him contribute a proper verse, he remains active enough to make his presence felt and appreciated. In fairness, “Rap Game” might deserve a higher place as an actual song, but judged strictly on its merit as a 50 Cent and Eminem collaboration, the 8 Mile OST highlight doesn’t quite go the distance.
LISTEN: D12 ft 50 Cent – Rap Game
Encore is a tricky one. Though it wasn’t exactly beloved upon release in 2004, it did feature several gems, many of which happened to feature the talents of either Dr. Dre or 50 Cent. In the case of the project’s title track, it features both of them, though 50 Cent is largely relegated to backup vocals and ad-libs, though he does hold it down for a melodic interlude. While it’s tough to judge this one as a collaboration between Em and Fif, the song itself has ample merit, on the sole basis that it centers around Dr. Dre and Shady going back and forth on wax.
For that reason, it’s still one of the best tracks to bear both Em and 50’s name, though the latter’s involvement is alarmingly minimal. Yet were he to have been more involved, it would have disrupted the back-and-forth dynamic between Shady and Doc, another partnership highly valued by the fans. Still, as the first official collaboration between the so-called “3-headed-monster,” who posed for one of XXL’s most iconic magazine covers in 2003, it manages to retain a little bit of historic value. And for that, “Encore” will always feel like an integral chapter of the Shady-Aftermath story.
LISTEN: Eminem ft. Dr. Dre & 50 Cent – Encore
Following the release of Relapse, Eminem had given in to his darkest thematic urges, adopting a newfound persona as a depraved (and vaguely accented) serial killer. And while 50 Cent never quite explored such conceptually rich creative corners, it’s evident that Eminem’s musical lunacy was contagious enough to steer the G-Unit rapper beyond his comfort zone. On Fif’s fourth studio album Before I Self Destruct, released after the aforementioned Relapse, the pair connected for “Psycho,” a disturbing duet fuelled by an eerie Dr. Dre banger.
In many ways, “Psycho” feels like a villainous cousin to “Gatman & Robbin,” featuring a similar tempo, an emphasis on strings, and dexterous flows from both parties. Lyrically, 50 and Em embrace the horrorcore vibe, each one boasting their preferred style of violence with two verses apiece. Where 50’s style is rooted in brutal realism, Em’s flair for the cartoonishly grotesque makes him an entertaining counterpart to the ice-cold New Yorker. One of the most lyrically violent collaborations they’ve ever done, “Psycho” shines a final glimpse at the “3 Headed Monster” dynasty, with 50 Cent Eminem deftly bodying a Dr. Dre banger.
LISTEN: 50 Cent ft. Eminem – Psycho
When Eminem dropped his fourth Aftermath album Encore in 2004, it was clear he was in the midst of a creative rut. Many had noticed certain trends pervading across some of his lyrics, leading to lowbrow and juvenile (yet strangely enjoyable) tracks like “Big Weenie” and “Ass Like That.” Though it was clear that a leak drove a frustrated Slim to lash out in this unique fashion, his anticipated Encore ultimately suffered as a result. While it has since gained newfound appreciation from fans, one song that remained a consistent high point was the 50 Cent and Nate Dogg-assisted “Never Enough.”
For one, it’s driven by a futuristic beat from Dr. Dre, simple in its arrangement but pristine in its engineering. Two, it features a hip-hop head’s favorite structure, with two emcees allotted ample space to spit extensive verses. And three, it’s got a chorus from the King Of Hooks himself, the late Nate Dogg, holding it down with one of five Eminem collaborations. On Em’s side, his verse is built around a consistent scheme throughout, with each line ending in the same rhymed syllable. Never one to be outdone, 50 slides in with a melodic assault, matching Em’s methodical pace and once again proving he can keep up with a lyricist widely touted as a Top 10 contender.
LISTEN: Eminem ft. 50 Cent & Nate Dogg – Never Enough
Despite the fact that Eminem’s battle with drug addiction was impacting the quality of his music, the 2006 Shady Records era remains a nostalgic time for fans. For one, Eminem was going heavy on the production tip, a positive for fans of his unique sonic aesthetic. Two, it also tapped into Eminem’s collaborative spirit, which ultimately led to the release of 2006’s compilation album The Re-Up. As it happens, the project featured three 50 Cent & Shady tracks, including the highlight of the batch, “Jimmy Crack Corn.”
