Rapper-producer Jay Dee left after the group's first national album, 2000's Fantastic, Vol. 2 (Barak) and rhymer Elzhi was added to the mix for 2002's Trinity (Past, Present And Future) (Barak/Capitol). Now, with the release of Slum Village's new album, the stunningly impressive Detroit Deli (Barak/Capitol), the group consists of just T3 and Elzhi. Throughout the changes, Slum Village's musical mission has remained constant: to deliver soul-stirring sonics that represent Detroit to the fullest. That vision is fully realized on Detroit Deli. Throughout the sensational 15-cut collection, T3 and Elzhi give listeners an intimate look at life in The D, from where they shop, hang with friends and eat to the type of cars they drive (check "Zoom") and what clothes they wear.
Slum Village represents the Midwest's funk heritage on the inspirational "Do You," which was produced by Jay Dee, and teams with Chicago's Kanye West on lead single "Selfish," a sly, piano-driven song where T3, Elzhi and West rap about their desire to have a monopoly with women. They then team with Ol' Dirty Bastard on the riotous "Dirty" about having to battle for a woman and deliver a Player's Hand Guide of sorts on the sensuous "Count The Ways," Both produced by B.R. Gunna.
Even though Slum Village excels at making this type of lighthearted music, they show on Detroit Deli that they also hit hard with more serious subject matter. On the moving, guitar-driven "Keep Holding On," they rap about people not losing faith in their lives, while on the stirring "Old Girl/Shining Star," T3 and Elzhi send a open letter of hope and support to single mothers working hard to survive.
"The inspiration came from my boy's niece who has a gang of kids and is out here struggling," Elzhi says. "She's stringing her kids around on the bus, just to get by. By me just looking at that, I'm like, 'I need to write a song because I know she's not the only one going through it.' Slum Village has never touched on ladies like that and everybody is calling girls hoes and Bs, dissing these ladies, so we wanted to touch the ladies in a different way."
The group also takes a different route on "Reunion." Jay Dee joins T3 and Elzhi on the insightful cut, which offers three different takes on the group's status. "It's like you're going through three state of minds at one time kind of in reverse," T3 says. "What we're trying to say is that we wish we were together, we might be together and then we're not together at all. We're trying to give you all the aspects of how people are coming at us, the type of stuff we're dealing with and kind of give you a glimpse of the stuff we're dealing with in the group."
Indeed, songs such as "Keep Holding On," "Old Girl/Shining Star" and "The Reunion" signal Slum Village's evolution; they mark the first time the group has let listeners in on their personal feelings. "I don't think people really know us and we never really touched on our emotions like that," T3 says. "We wanted to bring some realness, besides just the soul music. Elzhi, as a guy that saw Slum Village on the outside, he brought it to my attention that we never touched on serious topics and that we should try to touch on them more. I was with that and I have a lot to say, so why not?"
Detroit Deli also stands as Slum Village's most musically rich album to date. B.R. Gunna producers Black Milk and Young RJ, both 20 years old, handled the majority of the beats, while Kanye West produced "Selfish," Jay Dee handled "Do You" and T3 along with young RJ produced "Closer" and "Count The Ways." The beats are as divergent as the album's subject matter, ranging from soulful to futuristic, but they always remain powerful and innovative.
The same can be said for Slum Village's storied career. After releasing Fan-tas-tic Vol. 1 independently, Slum Village became one of hip-hop's hottest groups. While working on Fantastic vol. 2, they were joined in the studio by such luminaries as D'Angelo, Busta Rhymes, Kurupt, Pete Rock, and A Tribe Called Quest's Q-Tip, among others. The resulting album became an underground classic and Slum Village was seen as the second coming of the Native Tongues (A Tribe Called Quest, Jungle Brothers, De La Soul) by member Q-Tip, as well as fans and journalists alike.
Jay Dee left the group after Fantastic, vol. 2 in order to work on his solo career, but Slum Village pressed on, releasing in 2002 the Dirty District mixtape and later that year its third album and first with new member Elzhi, Trinity. Many fans looked at rapper-producer Jay Dee as the group's backbone, but Trinity proved that Slum Village could provide without its sonic architect, as that album's single "Tainted" became the group's biggest hit.
