Five years after making his name as a member in
Marley Marl's legendary
Juice Crew (he was one of the featured MCs on the classic 1988 posse cut
"The Symphony" from
Marl's
In Control, Vol. 1) and three years after recording his buoyant, artistically on-point (though commercially stillborn) debut album,
Take a Look Around, with its memorable hit
"Me and the Biz," battle-scarred Brooklyn underground star
Masta Ace returned for his second album with a newly tweaked name and his own supporting crew (
Masta Ace Inc.), a new sound and sharply honed style, and a cynical new outlook on the entire
rap game. In fact, a disgusted new outlook might be a more appropriate characterization, as a controlled abhorrence oozes from every pore of
SlaughtaHouse, lashing out not only at easy outside targets (bigoted police, for instance) but also at those shady characters inside the
"SlaughtaHouse" whose violence is enacted physically (
Ace himself places the part of a mugger on
"Who U Jackin?") rather than lyrically, bringing the entire community down in the process. A loose concept album, it is at once an intense expose and a roughneck paean to the
hip-hop lifestyle that broke new ground by merging the grimy lyrical sensibility, scalpel-precise technique, and kitchen-sink beats of
East Coast rap with the
funk-dripping, anchor-thick low end of West Coast producers. The classic
"Jeep Ass Niguh" was one of the quintessential cruising singles of the summer of 1993. Its unlisted remix,
"Born to Roll," with its subsonic gangsta bass, is an equally thumping highlight and (with its sample borrowed from
N.W.A's
"Real Niggas Don't Die") can be seen as the most explicit bridge between East and West. But other hectic, relentless tracks like
"The Big East," "Rollin' wit UmDada," and
"Saturday Nite Live" are just as excellent, and
Ace's crew -- particularly
Bluez Brothers Lord Digga and
Witchdoc -- really shines. ~ Stanton Swihart