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| 3 Feet High and Rising | |
|---|---|
| Name | 3 Feet High and Rising |
| Type | studio |
| Artist | De La Soul |
| Released | 1989 |
| Recorded | 1988–1989 |
| Studio | Calliope Studios, Battery Studios, Unique Recording Studios |
| Genre | Hip hop, alternative hip hop, jazz rap |
| Length | 46:17 |
| Label | Tommy Boy, Warner Bros. |
| Producer | Prince Paul, De La Soul |
3 Feet High and Rising
3 Feet High and Rising is the debut studio album by the American hip hop trio De La Soul. Released in 1989, the album introduced a collage-based production aesthetic that influenced artists across East Coast hip hop, West Coast hip hop, alternative hip hop, and jazz rap. It was produced primarily by Prince Paul (record producer) and featured samples and guest appearances that connected to artists such as Public Enemy, A Tribe Called Quest, Jungle Brothers, and institutions like Tommy Boy Records and Warner Bros. Records.
Recorded between 1988 and 1989, the sessions took place in New York studios including Calliope Studios (New York City), Battery Studios (New York), and Unique Recording Studios. De La Soul — members Posdnuos, Trugoy the Dove, and Maseo — drew inspiration from underground movements tied to the Native Tongues collective alongside contemporaries Queen Latifah, Monie Love, Black Sheep (group), and Monica Payne. Production was led by Prince Paul (record producer), who had previously worked with acts like Stetsasonic and Chubb Rock. The group’s atmosphere during recording echoed influences from labels and artists such as Sugar Hill Records, Def Jam Recordings, N.W.A, Public Enemy, and producers including Rick Rubin, Bomb Squad, and DJ Premier.
The album’s composition blends samples from Steely Dan, Sly and the Family Stone, The Turtles, Curtis Mayfield, and The Beatles-era catalogs with horn lines reminiscent of Miles Davis, Herbie Hancock, and Roy Ayers. Lyrics referenced cultural figures and institutions such as Muhammad Ali, Richard Pryor, Garry Shandling, Saturday Night Live, David Letterman, and MTV. The musical style merged elements associated with New York City hip hop, Philadelphia soul sampling, and the jazz-informed approaches of A Tribe Called Quest and Gang Starr. Prince Paul’s production used collage techniques similar to cut-and-paste practices by Grandmaster Flash, DJ Kool Herc, and Afrika Bambaataa while integrating skits and interstitials that evoked the radio staging of Howard Stern and the comedic timing of The Three Stooges.
Released by Tommy Boy Records in 1989 and distributed by Warner Bros. Records, the album was promoted through singles, music videos, and touring with groups including Public Enemy, A Tribe Called Quest, and Queen Latifah. Singles like "Me Myself and I" received airplay on MTV, BET, and college radio stations associated with the College Music Journal. Promotional strategies involved remixes by producers connected to Shep Pettibone, Steely Dan engineers, and deejay edits referencing the remix culture pioneered by Jamaica sound system DJs and Tom Moulton. Management and publicity teams coordinated appearances on programs such as The Arsenio Hall Show and interviews with publications like Rolling Stone, The Source, and Vibe (magazine).
Upon release, critics from outlets like Rolling Stone, The Village Voice, NME, and Spin (magazine) praised the album’s inventiveness; it later appeared on critics’ lists compiled by Pitchfork, Time (magazine), and the Rock and Roll Hall of Fame–adjacent discussions. The album influenced subsequent artists including Beastie Boys, Outkast, Kendrick Lamar, Kanye West, Erykah Badu, Mos Def, Talib Kweli, The Roots, Common (rapper), Deerhunter, Madlib, and Flying Lotus. It played a role in shaping alternative hip hop aesthetics alongside records by Eric B. & Rakim, Run-DMC, Public Enemy, and N.W.A. The album’s use of sampling also contributed to legal precedents affecting cases involving Biz Markie, The Turtles (band), George Harrison, and later disputes adjudicated in forums involving United States Supreme Court–adjacent intellectual property discussions.
1. "Intro" 2. "The Magic Number" 3. "Change in Speak" 4. "Eye Know" 5. "Stop That Train" 6. "3 Feet High and Rising (Reprise)" 7. "Itzsoweezee (HOT)" 8. "Can't Keep My Mind Off You" 9. "Jenifa Taught Me (Derwin's Revenge)" 10. "Say No Go" 11. "Take It Off" 12. "Potholes in My Lawn" 13. "Plug Tunin' (Last Chance to Comprehend)" 14. "Knick Knack Patty Wack" 15. "Ghetto Thang" 16. "Rollin'" 17. "Transmitting Live from Mars" 18. "A Little Bit of Soap" (Note: track sequencing varies across editions and reissues released by Tommy Boy Records and Warner Bros. Records).
Primary artists: De La Soul members Posdnuos, Trugoy the Dove, Maseo. Production: Prince Paul (record producer) with executive oversight by Tommy Boy Records executives including Tom Silverman. Guest contributors and collaborators across sessions included members of the Native Tongues collective such as Q-Tip, Phife Dawg, Ali Shaheed Muhammad, and appearances linked to DJs like DJ Jazzy Jeff, Cut Chemist, and DJ Shadow. Engineers and mixers worked in tandem with studio personnel tied to Unique Recording Studios and mastering specialists who had credits on releases by Madonna, Depeche Mode, and Janet Jackson.
The album achieved platinum certification under standards administered in the United States and charted on the Billboard 200 and Billboard Top R&B/Hip-Hop Albums charts. Singles such as "Me Myself and I" and "The Magic Number" charted on Billboard Hot 100 and received substantial college and commercial radio rotation, contributing to tours across the United States, United Kingdom, Europe, and festivals where acts like Public Enemy, Beastie Boys, and Red Hot Chili Peppers also performed. The commercial success helped elevate Tommy Boy Records within the late 1980s and early 1990s independent-label landscape.
Category:1989 albums Category:De La Soul albums Category:Tommy Boy Records albums