As stated by Maseo, "the stereotype and the stigmatism [...] was put on us with the hippy concept when D.A.I.S.Y. just was an acronym for Da Inna Sound." Hernandez, Victoria (May 11, 2016). "De La Soul Reflects On Da Inna Sound For 25th Anniversary Of "De La Soul Is Dead" ". HipHopDX . Retrieved September 27, 2023. The album sounded like a hip-hop version of the novelist Dos Passos’ America, crowded with voices, rhythms, rhymes, and the wit, joy, and pain of becoming aware of one’s power to change the world. And De La Soul felt like the closest hip-hop equivalent to Parliament and Funkadelic: high-concept, hilariously genuine, generously human. Ultratop.be – De La Soul – 3 Feet High and Rising" (in French). Hung Medien. Retrieved March 26, 2023. a b c Azerrad, Michael (March 23, 1989). "3 Feet High And Rising". Rolling Stone. Archived from the original on April 14, 2022 . Retrieved June 13, 2012.

Greatest Albums of All Time: 3 Feet High and Rising – De La Soul". Rolling Stone. December 11, 2003. Archived from the original on December 20, 2010 . Retrieved July 27, 2022.The 500 Greatest Albums of All Time". Rolling Stone. September 22, 2020 . Retrieved August 4, 2021. 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. a b Ayiku, Vernon (March 7, 2023). "De La Soul's Albums Ranked from Worst to Best". Exclaim! . Retrieved March 9, 2023.

Feet High and Rising is the debut studio album by hip hop trio De La Soul and was released on March 3, 1989. It marked the first of three full- length collaborations with producer Prince Paul, which would become the critical and commercial peak of both parties. Critically, as well as commercially, the album was a success. It contains the singles, “Me Myself and I”, “The Magic Number”, “Buddy”, and “Eye Know”.

Safe & Secure

Chang, Jeff (September 23, 2018). "De La Soul: 3 Feet High and Rising". Pitchfork . Retrieved September 23, 2018. Playboy Feb. 1989". Robert Christgau. Archived from the original on 3 July 2011 . Retrieved 2011-08-16. Feet High and Rising is the debut studio album by American hip hop trio De La Soul. It was released on March 3, 1989, by Tommy Boy. It marked the first of three full-length collaborations with producer Prince Paul, which would become the critical and commercial peak of both parties. Critically, as well as commercially, the album was a success. It contains the singles, Me Myself and I, The Magic Number, Buddy, and Eye Know. The album title came from the Johnny Cash song Five Feet High and Rising.

a b "The Art of the Album Cover: De La Soul's 3 Feet High and Rising by Toby Mott + the Grey Organisation". hypergallery.blogspot.co.uk. Archived from the original on 2013-05-29 . Retrieved 2012-12-04. Spanishcharts.com – De La Soul – 3 Feet High and Rising". Hung Medien. Retrieved November 15, 2021. 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. 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.

Companies, etc.

Lydia Slater (9 September 2010). "Toby Mott, from the punk of Pimlico to power player". Evening Standard. Rabin, Nathan (March 29, 2002). "Prince Paul: Prince Among Thieves". The A.V. Club . Retrieved July 22, 2021. Weisbard, Eric (1995). "De La Soul". In Weisbard, Eric; Marks, Craig (eds.). Spin Alternative Record Guide. Vintage Books. pp.104–105. ISBN 0-679-75574-8. Selected items are only available for delivery via the Royal Mail 48® service and other items are available for delivery using this service for a charge.

Setaro, Shawn (2023-02-09). "Here's How De La Soul Cleared The Samples For Their Classic Catalog's Streaming Debut". OkayPlayer . Retrieved 2023-03-09. An NPR retrospective, published in 2023, stated that 3 Feet High and Rising "reshaped the public imagination of what hip-hop could be", and that it "still sounds wondrous and weird" in the musical landscape of the 2020s. [11] In 2006, Q magazine placed the album at No. 20 in its list of "40 Best Albums of the '80s". [42] In 2012, Slant Magazine listed the album at No. 9 on its list of "Best Albums of the 1980s". [43] Spex listed 3 Feet High and Rising at No. 5 on its list of the Top 100 Albums of the Century. [ citation needed] The album has also been ranked as among the top albums of 1989 by publications including Rolling Stone, The Face, Record Mirror, Sounds, OOR, and Melody Maker. [ citation needed]Riordan, John (2020). "De La Soul". Music's Cult Artists. Ryland Peters & Small. ISBN 9781912983391. The album features a recurring lyrical motif of the "D.A.I.S.Y. Age", an acronym that stands for "Da Inner Sound, Y'all". [18] This concept also inspired the design of the album cover, as Mott describes in his essay "Hip Hop in The Daisy Age": Source Magazine's 100 Best Albums". Raquenel.com. Archived from the original on 2011-07-24 . Retrieved 2011-08-16. 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]