Female Featuring

Female Featuring
Love the Way You Lie featuring Rihanna (part 1 and 2) Another powerful collaboration dealing with a mature topic: domestic violence. Eminem's typical for-mature-audience spins throw out x-rated lines purely for shock value. This song shows how far his content has evolved in terms of "adult" situations and real life experience and trauma. Part 1 is slow... I prefer part 2 which includes Rhianna as the lead vocalist. Her strong vocals add layers to the song, but even more notably, she adds depth to the song by including the female perspective.
Brings me back to the 2010's. Will forever be more beach anthem!
Lol, Monster is a good song. But when it comes to Eminem and Rihanna, love the way you lie is 1st place. Its funny how whenever Eminem and rihanna make a song it is almost perfection.
My vote goes here, as Dido's chorus brings vulnerability and is usually what makes me cry. A person I might've thought of as just psychotic, is shown to be troubled and depressed. It brings some light into why Stan acts the way he does, and makes it less messed up and violent, and turns it into a damaged person to pity rather than despise. "Tea's gone cold, I'm wondering why I got out of bed at all. The morning rain clouds up my window, and I can't see at all, even if I could it would all be gray, but your picture on the wall, it reminds me that its not so bad, it's not so bad." Just beautifully depressing.
I just voted for this because Stan is a WAY better song than the ones above. Rihanna did a terrible chorus in The Monster but actually did a good one in Love The Way You Lie. I don't like Beautiful Pain very much because Sia sucks. Eminem's rapping is better than every chorus though (Although Survival's chorus is awesome! ).
Stan featuring Dido. Eminem's writing is clever as he draws from the letter of a crazed/obsessed fan, but it's Dido's melancholy hook that pulls it all together. The hook is a well-known sample from the first verse of Dido's "Thank You".
This is very funny. Stan is at number two position in the list of best songs by Eminem and here it is at number four.
The Monster featuring Rihanna. Since straight-up rap isn't my favorite, I like Eminem's somewhat jazz-like deliveries, and this one is a great example. Catchy Catchy Catchy, but it doesn't end at that. It's poignant and personal, sharing the pain of making peace with inner "demons" (mental illness) as well as the struggle of dealing with negative effects of fame. Now tell me Eminem isn't "growing up" with this one.
Perhaps its with Eminem battling his alter-ego, Slim. He is the kind of person who bottles things up, and that may be Eminem's personal link to the lyrics of this song. I agree with your points about rap, Em is talented and good at what he does, and he seems to really care about his art. That being said, I only like a couple of his songs, Eminem kind of scares me.
Beautiful Pain featuring Sia. This one feels smoky to me with its low key beat and smooth delivery. Tempered lyrics and Sia's forceful vocals nail this collaboration down as great. Another example of Eminem's growth as an artist. This song might be less "catchy" than some of his radio hits, but the meaning is deeply felt. Plus, it's beautiful and less profane... Which tends to be notable when it comes to Eminem's music.
Sia and Eminem. Two wonderful artists who are very talented! The mixture of which is bound to be powerful =)
Airplanes Part Two featuring Hayley and Eminem for B.O. B song. This is technically Not an Eminem song, but a B.O. B track featuring Eminem and Hayley Williams. Honestly, I'm not familiar with Williams, but her voice is GORGEOUS. Would you call this down tempo? It feels down temp to me, but I don't actually know what classifies music as "down tempo". Either way, the rap is a perfect matchup to the groovy beat. I can't help but sing along to William's melodic hook.
I Need a Doctor featuring Skylar Gray and Dr. Dre. You know the ever-so-popular "Love the Way You Lie"? Skylar Grey wrote the chorus and earned a Grammy nomination for her work on the song. If you haven't heard her haunting original demo of this, look it up on YouTube (Love the Way You Lie part III). I've read Grey's voice described as "honeyed", and I can't think of a more on point description. Her sweet vocals work well with Eminem's angry confession in "I Need a Doctor".
Guts Over Fear featuring Sia. The rap portion isn't my favorite, but Sia's forceful voice is always appealing. Always, always, always. Eminem must agree... Since he's done at least two collaborations with her so far. I'd love more collaborations to happen between these two artists.
Superman featuring Dina Rae. Not a fan, at all. That's why it definitely falls at the bottom of the list for me. Maybe Dina Rae can sing, but this is just moan-y and ridiculous. Eminem's collaborations with female artists have come a long way since this one.
