De La Soul
At the time of its 1989 release, De La Soul's debut album, 3 Feet High and Rising, was hailed as the future of hip-hop. With its colorful, neo-psychedelic collage of samples and styles, plus the Long Island trio's low-key, clever rhymes and goofy humor, the album sounded like nothing else in hip-hop. Where most of their contemporaries drew directly from old-school rap, funk, or Public Enemy's dense sonic barrage, De La Soul were gentler and more eclectic, taking in not only funk and soul, but also pop, jazz, reggae, and psychedelia. Though their style initially earned both critical raves and strong sales, De La Soul found it hard to sustain their commercial momentum in the '90s as their alternative rap was sidetracked by the popularity of considerably harder-edged gangsta rap. De La Soul formed while the trio members -- Posdnuos (born Kelvin Mercer, August 17, 1969), Trugoy the Dove (born David Jude Jolicoeur, September 21, 1968), and Pasemaster Mase (born Vincent Lamont Mason, Jr., March 27, 1970) -- were attending high school in the late '80s. The stage names of all of the members derived from in-jokes: Posdnuos was an inversion of Mercer's DJ name, Sound-Sop; Trugoy was an inversion of Jolicoeur's favorite food, yogurt. De La Soul's demo tape, Plug Tunin', came to the attention of Prince Paul, the leader and producer of the New York rap outfit Stetsasonic. Prince Paul played the tape to several colleagues and helped the trio land a contract with Tommy Boy Records. Prince Paul produced De La Soul's debut album, 3 Feet High and Rising, which was released in the spring of 1989. Several critics and observers labeled the group as a neo-hippie band because the record praised peace and love as well as proclaiming the dawning of "the D.A.I.S.Y. age" (Da Inner Sound, Y'all). Though the trio was uncomfortable with the hippie label, there was no denying that the humor and eclecticism presented an alternative to the hardcore rap that dominated hip-hop. De La Soul were quickly perceived as the leaders of a contingent of New York-based alternative rappers that also included A Tribe Called Quest, Queen Latifah, the Jungle Brothers, and Monie Love; all of these artists dubbed themselves the Native Tongues posse. For a while, it looked as if De La Soul and the Native Tongues posse would eclipse hardcore hip-hop in terms of popularity. "Me, Myself and I" became a Top 40 pop hit in the U.S. (number one R&B), while the album reached number 24 (number one R&B) and went gold. At the end of the year, 3 Feet High and Rising topped many best-of-the-year lists, including the Village Voice's. With all of the acclaim came some unwanted attention, most notably in the form of a lawsuit by the Turtles. De La Soul had sampled the Turtles' "You Showed Me" and layered it with a French lesson on a track on 3 Feet High called "Transmitting Live from Mars," without getting the permission of the '60s pop group. The Turtles won the case, and the decision not only had a substantial impact on De La Soul, but on rap in general. Following the suit, all samples had to be legally cleared before an album could be released. Not only did this have the end result of rap reverting back to instrumentation, thereby altering how the artists worked, it also meant that several albums in the pipeline had to be delayed in order for samples to clear. One of those was De La Soul's second album, De La Soul Is Dead. When De La Soul Is Dead was finally released in the spring of 1991, it received decidedly mixed reviews, and its darker, more introspective tone didn't attract as big an audience as its lighter predecessor. The album peaked at number 26 pop on the U.S. charts, number 24 R&B, and spawned only one minor hit, the number 22 R&B single "Ring Ring Ring (Ha Ha Hey)." De La Soul worked hard on their third album, finally releasing the record in late 1993. The result, entitled Buhloone Mindstate, was harder and funkier than either of its predecessors, yet it didn't succumb to gangsta rap. Though it received strong reviews, the album quickly fell off the charts after peaking at number 40, and only "Breakadawn" broke the R&B Top 40. The same fate greeted the trio's fourth album, Stakes Is High. Released in the summer of 1996, the record was well reviewed, yet it didn't find a large audience and quickly disappeared from the charts. Four years later, De La Soul initiated what promised to be a three-album series with the release of Art Official Intelligence: Mosaic Thump; though reviews were mixed, it was greeted warmly by record buyers, debuting in the Top Ten. The second title in the series, AOI: Bionix, even featured a video hit with "Baby Phat," but Tommy Boy and the trio decided to end their relationship soon after. De La Soul subsequently signed their AOI label to Sanctuary Urban (run by Beyoncé's father, Mathew Knowles) and released The Grind Date in October 2004. Two years later the group