Nick Cannon Drops Eminem Diss Track “The Invitation” Featuring Suge Knight: Listen

Nick Cannon has responded to Eminem's recent jab with a full diss track aimed at the Detroit rapper.

On Monday morning (Dec. 9), Nick dropped "The Invitation," a Hitmaka-produced track featuring Suge Knight and battle rappers Hitman Holla, Charlie Clips and Prince Eazy. With artwork that reads, "Eminem - you are cordially invited by the Black Squad," Nick and his crew call out Eminem and challenge him to appear on Nick's show, Wild'N Out. Suge opens up the track with a call from behind bars.

"You know I don't do no talking, but Nick is family," Suge says, before ending his call with, "Eminem's a bitch!"

On his verse, Nick brings Eminem's family into the fold.

"Call Kim, somebody get Hailey and that other kid you raising that ain't even your baby," Nick raps. "Took a page out of Drake book, this might get a Grammy/We going back to back until you respond—on the family/My baby mama killed you off a decade ago/You still crying about it bitch, now who really the hoe?"

As previously reported, Em came at Nick on his feature on Fat Joe's new album, Family Ties. On the track "Lord Above" that also features Mary J. Blige and producer Dre, Em brings up his former relationship with Nick's ex-wife Mariah Carey and disses Nick in the process.

"Word to the Terror Squad, Joe, this is all puns aside though/I know me and Mariah didn't end on a high note," Em spits. "But that other dude's whipped, that pussy got him neutered/Tried to tell him this chick's a nut job before he got his jewels clipped/Almost got my caboose kicked, fool, quit, you not gon' do shit/I let her chop my balls off, too 'fore I lost to you, Nick/I should quit watchin' news clips, yeah/My balls are too big, I should be talkin' pool/'Cause I got scratches on my pocket, fall when I'm takin' shots at you."

Nick first responded on his morning show on Los Angeles radio station Power 106, calling Eminem an old man and challenging him to appear on Wild'N Out.

Listen to Nick Cannon's Eminem diss "The Invitation" in full below.

See 25 of the Best Hip-Hop Album Outros Since 2000

“Where Have You Been,” Jay-Z Featuring Beanie Sigel

The Dynasty: Roc La Familia (2000)

Rock-hard MCs Jay-Z and Beanie Sigel get in their feelings, saving The Dynasty’s most vulnerable and chilling moment for last. The two fatherless children, now all grown-up and famous, address an absence that simultaneously formed them and hurt them. “You showed me the worst kind of pain,” Jay hurls, showing a rare chink in the armor. So heartfelt was the track, Jay and Beans felt it necessary to revisit the subject a year later on Sigel's The Reason. “Dynasty album 16/Listen, Scrap, I can’t take back that 16,” Beanie defends on “Still Got Love for You.” “Shit, the truth spoke/ I gotta give the world real quotes.”

“Criminal,” Eminem

The Marshall Mathers LP (2000)

Tripling down on the heresy as he draws the curtain on his most acclaimed album, a tongue-in-cheek, gun-in-hand Eminem takes one more go at the “retards” who take him too literally, innocent puppies and those trying to tear him down for his homophobic rhymes. (Maybe their problem is being “heterophobic”?) Yep, the project that begin with “Kill You” ends not with an apology but rather with a gun blast.

“Blueprint (Momma Loves Me),” Jay-Z

The Blueprint (2001)

Down-shifting gears from the atomic bomb that is “Renegade,” Jay-Z brings The Blueprint—arguably his best full-length—to a thoughtful finish. While producer Bink! cues up an Al Green sample, Jigga gets nostalgic and grateful, thanking all the people in his life who brought him to this point. Even through the pain, there is connection and community. A satisfying punctuation to one hell of an album.