I think that this should be at least in the top 5. Clever lyrics, clever delivery, this song always looks boring to me, but as soon as I turn it on, I change my mind. One of the best. Gwen is OK.
Two living legends. Gwen Stefani and Eminem. Cannot get better than that.
Won't Back Down featuring Pink. I am a huge fan of Pink, but this is one of my least favorite collaborations. I can see why former UFC light heavyweight champion Chuck Liddell used it as his entrance music; it is certainly intense and rousing. It's too angry for my taste, and I don't care for the dissonant back beat. Pink is certainly a tough woman, known for her confidence and strength, but her voice is also powerful and beautiful. This song doesn't do her justice... At least not when comparing it to other collaborations.
I don't listen to Beyonce but her voice complements the mood of the song and Em's message here very well.
Eminem is just at his roots here. It takes you back to the early 2ks.
25 To Life featuring Liz Rodriguez. This one is only okay. I sort of hate the lyrics. It's not my least favorite, but it's down there.
Almost Famous featuring Liz Rodriguez. This one is not a favorite, but Liz Rodriguez does have a lovely voice.
You know what's funny? In this song Liz Rodriguez is good but in 25 to Life she sounds awful.
I love this song. The best song of Nicki Minaj ever! It's obviously that Eminem had a lot of influence on her while recording the song. The both of them are great.
This is actually good. The title is misleading.
FT. Jessie Reyez. Sorry if I spelled it wrong. This is a newer song.
This and Bad Guy both feature uncredited vocals from female artists

All-female rap collaborations – ranked!
Cardi B and Megan Thee Stallion in the WAP video. Photograph: YouTube
Original reporting and incisive analysis, direct from the Guardian every morning
© 2022 Guardian News & Media Limited or its affiliated companies. All rights reserved. (modern)
As Cardi B and Megan Thee Stallion take over the world with WAP, we look at the best female partnerships the genre has ever produced
The single from Lizzo’s pre-fame debut album, Lizzobangers, Batches and Cookies is irresistible in an entirely different way to her subsequent pop hits. Minimal, based around a frantic, repetitious hook, it has lyrics about hallucinogenic drugs and shopping in thrift stores, and a great hyperspeed verse from her fellow Minneapolitan Eris.
A left-field latterday update of the old rework-an-R&B-track-as-hip-hop trick, LMK retains the original’s chorus but features a variety of punchy indie MCs. All make really strong contributions, but Cupcakke has the best line: “You could be Charlie Sheen, and I’ma tell you again / A bitch like me keep two and a half men.”
Erykah Badu’s paean to hip-hop was originally recorded with Common, but this version beats it, featuring two artists better known as singers – Badu and Angie Stone – turning their hands to rapping with surprisingly strong results (“you for real, soul singer?” asks Stone, rhetorically), a killer appearance by Bahamadia and an infectious sample from Stone’s disco-era outfit the Sequence.
The rap version of Freedom, the theme from the 1995 film Panther, is so overstuffed with contributors – everyone from Salt-N-Pepa to dancehall MC Patra is involved – it should be a mess. Instead, it’s a delight: righteously pissed-off rhymes inspired by the movie’s Black Panther theme over a sparse beat, and warped choral samples.
Grime’s definitive female collaboration, in which a plethora of MCs – including Ruff Diamondz, Lady Leshurr, Mz Bratt and Amplify Dot, who opens her verse with a cry of: “Ugh! Vagina Monologues!” – rework Tinchy Stryder’s posse cut of the same name to startling effect. Packed with great lines, it’s more than a match for the original version.
The second remix of Bad Girls swapped out a verse by rapper Rye-Rye for one by Azealia Banks to stunning effect. Bursting out of the musical scenery – buzzing synthesisers, orchestral stabs – her warp-speed contribution lifts the track to a different level.
The lyrics are toned down by comparison with the ultra-raw original and the disco samples wilfully familiar, but the remix of Not Tonight bounces gleefully along, highlighting the stark contrast between the various MCs styles. Missy’s dissatisfaction at merely singing the hook – “who’d you think I am? Patti LaBelle?” – is a joy.
Not really a collaboration, so much as increasingly lairy rap battle, released during the celebrated “ Roxanne wars ” of the mid-80s. Shante edges it, but Sparky D’s assault on her rival’s dentistry is pretty great: “You got braces in your mouth, you’re full of disgust / Don’t try drinking water or your mouth will rust.”
