From the six month span between my Fantastic, Vol. 2 review and this one, Slum Village has been one of my favourite groups to listen to. There's never been a day I haven't played a song from them. And it's been a while since I've focused on them, and now it feels so damn good to review another one of their albums.
SV released their long-awaited debut, Fantastic, Vol. 2, in 2000, featuring some of their most popular songs, whether it was "Fall In Love" or "Players". The album was critically-acclaimed, getting some mainstream and underground recognition, with J Dilla starting to get a lot of shine while T3 & Baatin were praised for their rhymes (although some felt their lyrical content wasn't that good). In early 2001, Dilla released his solo album, Welcome 2 Detroit, which was supposed to be a showcase of Detroit artists like Phat Kat, Frank-N-Dank, Dwele and more. A few months later, Dilla thought it would be a good idea to leave the group to pursue what would be a very successful career.
Instead of becoming a duo after Dilla's departure. T3 & Baatin decided to try and replace him with another third member. After some time of searching, they found a young boy called Jason Powers aka Elzhi. After failing to release his EP, Out of Focus in 1998, El secured a feature on J Dilla's Welcome 2 Detroit on the standout, "Come Get It", gaining little recognition for his contribution. T3 & Baatin were quick to get him, and started working on their album. While the group quietly released their promo compilation, Dirty District, in June, in anticipation for the album; it was when the album's first single, "Tainted" with Dwele, was released, with many fans being shocked about Elzhi being the replacement. Fans were wondering that now that Dilla was gone and replaced by El, they weren't gonna maintain the vibe that made Slum Village what they were in the first place. They were trying to see what Elzhi would bring to the group, and what he's capable of. A week after the single release, Trinity (Past, Present and Future). finally dropped, and those questions were answered.
Trinity was their sophomore album, released mid-August 2002, already being led by the single "Tainted". It was the first time their line-up had changed, and Elzhi was officially the replacement for Dilla. When "Tainted" came out, fans were shocked about El, as they thought with the wonderful production of Dilla, no one could replace him! In fact, for the album, according to T3, it was hard to find the production team, as they found a young Black Milk, Hi-Tek, Waajeed, Karriem Riggins and Scott Storch (oh, and yes, J Dilla provided 3 beats and T3 managed to get on the boards too), which saw a major change in their sound. Not only was that the change for the album, SV signed a new deal with Capitol, still keeping their independence with Barak, and would only release 2 albums with the new deal, becoming independent in 2005.
Although "Tainted" had a lot of success and acclaim, the album actually had a lot of criticism. T3 & Elzhi would later address this in the song "Def Do Us" off their self-titled album in 2005, saying that T3 & Baatin had probably the worst criticism ever with the album, but however, the critics actually liked El. The reaction from fans wasn't any better as they were split between those who welcomed El into the group and those who didn't like him, and felt that Dilla shouldn't have been replaced. As time went by though, El did manage to impress those fans with projects like Witness My Growth, The Preface, and Elmatic (aka Elzhi's remake of the classic Nas album Illmatic), still remaining to be a really underrated rapper in the game. Later on, after the release of this album, however, Baatin would leave, due to health problems, and also suffering from mental illnesses, leaving T3 & Elzhi to continue as a duo, releasing two albums (one in 2004, and another the following year), while 'Tin did his own thing. After receiving a termination letter from 3 & El, getting diagnoses and working as a solo artist, he would later officially reunite with the group in 2008 (although there was a reunion song back in '07, with Black Milk called "Action", but since 'Tin was credited as a solo artist, it was probably an unofficial reunion), but unfortunately, would pass away the following year (RIP).
Honestly, I took a little step backwards. I listened to their next album, Detroit Deli (A Taste of Detroit) before this, but this album has started to have the most replay value out of the two (hell, even Fantastic, Vol 2). But, let's get into it! No rhetorical questions needed, let's go!!!!!!
1. Intro 1
This intro was... great actually. This was just a little something from a choir that would be the melody for a later track on this album.
