Buhloone Mind State

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Weisbard, Eric (1995). "De La Soul". In Weisbard, Eric; Marks, Craig (eds.). Spin Alternative Record Guide. Vintage Books. pp.104–05. ISBN 0-679-75574-8. Mase and Pos may be feel differently, but to me that was an album I didn’t personally enjoy recording. I can’t even say so much the music, I just didn’t enjoy recording at the time. But from what I hear, you know a lot of De La fans feel that is their favourite album. That’s the album feel most comfortable with, so I’m happy to feel to and to know even during the time of disliking or not even feeling comfortable of what I was doing, I still put my best work into it, so it’s cool. Buhloone Mindstate is the third studio album by American Hip Hop group De La Soul, released on September 21, 1993. All that said, just because an album isn’t “happy,” doesn’t mean it isn’t great, and Buhloone Mindstate truthfully ranks in the top three of De La Soul’s albums and is still underappreciated by far too many.

GQ : And of course the remix became almost the definitive Native Tongues record. Like you said, “the posse cut.” DAVE: No, not Paul—Pos actually. Pos had it all mapped out in his head. I don’t think we even got into the studio to do that song for weeks. But he knew exactly what it was gonna be. 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 DeadUnsurprisingly mainstream audiences did not show Buhloone the patience it demands upon its release. It did not go pop; it did not blow up. It fared well critically—four-and-a-half mics in the Source, No. 8 on the Village Voice’s Pazz & Jop critics poll —and was embraced by diehards but was basically dead-on-arrival commercially. It remains a bit of a favorite amongst critics to this day, but isn’t nearly as adored as the more accessible De La albums. When it does get a mention, its inherent and remarkable weirdness is usually brushed over in favor of parroting the basic Won’t Go Pop thesis.

The echoes of Buhloone Mindstate reverberate beyond the confines of its initial release, capturing the essence of an era while simultaneously transcending it. The album's influence is palpable in the tapestry of today's hip-hop landscape, where its experimental spirit lives on in artists who refuse to be bound by genre. The cultural impact of De La Soul's third opus is measured not just in sales or accolades but in the intangible ways it has shaped the dialogue around what hip-hop can be—intellectually rich, musically diverse, and boundlessly creative. As hip-hop continues to evolve as a global force, Buhloone Mindstate stands as a beacon of artistic freedom, a reminder that commercial success and critical acclaim are not mutually exclusive with cultural contribution. Christgau, Robert (2000). "De La Soul: Buhloone Mindstate". Christgau's Consumer Guide: Albums of the '90s. St. Martin's Griffin. ISBN 0-312-24560-2 . Retrieved September 1, 2011.I didn’t like the album because I think we were just a little too creative. And to me, you should never use the phrase ‘too creative’. But I think we took it a little too far. You know I think there was a big influence on us at the time from groups we were hanging out with. Like Tribe and so many others on the Jazz tip. I just felt it went a little to the left or who we were as people and what we were accustomed to at the time. Like some of the songs personally didn’t want to do. “Patti Dooke” [and] “Area Codes” I didn’t want to do. Working with Maceo was amazing. We always considered ourselves students of music, no matter how well known our songs got. To get to work with someone like that who we respected so much, and to hear what he’s gone through in music was a blessing. It was incredibly valuable from a musician’s standpoint to see how a guy like Maceo vibed just like me, Dave and Q-Tip. We saw how masterful they were from an instrumental standpoint, and we ended up getting it all on video, Fred Wesley playing the trumpet, and Maceo on sax, and us, pulling out the pen and writing. Christgau, Robert (March 1, 1994). "Pazz & Jop 1993: Dean's List". The Village Voice . Retrieved June 23, 2020.