“My 1st Song,” Jay-Z

The Black Album (2003)

The ghost of Notorious B.I.G. and the throne of New York haunt this track, which begins with an interview snippet from Biggie in which he states that he tries to treat every project with the thirst of his first. So, the final song on his (then-supposed) final album is called “My 1st Song,” pushing his career full circle and riding a 1992 wave before he hops a PJ to somewhere the mosquitoes can’t catch him. No less than President Barack Obama proclaimed this closer to be his favorite Jay-Z track during his 2012 election because it reminds him to “always stay hungry.”

“A Life in the Day of Benjamin André (Incomplete),” André 3000

The Love Below (2003)

After a record full of Andre’s most colorful excursions into rhythm and song, the man who appears on so many Top 5 lists finally slaps on his MC cap for the finale of OutKast’s diamond-plated double LP. Atop bare-bones handclaps and ambient synths, all André does is recap his entire romantic adult life through to his romance with Erykah “On and On” Badu and their son Seven’s sixth birthday. No hook. No frills. Just one five-minute verse of autobiography. That’s life shit.

“Last Call,” Kanye West

The College Dropout (2004)

Raise your glasses. Let’s toast Kanye West’s ability to open and close albums this millennium, because few artists have consistently exhibited a better grasp of sequencing. He opens and closes strong. Clocking in at 12 minutes and 40 seconds, the epic “Last Call” features some of the most memorable phrases from the Louis Vuitton Don’s debut (“mayonnaise-colored Benz, I push miracle whips,” “African American Express”) and accidentally, irreverently hands out a “Horse Award” to Bun B’s wife. And then he gives a 2,000-word dissertation explaining how he got put on to Roc-A-Fella. Edutainment, kids.

“Gone,” Kanye West Featuring Cam'ron and Consequence

Late Registration (2005)

Considering “Diamonds from Sierra Leone” is a bonus track and the excellent “Late” is a hidden song, Late Registration’s official final song is “Gone,” a wonderful trip of a record that’s impressive and fun both lyrically and orchestrally. The backbone here is a bumping vocal loop snatched from Otis Redding’s “It’s Too Late,” but Mr. West deepens and varies the arrangement with each verse, sandwiching sweet 16s from Cam’ron and Consequence between his own contributions, but making sure he gets the last word. “Gone” is so good you don’t want it to leave.

“It’s Your World (Part 1 & 2),” Common

Be (2005)

A transcendent J. Dilla composition that snaps and soars. A blizzard of descriptive autobiographical tales and smart big-picture extrapolations by Common. A compilation of kids proclaiming their dreams. And the warm wisdom of Lonnie Lynn, Common’s father. The two-act suite that wraps up the Chicago poet’s renaissance work leaves us with hope.

“Nightmares,” Clipse Featuring Bilal

Hell Hath No Fury (2006)

Clipse’s slept-on second effort eases to its conclusion with its slowest and most paranoid song. Expertly produced—as everything in Hell—by the Neptunes and featuring some buttery/haunting vocals from Bilal, “Nightmares” finds the brothers Thornton taking a break from the brag raps to look over their shoulder. Success breeds jealousy.

“HiiiPower,” Kendrick Lamar

Section.80 (2011)

Odd that an LP’s lead (and only) single/video be placed at the bottom of the tracklist, but Kendrick is nothing if not unconventional. Emboldening and ambitious, political and poetic, “HiiiPower” hints at the scope Lamar was prepping to tackle in his transition to Aftermath. Kenny claims to have had a dream in which Tupac Shakur came to him and said, “Keep doing what you're doing. Don't let my music die.” Inspired, he wrote this song to a searing J. Cole instrumental.

“Bye Baby,” Nas

Life Is Good (2012)

Nas closes the book on his failed marriage to singer Kelis in this Life Is Good single, as memorable for its candor as its shrewd sampling of Guy’s “Goodbye Love.” (Bonus: Aaron Hall makes a cameo in the video.) A link-up between producers Noah "40" Shebib and Salaam Remi, Nas’s long-serving boardsman, lays a soulful canvas for our flawed hero to paint his divorce raps and find his closure.

