De La Soul’s recorded output spans multiple eras of Hip Hop, beginning with their debut, 3 Feet High and Rising. The album’s extensive use of diverse samples, skits, and nontraditional song structures helped establish a new creative direction within the Native Tongues movement. Their early work demonstrated how layered sampling techniques, collaborative studio sessions, and alternative approaches to lyricism could coexist within rap’s broader trends of that time.

During the ‘90s, the group released albums that reflected evolving production methods and shifts in thematic focus. Their projects incorporated live instrumentation, jazz-influenced arrangements, and expanded work with the likes of Prince Paul and J Dilla. These releases documented changes occurring within Hip Hop during the decade, ranging from adjustments in sampling practices to an increased emphasis on cohesive album narratives.

Since then, De La Soul continued to record with artists across multiple genres. This also includes material created with live bands, digital production teams, and longstanding collaborators. Select tracks also experienced renewed exposure through film placements, chart activity, and streaming reissues following the resolution of sample-clearance issues. The songs listed below highlight significant points across De La Soul’s catalog and illustrate how the group sustained activity and visibility over an extended period. RIP Dave.

1. Rock Co.Kane Flow

Featured on The Grind Date, this collaboration with MF DOOM included impressive samples and rapid verse exchanges. The production emphasized sharp drum patterns and vocal stutters. The collaborators would also perform the track on “The Late Show with Carson Daly.”

2. Ring Ring Ring (Ha Ha Hey)

This De La Soul Is Dead standout addressed the large volume of demo submissions the group received following their debut. Built around multiple sampled elements, it became one of their most successful international releases and contributed to the album’s examination of industry pressures.

3. Ego Trippin’ (Part Two)

Included on Buhloone Mindstate, this track used sparse instrumentation and focused on developments shaping early-’90s Hip Hop culture. Its structure featured repeated vocal phrases and minimal sample layers. The recording differs from the group’s earlier, denser productions with a shift toward a more streamlined sound.

4. A Roller Skating Jam Named “Saturdays”

A single from De La Soul Is Dead, the track incorporated disco- and funk-based samples and featured guest vocals from Q-Tip and Vinia Mojica. It functioned as one of the album’s lighter-themed songs and became associated with summertime radio play and dance-oriented programming during its release period.

5. Breakadawn

This lead single from Buhloone Mindstate samples Michael Jackson’s “I Can’t Help It” and Smokey Robinson’s “Quiet Storm.” The track demonstrates the group’s continued use of multi-layered sampling. It contributed to the album’s rollout and maintained visibility for the group during a transitional period in Hip Hop production.

6. Buddy

Appearing on 3 Feet High and Rising, this track included contributions from Jungle Brothers and Q-Tip, making it an early Native Tongues collaboration. The recording showcased the collective’s interconnected creative approach and helped reinforce the presence of alternative rap groups.

7. Oooh

Released on AOI: Bionix, this single featured Redman and was accompanied by a music video that received regular rotation. The track reflected the group’s activity in the early-2000s period and their continued links to both the mainstream and underground.

8. The Magic Number

Opening 3 Feet High and Rising, this track introduced listeners to the group’s sample-heavy production approach. It later experienced renewed attention through its placement in Spider-Man: No Way Home. Following that film’s release, the song saw significant increases in streaming and digital consumption.

9. All Good?

This AOI: Mosaic Thump single featured Chaka Khan on vocals and charted in several international markets. Its lyrical content centered on changing relationships and public perception.

10. Me Myself and I

Included on 3 Feet High and Rising, the song incorporates Funkadelic’s “(Not Just) Knee Deep.” It became one of De La Soul’s most commercially successful singles and helped establish the group’s presence.

11. Stakes Is High

The J Dilla-produced title track of De La’s fourth studio album reflected mid-’90s discussions surrounding commercial changes and creative direction within Hip Hop. Its production contrasted with the group’s earlier sample-heavy work and marked a distinct transition into a more restrained sonic approach.

12. Pain

Released on and the Anonymous Nobody…, this track featured Snoop Dogg and was created using instrumentation recorded by the live band used throughout the album’s sessions, a move that the group would utilize more in later releases.

13. Run It Back!!

Featured on Cabin in the Sky, “Run It Back!!” paired De La Soul with Nas on a track where Posdnuos reflected on the group’s origins and Nas addressed the new generation. The song anchored the group’s first studio effort since the tragic passing of Trugoy the Dove.

14. Jenifa Taught Me (Derwin’s Revenge)

Included on De La Soul Is Dead, the recording extended narrative material established through earlier skits and interludes. It played a role within the album’s broader storyline and contributed to the project’s conceptual structure involving recurring characters and episodic scenes.

15. The Bizness

Appearing on Stakes Is High, this collaboration with Common was a true representation of partnerships among artists associated with alternative rap in the ‘90s. The production reflected the album’s stripped-down aesthetic and aligned with themes introduced throughout the project.