6 ms·

De La Soul’s Legacy Is Trapped in Digital Limbo

128 points by _9MOTHER9HORSE 10y ago

kasey_junk 10y ago
What do you know about music hamster penis?
tjl 10y ago
I downloaded their albums when they gave them away. Some of the tracks are truly excellent.
- simplexion 10y ago
  I loved how they were just zips of files downloaded from a torrent. They didn't even rip them themselves!
empressplay 10y ago
uh? https://archive.org/search.php?query=creator%3A%22De+La+Soul%22 https://archive.org/search.php?query=creator%3A%22De+La+Soul...
- bhrgunatha 10y ago
  There are 2 audio files in that list. Looks like the rest is artwork.
jasonkostempski 10y ago
legal limbo maybe. the digits are just fine, out in the wild where they happily roam free.
acomjean 10y ago
Funny how you never forget when a band blows you off. Even so many years ago. I just started working with the Umass student group that put on concerts on campus (UPC). I did stage crew and security. The 1991 spring concert was the big one, an all day affair, with a purchased stage students put together. Del La Soul didn't show. Bob Dylan showed (Mr. Dylan as he liked to be called), had to go on early. He was not to happy about it. Other bands in the 1990s that showed up to the spring concert, phish, beastie boys, mighty mighty bostones, wailers (without Marley obviously), voilent femmes.... Odd that these events were pulled together without cell-phones and the internet. There is hardly any online info on those concerts. Life before youtube.. The lineup 1991 lineup (thanks google): Chucklehead, Gene Loves Jezebel, The Feelies, De La Soul, Bob Dylan.
- PlugTunin 10y ago
  According to the below article, in the late 80s, De La opened for Bob Dylan in Amherst, MA (Pretty sure the date is wrong and it's referring to the show you speak of, as I have trouble believing DLS opened for Dylan as early as '89). Anyway, the article suggests the reason they were a no show was because they had some, ahem, car troubles along the way. It's possible this story isn't true; if it was, I guess you would have known at the time: http://every-day-i-write-the-blog.blogspot.com/2011/05/bob-dylan-lay-lady-lay.html http://every-day-i-write-the-blog.blogspot.com/2011/05/bob-d...
- 8ig8 10y ago
  I was at the '92 Spring Fling. Incredible line up.
elchief 10y ago
If you haven't heard "3 Feet High and Rising", you're really missing out. It's one of the best ever made. Was the first album I ever bought (on cassette!).
- fiftyacorn 10y ago
  It was my second after Ton Loc's "Loc'ed after dark". "3ft High and Rising" is timeless though and still sounds good today
  - elchief 10y ago
    The Funky Cold Medina one? Olllllld school...
    - fiftyacorn 10y ago
      yeah the funky cold medina one
- david-given 10y ago
  Whole thing's on Youtube. Currently three tracks in and it's great so far.
- nickysielicki 10y ago
  Stakes is High ends with Pony Ride, Stakes is High, and Sunshine. Put that together with Itzsoweezee, Dinninit, Supa Emcees, Brakes... I think it's their best album.
danbmil99 10y ago
I worked on 3 feet high and rising as a sound engineer. They were a total riot, I had absolutely no clue they would go on to such renown. All the records they sampled had their labels blacked out with marker. I freaked them out a bit by recognizing Hall and Oates and Steely Dan samples. I don't know anything about the clearance problems, but it's true that this was one of the first records that used samples so extensively as the core basis of the tracks. A bit later I worked on Queen Latifah's "All hail the Queen", which also used samples liberally. I never heard of any problems with that record but perhaps Tommy Boy were more careful with the clearance legalities by then.
- l33tbro 10y ago
  Wow! Have you written about this experience in the past? I'm sure a lot of people would be fascinated to hear what engineering that project was like. I'll start: 1. Was it SP1200s or S900s that were used? 2. How did a typical composition come to be? 3. How did all the horseplay come into being an integral part of the album? Did the quiz show thing just happen, or was it planned from the start?
  - danbmil99 10y ago
    First I should caution this was obviously a long time ago, and my memory could be suspect. I did maybe 4 sessions, lasting several (6-10) hours each, starting late and extending to morning. These were among maybe 500 sessions I did with various artists during the years 1987-1990 at that studio and others. I recall they had their own (rather beat-up looking) AKAI S900 sampler (http://www.vintagesynth.com/akai/s900.php http://www.vintagesynth.com/akai/s900.php), and a box of 3.5" floppies with samples and S900 programs on them. We also did create some new samples, usually layered over existing tracks. I don't think I was present for any fresh tracks that weren't already in production. Mase (as he was always called) did have a turntable set up, and he would play along DJ style with the tracks, but when it came time to lay down a track with the new sample, they would record him on the S900, then fiddle with the program to get it to sync just right with the existing rhythms. I don't recall them using any sort of sequencer or drum machine, so I suspect someone (it could have been me, someone in the group, or Prince Paul) must have manually pressed the play button on the S900, or alternatively we may have set it up to trigger off a MIDI keyboard. As for the horseplay, there was a lot of it whether the mics were hot or not. Their work style was to say the least very informal and spontaneous. I think we did some vocals where they were all in the booth around a single mic, with one member (I mostly remember recording Pos) nominally doing his vocal track, but with "inspiration" from the others, which often seemed intended to make the vocalist trip up, after which hilarity would ensue. I vaguely recall Pos eventually getting irate, making comments such as "damn this shit costs money" and "shit I gotta finish this take for real" etc. One strong recollection I have is a woman who worked for the label (Tommy Boy Records) during at least one session calling repeatedly to ask "Are they in the fucking bathroom again?" or to say "Tell Pos this is the last session we're paying for before the mix!" and then demanding I get Pos or Paul on the phone. As stated before, I was not expecting this particular group or these sessions to end up having such a legacy. As an engineer, you see so many artists come and go that you start to get a bit hardened, learning not to get too emotionally invested in any one act, as the odds of lasting success are so low.
danbmil99 10y ago
I worked on 3 feet high and rising as a sound engineer. They were a total riot, I had absolutely no clue they would go on to such renown. All the records they sampled had their labels blacked out with marker. I freaked them out a bit by recognizing Hall and Oates and Steely Dan samples. I don't know anything about the clearance problems, but it's true that this was one of the first records that used samples so extensively as the core basis of the tracks. A bit later I worked on Queen Latifah's "All hail the Queen", which also used samples liberally. I never heard of any problems with that record but perhaps Tommy Boy were more careful with the clearance legalities by then.
posterboy 10y ago
They are still doing shows, the title is bullshit.
WeaselNo7 10y ago
Your username... inspired by the epic Reddit story adventure, or are you the author?
Intermernet 10y ago
If you haven't heard much De La Soul, then you may be interested in the 20th anniversary mix that Wax Poetics magazine and DJ Chris Read did recently for the album "Stakes Is High"[1]. As far as I know it's legal, and it gives a great introduction to the group's style (It's also my favorite De La album!). [1]: https://soundcloud.com/wax-poetics/de-la-soul-stakes-is-high-20th-anniversary-mixtape-mixed-by-chris-read https://soundcloud.com/wax-poetics/de-la-soul-stakes-is-high...
pavel_lishin 10y ago
It sounds incredibly strange that you can license samples of your music to be used in other artists' works - but only in specific media. "Yeah, it's fine, you can use 5 seconds of my song, but only if you sell your song on vinyl, CD or audiotape."
- JustSomeNobody 10y ago
  Is it that or are they saying that because the original license was written before this new form of distribution existed, you don't have a license for it? Either way, the music industry needs to die and then be reborn in several years when the existing players are all out of business.
  - jandrese 10y ago
    It's not like the copyright provisions would be any better if they were written today. The only reason we have a public domain, time limited copyright, or even public library system today is because they're grandfathered in from a time before our current copyright maximalism. You would kill off the current players only to find yourself trapped by an even worse set of overlords.

