Eminem's Hidden Production Credits: 100+ Songs

The Producer Hiding in Plain Sight

On 18 September 2024, a music writer posting on the Turkish site Ekşi Şeyler under the handle "mavi topolino" published a list titled, roughly, "The Productions Eminem Made for Other Artists' Songs." It drew 8.4k reads and 491 shares. That is a quiet number for a piece about a rapper who has sold more records than almost anyone alive, and the writer knew exactly why.

Their opening line carries the whole argument: "Eminem might be one of the most underrated producers in the world." Not rapper. Producer. The distinction matters, because most listeners file Marshall Mathers under the voice, the speed, the shock lyrics, and stop there. The desk, the drum patterns, the decision about which sample gets chopped and which gets left alone, that part tends to disappear behind the persona.

So the author did something useful. They built an Eminem production discography for everybody else's records: every track he produced for another artist, gathered in one place, then turned into a YouTube playlist so you can hear it instead of just reading it. If you want to follow along, the playlist is embedded in the original post.

One convention before we go further, and it is the kind of detail that makes a list trustworthy. Songs marked with an asterisk are ones where Eminem served as a co-producer (the Turkish term used is yardımcı prodüktör), not as the sole producer. No asterisk means the beat and the arrangement were his alone. That single symbol separates a real credit from a shared one, and it is why this particular list holds up better than the loose "Eminem produced this" claims that float around.

What follows is that list, folded into a story. Because when you line the names up in order, a pattern shows itself, and it is not the pattern most people expect.

The Rapper He Was Supposed to Be Beefing With: Jay-Z, Nas and the Roc Connection

Here is the twist that makes Eminem's production discography so strange: some of his best beats went to the very rappers he was supposedly at war with. Jay-Z's "Renegade" is the loudest example. Eminem produced it and rapped the second verse, and for years it stood as proof that a Detroit kid could hand a beat to Brooklyn's king and watch it become a classic.

But the beat had a life before Jay-Z ever touched it. Royce da 5'9", Eminem's Detroit running mate, recorded his own "Renegade" over that same track first. The original version, sometimes tagged as the "OG version," features Eminem too. So the story goes, the song simply found a bigger stage once Jay-Z picked it up, and Royce's take became the footnote that collectors trade like a secret handshake.

Jay-Z kept the door open after that. "Moment of Clarity" carries Eminem's fingerprints as producer. Then came "8 Miles and Runnin'" with Freeway, another Jay-Z cut built on Eminem's boards. Two titans who traded subliminals on wax were quietly trading beats behind the glass.

And Nas? The man Jay-Z spent years circling in one of hip-hop's most famous feuds also ended up on the list. "The Cross" is credited to Eminem as producer. Years later, "EPMD 2" arrived with an asterisk beside it, marking Eminem as a co-producer rather than the sole architect. The asterisk matters, because it separates the songs he built alone from the ones he helped shape.

That distinction runs through the whole list. The author treats these entries as production credits, not just guest verses. A rapper showing up for sixteen bars is a favor. A rapper building the beat underneath those bars is a different kind of authorship. When the same name keeps appearing in both columns, the "underrated producer" argument starts to write itself.

The 2Pac Album: Ghost, Ghetto Gospel and Loyal to the Game

By the early 2000s, Eminem's name on a production credit could pull a record out of the vault and onto the charts. No project proved that better than the run of posthumous 2Pac material he touched, a stretch that turned old verses into new singles and handed the late rapper a fresh audience.

The connection starts quietly with "Ghost," where Eminem worked as a co-producer rather than the sole hand on the boards. From there the floodgates opened. He built "One Day at a Time" in his own version, stacking the Outlawz and his own voice against 2Pac's original lines. Then came "Runnin' (Dying to Live)," a track that pairs 2Pac with The Notorious B.I.G., two men whose rivalry defined an era now sharing one song.

The guest list on these records reads like a summit of rap and pop. Eminem appears on "Soldier Like Me" and again on "Black Cotton," which also features Kastro and Noble. E.D.I. and Noble join for "The Uppercut." Elton John, of all people, turns up on "Ghetto Gospel," a pairing that would have sounded absurd on paper and landed perfectly on record. G-Unit rides the title cut, "Loyal to the Game." Nate Dogg lends his hook to "Thugs Get Lonely Too." Jadakiss steps in for "N.I.G.G.A." Dido's voice floats through "Don't You Trust Me." Obie Trice shares "Hennessy," and 2Pac closes out the set with "Out on Bail," "Who Do You Love?," "Crooked Nigga Too" and "Thug 4 Life."

