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.
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?
I recall they had their own (rather beat-up looking) AKAI S900 sampler (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.
http://blog.kexp.org/delasoul/
> On Friday, August 26th, KEXP will dedicate 12 hours to celebrating De La Soul‘s classic 1989 debut album 3 Feet High and Rising.
> Starting at 6:00 AM, KEXP DJs will play every song sampled on the album, as well as all album tracks, rarities, b-sides, and interviews.
You might be interested in contacting the station!
"3ft High and Rising" is timeless though and still sounds good today
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.
http://every-day-i-write-the-blog.blogspot.com/2011/05/bob-d...
"Yeah, it's fine, you can use 5 seconds of my song, but only if you sell your song on vinyl, CD or audiotape."
Either way, the music industry needs to die and then be reborn in several years when the existing players are all out of business.
You would kill off the current players only to find yourself trapped by an even worse set of overlords.
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...