Fueled by a smoldering beat originally teased during the D12 World promotional run, the track finds Eminem at his most aloof, flexing his dominance with a devil-may-care demeanor. Though generally celebrated for his complex schemes and intensity, there’s a smug simplicity in “Jimmy Crack Corn” that makes it stand out — even if references to Shady LTD serve to date it a little bit. Where this one is largely Em’s show, 50 Cent imbues the track with further menace with a final verse, never failing to stand as an equal to the self-declared “Rap God.”
LISTEN: Eminem ft. 50 Cent – Jimmy Crack Corn
When 2004 rolled around, many noticed that Eminem’s energy was undergoing a change. It was particularly noticeable in his cadence, which occasionally felt weighed down; while some chalked it up to weariness from a long-running beef with Ja Rule and Benzino, others wondered if something deeper was at play. Yet even in the midst of a difficult year, Slim still managed to remain prolific, providing a few contributions to Lloyd Banks’ classic debut The Hunger For More. One such collaboration, “Warrior Pt. 2,” also happened to feature 50 Cent and Nate Dogg.
A sequel to a previously released Banks mixtape cut, the Thayod Ausar-produced “Warrior,” ”Part 2” brings a more reflective energy; the calm after the storm, when the battlefield has been cleared. As was often the case on Shady-heavy posse cuts, the spirit was notably defiant — but there was also a hint of well-deserved triumph. For Em, the thrill came from finally sitting atop the hip-hop throne after a long and bloody melee. For Banks, it came from escaping the hood and calling the hypocrisy of his doubters. For 50, it came from beating the odds and making something from nothing. Compared to the last time this lineup (minus Nate Dogg) connected on “We All Die One Day,” this second chapter of “Warrior” feels almost contemplative.
LISTEN: Lloyd Banks ft. Eminem, 50 Cent, & Nate Dogg – Warrior Pt. 2
When it comes down to definitive Shady Records anthems — which is to say, tracks that capture the spirit of Eminem’s label at the peak of its powers — it’s hard to argue that “Love Me” isn’t one of the best. Featuring verses by Obie Trice, Eminem, and 50 Cent over a slow-burning and atmospheric Slim Shady beat, the 8 Mile OST track feels like a low-energy victory lap. That’s not to say the bars are lethargic, however, as each party brings a sharp and competitive spirit to the table. Yet there’s also a certain mischievousness, especially on the part of 50 Cent, who closes things out with some truly disrespectful name-drops.
Regardless of how Shady Records has come to be seen in this modern era, the label was undeniably titanesque back in the early millennium. Not long after “Love Me” manifested, both 50 Cent and Obie Trice went back to back with Get Rich Or Die Tryin and Cheers, both of which were quick to hit platinum status. As one of the few collaborations between the three rappers, “Love Me” is a uniquely Shady posse cut, one that has only gotten more effective with time. Especially the subtle production, rife with foreboding and dense with interesting sonic flourishes.
LISTEN: Obie Trice, Eminem, & 50 Cent – Love Me
As one of two Eminem and 50 Cent Get Rich Or Die Tryin collaborations on this list, “Don’t Push Me” tends to be overlooked in the shadow of its companion piece. Still, there’s plenty to offer on the track, including a welcome guest verse from Lloyd Banks — in fact, Em and Banks actually have a solid track record as collaborators, and this is where it all began. On the production side, Em laces an array of synth-strings, an instrumental that would have sounded right at home on one of his solo albums. It’s not quite as atmospheric as “Patiently Waiting,” but it’s certainly effective at conjuring a rebellious spirit. And seeing as Fif defied plenty of expectation prior to launching his mainstream rap career — be it surviving nine gunshot wounds to experiencing a potential blackball by fearful industry execs — it’s no surprise he tapped the typically venomous Eminem to help convey the defiant message.