2. Intro 2
I always wondered why it was even necessary for two freakin' intros. Unless the intro is a necessary set-up to the album, or an actual opening track where the artist sings or raps, one intro is enough. But one should not simply ever have 2 freaking intros. However, "Intro 1" surprisingly is such a great lead up into the real thing, and it's at this point where you realize this ain't no Fantastic, Vol. 3, or a follow-up with Dilla all over it. On this banging beat from Waajeed, T3, Baatin & Elzhi play no games, sharing verses together. Elzhi manages to actually impress me more, although the other two started off very well. The instrumental shows the change in their sound, with a hardcore flow and more instrumentation. I've never been happy to hear such an intro track since the Stakes is High one!
3. Insane
Waajeed provides another instrumental, which is kinda mediocre, compared to the banging beat of the "Intro 2". 'Tin & El both do their thing, with T3 nowhere to be seen. Once again, El comes with another fire verse, and it's easy for him to impress the listener on this one. The overall track gives a dark feeling, especially at the end with the weird and disturbing voices around it. But yeah, on to the next one!
4. What Is This
Haha, it's funny cos that title was my reaction when I first heard it. But damn, is this song smooth! I remember first hearing it in its fullest while in Spain, and I freaking loved it. It's a very funky song, and a young Black Milk produces this, with help from T3 & Young RJ. Anyway, 3, Elzhi & Baatin are all present and they all come with short but snappy ass verses. T3 manages to show me why I even liked him out of everyone in the first place, with a hard verse which sounds too amazing, compared to the other 2 (I'm not discrediting them, their ones just sounded softer than 3's), and it's surprising that Black helped with this song, considering that his later beats would be way better than this and more hard-hitting. Nevertheless, it's a little standout that gets me hyped when listening to the album!
5. Tainted (feat. Dwele)
The first single, which not only properly introduced Elzhi as the replaced third member of Slum Village, but actually introduced Dwele too as a singer (he had some singing features as an underground singer, and was on Welcome 2 Detroit as a bassist). Here, SV talks about tainted love and relationships, and succeed to impress, while an instrumental from Karriem Riggins is provided. T3 starts off with him speaking to a girl about the love they share, with 'Tin changing the song's focus into how there's also tainted love when it comes to the music industry and El bringing it back to the relationship topic. Honestly, I don't know who had the best verse between Baatin & Elzhi. I mean, 'Tin's verse gives me chills, especially when it still relates today. And El's was amazing, but it's like you can tell this was probably the group's first song recorded with El cos he doesn't have as much time as the other two, and was likely to have a very quick verse for many to just see how he's like. Another highlight was the contribution from Dwele; his ad-libs were on point, and his singing at the end was great. This song remains such a standout on the album, and it's a pretty laidback one!
6. La La
The short musical interlude at the end of "Tainted" leads to another standout which is way better than the previous. With DJ Dez "on the Cutz", Waajeed once again provides a fire beat, which is probably one of my favourite beats on the album. T3, Baatin & Elzhi all kill their verses, but it was 'Tin's that impressed me most. He went harder than the others, and just how hardcore and amazing he sounded on this song made me speechless. It's a song that I can play all over and over again! One of my favourites on the album.
7. All-Ta-Ment
T3 gets on the boards to complete the production team for the album, and provides the surprisingly fire beat for once again, another standout! Baatin changes his flow into a deeper and grouchier flow that kinda reminded me of Busta Rhymes, when I first heard it. T3 still keeps his hardcore flow, having the best verse on the album. Elzhi also comes and does a decent verse, but once again, it's a quick one, which leads back to 'Tin, who gives an extra verse. I always liked this song. It's a standout on the album where everyone kills it!
8. Disco
The second single, which, as the title suggests, takes a funky disco approach. Like the previous, T3 produces this one, and along with Elzhi, both spit some killer verses, with Baatin being absent. 3 started off good, but Elzhi really impressed me with his verse, using the Fantastic, Vol. 2 tracklist just to make such a wonderful rap. This would later be remixed by the one and only Timbaland, making a more upbeat and modern beat that would make it easy to get radio airplay. It would come with a guest verse from Timbo's former protege Ms. Jade (where she at nowadays tho?! She was actually hot) and additional vocals from his other protege Raje Shwari. I actually listened to the remix before the album version, but we can all agree that this version washes the remix out the way (although it was actually good). Such a good track!
