15. Me, Myself & I (1989)

“Mirror mirror on the wall / Tell me mirror, what is wrong? / Can it be my De La Clothes / Or is it just my De La Soul?”

“Me, Myself & I” is the song that pushed De La Soul into the mainstream—even if they weren’t thrilled about it. Pressured by their label to deliver a radio-friendly single, the group leaned into irony instead. Over a Parliament sample that bounces with funk, they flipped the assignment on its head and delivered a track that pokes fun at Hip Hop trends, image obsession, and the industry’s demand for conformity. The result is a song that sounds light on the surface but cuts deeper with every line.

The lyrics are dry, funny, and sharply written—rejecting stereotypes without preaching. It’s self-aware without being self-important. De La Soul made it clear, even this early, that they were never going to follow anyone’s formula. “Me, Myself & I” might not be their personal favorite, but it set the tone for a career built on independence and creative control. Decades later, it still plays like a quiet refusal dressed as a hit.

14. Held Down (ft Cee-Lo Green) (2001)

“And when I’m watchin the news, and my daughter walks in / And choose to ask, “Why were all those people on the floor, sleepin, covered in red?” / I told her that they were lookin for God, but found religion instead…” 

“Held Down” is one of those De La Soul tracks that sits with you long after it ends. Built around a smooth, meditative groove, the song delivers clear-headed reflection without turning heavy. Posdnuos moves through each verse with calm precision, urging listeners to stay grounded, question what they’re told, and trust their own direction. There’s no preaching—just steady, honest advice delivered with control and clarity.

Cee-Lo Green’s hook lifts the track with a warm, gospel-leaning touch, adding a spiritual layer that feels earned rather than added-on. His voice circles around the beat like a reminder to hold steady when things get noisy.

Coming from AOI: Bionix—an album that didn’t get the attention it deserved at the time—“Held Down” shows how De La Soul kept evolving without letting go of their core. It’s quiet but confident, thoughtful without being distant. A reminder that being grounded is just as powerful as being loud.

13. Set The Mood (ft Indeed) (2000)

“My Art Is Official while you’re artificial / Break you down to your very last participle / Let me enlighten you, cause your third eye’s on dim / Me gettin taken out is rare like a smile from Rakim” 

“Set the Mood,” from Art Official Intelligence: Mosaic Thump, opens with an instrumental that grabs you right away—warm keys, layered percussion, and a bassline that moves with purpose. It’s smooth, laid-back, and detailed, with just enough bounce to keep your head nodding without pulling focus from the verses. This is De La Soul in full control of their sound—comfortable, confident, and locked in.

Indeed’s guest verse is sharp and self-assured. Her delivery cuts through the beat with a calm intensity, matching the track’s tone without getting swallowed by it. Her bars land clean, and the chemistry with Pos is natural.

Posdnuos, as usual, brings it home with precision. His flow stays steady, his wordplay is tight, and he knows exactly when to lean in or hold back. “Set the Mood” doesn’t overreach—it knows what it’s doing and does it well. It’s a deep cut with a lasting groove and a clear voice.

12. Verbal Clap (2004)

NYC gave you the ball, so how you gonna hate us? / We creators of them East coast stars / If you ask me I’ll tell you there’s no comp / But I’m still humble, even though I will crumble halls…”

“Verbal Clap” hits hard from the first second—no filler, no frills, just straight Hip Hop. Built on a rugged J Dilla beat that thumps and stutters with purpose, the track cuts through the noise of 2004, a year when mainstream rap was leaning heavy into formula and flash. While big-budget singles flooded the charts, The Grind Date flew under the radar—and that’s still one of the wildest misses of that era.

This track is sharp, direct, and unbothered by whatever trends were floating around at the time. The production is raw but detailed, with Dilla’s signature swing anchoring the beat. Pos and Dave glide through the verses with fire in their tone, slicing through the track with smart, unfiltered bars. There’s no hook, no break—just pure rhythm and delivery.

“Verbal Clap” reminds you what happens when the focus stays on the craft. No flash, no fluff—just rhyme, beat, and presence.

11. The Magic Number (1989)

3 / That’s the Magic Number / Yes it is / It’s the magic number / Somewhere in this hip-hop soul community / Was born 3 Mase, Dove and me / And that’s the magic number…” 

“The Magic Number” opens 3 Feet High and Rising with a burst of color and clarity. From the first few notes, it’s clear that De La Soul was doing something different. Built around a sample of Bob Dorough’s “Three Is a Magic Number,” the track flips a piece of educational nostalgia into something fresh and wildly inventive. The beat bounces with charm—layered with sharp cuts, handclaps, and quick vocal drops that add texture without crowding the rhythm.

Lyrically, it’s full of quick turns, inside jokes, and smart wordplay. Pos and Dave come through with verses that are playful but precise, setting the tone for an album that refused to follow any blueprint. There’s a sense of movement in the way the track builds—each verse snapping into place without losing that loose, joyful swing.

