Buhloone Mind State

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POS: On that album, “Millie” is one of my favorite records if not the favorite. Just how it came about. It came from a title first. Me, Dave, and I think Mase you was with us? MASE: I wish she, um, maximized on the opportunity, you know? She tapped out early, became a wife, a mom. You know, that changes the trajectory. De La Soul’s third album, Buhloone Mindstate, was released in 1993 as the follow-up to their critically acclaimed sophomore album De La Soul is Dead. It also became their last album to feature production from Prince Paul. The “buhloone mindstate” refers to the concept that their music “might blow up but it won’t go pop.” Musically, Buhloone Mind State raises the stakes; it gets to something rap seldom achieves — a truly gorgeous groove."

We went to Japan and experienced hip-hop that we could not understand one bit, but felt a flow, felt something that made us feel like, 'Wow! These guys are amazing!' " says Trugoy. "Not knowing what they were saying, what they were talking about, but you felt the energy and you felt that they had it." For all the talk of how De La coded their speak in abstract sensibilities, the group has always worn its heart on its sleeve. Pos and Dove have never been shy about expressing their feelings, you just may need to decipher their rhymes to fully appreciate them. And after 3 Feet High and Rising, De La Soul had a lot of animosity towards the major label machine. Buhloone Mindstate was lauded by critics when it came out. Cepeda remembers being impressed. " Buhloone Mindstate proved that they can continue to reinvent themselves," she says. "Especially at that time, it was really difficult to be able to release an album that is really so brutally honest." Bernard, James (October 8, 1993). " Buhloone Mindstate". Entertainment Weekly. No.191. New York . Retrieved June 23, 2020. Johnson, Brett (November 1993). "De La Soul: Buhloone Mindstate". The Source. No.50. New York. p.75 . Retrieved June 13, 2012.

It’s worth noting the self-righteousness in a statement like Pos’, assuming the self-representing idealism they and the rest of the Native Tongues collective exhorted was inherently better, more articulate, than gangsta rap’s depictions of violence and oppression. Whilst the sentiment isn’t as obnoxious as it would become on Stakes is High, it wilfully ignores the politically-conscious heart of gangsta rap and casts Native Tongues’ alternative proposition under a critical eye. Buhloone Mindstate is colourful but complacent, and the removal of hooks takes the possibility of reaching a wider audience (whom De La had reached before, and who would have been forced to consider their arguments) with it. Alternative hip-hop’s influence would only emerge after a further ten years of gangsta rap’s dominance. Weighing their artistic and cultural successes against each other, De La’s settling on Buhloone Mindstate into the role of articulate outsiders is simultaneously laudable and frustratingly short-sighted. I Am I Be (feat. Chip Fu, Dres, Fred Wesley, Maceo Parker, ..., Pee Wee Ellis and Busta Rhymes)|5:03 4.75 - 5

The old saying goes that success is a journey, not a destination. And in that sense, few artists have committed the undertaking of this journey like De La Soul, one of the greatest hip-hop groups of all time, if not the greatest. Bursting onto the scene as fresh-faced and naïve kids living in Long Island, New York, they found success and acceptance in the hip-hop world largely by being their quirky selves. But even being true to yourself on record can be draining, and by Buhloone Mindstate, their third album, released 30 years ago, the successful journey was grinding De La Soul down. POS: It’s like Biggie’s “One More Chance.” The original is not the one. You think of “One More Chance” you think of the remix. “Buddy” is the same. People don't think of the album version, but Mase was just describing the magic rhyming over that Commodores sample [on the album version of “Buddy”]. People don't think of that. They think of the “ Heartbeat” version. De La Soul Is Dead MASE: How do you know when it’s over for you? But we could all clearly see across the pond when it’s over for somebody else. And when you can almost see it’s over for somebody else and you have such a reverence for them, you just want to help. It was a moment of just tryin’ to be there to help and support keeping a legacy alive. Nosnitsky, Andrew (July 24, 2016). "De La Soul: Buhloone Mindstate". Pitchfork . Retrieved July 24, 2016.

Contains tracks

Buhloone isn’t a particularly happy album, and judging from the lyrics, the group didn’t sound like they were in a “good” place when they recorded it. De La were increasingly bitter about their situation with Tommy Boy, troubled by the more “gangsta”-fied direction that hip-hop was moving towards, and increasingly distraught that the Native Tongues collective was possibly collapsing. Now, decades since its release, Buhloone Mindstate maintains a profound relevance, its themes of individuality and authenticity resonating with new generations. In an industry often criticized for commodifying creativity, De La Soul's work is a bulwark against such trends, a testament to the group's vision of hip-hop as an art form, not just a commercial enterprise. The album's anniversary is a moment to reflect on its legacy—a legacy that has not bloated with time but rather has matured, expanding the boundaries of musical innovation and integrity in ways that continue to inspire and influence. For me, “Breakadawn” almost felt like, “Okay, do that. That’s your job right there. You go do that.” I could never appreciate it for what it is—and for what a lot [of people] appreciate it for. At the time, I think I was questioning how I really wanted to be in the game and hip hop and this career. You know? I think a lot of the truth and the realities and the dark demons of the industry were present. And I don't wanna say those demons are some mystical Illuminati shit. It was just like you had to do a lot for the sake of selling this product. Opposed to, “Okay, we’re an artist in an art form and expressing ourselves.” And that's why I've never liked that song. Meanwhile, Dove waxes philosophical about the need to stay positive in an increasingly negative environment, dodging obstacles that present themselves. “I choose to run from the rays of the burning sun,” he raps. “And dodge a needle washing up upon a sandy shore / I bring the element H with the 2 / So ya owe [O] me what’s coming when I’m raining on your new parade.”