“Crenshaw and Slauson (True Story),” Nipsey Hussle

Crenshaw (2013)

The finale of Nipsey’s $100 mixtape is sober look at the author’s life and the block he grew up on. Over mellow keys arranged by co-producers Wizzo and DJ Dahi, an unhurried Hussle paints a vivid portrait of the corner that raised him and the one he tried to raise up. In the wake of Nipsey’s death, “Crenshaw and Slauson” will give you goosebumps, guaranteed.

“Bound 2,” Kanye West

Yeezus (2013)

A soulful respite at the conclusion of frantic Yeezus, “Bound 2” features go-to crooner Charlie Wilson, killer samples and some Kanye’s most outrageous and indelible one-liners: “Have you ever asked your bitch for other bitches?” “Bound 2” brings to a frisky close Kanye’s bachelorhood and has us wondering, as ever, how the next stage of his personal life will affect his art. The martial lust video set on a motorcycle against some iMac default desktop scenery—hilariously spoofed by Seth Rogen and James Franco—puts this one over the top. Uh-huh, honey.

“Everything’s Good (Good Ass Outro),” Chance the Rapper

Acid Rap (2013)

Playfully elongating his words, rapidly bouncing between cadences and spontaneously breaking out into song, Chance sends his second mixtape out in style. There is a freedom here, a lightness that brings the project full circle and blends seamlessly back into the “Good Ass Intro” if you have the record on repeat. And the horns. Yes. Hip-hop needs more horns.

“30 for 30 Freestyle,” Drake

What a Time to Be Alive (2015)

Drake’s lone solo cut on his collaborative mixtape with Future is one continuous 700-word stream of thought splashed over some ambient piano dinner music and 808s provided by 40. Decidedly down-tempo and incredibly intricate, “30 for 30” sounds like nothing else on the project and would sound misplaced anywhere but at the end of the tracklist. The subject matter may be familiar, but the 6ix God’s rumination on fame and women (“Paternity testing for women that I never slept with/I’m legally obligated if they request it”) sound as fresh as ever.

“Apple Pie,” Travis Scott

Rodeo (2015)

The ender to Rodeo finds Travis Scott boasting of his “own recipe” over an uptempo, warbled thump. Hence, he has no need for the ingredients list to your apple pie. “I hate to break your heart/I bet I'll make a mark,” the relative newcomer raps. “That y'all see a legacy go up.” True to his word, Scott would carve out his own niche in this rap thing. The narration by T.I.—one of his great predecessors from the South—sprinkles this treat like coarse sugar. The ideal dessert to a studio debut.

“Outro,” Big Sean

Dark Sky Paradise (2015)

DJ Dahi cooks up a hot bowl of fire by sampling Darondo’s “Didn’t I” and Big Sean goes in as he goes out. Channeling his “08 me,” Sean kicks off his extended verse with a nod to A Tribe Called Quest’s “Find a Way” and lets the rhythm take him on brainstorm ride through relationships, ambitions and worries. Sean concludes his No. 1 album by handing out his phone number to anyone listening. Word to Mike Jones.

“4 Your Eyez Only,” J. Cole

4 Your Eyez Only (2016)

Nearly twice as long as any other track on the album of the same name, “4 Your Eyez Only” is some grown-ass-man rap that samples Japanese jazz artist Yuji Ohno and ends his project on a heavy note. Densely packed with jewels and fears and stories, “4 Your Eyez” is a four-verse epic with a purpose to humanize people that the media portrays as villains, perfectly capping an ultra-conceptual LP. “The people that I know that live that life and come from that life, or even used to live that life, there’s so much more than that. They have multiple sides, and the side that is the strongest is love,” Cole told The New York Times.

