Artist.......: De La Soul
Album........: Live at Paleo Festival (Nyon)
Label........: n/a
Genre........: Hip-Hop
Catnr........: n/a
Source.......: DVBS
Rip.date.....: Feb-16-2009
Str.date.....: Jul-2*-2002
Quality......: VBR/44,1Hz/Joint-Stereo
Url..........: www.myspace.com/delasoul
track title time
Live at Paleo Festival (Nyon)
01. De La Soul - Amphitheater
02. De La Soul - Buddy
03. De La Soul - Plugtunin
04. De La Soul - Potholes
05. De La Soul - Ring Ring
06. De La Soul - Stakes is High
07. De La Soul - Bizness
08. De La Soul - Thrue your city
09. De La Soul - Saturday
10. De La Soul - Eye Know
11. De La Soul - Me Myself & I
12. De La Soul - You can do life
13. De La Soul - I, Am I be simply
14. De La Soul - OOOH
15. De La Soul - All good
16. De La Soul - I see Y, all
17. De La Soul - Declarations
18. De La Soul - Bus dat shit
19. De La Soul - Shwing
20. De La Soul - Baby Phat
Runtime 66:46 min
Size 83,10 MB
Release Notes:
Recorded : February 14, 2009 (CAP24)
Performed : July 2*, 2002 (Nyon / Swiss)
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 -- Posdnuos (born Kelvin
Mercer, August 17, 1969), Trugoy the Dove (born David Jude
Jolicoeur, September 21, 1968), and Pasemaster Mase (born
Vincent Mason, 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 quickly were
perceived as the leaders of a contingent of New York-based
alternative rappers which 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 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 BeyoncΘ'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 some previously unreleased material.