128 points by _9MOTHER9HORSE 10y ago

kasey_junk 10y ago

What do you know about music hamster penis?

tjl 10y ago

I downloaded their albums when they gave them away. Some of the tracks are truly excellent.

simplexion 10y ago
I loved how they were just zips of files downloaded from a torrent. They didn't even rip them themselves!

empressplay 10y ago

uh? https://archive.org/search.php?query=creator%3A%22De+La+Soul%22 https://archive.org/search.php?query=creator%3A%22De+La+Soul...

bhrgunatha 10y ago
There are 2 audio files in that list. Looks like the rest is artwork.

jasonkostempski 10y ago

legal limbo maybe. the digits are just fine, out in the wild where they happily roam free.

acomjean 10y ago

Funny how you never forget when a band blows you off. Even so many years ago. I just started working with the Umass student group that put on concerts on campus (UPC). I did stage crew and security. The 1991 spring concert was the big one, an all day affair, with a purchased stage students put together. Del La Soul didn't show. Bob Dylan showed (Mr. Dylan as he liked to be called), had to go on early. He was not to happy about it. Other bands in the 1990s that showed up to the spring concert, phish, beastie boys, mighty mighty bostones, wailers (without Marley obviously), voilent femmes.... Odd that these events were pulled together without cell-phones and the internet. There is hardly any online info on those concerts. Life before youtube.. The lineup 1991 lineup (thanks google): Chucklehead, Gene Loves Jezebel, The Feelies, De La Soul, Bob Dylan.