Best enjoyed when viewed removed from the shadow of “Patiently Waiting,” “Don’t Push Me” opens with some bars from 50, who introduces his verse with one of the album’s most unexpected flow schemes. Though it would have been nice to see him spit for a little bit longer, Banks and Em are more than capable of sharing the load. Evidently, all three parties had a few grievances to air — if you’ve been following this list up to this point, you’ll probably have noticed a recurring theme. Particularly in Em’s climactic verse, as energy once seen on “The Way I Am” and “Don’t Approach Me” once again reaches a boiling point. Consider “Don’t Push Me” a therapeutic rant with an edge, one delivered by three top-tier emcees at the onset of a full-blown movement.
LISTEN: 50 Cent ft. Lloyd Banks & Eminem – Don’t Push Me
Whenever 50 Cent and Eminem joined forces on a track, at least in the early years of their musical partnership, there was a strong undercurrent of loyalty within their respective lyrics. The fact that both parties ultimately ended up inheriting one another’s beefs was touched on in Em’s “Like Toy Soldiers,” but nowhere is it more evident than on “Gatman & Robbin,” a warning to anybody looking to reopen old wounds. As the lone Eminem appearance on 50’s sophomore album The Massacre, “Gatman & Robbin” was saddled with the burden of following up “Patiently Waiting.” While it didn’t manage to match the heights of the slow-burning classic, it certainly brought no shortage of character and originality to the table.
For one, the smoldering Eminem-produced beat drew heavily from the classic “Batman” theme, as did elements of the chorus. While the concept may have proven comical in lesser hands, 50 and Em managed to capture the spirit of the DC icons while still imbuing their respective verses with menace and simmering tension. Insofar as pure camaraderie, “Gatman And Robbin” may very well be the high point of Fif and Em’s collection, their cadences blending as effectively as a two-man Arkham Knight knockout combo.
LISTEN: 50 Cent ft. Eminem – Gatman & Robbin
For Shady Records fans, 2003 was one of the most fruitful years in the label’s history — period. Both 50 Cent and Obie Trice delivered their major-label debut albums to both acclaim and commercial success, all while relentlessly fending off interlopers from every corner. As such, each member of the Shady camp had a major chip on their shoulder, volatility that translated into the music they were releasing. Nowhere was that spirit more evident than on “We All Die One Day,” a hard-hitting and militant decimation of their expansive list of foes, including but not limited to Ja Rule, Benzino, Kim Osorio, and Irv Gotti. When it comes to sheer aggression on wax, “We All Die One Day” is easily the most forceful Shady has attacked as a unit.
Following bars from Obie Trice and Lloyd Banks, both of whom raise the bar with their respective verses, Eminem slides in and proceeds to absolutely obliterate the self-produced instrumental. A gem from the lost era of ‘gangsta rap Em,” Shady whips himself into a frenzy as he fires off shots in every direction. “I’m Slim Sha-D and the ‘D’ is for deez nuts,” he sneers. “And you can get each one for free so feast up / I’ll pee in a cup for three months / I’m having an E party for Easter please come.” 50 Cent follows through to close the casket, and while he’s seldom as dexterous as Shady, the stylistic contrast is what makes their chemistry so unique. “You can do all them push-ups to pump up your chest, I got a twelve-gauge Mossberg to pump up your chest,” he raps, his delivery frank and detached. The greatest posse cut to come out of the Shady camp, “We All Die One Day” served as the natural conclusion to many of Em and 50’s previous warnings — after all, they did caution against pushing them too far.
LISTEN: Obie Trice ft. Lloyd Banks, Eminem, & 50 Cent – We All Die One Day
An unsurprising pick for the number one spot, “Patiently Waiting” is the duet that kicked off one of hip-hop’s most fruitful partnerships. Though “Rap Game” technically arrived prior to the dark Get Rich Or Die Tryin classic, 50 and Em’s first collaboration on equal footing played a massive role in developing their preferred sonic aesthetic. Boasting an ominous instrumental laced by Shady himself, 50 showcased his adaptability by approaching the unconventional beat with an impressive and lyrically sharp verse. Often uncredited for his stellar penmanship, Fif’s opening lines effectively match the haunting tone of the music. “Innocent in my head, like a baby born dead,” he declares. “Destination heaven, sit and politic with passengers from nine eleven.”