What makes this chapter of the Eminem production discography so strange is the collision of eras. A Detroit producer raised on battle rap was now framing the vocals of a man who had been dead for years, choosing which beats would carry a legend's unfinished words into a new decade. Some fans loved it. Others argued the originals should have been left alone. Either way, the songs exist, and they carry both men's fingerprints.

The Shady Records Bench: 50 Cent, Obie Trice, D12 and G-Unit

If you want to see how deep the Eminem production discography runs into the Shady Records roster, start with 50 Cent. Eminem handled "Places to Go," "Patiently Waiting" (with Eminem on the hook), "I'm Supposed to Die Tonight," "Gatman and Robbin" (again with Eminem), "My Toy Soldier" (featuring Tony Yayo), and "Peep Show" (featuring Eminem). He also produced an Eminem remix of "Ski Mask Way."

That list alone would be a career for most beatmakers. But a good chunk of those 50 Cent credits came with a co-producer, and the source marks those with an asterisk. Those shared-credit tracks include "Many Men (Wish Death)," "High All the Time," "Poor Lil Rich," "Don't Push Me" (featuring Lloyd Banks and Eminem), "In My Hood," and "Ski Mask Way." The same asterisk convention runs through the rest of this section.

G-Unit got the same treatment. Eminem produced "Collapse (remix)" and "8 Mile Road (remix)" on his own, and reportedly shared production duties on "My Buddy" and "I'm So Hood."

Then there's Obie Trice, who might have the longest column in the whole notebook. Fully produced by Eminem: "Rap Name" (featuring Eminem), "2nd Round Freestyle," "Average Man," "Cheers," "Got Some Teeth," "Lady" (featuring Eminem), "We All Die One Day" (featuring 50 Cent, Lloyd Banks, and Eminem), "Hands on You" (featuring Eminem), "Never Forget Ya," "Outro" (featuring D12), "Pistol Pistol (remix)," "Wake Up," "Violent," "Lay Down," "Ballad of Obie Trice," "Jamaican Girl," "Kill Me a Mutha," "There They Go" (featuring Big Herk, Eminem, and Trick Trick), "Everywhere I Go" (featuring 50 Cent), "Kill Me," and "Going No Where."

The co-produced Obie Trice tracks, marked with that asterisk, are "Don't Come Down," "Follow My Life," "Hoodrats," "Out of State," and "All My Life" (featuring Nate Dogg).

Lloyd Banks shows up next. Eminem produced "Warrior Part 2" (featuring 50 Cent, Eminem, and Nate Dogg), "Til the End" (featuring Nate Dogg), "Without My Glock," and "NY NY" (featuring Tony Yayo). He shared production on "On Fire" (featuring 50 Cent) and "Hands Up."

Tony Yayo's contributions are shorter but still there: Eminem produced "Drama Setter" (featuring Obie Trice and Eminem), and shared production on "It Is What It Is" (featuring Spider Loc).

Cashis rounds out the Shady bench. Fully produced by Eminem: "Gun Rule," "Pistol Poppin'" (featuring Eminem), "Lac Motion," "Ask About Me," "I Do This," and "Thug Boy." The co-produced Cashis tracks include "That Nigga a Gangsta," "Ms. Jenkins," "Thoughts of Suicide," "Layin in the Cut," "Thru the Glass," and "Cigarello."

D12 and its extended family get their own corner of the list. Bizarre has "Rockstar" and "Baby Girl," plus "Murder" with Kuniva. Proof contributes "Pray for Me," "Oil Can Harry" (featuring Eminem), "Ou, Ouuuu," "Wots Up" (featuring Horny Mac), and "Trapped." King Gordy, meanwhile, is entirely co-produced territory: "Nightmares," "The Pain," "When Darkness Falls," and "Pass Me a Lighter" all carry the asterisk.

Beyond the Shady Family: Xzibit, Busta Rhymes, Nicki Minaj, Kid Cudi and the Long Tail

Look past the artists signed to Shady Records and the Eminem production discography stretches much further than most listeners realize. Xzibit alone shows up twice in the credit list: "Don't Approach Me," which features Eminem, and "My Name," which brings in both Eminem and Nate Dogg. Both tracks sit in the same era of Detroit-to-Los Angeles cross-pollination that shaped so much of the early 2000s.

Then there is the deeper, stranger end of the catalog. Redman's "I C Dead People" gathers a posthumous guest list of 2Pac, Big L, Big Pun and The Notorious B.I.G. on one track. Jadakiss gets "Welcome to D-Block" with Eminem. The Notorious B.I.G. himself appears on "It Has Been Said," which also features Eminem, Obie Trice and P. Diddy. Akon's "Smack That" carries an Eminem feature, and T.I.'s "Touch Down" does the same.