issued Impossible Mission: TV Series, Pt. 1, a collection of new and previously unreleased material. The group then went on hiatus with only the splinter release De La Soul's Plug 1 & Plug 2 Presents...First Serve released in 2012. A year later, the group created a free download of all their early albums and packaged the set as You're Welcome, though it wasn't available for long thanks to the legal efforts of their former label, Warner Bros. A crowd-funding campaign for a new album was launched in 2015, and after successful funding, the LP And the Anonymous Nobody was self-released in August of 2016. The nearly sample-free album featured the trio's live band and assorted friends playing live instruments, along with a guest list that included Usher, David Byrne, 2 Chainz, and Damon Albarn, among many others. ~ Stephen Thomas Erlewine
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Rap - Released August 26, 2016 | A.O.I., LLC
De La Soul are back in business with an absolute banger. After a couple of years in the wilderness, having to resort to Kickstarter to fund this project, it’s hard to know whether they’re aware of what regular albums sound like, or whether they just don’t care. « And the Anonymous Nobody » is an album with the Midas touch, taking the best sounds around and blending them together into a deliciously fresh cocktail. Funky bass riffs collide with gospel chorus and old skool hip hop on “Pain” (ft Snoop Dogg) and “Snoopies”, while other tracks like “Property of spitkicker.com” and “Memory of … (US)” are far more minimalist, mixing jazz infused chords with sparse bass lyrics. “CBGBS” and “Lord Intended” explore the space between rap and rock and deliver a raucous, expansive sound that’s totally engaging and fulfilling: a crossover we never knew we needed. In a style that’s oddly reminiscent of Gorillaz at their apogee, "And the Anonymous Nobody" feels more like a collaborative mashup that your brilliantly talented friends made, rather than something produced for popular consumption, and it’s great! As if the creative force of De La Soul wasn’t enough, the numerous artists who feature is a real who's who: Jill Scott, Snoop Dogg, Damon Albarn, David Byrne, Little Dragon, 2chainz, Usher, Roc Marciano, Estelle, Pete Rock and even the British singer Justin Hawkins, from The Darkness ! These additions only add to the magic at work here, by bringing their own distinctive styles to an already eclectic mix. As a result this album is brimming with personality, as well as a total disregard for standard practice. Long narrative introductions are followed by funky choruses, tiny rock interjections, honest yet well-delivered lyrics… A veritable musical tour de force, and a lesson in creativity for those seeking originality in a world of mass production. It's one of those albums that keeps on giving, to be savoured time and time again.
Rap - Released October 7, 2014 | Castle Communications
De La Soul were interrupted just before they could deliver the third volume in their AOI series -- projected to be a DJ album -- to Tommy Boy. (The label perhaps bailed out from a 15-year relationship precisely because the group was going to release such a commercially bankrupt title, one that was planned instead to appear on an independent label run by Maseo.) De La Soul quickly realized they couldn't go ahead with the plan after signing their AOI label to Sanctuary, so they wrote a new record, The Grind Date. Although it may see them settling into a holding pattern, at least the pattern of 2001's AOI: Bionix is one that any hip-hop fan won't mind hearing repeated. Better yet, it boasts productions from an excellent cast of figures -- partner in crime Supa Dave West, author of the best tracks on their AOI series, J-Dilla, who's stretching out his patented (read: overdone) sound to embrace classic hip-hop, an only slightly commercialized Madlib, and young phenom 9th Wonder. Madlib gets what must be the first lead single of his career, a bright, antimaterialist tale called "Shopping Bags (She Got From You)" that thumps like a club tune, but lurches as only the Beat Conductor could do it. "Verbal Clap" finds J-Dilla allowing some grit into his productions, and Supa Dave only continues floating the most fluidly catchy productions of any rap producer in action. Meanwhile, De La Soul voices Posdnuos and Dave balance their time breezing easy on bumping message tracks with a few old-school shots that show them a bit defensive about the passing of time. (Check out "Come On Down," a Madlib-produced shot with Flava Flav, or "Days of Our Lives" featuring Common.) Without a concept to tout, The Grind Date doesn't gel like AOI: Bionix, but it does show De La Soul keeping everything together more than 15 years after their debut. After all, you certainly wouldn't see MF Doom guesting on a Tone-Loc record. ~ John Bush
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