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
Insane
Slum Village Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
you know what I'm saying
(Freestyle #1)
back in the day we used roll up some hoes
never thought I'd be writing up a scroll on these halls
now a day niggaz be twistin up for the conversation
in my day niggaz was twisted off the meditation
never ever catchin some niggaz with a occupation
now a dayz niggaz be fiendin for the masturbation
from a bitch that got a dick with a clit-
pulsatin/I say is what I said
that's right niggaz be hatin
just waitin to be catching a fist to the face
waitin for a nigga to go insane, catch a case
cause his drink was laced. now check it out..
(Freestlye #2)
I'm trying to finish this album while the economy's fallin
drama be callin like it's palmin and dialin a quarter diamond
behind is a war in a mind of a foreman climate
designed for enormous giant dime proportions...riots
outside the recordin wires fires were scorchin...hydrants
apply to the stores where buyers are hypin and supportin the violence
the morgue is supplying, more over the line stiff brisk overly silent
soldiers and pilots, my eyes to the ceilin
fan's spinning by its limbs, the news is touchin like violins
pluckin by the strings, my enviroment sufferin like me by the pen
trying to find the next line to blend comin with nothin
I'm trying to rhyme again
The lyrics to Slum Village's song "Insane" are full of raw and honest emotion. The first freestyle verse reminisces about the past, where the singer talks about how things used to be different. They used to indulge in sex with women without any reservations, and now they are writing scrolls and pursuing a different life path. The singer speaks of how people used to be high on meditation, and now they are high on conversation. The second freestyle verse talks about current times, where the economy is falling, and drama and violence are rampant. The singer is trying to finish a record amidst all the chaos and turmoil, and the line "trying to find the next line to blend/coming with nothing/I'm trying to rhyme again" speaks of the struggles of trying to create art in difficult times. Overall, the lyrics of the song are a reflection of the times and the struggles that people face as they try to navigate life.
Line by Line Meaning
Yeah, as we click and the furuistic zillionares
We, the members of the hip-hop group Slum Village, feel like we belong in the same league as the futuristic billionaires.
back in the day we used roll up some hoes
In the past, we used to smoke marijuana and have a good time with women.
never thought I'd be writing up a scroll on these halls
I never imagined I would be writing and performing music in this kind of setting or environment.
now a day niggaz be twistin up for the conversation
Today, people smoke marijuana as a social activity.
in my day niggaz was twisted off the meditation
In the past, people would smoke marijuana as a form of meditation or relaxation.
allllll child)in my day niggaz was living off of the plantation
In the past, black people were forced to work on plantations as slaves.
never ever catchin some niggaz with a occupation
Back then, it was uncommon to see black people with jobs.
now a dayz niggaz be fiendin for the masturbation
Today, people are obsessed with sexual gratification.
from a bitch that got a dick with a clit-pulsatin/I say is what I said
People engage in sexual acts with transgender individuals, and this is not a judgment, but a statement of fact.
that's right niggaz be hatin
There are people who dislike me and wish me harm.
just waitin to be catching a fist to the face
These people are looking for a physical altercation with me.
waitin for a nigga to go insane, catch a case
They are waiting for me to lose control and commit a crime.
cause his drink was laced. now check it out..
They hope I will consume spiked drinks and then become violent or out of control.
I'm trying to finish this album while the economy's fallin
I am trying to complete my music project while the economy is in decline.
drama be callin like it's palmin and dialin a quarter diamond
There are various conflicts and issues that are distracting me from my music.
behind is a war in a mind of a foreman climate
I am struggling internally with personal issues and uncertainties.
designed for enormous giant dime proportions...riots
The societal structures in place are meant to favor those who are wealthy, leading to unrest and rebellion.
outside the recordin wires fires were scorchin...hydrants
There are real-world problems and crises occurring outside of my music studio.
apply to the stores where buyers are hypin and supportin the violence
People support violent behavior by purchasing and consuming media and music that glorifies it.
the morgue is supplying, more over the line stiff brisk overly silent
The number of deaths and fatalities is increasing, and it is a somber and depressing situation.
soldiers and pilots, my eyes to the ceilin
The military and aviation industries have my attention and concern.
fan's spinning by its limbs, the news is touchin like violins
The news is overwhelming and affecting me in a deep and emotional way.
pluckin by the strings, my enviroment sufferin like me by the pen
My surroundings and environment are also facing challenges, and I feel these issues deeply and express them through my music.
trying to find the next line to blend comin with nothin
I am struggling to find inspiration and creativity in my current circumstances.
I'm trying to rhyme again
Despite everything, I am still committed to making music and sharing my art with the world.
Contributed by Samuel B. Suggest a correction in the comments below.