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3 Feet High and Rising

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In 2011, 3 Feet High and Rising was among 25 albums chosen as additions to the Library of Congress' 2010 National Recording Registry for being cultural and aesthetical and also for its historical impact. [46] Macy Gray felt it was "the best record of the past 15 years" in a Q magazine, describing De La Soul as "like the Beatles of hip hop." [45] The Village Voice, meanwhile, described 3 Feet High and Rising as "the Sgt. Pepper of hip hop". [ citation needed] Feet High and Rising emerged fully formed, offering a world as richly imagined as anything American pop has ever produced. Just as hip-hop was firmly establishing itself as the most avant of pop’s garde, the best of their peers—from smooth operator Big Daddy Kane to Blastmaster KRS-One to Living Colour’s Vernon Reid—showed up at their release party to salute their achievement. Even KRS, who had just dropped what would come to be recognized as one of the best albums in hip-hop history, said it couldn’t compare what De La Soul had just made. While huddled in Los Angeles to finish their own sample-heavy Paul’s Boutique, the Beastie Boys reportedly listened to 3 Feet High, despaired, and briefly considered starting all over again. Rabin, Nathan (March 29, 2002). "Prince Paul: Prince Among Thieves". The A.V. Club . Retrieved July 22, 2021.

Feet High and Rising received widespread critical acclaim upon its release. "An inevitable development in the class history of rap, [De La Soul is] new wave to Public Enemy's punk", wrote Robert Christgau of the album in his 1989 "Consumer Guide" column for The Village Voice. "Their music is maddeningly disjunct, and a few of the 24-cuts-in-67-minutes (too long for vinyl) are self-indulgent, arch. But their music is also radically unlike any rap you or anybody else has ever heard— inspirations include the Jarmels and a learn-it-yourself French record. And for all their kiddie consciousness, junk-culture arcana, and suburban in-jokes, they're in the new tradition— you can dance to them, which counts for plenty when disjunction is your problem." [28] Rolling Stone magazine's Michael Azerrad called 3 Feet High and Rising "(o)ne of the most original rap records ever to come down the pike", and described it as an "inventive, playful" record which "stands staid rap conventions on their def ear." [14] When The Village Voice held its annual Pazz & Jop critics' poll for 1989, 3 Feet High and Rising was ranked at number one, outdistancing its nearest opponent ( Neil Young's Freedom) by 21 votes and 260 points. [29] Rappers Posdnuos and Trugoy the Dove talked about anything they wanted (up to and including body odor), playing fast and loose on the mic like Biz Markie. Thinly disguised under a layer of humor, their lyrical themes ranged from true love ("Eye Know") to the destructive power of drugs ("Say No Go") to Daisy Age philosophy ("Tread Water") to sex ("Buddy"). Prince Paul (from Stetsasonic) and DJ Pasemaster Mase led the way on the production end, with dozens of samples from all sorts of left-field artists -- including Johnny Cash, the Mad Lads, Steely Dan, Public Enemy, Hall & Oates, and the Turtles.Psychedelic, undeniably funky and underpinned by elements of Afro-futurism, De La Soul's landmark 1989 debut LP 3 Feet High and Rising is a defining album of 80s rap, marking the espousal of the 'Daisy Age' spirit which permeated hip-hop at the turn of the 90s. The album was a critical and commercial success. It is consistently placed on lists of the greatest albums of all time by noted critics and publications, with Robert Christgau calling it "unlike any rap album you or anybody else has ever heard". [4] In 1998, it was selected as one of The Source 's "100 Best Rap Albums" [5] and in 2020 was ranked 103 on Rolling Stone's 500 Greatest Albums of All Time list. [6] It was selected by the Library of Congress as a 2010 addition to the National Recording Registry, which selects recordings annually that are “culturally, historically, or aesthetically significant”. [7] As of 2023, it is the only De La Soul album to be certified platinum by the RIAA. [8] Engineer [Recording Engineer] – Bob "The Amazing" Coulter*, Chris Irwin, Dan "Bust A Harmony" Miller*, Sue "In The House" Fisher* Along with their Native Tongues peers, they were as generative as sunshine, spawning fertile new scenes around the world, including LA’s True School, the Bay Area’s indie underground, Atlanta’s Dungeon Family, Detroit’s network of Dilla and his acolytes, and subsequent generations of self-identified indie rappers, including Mos Def, Talib Kweli, and Common. More broadly, 3 Feet High and Rising helped secure a new alignment of hardcore street heads with an emerging global audience of fans, the foundation of the soon-to-be-named “hip-hop nation.” Thirty years later, it remains one most influential records of the storied class of 1988-89. A term coined by the NYC rap group themselves, The 'Daisy Age' stood for “Da Inner Sound, Y’all", serving as a a catch-all banner under which any colourful and non-conforming hip-hop groups with conscious, positive minded lyrics could get behind.

Released amid the 1989 boom in gangsta rap, which gravitated towards hardcore, confrontational, violent lyrics, De La Soul's uniquely positive style made them an oddity beginning with the first single, “Me, Myself and I.” Their positivity meant many observers labeled them a “hippie” group, based on their declaration of the “D.A.I.S.Y. Age” (Da. Inner. Soul. Yall). Sampling artists as diverse as Hall & Oates, Steely Dan and The Turtles, 3 Feet High and Rising is often viewed as the stylistic beginning of 1990s alternative hip hop (and especially jazz rap). 3 Feet High & Rising was chosen by the Library of Congress to be added to the National Recording Registry for its cultural significance and general excellence.

Spanishcharts.com – De La Soul – 3 Feet High and Rising". Hung Medien. Retrieved November 15, 2021. Released amid the late-1980s boom in gangsta rap, which gravitated towards hardcore, confrontational, violent lyrics, 3 Feet High and Rising stood out from this trend by showcasing De La Soul's more positive style. [10] The mirth and intelligence of De La Soul's self-presentation led many observers to label them a " hippie" group; however, this characterization was disputed by De La Soul themselves. [11] On the album, De La Soul sought to explicitly distance themselves from gangsta rap by "lampoon[ing] emerging tropes" such as the growing materialism within the genre. [12] Their lyrics are instead characterized by a variety of "bizarre and surreal" choices of subject matter, such as dandruff, gardening metaphors, and " Dr. Dolittle-esque interactions with animals". [13] a b Christgau, Robert (March 28, 1989). "Consumer Guide". The Village Voice . Retrieved November 9, 2015.

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