PlugTunin 10y ago
According to the below article, in the late 80s, De La opened for Bob Dylan in Amherst, MA (Pretty sure the date is wrong and it's referring to the show you speak of, as I have trouble believing DLS opened for Dylan as early as '89). Anyway, the article suggests the reason they were a no show was because they had some, ahem, car troubles along the way. It's possible this story isn't true; if it was, I guess you would have known at the time: http://every-day-i-write-the-blog.blogspot.com/2011/05/bob-dylan-lay-lady-lay.html http://every-day-i-write-the-blog.blogspot.com/2011/05/bob-d...
8ig8 10y ago
I was at the '92 Spring Fling. Incredible line up.

elchief 10y ago

If you haven't heard "3 Feet High and Rising", you're really missing out. It's one of the best ever made. Was the first album I ever bought (on cassette!).

fiftyacorn 10y ago
It was my second after Ton Loc's "Loc'ed after dark". "3ft High and Rising" is timeless though and still sounds good today
- elchief 10y ago
  The Funky Cold Medina one? Olllllld school...
  - fiftyacorn 10y ago
    yeah the funky cold medina one
david-given 10y ago
Whole thing's on Youtube. Currently three tracks in and it's great so far.
nickysielicki 10y ago
Stakes is High ends with Pony Ride, Stakes is High, and Sunshine. Put that together with Itzsoweezee, Dinninit, Supa Emcees, Brakes... I think it's their best album.

danbmil99 10y ago

I worked on 3 feet high and rising as a sound engineer. They were a total riot, I had absolutely no clue they would go on to such renown. All the records they sampled had their labels blacked out with marker. I freaked them out a bit by recognizing Hall and Oates and Steely Dan samples. I don't know anything about the clearance problems, but it's true that this was one of the first records that used samples so extensively as the core basis of the tracks. A bit later I worked on Queen Latifah's "All hail the Queen", which also used samples liberally. I never heard of any problems with that record but perhaps Tommy Boy were more careful with the clearance legalities by then.

l33tbro 10y ago
Wow! Have you written about this experience in the past? I'm sure a lot of people would be fascinated to hear what engineering that project was like. I'll start: 1. Was it SP1200s or S900s that were used? 2. How did a typical composition come to be? 3. How did all the horseplay come into being an integral part of the album? Did the quiz show thing just happen, or was it planned from the start?
- danbmil99 10y ago
  First I should caution this was obviously a long time ago, and my memory could be suspect. I did maybe 4 sessions, lasting several (6-10) hours each, starting late and extending to morning. These were among maybe 500 sessions I did with various artists during the years 1987-1990 at that studio and others. I recall they had their own (rather beat-up looking) AKAI S900 sampler (http://www.vintagesynth.com/akai/s900.php http://www.vintagesynth.com/akai/s900.php), and a box of 3.5" floppies with samples and S900 programs on them. We also did create some new samples, usually layered over existing tracks. I don't think I was present for any fresh tracks that weren't already in production. Mase (as he was always called) did have a turntable set up, and he would play along DJ style with the tracks, but when it came time to lay down a track with the new sample, they would record him on the S900, then fiddle with the program to get it to sync just right with the existing rhythms. I don't recall them using any sort of sequencer or drum machine, so I suspect someone (it could have been me, someone in the group, or Prince Paul) must have manually pressed the play button on the S900, or alternatively we may have set it up to trigger off a MIDI keyboard. As for the horseplay, there was a lot of it whether the mics were hot or not. Their work style was to say the least very informal and spontaneous. I think we did some vocals where they were all in the booth around a single mic, with one member (I mostly remember recording Pos) nominally doing his vocal track, but with "inspiration" from the others, which often seemed intended to make the vocalist trip up, after which hilarity would ensue. I vaguely recall Pos eventually getting irate, making comments such as "damn this shit costs money" and "shit I gotta finish this take for real" etc. One strong recollection I have is a woman who worked for the label (Tommy Boy Records) during at least one session calling repeatedly to ask "Are they in the fucking bathroom again?" or to say "Tell Pos this is the last session we're paying for before the mix!" and then demanding I get Pos or Paul on the phone. As stated before, I was not expecting this particular group or these sessions to end up having such a legacy. As an engineer, you see so many artists come and go that you start to get a bit hardened, learning not to get too emotionally invested in any one act, as the odds of lasting success are so low.

danbmil99 10y ago

posterboy 10y ago

They are still doing shows, the title is bullshit.

WeaselNo7 10y ago

Your username... inspired by the epic Reddit story adventure, or are you the author?

Intermernet 10y ago

If you haven't heard much De La Soul, then you may be interested in the 20th anniversary mix that Wax Poetics magazine and DJ Chris Read did recently for the album "Stakes Is High"[1]. As far as I know it's legal, and it gives a great introduction to the group's style (It's also my favorite De La album!). [1]: https://soundcloud.com/wax-poetics/de-la-soul-stakes-is-high-20th-anniversary-mixtape-mixed-by-chris-read https://soundcloud.com/wax-poetics/de-la-soul-stakes-is-high...

pavel_lishin 10y ago

It sounds incredibly strange that you can license samples of your music to be used in other artists' works - but only in specific media. "Yeah, it's fine, you can use 5 seconds of my song, but only if you sell your song on vinyl, CD or audiotape."

JustSomeNobody 10y ago
Is it that or are they saying that because the original license was written before this new form of distribution existed, you don't have a license for it? Either way, the music industry needs to die and then be reborn in several years when the existing players are all out of business.
- jandrese 10y ago
  It's not like the copyright provisions would be any better if they were written today. The only reason we have a public domain, time limited copyright, or even public library system today is because they're grandfathered in from a time before our current copyright maximalism. You would kill off the current players only to find yourself trapped by an even worse set of overlords.