The Massacre


The Massacre is the second studio album by the American rapper 50 Cent, released on March 8, 2005, via Interscope Records, Eminem's Shady Records, 50 Cent's G-Unit Records, and Dr. Dre's Aftermath Entertainment. With production from Dr. Dre, Eminem, Scott Storch, Sha Money XL and others, the album features guest appearances from G-Unit affiliates Tony Yayo, Olivia, Eminem and Jamie Foxx.
Preceded by the singles "Disco Inferno" and "Candy Shop", the album debuted atop the Billboard 200, selling 1.15 million copies in its first four days; it remained atop the chart for six weeks after its release. The Massacre received generally positive reviews from music critics, and was 50 Cent's second consecutive number one album on the chart. Following its release, the album spawned the Billboard Hot 100-top ten singles "Just A Lil Bit" and "Outta Control."

Background

The original title for the album was revealed as The St. Valentine's Day Massacre, named after the 1929 Chicago gang murder spree known as Saint Valentine's Day Massacre. 50 Cent intended the album to be released on February 15, 2005, but Interscope was not interested. He leaked "Disco Inferno" in order to force their hand, and Interscope released it on March 7.
Originally, songs intended for the album included "Hate It or Love It", "Higher" and "Special" but the songs were eventually given to the Game's The Documentary, causing a majority of The Massacre to be reworked. Although, a G-Unit remix of "Hate it or Love It" appeared as a bonus track on this album.
After 50 Cent released the Game from his G-Unit Records imprint on live radio February 21, 2005, a shootout occurred. Paul Rosenberg of Shady Records and Jimmy Iovine of Interscope worried that the album would underperform due to the negativity of the Hot 97 shooting. 50 and the Game later entered into a truce six days after The Massacre was released, but their animosity rose up again after Game made fun of G-Unit at Hot 97's annual Summer Jam, where he first used the "G-Unot" insult, later turning to a boycott.

Censorship

The censored version of the album censors out most profanity, violence, and all drug content. The track "Gunz Come Out" has inconsistency in the editing, and contains some profanity. The opening intro removes the shooting sequence, and is cut down to 20 seconds. The album cover also removes guns in the background behind the rapper, being replaced by motifs and a gradient background. In comparison, the album is not as heavily censored as his previous album Get Rich or Die Tryin'.

Production

The instrumentation of the album closely mirrors that of its predecessor, incorporating string instruments and orchestral elements; however, cinematic themes are no longer the central focus. This album introduces numerous new musical components, including jazz rap and R&B influences that evoke the essence of early 1990s New York hip-hop. A notable addition to the album's sound is the influence of Scott Storch, whose musical ideas infuse tracks like "Candy Shop" and "Just A Lil Bit" with Middle Eastern Arabic melodies layered over hard-hitting hip-hop beats. Another notable but underrated addition to the album's sound is Buckwild's production on "I Don't Need 'Em", which uses a jazz rap instrumental. Furthermore, the album benefits from exceptional mixing, primarily attributed to Dr. Dre's involvement, as was the case with the previous album.The album's production credits include Bang Out, Bass Brothers, Black Jeruz, Buckwild, Cool & Dre, C. Styles, Cue Beats, Disco D, Dr. Dre, Eminem, Hi-Tek, J.R. Rotem, Luis Resto, Mike Elizondo, Needlz, Scott Storch, and Sha Money XL.

Commercial performance

With a release in the middle of the sales week, The Massacre sold 1.15 million copies in its first four days of release, becoming the sixth-largest opening week for an album at the time since Nielsen SoundScan began tracking sales in 1991. It holds the record for the largest opening week sales for a sophomore studio album ever,as well as the second largest opening week for a hip-hop album overall, behind Eminem's The Marshall Mathers LP, which sold 1.76 million copies in its first week. Mariah Carey's The Emancipation of Mimi replaced it as number one in late April 2005, as The Massacre reached 3 million units sold. In 2025, The Massacre was certified seven times platinum for combined sales and album-equivalent units of at least six million copies in the United States. It has sold over nine million copies worldwide.
In 2005, The Massacre was ranked as the number one album of the year on the Billboard 200.

Critical reception

The Massacre received generally positive reviews from music critics; it holds a score of 66 out of 100 at Metacritic. Vibe magazine found it "full of finger-pointing panache" and wrote that "50 delivers a taut, albeit less explosive, album aimed at both silencing his detractors and keeping the ladies satisfied". NME observed "a new depth to the murderous lyricism" from 50 Cent on the album. Greg Tate, writing in The Village Voice, said that, like Tupac, 50 Cent is "a ruffian who knows the value of a good pop hook", and called The Massacre "the most diabolically sensous collection of baby-making gangsta music since Pac's All Eyez." Kelefa Sanneh of The New York Times found the album to be "nearly as addictive as its predecessor" and called 50 Cent "a crafty songwriter, specializing in obvious but nearly irresistible tracks that sound better the more you hear them." In his review for The Village Voice, Robert Christgau said that 50 Cent's "ugly gangsta lies" are "incidental to the mood of the piece, which is friendly, relaxed, good-humored, and in the groove."
In a mixed review, Nathan Rabin of The A.V. Club said that, although its strengths lie in 50 Cent's "dark charisma" and "fluid delivery", the album is marred by flaws typical of "big rap releases: At nearly 78 minutes, it's far too long, wildly uneven, and not particularly cohesive sonically or thematically." Uncut magazine wrote that, despite 50 Cent's "cool menace", "not even tight productions from Eminem and Dre can stop things from flagging midway." Lynne D. Johnson of Spin felt that it lacks "originality" and makes artistic concessions: "He's tryin' too hard to be everything to everybody." In a negative review for The Guardian, Alexis Petridis panned him as a lyricist and felt that the album lacks "any of the factors that make the best gangsta rap disturbingly compelling... There's nothing except a string of cliches so limited that repetition is unavoidable".