9. Trinity (Interlude)
On this little song that helps lead into the next one, Baatin, Elzhi & T3 dedicated their verses to each other; El to Baatin, considering that he was the old soul in the group (excluding Dilla), with 3 dedicating his verse to El, and also telling the audience how the group started from when Dilla was in the group to where they was at the time El replaced him. Baatin continues and thanks 3 & El for being part of the group. Black Milk provides another instrumental, which is honestly mediocre, but kinda sounds alright. The interlude's nothing special though.
10. One
The 2-key piano loop at the end of the Trinity interlude leads to this standout, which finally has J Dilla on the boards, like everybody wanted, creating what I'd call one of their most grimiest songs they've ever made. Dilla departs from his funky and laidback sound, and makes a gangsta/hardcore beat for Elzhi, 3 & 'Tin to rhyme over. T3 starts off good, with such a gritty flow that makes everything very interesting. El actually has the second best verse on here, even though he sounds soft, compared to 3 & Baatin. 3 spits another short verse as the beat switches, before handing it over to Baatin, who sounds very furious, saying stuff like "one of these days, I'ma show you what I'm made of/soon as I'm done with these silly little rap scrubs" [that lyric already sounded like 'Tin was already planning on leaving the group anyway! Interesting...] or "I rule a planet of my own where you don't exist". Honestly, I've never heard 'Tin like that before. He was probably in his own planet where he recorded this, cos this sounded freakin' amazing! 1nce again, another one of my favourites!
11. Hoes
J Dilla provides another instrumental, which is more chill and smooth than the previous. Here, with Elzhi being absent, T3 & Baatin reminisce about their girls being hoes. 3 starts off with a soft flow, which explains what he saw his girl doing. Baatin continues by expanding the point, and making the vibe more interesting. But it all gets real, when like "One", the beat switches into something hardcore and a little gritty, where 3 says not only women are hoes, but men are too, but in a more "fake friend" way, such as "selling you a gun when they never even used one" or "trying to have whatever you got". Luckily, Dilla calms us down before the beat takes us too far by having a calm and peaceful instrumental interlude. This is another song which I absolutely like. It's freakin' Dilla, what do you expect? His production on this song was on point, the melody, the good singing during the hook, and of course, the standout verse from T3. This was a substantial song!
12. Star (Interlude)
Just a little skit...
13. Star (feat. Dwele)
Dwele returns for hook duties on ANOTHER favourite (the amount of tracks on here is like a mixtape, so don't be surprised), so does Waajeed for an experimental-like beat. The beat is funky, and remembering hearing it while in Gibraltar makes this song feel better than what it actually is. Everybody does their thing, especially Baatin & Elzhi. It's when the beat slows down is where Tin gets jiggy with it, smoothing everything down, with a verse which is once again out of this world. Probably my #1 favourite on here.
14. Slumber
Hi-Tek also contributes to this album, with a song which shows everyone at their finest. I mean, they came in hard. 'Tin started off great, but Elzhi & T3 both murked this song. It's even better when the beat switches at the end into a electronic vibing instrumental!
15. Let's
The final beat Dilla provides on here, which is fantastic. Only thing was that I never cared for it until a few weeks ago, and damn, is this one hell of a track!!! Dilla uses his electronic influences, and creates a funky and banging beat, which is probably my second favourite Dilla beat on here, and everyone kills it. T3 & Elzhi really REALLY impressed me on this track, and their flows were way on point. The electronic vibe was suiting, and the group came in harder than ever. Another favourite on the album.
16. S.O.U.L.
A smooth song for y'all to rock "forth & back", word to the original song. This is just a song for everyone to get down to, with a concept of getting with a girl. All 3 do well on this, and it's just a song that I can vibe to, and I love it!
17. 80s (Skit)
Meh...
18. Unisex (Interlude)
T3 gets his own solo shot, and uses it to make a short gritty song, with a fire beat that he apparently made (like most critics have said, it does apparently sound like a Neptunes beat, to be honest). His flow is on point with this song, and while it could've been a full song, I still like it, especially when the bridge was where the melody finally was let out. This was great.
19. Love U Hate
Half of this song sees Baatin singing for a while. Yes, I said it, freaking singing; which leaves T3 & Elzhi to go back and forth with killer verses while Ess provides a banging beat. With how the production is like, and how this track was put together, this could've easily been the next single before or after "Disco". It could've been likely to have a remix, and easily would've got radio airplay. Sensational!