"We've always stuck to our guns," T3 says. "We've never tried to change to get commercial success. We always just did what we did and when you do what you do, eventually somebody's going to have to give you your respect for having the courage to do what you do."
Now back where they started, Slum Village yet again thrills and delights fans and gains yet a larger audience hungry for the smoking beats under the hot lyrical talent of T3 and Elzhi. Slum has begun to bring more of their personal feelings to their music, allowing the listeners and fans to touch more on the emotions and realness and touched on more serious topics. Prequel to a Classic features previously unreleased joints and jams from Slum Village with production by B.R. Gunna, J Dilla and Kareem Riggins. The mixtape gives listeners the best of some of their material since Fantastic Vol. 1.
T3 has said in a recent interview that slum village has reunited with Baatin and has added Illa J(J Dilla's Brother) to bring a Dilla effect. He is quoted "Slum Village is totally not that at all,” T3 adds. “I’m incorporating Baatin, and I’m putting Illa J in—not to take Dilla’s place, but just to have that essence of Dilla on this new project. I’m pulling together all the producers that we’ve used before—Black Milk, Wajeed , Kareem Riggins, Pete Rock and all the people who have been down with SV from day one.”
J Dilla died on February 10, 2006 after being diagnosed with TTP and Lupus.
Baatin died on July 31, 2009.
www.slumvillage.com
Giant
Slum Village Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
[Elzhi]
The Moment of truth, from the flow in the booth
Is it a classic to blow through the roof
Just ask 'n let me show you the proof
We stronger than ever along with the pressure
Longer then lesser, we bonded together
We pawnded ya treasure, a thing I won't do for the chips
And this be speaking from my heart, so I ain't using my lips
Like a ventriloquist, and as I stand killing this
While this rain, critics won't admit, how I can and still exist
Its a introduction, discussin the info
Stuck in my mental window, that's meant to function
Let the people be the judge
We know and expect it, you holdin the record
Way before the needle even budge
The most hated on, and I stayed alone, was rated wrong
And its a headache, like yankin domes with a straightening comb
When our bread brake, articles of artists who aren't as hard yo'
Partners by fathers, regardless they are a star you know
Soon as it politics, with dollars become a prince
Be honest,if not I promise, I'ma just switch the style of it
With possibly what the game needs,with the same greed
You fakers is with,making a hit like when you playin we...indeed
[Chorus 2X - Elzhi + T3]
We areeeeeeeee
V- Villa, V-Villa
[T3]
They say a nigga fell off when my nigga [Dilla] exited
3 albums later I kill 'em gotta represent
2 albums back [Baatin] had left
Kinda threw me off balance, put a limp in my step
But I pray for my nigga you know its one love
But let me tell you some shit that's kinda fucked up
Besides the tempting, it wasn't the empting
With the bling bling like mista ching a ling
So we didn't get a second single, or a video
So I say fuck 'em get the dick like a pretty ho
I guess we didn't need 'em, thanks for the freedom
And every time we see 'em, we let the finger greet 'em
[Chorus 'til fade]
The song 'Giant' by Slum Village reflects on the moment of truth for Elzhi, the rapper of the group. He raps about how this song can potentially blow through the roof and be considered a classic. He also emphasizes the strength and bond of the group in creating this song. Elzhi mentions his honesty while rapping and that his words are coming from his heart, making him like a ventriloquist. However, critics do not give him the recognition he deserves, and it is frustrating for him. Even when people leave the group, such as Baatin, it throws off the balance, much like a limp in one's step. T3, the other rapper in the group, shares his experience with the music industry while mentioning their fallen member J Dilla. T3 appears to be unbothered by the industry, and their freedom from it has been liberating. They never got a second single, but this only made them stronger and more independent.
The lyrics convey Slum Village's independence and authenticity. The group has survived critical backlash and member departures, which only made them stronger. Elzhi's ventriloquist metaphor implies that his words and message come from a place that is entirely genuine. T3 mentions that they did not need the industry's support, which shows that the group values their artistic integrity more than record sales.
Line by Line Meaning
The Moment of truth, from the flow in the booth
This is the true essence of Slum Village's music, coming straight from the recording booth.
Is it a classic to blow through the roof
Will this song be a timeless classic that will be remembered for years to come?
Just ask 'n let me show you the proof
If you doubt the quality of Slum Village's music, just listen to the evidence presented in this song.
