1st Album
Infinite
Released: November 12, 1996
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1. "Infinite"
2. "W.E.G.O." (interlude) (feat. Proof and DJ Head)
3. "It's OK" (feat. Eye-Kyu)
4. "313" (feat. Eye-Kyu)
5. "Tonite"
6. "Maxine" (feat. Mr. Porter and Three)
7. "Open Mic" (feat. Thyme)
8. "Never 2 Far"
9. "Searchin'" (feat. Eye-Kyu)
10. "Backstabber"
11. "Jealousy Woes II"

2nd Album
The Slim Shady LP
Released: February 23, 1999
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Tracklist:
1. "Public Service Announcement" (skit)
2. "My Name Is"
3. "Guilty Conscience" (featuring Dr. Dre)
4. "Brain Damage"
5. "Paul" (skit)
6. "If I Had"
7. "'97 Bonnie & Clyde"
8. "Bitch" (skit)
9. "Role Model"
10. "Lounge" (skit)
11. "My Fault"
12. "Ken Kaniff" (skit)
13. "Cum On Everybody"
14. "Rock Bottom"
15. "Just Don't Give a ****"
16. "Soap" (skit)
17. "As the World Turns"
18. "I'm Shady"
19. "Bad Meets Evil" (featuring Royce da 5'9")
20. "Still Don't Give a ****"

3rd Album
The Marshall Mathers LP
Released: May 23, 2000
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Tracklist:
1. "Public Service Announcement 2000"
2. "Kill You"
3. "Stan"
4. "Paul"
5. "Who Knew"
6. "Steve Berman"
7. "The Way I Am"
8. "The Real Slim Shady"
9. "Remember Me?"
10. "I'm Back"
11. "Marshall Mathers"
12. "Ken Kaniff" (skit)
13. "Drug Ballad"
14. "Amityville" (featuring Bizarre)
15. "Bitch Please II" (featuring Dr. Dre, Snoop Dogg, Xzibit & Nate Dogg)
16. "Kim"
17. "Under the Influence" (featuring D12)
18. "Criminal"
19. "Kids"

4th Album
The Eminem Show
Released: May 28, 2002
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Tracklist:
1. "Curtains Up" (skit)
2. "White America"
3. "Business"
4. "Cleanin' Out My Closet"
5. "Square Dance"
6. "The Kiss" (skit)
7. "Soldier"
8. "Say Goodbye Hollywood"
9. "Drips" (featuring Obie Trice)
10. "Without Me"
11. "Paul Rosenberg" (skit)
12. "Sing for the Moment"
13. "Superman" (featuring Dina Rae)
14. "Hailie's Song"
15. "Steve Berman" (skit)
16. "When the Music Stops" (featuring D12)
17. "Say What You Say" (featuring Dr. Dre)
18. "'Till I Collapse" (featuring Nate Dogg)
19. "My Dad's Gone Crazy" (featuring Hailie Jade)
20. "Curtains Close" (skit)

5th Album
Encore
Released: November 12, 2004
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Tracklist:
1. "Curtains Up" (skit)
2. "Evil Deeds"
3. "Never Enough" (featuring 50 Cent and Nate Dogg)
4. "Yellow Brick Road"
5. "Like Toy Soldiers"
6. "Mosh"
7. "Puke"
8. "My 1st Single"
9. "Paul" (skit)
10. "Rain Man"
11. "Big Weenie"
12. "Em Calls Paul" (skit)
13. "Just Lose It"
14. "Ass Like That"
15. "Spend Some Time" (featuring Obie Trice, Stat Quo & 50 Cent)
16. "Mockingbird"
17. "Crazy in Love" (featuring Ann Wilson)
18. "One Shot 2 Shot" (featuring D12)
19. "Final Thought" (skit)
20. "Encore" (featuring Dr. Dre and 50 Cent)

6th Album
Relapse
Released: May 15, 2009
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Originally Posted by Niamh. (Post 5151910) My post doesn't make sense now you've changed the title :suspect:

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Having been rejected by the Supreme Court, the case of F.B.T. Productions LLC versus Aftermath Records will resume in a California court within weeks. A 2009 trial that pitted early Eminem producers, the Bass Brothers against Aftermath Records for percentage of Eminem’s digital royalties may finally get resolved this month. After bouncing between various appellate courts, the case of F.B.T. Productions LLC versus Aftermath Records will see a second trial. At issue, is whether the Bass Brothers—producers of upwards of a dozen Eminem songs including “97 Bonnie & Clyde,” “Kim” and “Just Don’t Give A ****”—are entitled to more than the typical 18-23% royalty split of all of digital downloads. In at least two previous cases, the courts have ruled in favor of F.B.T. Productions. A 2010 ruling made a distinction between a licensing and a sales provision when determining royalty payments from digital downloading services such as Amazon.com and iTunes. According to sources familiar with the case, those small changes in language could add up to tens of millions of dollars in royalty payments. “The distinction potentially meant that the Bass brothers were owed a much larger percentage of royalties than they had received,” wrote Eriq Gardner, in an article for The Hollywood Reporter. “Aftermath doesn’t believe that a trial is necessary at all, saying there are no facts in dispute. Despite the 9th Circuit decision, widely seen as a victory for musicians in digital royalty claims, Aftermath is basically declaring victory in this case, pointing to a judge’s order that it is permitted to deduct distribution fees.” Of course, all of that could potentially change if and when the case goes to trial.

Tech N9ne stopped by Shade 45's Sway in the Morning to discuss a slew of topics including how he discovered Krizz Kaliko and Stevie Stone, as well as how he wants to sign Flawless. During the interview, he touched on his hope to record with Eminem on his next album, due in October, and how his previously missed opportunity to record with the Detroit, Michigan rapper is influencing his approach this time around. "The Em track, I have another idea for my next album, late October, and if he has the time, I'll send it to him, you know what I'm sizzlin', via Royce [Da 5'9]," he said. "And we can try it again, because he agreed to do 'So Lonely,' but he was busy somewhere overseas. So I'm going to try again on this album. I'm going to try to get with him a lot earlier though, because I do my stuff on the fly like boom, I be in the studio, I write it in the studio, I record it and then I send it to the artist. So maybe I need to have a little bit more time." He also deemed Em "the best emcee," praising his abilities for his intricate wordplay and ability to infuse his cuts with emotion. Tech said that he hopes to hop on a track with the Shady rapper to see how their worlds collide. "It was Eminem. I think he makes everyone want to come with their A-game. He's an elite emcee. We are also. That's one of the qualifications you have to have for Strange Music. I love extreme lyricists. And to me, he's the extreme lyricist when it comes to wordplay and all of that, emotion and everything. A lot of people just want to hear us on a track to hear who would win. I just want to see how I sound next to who I deem the best rapper."