Though 50 raises a high standard with his opening salvo, Eminem matches his stride by showcasing a ridiculous flow that few emcees could ever tackle. Multisyllabic schemes are stitched together over pizzicato strings as Em lets fly threats of drive-by shootings and rap juggernaut flexes. Declaring himself to be a hybrid of Big, Pac, and Big L might be a tall order for the majority of emcees, but Slim declares it with such conviction that there’s no choice but to agree. ‘’Shady Records was eighty seconds away from the towers, some cowards fucked with the wrong building, they meant to hit ours,” he raps, a thematic link to Fif’s earlier 9/11 bar.
As complex as Em can get on a technical level, 50 Cent finds brilliance in simplicity. When he warns enemies that “You know you shouldn’t throw stones if you live in a glass house / and if you got a glass jaw, you should watch your mouth, cause I’ll break your face,” the snarl in his delivery is the icing on the cake. Though some were uncertain as to how 50 and Em would fare on wax, “Patiently Waiting” confirmed that the two seemingly different emcees had more common ground than originally expected.
LISTEN: 50 Cent ft. Eminem – Patiently Waiting
New York rapper Juelz Santana can finally exhale. The hip-hop veteran has lit up social media to let the world know he’s finally off his house arrest. Juelz Santana’s Off House Arrest The 39-year-old rap veteran hit up his social media pages to geek out over his freedom. Santana shared footage of himself having his […]
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It goes without saying that Eminem is one of the music industry’s best-selling artists of all time, and it seems like every other day he’s hitting a new milestone. Though he’s hardly an artist who flocks to social media on every occasion, Em makes sure to share his thoughts every so often, particularly when he secures a particularly impressive accomplishment. Today he did exactly that, taking to Twitter to celebrate the announcement that “Lose Yourself” has surpassed over one billion Spotify streams.
“You can do anything you set your mind to, man… #LoseYourself is over 1 billion on @Spotify,” writes Em, sharing a victorious clip on his page; his longtime manager Paul Rosenberg also chimed in with some words of support. Interestingly enough, Em’s “Lose Yourself” actually hit the milestone back in October, but it’s entirely possible that word only reached him after Spotify themselves highlighted the news. Either way, it’s a big flex for Slim Shady, especially given that “Lose Yourself” was originally released twenty years ago and remains a cultural staple to this day.
It should be noted that this tweet arises only days after Eminem’s “Till I Collapse” became the first non-single track to hit the billion-stream marker on Spotify, so perhaps we’ll see another tweet from Slim in the near future. For now, show some love to Eminem for continuing to dominate the numbers game, proving that his appeal is easily one of the most universal in hip-hop. Are you still bumping the motivational 8 Mile classic?
Source Magazine remains one of the most iconic hip-hop publications of all-time and one of the most important during its growth in the 90s. The launch of its annual award show was equally important for the culture, especially since hip-hop wasn’t getting the recognition it truly deserves from these prestigious institutions. The award show ran from 1994 to 2004, providing a few of hip-hop’s most iconic and controversial moments.
According to PageSix, the Source Awards plans on making its triumphant return in 2022 after 17 years. Prince’s longtime manager L. Londell McMillian revealed that he’ll be helping bring it back “by popular demand.” “Hip-hop needs its premiere awards show back,” McMillian said. “After every awards show, our social media at The Source explodes … so back by popular demand.”
Additionally, McMillian also plans on launching a streaming channel which they’re describing as “the Netflix of hip-hop.”
The Source has continuously remained a controversial publication over the years. A rep for the Source explained that the Source has been quietly gearing up to have a proper launch in the digital era.
“It’s finally black-owned for the first time. He has quietly been bringing it back from financial disrepair and catapulting it into the digital age, tripling its reach and cleaning up its act,” a rep for the publication said.
Stay tuned for more news on the return of the Source Awards.