We stronger than ever along with the pressure
Despite the pressure and struggles, Slum Village is stronger than ever.
Longer then lesser, we bonded together
As time goes on, Slum Village's bond grows stronger and tighter.
Like a song belongs with a measure
Each element of Slum Village's music fits together perfectly, like the notes of a well-composed song.
We pawnded ya treasure, a thing I won't do for the chips
Slum Village values their art and integrity over material gain, and won't sell out for the sake of making money.
And this be speaking from my heart, so I ain't using my lips
Elzhi's words come straight from his heart, meaning he truly believes in what he's saying.
Like a ventriloquist, and as I stand killing this
Elzhi is skilled at controlling his voice and articulating his thoughts, just like a ventriloquist controls a puppet.
While this rain, critics won't admit, how I can and still exist
Despite the negativity and criticism from some, Slum Village remains relevant and successful.
Its a introduction, discussin the info
This song serves as an introduction to Slum Village's music and discusses important information about their journey.
Stuck in my mental window, that's meant to function
These thoughts and ideas have been ingrained in Elzhi's mind and are meant to be shared and expressed.
Let the people be the judge
Ultimately, it's up to the listeners to determine the value and quality of Slum Village's music.
We know and expect it, you holdin the record
Slum Village knows their worth and expects recognition and appreciation for their contribution to the music industry.
Way before the needle even budge
Slum Village's impact and influence have been felt long before radio airplay or record sales.
The most hated on, and I stayed alone, was rated wrong
Slum Village has faced criticism and negativity, but they have persevered and remained true to themselves despite the odds.
And its a headache, like yankin domes with a straightening comb
Dealing with the music industry's politics and commercialism can be frustrating and stressful, like trying to straighten kinky hair with a comb.
When our bread brake, articles of artists who aren't as hard yo'
When Slum Village experiences financial difficulties, they see articles about less-talented artists who are more successful.
Partners by fathers, regardless they are a star you know
Some artists become successful because of their connections rather than their talent, but they are still seen as stars in the industry.
Soon as it politics, with dollars become a prince
In the music industry, once money and politics become involved, success comes easily and quickly to those with the right connections.
Be honest,if not I promise, I'ma just switch the style of it
Elzhi will continue to be honest and true to himself, and if the industry doesn't accept that, he'll switch up his style and approach.
With possibly what the game needs,with the same greed
Elzhi believes that the music industry needs more artists like Slum Village, who prioritize creativity over commercial gain.
You fakers is with,making a hit like when you playin we...indeed
Other artists are seen as 'fake' because they prioritize making radio hits rather than creating meaningful music.
They say a nigga fell off when my nigga [Dilla] exited
After the death of J Dilla, some people believed that Slum Village's quality of music declined.
3 albums later I kill 'em gotta represent
Despite the challenges Slum Village has faced, they continue to represent and create quality music with every album release.
2 albums back [Baatin] had left
After Baatin's departure from Slum Village, it took time for the group to readjust and find their footing again.
Kinda threw me off balance, put a limp in my step
Baatin's departure affected T3 and threw him off balance, making it difficult to move forward.
But I pray for my nigga you know its one love
Despite their differences and struggles, T3 still values and wishes the best for Baatin.
Besides the tempting, it wasn't the empting
While money and fame were tempting, they weren't the only reasons Slum Village created music and pursued their passion.
With the bling bling like mista ching a ling
Other artists may flaunt their wealth and jewelry, but Slum Village isn't interested in that materialistic lifestyle.
So we didn't get a second single, or a video
Despite the success of their music, Slum Village didn't receive the same level of promotion and recognition as other artists.
So I say fuck 'em get the dick like a pretty ho
T3's response to the industry's lack of support is to ignore them and focus on creating music for their core audience.
I guess we didn't need 'em, thanks for the freedom
Ultimately, Slum Village didn't need the industry's support and found freedom in creating music on their own terms.
And every time we see 'em, we let the finger greet 'em
The members of Slum Village have no respect for the industry and its lack of support, and aren't afraid to show it.
We areeeeeeeee
This line emphasizes the unity and strength of Slum Village as a group.
V- Villa, V-Villa
This chant serves as a reminder of Slum Village's name and identity as a group.
Lyrics © O/B/O APRA AMCOS
Lyrics Licensed & Provided by LyricFind