50 Cent ft. Eminem - Half A Dollar And A Dream coming July 3rd #Eminem #50Cent

Universal Music has been handed an epic smackdown by the California judge presiding over a battle with producers of many hit Eminem recordings. In a decision that is sure to have tongues wagging throughout the music industry, Judge Philip Gutierrez suggests that Universal has been "bamboozling" and attempting to "dupe" him into overlooking an issue that could mean substantial money for the plaintiffs in the case and perhaps musicians throughout the country. Many observers have been closely watching this lawsuit brought by FBT Productions against Universal Music for years. The case involves whether record labels must account for digital music downloads as "licenses" instead of "sales" -- a significant difference when it comes to sharing revenue with song artists. This is the case cited by other musicians bringing similar claims. But as the case heads to trial a second time, after the 9th Circuit Court of Appeals confirmed that digital music should be treated under the licensing provisions of a contract, another huge issue has come up: the way a big music conglomerate like Universal apportions revenues between its foreign and domestic divisions before sharing the proceeds with revenue participants. On Wednesday, in a potentially significant decision, FBT was given the green light to amend its complaint to allege that Universal has breached an implied covenant of good faith and fair dealing as well as breaching a previous settlement agreement. Just as notable are the judge's harsh words for Universal. FBT now wishes to allege that not all money generated by foreign sales of Eminem songs returns to Aftermath, the Universal division that releases the rapper's music. Instead, the plaintiffs say that under an intercompany agreement at Universal, 71 percent of the revenue is paid to Universal's foreign affiliates while Aftermath only gets 29 percent of the revenue. It's Universal's position that when it comes to splitting money with the artist, it only has to pay on the 29 percent, instead of the 100 percent that FBT wishes. This is potentially huge now that consumers are buying songs on digital outlets like iTunes and downloads are on the verge of being treated as "licenses" instead of "sales," assuming that the decision in the 9th Circuit in the FBT case withstands further judicial review. Under the old system, artists got about 15 percent of revenue from sales. Now, the rate is primed to be bumped up to a 50 percent split on licenses, but if they're only getting a split on a quarter of the overall pot, that's a step backward for the artists. FBT was incensed upon learning that it might actually owe Universal money. So FBT attempted to amend their lawsuit to bring new claims, which prompted an objection from Universal. Universal made a few arguments. The music giant said that FBT has known about these claims for years and should not be allowed to raise them now, just before the second trial. Even if FBT had realized what was going on recently, Universal said that it had still delayed in bringing the claims. Universal also asserted that the claims were futile, and lastly and most controversially, the company contended the issues FBT wished to raise were resolved on summary judgment in October. Gutierrez disagreed that the claims came late and said the merits will have to be dealt with later, but it's that point about whether he previously ruled on this that has brought judicial fireworks. Last autumn, Universal brought a motion for summary judgment on the phrase "our net receipts" in the agreement in question. In response, the judge ruled that "our" referred to Aftermath. So Universal says the judge's ruling means FBT has to live with what Aftermath gets (29 percent) instead of what Universal gets (100 percent). "The Court disagrees," Gutierrez wrote in his opinion Wednesday. He said the ruling mostly referred to "net receipts" and whether Universal could deduct distribution costs. He said he was not discussing the revenue sharing between Aftermath and foreign affiliates at all. Both FBT and the judge were slow about what Universal now says it meant. And the judge said it's hardly FBT's fault. "Defendants contend FBT was being 'coy' and actually knew precisely the issue Defendants were raising," he wrote. "The Court finds it hard to swallow the assertion that in this hotly contested case FBT would have played possum on Defendants’ summary judgment motion, just so FBT could attempt to raise this issue later in a supplemental complaint." Then, the judge opened fire on Universal Music. Here's the key paragraph in full: "Furthermore, the Court is deeply troubled by Defendants’ argument. While it is hard to see what FBT could gain by feigning ignorance, it is now quite apparent what Defendants could hope to gain by bamboozling the Court and Plaintiffs on this issue. Defendants’ current stance makes it appear as though Defendants carefully inserted the issue into the motion for summary judgment before they had notified FBT or the Court of what percentage of the revenues from foreign sales of permanent downloads and mastertones would be paid to FBT. An attempt to dupe the Court into a premature ruling will not serve as the basis to deny FBT an opportunity to challenge Defendants’ accounting practices." So the judge is allowing FBT to go forward with its new claims that Universal isn't dealing fairly by keeping revenues overseas. We've reached out to Universal, and if we get comment, we'll update. Richard Busch, the attorney from King & Ballow representing FBT, says he can't comment on pending legal matters except to say, "This is an enormous victory for our clients."

Rick Ross got J. Cole, Eminem, & Adele on the same track on a joint on his new album........

Originally Posted by Iceman (Post 5254156) http://i48.tinypic.com/a2as5y.png New album title? :amazed: I would love for that to be it...