Busta Rhymes lands "Calm Down," a track where Eminem is credited as a co-producer. Nicki Minaj's "Majesty" carries the same asterisk, meaning Eminem's contribution came as an assistant producer rather than the sole hand on the boards. Kid Cudi appears twice: once with the unreleased "I Hear Them Calling Me," and once with "The Adventures of Moon Man & Slim Shady," another co-production credit.

B.o.B's "Airplanes Pt. 2" and "Things Get Worse" both carry Eminem features, with the first marked as a co-production. Skylar Grey's "Kill for You" is a co-production with Eminem on the mic, while "Come Up for Air" is a straight production credit. Jessie Reyez's "Coffin" is a co-production. Juice WRLD's "Lace It" brings in Eminem and Benny Blanco, again as a co-production. LL Cool J's "Murdergram Deux" is a co-production. Conway the Machine's "Bang" and the Griselda remix of the same track are both co-productions featuring Eminem. Ez Mil's "Realest" carries the same asterisk.

Yelawolf's catalog with Eminem runs long: "Let's Roll" with Kid Rock, "Everything I Love the Most," "Throw It Up" with Gangsta Boo and Eminem, "In This World," "American You," "Best Friend" with Eminem, and "Heartbreak." Every one of those is a co-production credit. Slaughterhouse fills out another cluster: "Coffin," "Throw That" with Eminem, "My Life," "Flip a Bird," "Frat House," "Goodbye," "Our Way (outro)," "Asylum" with Eminem, "Walk of Shame" and "Place to Be." Again, nearly all are co-productions.

The long tail keeps going. Boo-Yaa T.R.I.B.E.'s "911" features Eminem and B-Real. DJ Kay Slay's "I'm Gone" pairs Eminem with Obie Trice. Strike's "Pale Moonlight" brings in Eminem and Dina Rae. The Game's "We Ain't" features Eminem. Hush contributes "Hush Is Coming" with Nate Dogg and "Off to Tijuana" with Eminem. Trick Trick shows up with "Welcome 2 Detroit" featuring Eminem, "No More to Say" with Eminem and Proof, "Who Want It" with Eminem, plus "Follow Me" and "Crazy."

Further out still: Papoose's "Hummin' Like a Slave," Lil Scrappy's "Lord Have Mercy," Young Buck's "Lose My Mind," Young Zee's "Spinning Wheels," Charles Hamilton's "I Don't Care," Tony Touch's "Symphony in H" with Eminem, Tom MacDonald's "Dear Slim," Shoe Gang's "Nice Me," Stat Quo's "Like Dat" and "Atlanta on Fire" with Eminem, KXNG Crooked's "Hot Sauce" with Family Bvsiness, Family Bvsiness's "Liquor Store Church" and "Skip This Ad," Bobby Creekwater's "Chec Chec," Denaun Porter's "This Corner," and Nasaan's "Vs. Everybody."

What the Asterisks Actually Tell You

Read the list closely and you will notice small stars scattered beside certain titles. The compiler's own legend is blunt about what they mean: any song marked with an asterisk is one where Eminem came in as a co-producer, a yardımcı prodüktör, sharing the boards rather than running the whole session alone. Everything without a star is presented as his full production, start to finish.

That is the entire key. There is no third category, no shading, no note explaining whether a co-produced track found him building the beat from scratch or simply adding a drum pattern, a sample flip or a final mix pass. The asterisk is a yes-or-no flag, not a credit breakdown. You get two buckets and nothing in between.

It is worth sitting with how much that leaves unsaid. A track like Royce da 5 9's "Rock City" carries the star. So does 50 Cent's "Many Men [Wish Death]". So does Slaughterhouse's "Coffin". In each case the list tells you Eminem was in the room as a production partner, but not what he touched, how much of the finished record is his, or who else had a hand in it. The unstarred entries get the same treatment from the opposite direction: full production, we are told, and then nothing more.

What the list also refuses to give you is any scaffolding around the names. No release years. No album titles. No chart positions, no label credits, no running order by date. It is names and song titles, stacked one after another, and that is the whole architecture. You cannot tell from reading it whether a given entry landed in the late nineties or the 2020s without outside knowledge.

And here is the quiet gap that matters most if you are trying to treat this as a reference: the compiler never says how many tracks are on it. There is no total, no count at the top, no closing tally. The Eminem production discography as assembled here is a working document, not an audited one, and the asterisks are the only editorial layer it has.