Accolades

The Massacre was nominated at the 2006 Grammy Awards for Best Rap Album, but lost to Kanye West's Late Registration. It was ranked the twenty fifth best album of the year by Rolling Stone.
According to 50 Cent, the album received more mixed reviews than its predecessor Get Rich Or Die Tryin' because he was focused more on the hooks and song structure: "People fought love for the things they see are significant. Jimmy Iovine was a producer … he loves the significance of production. He loves Dre. I don’t give a fuck what I made … look, I made my whole second album as a 10-record. I knew they wasn’t my best verses but my choruses were right so I focused on my song structure."

Track listing

Notes
  • signifies an additional producer.
  • "Intro" is excluded from the 2006 France edition.
;Sample credits
  • "Intro" contains elements from "What Up Gangsta" performed by 50 Cent.
  • "This Is 50" contains elements from "Things Done Changed" performed by The Notorious B.I.G.
  • "I'm Supposed to Die Tonight" contains vocal samples of "Vocal Planet" performed by Spectrasonics.
  • "Gatman and Robbin'" contains replayed elements from "Batman Theme" composed by Danny Elfman.
  • "Candy Shop" contains a sample of "Love Break" performed by The Salsoul Orchestra.
  • "Outta Control" contains an interpolation from "Set It Off" performed by Strafe.
  • "Ski Mask Way" contains elements from "What Am I Waiting For" performed by The O'Jays and resung elements from "Cell Therapy" performed by Goodie Mob.
  • "A Baltimore Love Thing" contains elements from "I'll Be Waiting There for You" performed by The Dells.
  • "God Gave Me Style" contains elements from "Each Day I Cry a Little" performed by Eddie Kendricks.
  • "I Don't Need 'Em" contains elements from "Nobody Knows" performed by S.C.L.C.

    Personnel

Credits for The Massacre adapted from Allmusic.
  • 50 Cent – executive producer, author
  • Bang Out – producer
  • Jeff Bass – keyboards, producer
  • Mark Bass – producer
  • Steve Baughman – engineer, mixing
  • Akane Behrens – engineer
  • Black Jeruz – producer
  • Buck Wild – producer
  • Jeff Burns – mixing assistant, assistant
  • Dave Cabrera – keyboards
  • Tony Campana – engineer
  • Larry Chatman – project coordinator
  • Lindsay Collins – voices, speech/speaker/speaking part
  • Cool – producer
  • Ruben Cruz – background vocals
  • Cue Beats – producer
  • Dion Jenkins – background vocals
  • Disco D – producer
  • Dr. Dre – producer, executive producer, mixing
  • Mike Elizondo – bass, guitar, keyboards, sitar, producer
  • Eminem – producer, executive producer, mixing
  • Nicole Frantz – creative assistance
  • Brian "Big Bass" Gardener – mastering
  • Yvette Gayle – publicity
  • Zach Gold – photography
  • Scott Gutierrez – assistant engineer, assistant
  • Tiffany Hasbourne – stylist
  • Adam Hawkins – engineer
  • Hi-Tek – producer
  • Lionel Holoman – keyboards
  • Kameron Houff – engineer
  • Eric Hudson – bass
  • Mauricio "Veto" Irragorri – engineer, mixing
  • Tyrue "Slang" Jonas – artwork
  • Rouble Kapoor – assistant engineer, mixing assistant, assistant
  • Steven King – bass, guitar, mixing
  • Steve Lininger – assistant engineer, assistant
  • Jared Lopez – engineer
  • Andrew Mains – editing
  • Kyla Miller – engineer
  • Needlz – producer
  • Traci Nelson – background vocals
  • Alex Ortiz – engineer
  • Conesha Owens – background vocals
  • Kirdis Postelle – project coordinator
  • Chuck Reed – engineer
  • Luis Resto – horn, keyboards, producer
  • Robert "Roomio" Reyes – assistant engineer, assistant
  • Roberto Reyes – assistant
  • J.R. Rotem – producer
  • David Saslow – video
  • Kelly Sato – marketing coordinator
  • Ed Scratch – engineer
  • Les Scurry – production coordination
  • Sha Money XL – producer, engineer, executive producer, mixing
  • Randy Sosin – video
  • Nancie Stern – sample clearance
  • Scott Storch – producer
  • Chris Styles – producer
  • Rob Tewlow – producer
  • Patrick Viala – mixing
  • Che Vicious – programming
  • Barbara Wilson – background vocals
  • Brandon Winslow – assistant
  • Ravid Yosef – editing