20. Get Live
Scott Storch contributes a beat for this song, which I first thought Timbo produced, until I checked the credits. This is just decent, the group gives a very interesting vibe, with a live performance feel, considering the skit at the end of the previous song. And the beat is actually not bad. But yeah, that's all there is to say!
21. Harmony
The song is freaking AMAZING!!!!! We continue where the album left off 20 songs earlier, when the choir sang a melody to introduce the project. And that melody would be used for this standout right here. With a beat provided by Karriem Riggins, 'Tin, T3 & El all come with hardcore verses, and they do not disappoint at all. Baatin started off really well, and sang a very good hook. T3's flow was on point, but Elzhi was amazing, and he came in like it was nothing. And that beat banged out hard! REALLY HARD! Another one of my favourites.
22. Who Are We (Interlude)
It's always the interludes with the fire beats that interest me into saying that they should've been longer. This is a prime example. T3 just chants out a little something to conclude the album, but I wished 3 could've at least let the beat ride out for some time as an instrumental interlude, because I can't really imagine the whole group on it. Once again, according to Wikipedia, 3 even produced this, and it's such a good beat that I was expecting someone else on the boards. This was a great conclusion.
The following is a bonus track:
23. Fall In Love (feat. Sammiyah)
A (still-) unknown singer called Sammiyah does a more mellow and R&B cover of the hardcore "Fall In Love" remix (which was the b-side of the "Raise It Up" single, back in 2000), and it honestly impresses me. It shows she can sing, but like some of these people I always hear about, she didn't push her sound forward enough for her to get signed, cos if she was, this could've been the perfect song to be a debut single. Maybe she could've get a remix from SV themselves or another rapper/group that was popping around that time. But damn, was this good!
Who the hell said SV wouldn't do well without Dilla? That's just some bullshit! Trinity is an album that departs from the soft, spacey and mellow sound that was Fantastic, Vol. 2, and goes to a more hardcore sound that gets straight to the point. It's good that the group switched their style up, it was around the same time Dilla switched up his production, so they were going a similar way. This is an album where you can see the change in them, and how they can still make good music without only 1 producer. The group doesn't use any guest appearances (apart from Dwele), and they still play it off. Not to mention, the album flows extremely well. The way it goes from one track to the next is just... sensational (*Future voice*) that it even feels like a mixtape, with the amount of tracks on here. The production is amazing. T3 actually shows off his production skills on the standouts "All-Ta-Ment" and "Disco"; J Dilla provides the beats for the standouts "One" and "Hoes". And Waajeed is such a star producer, creating experimental-like beats such as "Star" and "Insane". Baatin was amazing on here, and started to sound more furious and angry in his rhymes. Also, it was interesting to hear that even when the album was recorded, he wanted to leave this group anyway and do his own thing. T3 switches his flow from sometimes-blurry (but still amazing) on Vol. 2 to a more louder and hardcore style in his rhymes, which makes him have a lot of best verses here at times. As a matter of fact, he's the one with the best flow out of the 3 (it used to be Dilla, but.. you already know). And why would I forget Elzhi? He was amazing on here, and I was feeling him a lot on here. He would get better with his mixtapes, but this was where he started and he really impressed me on here, especially on "Harmony", "Let's" and "Slumber". Purchase this album! Obviously, Vol. 2 is better and is an instant classic, but Trinity never got the recognition it deserves, mainly cos everybody was like "Where's Dilla". In fact, looking at it now, it kinda makes me happy that he even left. Think about it: maybe if Dilla stayed and SV didn't add El, then Dilla probably wouldn't have pushed his sound forward that much, and would be simply known as "that producer that raps in Slum Village". El wouldn't have got his big break as expected, which would've been likely to cause him not really being in some people's top 5 and have such a loyal fanbase. Trinity is simply an album that wasn't appreciated as much until now. Yeah, it may not be a Fantastic, Vol. 3 or an album with Dilla, or else it'd have very high expectations, considering the classic that Vol. 2 is. It's just a very good album with a lot of replay value.
Recommended Tracks
Star
Hoes
Let's
Harmony
All-Ta-Ment
One
La La
Slumber
Love U Hate
S.O.U.L.
Disco
Tainted
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