Fighters (Artists): Royce Da 5’9″, Joe Budden, Joell Ortiz, Crooked I
Trainer (Executive Producer): Eminem
Cut Men (Producers): Eminem, Alex da Kid, AraabMuzik, Black Key, Boi-1da, Hit-Boy, Kane Beatz, Mr. Porter, No I.D., StreetRunner, Sarom, T-Minus, J.U.S.T.I.C.E. League, Zukhan
Weight Class: Lyrical Supergroup
Notable Fire: My Life (Feat. Cee Lo Green), The Other Side, Get Up, Goodbye, Flip a Bird
Notable Trash: Asylum (Feat. Eminem), Throw That (Feat. Eminem), Coffin (Feat. Busta Rhymes)
Tale of the Tape: After releasing a mixtape entitled On the House just a week before, the four emcees released their second studio album on Shady Interscope on August 28. No one can question the raw talent of Slaughterhouse. Each of these rappers have the ability to hop on a track with any rapper and be able to hold their own, if not outshine them lyrically. However, determining where Slaughterhouse fits as a group in the current realm of hip-hop is still a challenge.
Slaughterhouse is known for their collective lyricism, but if the lyrics aren’t elite, where does that leave this foursome? Welcome to Our House is a collection of decent, but largely forgettable songs, even from a lyrical standpoint (I even question whether or not I’ll be going back to listen to the songs that are really hot a few months from now). While the rhymes were mostly solid, few times does this album provide fans with rewind-worthy moments, which opens up a larger issue. The content is wide-ranging, which works for some, but when spaced across four rappers and 20 tracks, it leaves listeners with the difficult task of trying to forge a connection with the group.
Perhaps this is more of a reflection of hip-hop today and we as fans should focus less on categorizing emcees and should instead accept them as complex individuals capable of engaging fans on various levels. When you step back and look at Slaughterhouse though, you see they’re smart, but not exactly backpackers like Little Brother. They’re not gritty, but not extra-hood like The Lox. They’re not corny, yet they don’t have flair like Dipset. They rap about getting money and winning, but they’re not shining like YMCMB or MMG. They rap about women, but they don’t have the ladies demo on lock like the St. Lunatics once did (except for Budden, who stays with a bad chick). They may also rap about partying, selling dope, smoking and they can be introspective, but not enough to classify them in any of those ways as a group. Maybe this is the beauty of Slaughterhouse; but will this diversity be warmly received by the public?
Sidebar: Welcome to Our House did debut at #1 on the Billboard Rap Album charts and #2 on the Billboard 200. So some fans are definitely okay with it.
Getting back to the music, you get the impression that Eminem is almost attempting to turn Slaughterhouse into what D12 was supposed to be, but never was. Gimmick songs like “Frat Party” and “Walk of Shame” definitely give off that vibe. Still, Slaughterhouse is able to rely on their immense talent to provide fans with some head-nodding inspirational music (yet another lane they occasionally swerve into) on songs like “Get Up” and “My Life” (which Cee Lo set off), in what was the best stretch of music on the album. The soft rock feel of “The Other Side” catches you off guard at first, but is a low key stellar track to round out the deluxe edition.
Fight Night: Winner by split decision
I was very close to calling this a draw, and truthfully, could be talked into giving Welcome to Our House an L after 12 rounds. Call them a victim of expectations, but you know these four rappers are capable of doing so much more. Perhaps more of a focus on future projects (much like Eminem himself had on his awesome Recovery album) or a switch up of style could benefit them. There was a brief relay-style rhyme in the last verse of “Place to Be” (Feat. B.O.B.), where each MC handed off to one another in succession, that proved to be impressive. They could also go the other way and give a few songs to each individual, rather than putting three or four members on every single track. Either way, they must loss some of the gimmick songs and corny beats before they can collectively ascend to the championship level they deserve in the rap game.
In the past I’ve stated that I liked the concept of Slaughterhouse more than I actually liked Slaughterhouse. They’re beginning to change my mind, but not as quick as I would have hoped.