Former Three 6 Mafia member Gangsta Boo’s collaborative EP with fellow Memphis rapper La Chat, Witches, was a raw, dark hardcore blast, as demonstrated by the chaotically thrilling Bitchy, home to a fantastic verse from New Orleans’ Mia X that flips from dismissive to demanding.
The all-conquering hit from Eve’s second album was her collaboration with Gwen Stefani, Let Me Blow Your Mind, but Gangsta Bitches is cut from a different, tougher cloth. Swizz Beatz’ spare production is great and the rhymes bite: “When three raw bitches get together, it’s off the chain,” summarises Eve, correctly.
A collaboration that, alas, ended in mutual mud-slinging, diss tracks and Ms Banks ultimately announcing that UK rap was “a disgrace” – she was unhappy with the video – it’s tempting to reverse engineer Control It and suggest there’s already a certain simmering tension about its power. Either way, it’s a fantastic track.
Sometimes hip-hop collaborations are about toploading tracks with star power, sometimes they’re just about finding rappers that work perfectly together. K-Swift and Philadelphia’s Mecca Starr never went on to vast commercial success, but they sound fantastic here, blending socially conscious lyrics with screw-you boasts over a DJ Premier beat.
The career of R&B trio Total didn’t last long – they never quite achieved the kind of TLC-sized success predicted for them and split after two albums – but the rap version of No One Else is one of the mid-90s great female posse tracks, and the only time Foxy Brown and Lil’ Kim appeared on the same song.
Based on the Jamaican dancehall Showtime riddim, Coco Chanel is the flipside to Minaj’s pop hits: a mean, gritty collaboration with Foxy Brown – who had defended Minaj during umpteen beefs – filled with stinging put-downs, West Indian slang (both have Trinidadian roots) and a Spanish-language tribute to Yoko Ono.
WAP isn’t just a record-breaking success, nor the source of apparently endless controversy involving everyone from CeeLo Green to Tiger King’s Carole Baskin – but a multiplatinum catty stereotype-busting rejoinder to the wearying notion that female rappers can’t work together without the trouble that ensued when Cardi B and Nicki Minaj collaborated on Migos’s Motorsport.
You could, if you were so inclined, populated this list almost entirely with tracks by or featuring Missy Elliott – always keen to boost fellow female MCs, she has also become a regular elder-statesman presence on others’ tracks in recent years. From her debut album, Supa-Dupa Fly, Sock It to Me offers the perfect balance of sweet vocals and raw rapping.
Described by Remy Ma as “a homage” to Lil’ Kim – “the Madonna of hip-hop” – Wake Me Up doesn’t just feature an Auto-Tune-heavy guest spot from the rapper, it’s based around a sample from her 1996 track Queen Bitch. Her presence seems to spur Remy Ma on: the backing is eerily atmospheric, the lyrics tough.
The collaboration that introduced Missy Elliot to the wider world, released a few months before her debut single, The Rain. It would probably work without her, thanks to the sample of Diana Ross’s Upside Down, but her verse, complete with prescient announcement that she will “take your No 1 spot”, is spectacular.
Remaking Brandy’s debut single as a hip-hop track was a masterstroke, commercially and artistically – Queen Latifah, Yo-Yo and MC Lyte change the track’s tone from eyelash-fluttering “please like me” to something noticeably more forceful. “A ghetto star’s who you are and I’ll be your sexual chocolate bar.”
Academic papers and TV documentaries alike have been devoted to examining the importance of Ladies First, setting its dextrous blast of feminist power – “a woman can bear you, break you, take you” – against a backdrop of rampant sexism in the 80s hip-hop industry. This was an era when, it has been claimed, labels would sign only one female rapper each (and deliberately reduce their marketing budgets) and when label Tommy Boy’s female president found herself mistaken for a sex worker at a conference. Ladies First wasn’t just a hit, but a groundbreaking moment in hip-hop. It’s also a total banger.

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Over the past decade, national clamor for female comedians has suddenly skyrocketed — thanks in no small part to paradigm-shifting female-led comedy Bridesmaids, which came out in 2011. Of course, we knew women were funny well before that. But somehow, it took a raunchy ensemble of Kristen Wiig, Maya Rudolph, Melissa McCarthy , and more to convince the rest of the world that women deserve a fair shot when it comes to making people laugh.
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