In the five years that passed between his debut, Take a Look Around, and his third full-length, Sittin' on Chrome, Brooklyn rapper Masta Ace's sound changed a lot. Angrier lyrics were already starting to show up on his sophomore release, SlaughtaHouse, but it was nothing in comparison to Sittin' on Chrome. Not that the themes are fueled by testosterone and rage here (and not that they were on SlaughtaHouse, either, though there was a great deal more vitriol), but the overall feel of the album, which has by now moved past the boom bap old-school beats into fuller, gloomier production that more aptly represents the mid-'90s East Coast sound, is much darker, with slower, heavier songs that ponder life in the ghetto. But the record's not an attack on the system that has caused the poor conditions of inner-city existence; rather, it's more of a collection of sketches that show it in its entirety, both the good and the bad. The whole Masta Ace Incorporated crew (Lord Digga, Leschea, and Paula Perry) is present here and does a good job, along with Ace, of course, whose flow and lyrics combine to show him off at his best, at adding depth and realism to the album's 16 cuts, interludes and all. It's a formula that clearly works well: Sittin' on Chrome boasted the MC's most popular songs, "Born to Roll" (which was also included as a bonus track on SlaughtaHouse), "The I.N.C. Ride," and the title track itself, but the other material, "Eastbound," "People in My Hood", is equally as interesting, and makes the record a very worthwhile addition to a rap collection.
The debut full-length from Masta Ace, and only one with the Juice Crew (with whom he rapped on "The Symphony"), Take a Look Around is as much a testament to Marley Marl and DJ Mister Cee's production as it as to the very able rhyming skills of the collegiate-looking Ace. Though the album never gave the MC the success that other Juice Crew members, including Big Daddy Kane, to whom he is often compared, had, it's still a great representation of what early hip-hop was and could be, both light-hearted ("Can't Stop the Bumrush," "Me and the Biz," which, contrary to popular belief, does not feature Mr. Markie, but instead an impersonation by Masta Ace) and socially aware ("The Other Side of Town," "I Got Ta"), confident without being ridiculous (seen, for example, in "Letter to the Better," which was also the B-side to his first single, "Together," also included here). It's not groundbreaking stuff, but it's consistent and a lot of fun, high-quality rap that shows off the Brooklyn MC's easygoing flow and storytelling skills, a solid hour of music without any filler, and a definite must-have for any fans of old-school hip-hop.
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 exposé 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.
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