“Do Not Disturb,” Drake

More Life (2017)

Drake brings his 81-minute playlist More Life to an introspective conclusion on “Do Not Disturb,” continuing his pattern of ending his projects with a thinker instead of a banger. Go-to producers Boi-1da, 40 and Allen Ritter stir up a cloudy atmosphere for Drizzy—“a reflection of all your insecurities”—to get all in his feelings and his memories, reflecting on his position and his purpose in one marathon stanza (all while throwing some subliminal body blows at former rival Tory Lanez). As Drake says: “Last verse that I gotta do is always like surgery/Always trying to let go of anything that'll burden me.”

“Duckworth,” Kendrick Lamar

Damn. (2017)

Titled after Lamar’s actual surname, “Duckworth” tells the true tale of Kendrick’s father, Ducky, meeting Anthony “Top Dawg” Tiffith 20 years prior to Kendrick signing to his entertainment label. “Whoever thought the greatest rapper would be from coincidence?” Kendrick wonders, before providing an incredible mic-drop moment and producer 9th Wonder backsmacking the vocals. As an origin story, “Duckworth” works equally well as an intro song on the inside-out collector’s edition of Damn.

“1985 (Intro to The Fall Off),” J. Cole

KOD (2017)

Arguably the best track on KOD, "1985" finds J. Cole hopping on his pulpit and schooling the young’ns on the importance of touring and properly investing their rap-earned riches, reminding new jacks of fame’s fleeting nature and the dangers of catering to a white audience “They wanna see you dab, they wanna see you pop a pill/They wanna see you tatted from your face to your heel.” But “1985” ain’t all big-brotherly advice. Over a self-produced head-nodder, Cole also warns unnamed haters (Lil Pump) to keep his name out their mouths: “I hope for your sake that you ain’t dumb as you look.”

“Let It All Work Out," Lil Wayne

Tha Carter V (2018)

If all Weezy gave us was the final verse of “Let It All Work Out,” we’d still put this one on the list. The meandering encore to C5 treats listeners to a bunch of nuggets—like the time Wayne almost hit on TLC’s Chilli at a Floyd Mayweather fight but thought better of it—before the beats accelerates, the volume jacks and the gravity intensifies. The suicide attempt of the riveting third verse gives a flashback to Biggie’s Ready to Die closer but remains firmly planted in Wayne’s world. The interpolation of Sampha’s “Indecision” hums like a hopeful heartbeat, still pumping.

“Infrared,” Pusha-T

Daytona (2018)

Delivering arguably the greatest diss-song-as-album-ender since Ice Cube capped off Death Certificate with “No Vaseline,” Pusha takes aim at longtime rivals Drake and Lil Wayne over a skeletal Kanye West beat. The slick talk takes center stage as Pusha keeps finding fresh ways to resuscitate old beefs, and he’s cocky enough to place Kendrick and Cole as his only peers. Sinister.

“March 14,” Drake

Scorpion (2018)

Named after the day Drake discovered he was a dad, “March 14” takes the Toronto rapper's pattern of ending his albums on a personal note to a higher level. The artist opens up about his tricky relationship with Sophie Brussaux and dives into his feelings about sharing a son with a woman with whom he's at odds. Candid, Drake admits embarrassment over the situation—“Single father, I hate when I hear it”—and vows to be a dedicated father. A concise and necessary dose of truth that brings his sprawling double album to a meaningful end.

“Sacrifices,” Dreamville Featuring EarthGang, J. Cole, Smino and Saba

Revenge of the Dreamers III (2019)

Johnny Venus’ hook—“I make sacrifices, bloody sacrifices”—is the glue that holds together a series of diverse voices and verses strong enough to stand on their own but all the more powerful when combined. Like the rest of the posse album that precedes it, “Sacrifices” exemplifies strength in numbers and the power that can result from combining artistic minds in one studio as opposed to emailing your cameo. Dreamville honcho J. Cole gets the last word, delivering an incredible ode to wifey without coming off corny.