10. Breakadawn (1993)

“I’m gonna let you know, once again, that De La Soul / Is sure to show you we will hit the charter harder / Than the normal rappin fool…” 

“Breakadawn” is smooth without slipping into the background—a mellow groove that lingers in your head long after it fades out. Built on buttery samples from Smokey Robinson and Michael Jackson, the beat rolls slow and steady, setting up a reflective tone that fits the mood of Buhloone Mind State perfectly.

The track doesn’t chase attention—it pulls you in quietly. Pos and Dave glide over the instrumental with a relaxed confidence, laying out verses that read like personal thoughts rather than declarations. It’s not built for radio, and that’s part of the appeal. There’s no urgency to impress—just solid writing, clean flow, and a deep respect for the craft.

By their third album, De La Soul had nothing left to prove, and “Breakadawn” feels like a nod to that freedom. It’s subtle, but every detail matters. A laid-back gem that rewards repeat listens without ever wearing out its welcome.

9. Rock Co.Kane Flow (ft MF DOOM) (2004)

“Up in them five starr tellies sayin two mic rhymes / Be them average emcees of the times / Unlike them, we craft gems / So systematically inclined to pen lines / Without sayin’ a producer’s name all over the track…” 

“Rock Co.Kane Flow” is pure fire—tight, aggressive, and built for volume. Jake One’s production hits with sharp drums and a chopped vocal sample that keeps the tension high without overcrowding the track. It’s minimal but punchy, leaving enough space for the verses to hit clean and hard.

Pos and Dave lock in right away, flowing with precision and grit. Their delivery is razor sharp, every line landing with weight. But it’s MF DOOM who takes the track into another zone. His verse is dense, off-kilter, and hypnotic—packed with internal rhymes, unexpected turns, and that signature DOOM presence that never plays to the crowd.

Pulled from The Grind Date, a record that didn’t get the spotlight it deserved, “Rock Co.Kane Flow” is one of those tracks that cuts through any era. It’s De La Soul at full power, teaming up with one of Hip Hop’s most enigmatic voices, and letting the bars speak loud.

8. Potholes In My Lawn (1988)

“Everybody’s sayin’ / What to do when suckin’ lunatics start diggin’ and chewin’ / They don’t know that the Soul don’t go for that / Potholes in my lawn…”

Released in 1988, months before 3 Feet High and Rising officially dropped, “Potholes in My Lawn” was the world’s first real look at what De La Soul was cooking—and it landed with a strange, fresh energy that cut straight through the noise. The beat is quirky and laid-back, built on an oddball loop that rolls with charm instead of force. It doesn’t hit hard—it creeps in, making room for the lyrics to do their work.

Pos and Dave turn a metaphor about stolen ideas into a loose, funny, and sharply written track. Lines twist and flip in unexpected ways, showing early on that De La Soul wasn’t following anyone’s formula. The humor is dry, the delivery is tight, and the song’s off-center vibe became a kind of signature.

“Potholes in My Lawn” didn’t sound like anything else in 1988—and it still doesn’t. It’s one of the first signs that something new was happening in Hip Hop.

7. The Bizness (1996)

“I’m the most from the coast of the Eastern flav / Droppin more knowledge than litter, on the New York pave’ / It’s me, Wonder Why, in the place to be / Certified as superior MC / While others explore to make it hardcore / I make it hard for, wack MC’s to even step inside the door / Cause these kids is rhyming, sometiming / And when we get to racing on the mic, they line up to see / The lyrical killing, with stained egos on the ceiling…”

“The Bizness” is a lyrical flex that doesn’t waste a second. Pulled from Stakes Is High—De La Soul’s 1996 masterclass in grown, focused Hip Hop—it pairs the group with Common in a no-frills, beat-driven cipher that still hits as hard now as it did then. The production is stripped down but full-bodied, driven by a warm bassline and crisp drums that leave room for the verses to cut clean.

Pos and Dave move through their bars with ease, blending sharp wordplay with a cool, confident presence. Then Common steps in and lifts the whole track another level—his verse is tight, self-assured, and full of character, delivered with that mid-’90s Chicago fire. There’s no hook to interrupt the rhythm—just three emcees trading lines over a beat built to ride.

“The Bizness” isn’t flashy, but it’s airtight. It’s the kind of track where the mic becomes the only focus, and everyone involved knows exactly what to do with it. One of those rare collaborations where every voice hits its mark.

6. A Roller Skating Jam Named "Saturdays" (1991)

“Five days you work / One whole day to play / Come on everybody, wear your roller skates today…”

“A Roller Skating Jam Named ‘Saturdays’” is pure joy on wax. As the lead single from De La Soul Is Dead, it flips the mood of the album on its head—trading in the darker, more critical tone of the record for something loose, bright, and easy to move to. The beat glides with a bounce that feels like an actual Saturday afternoon: carefree, sunny, and full of energy. Funky basslines, playful vocal samples, and that unmistakable roller-rink groove all come together into a track that doesn’t try too hard—it just works.

Q-Tip slides in with his signature smoothness, while Vinia Mojica’s vocals add warmth without getting sugary. Pos and Dave lean into the laid-back vibe, keeping their flows tight but relaxed. There’s no overthinking here—just a good time built from solid structure and sharp instincts.

“Saturday” isn’t about making a statement—it’s about enjoying the rhythm, the rhyme, and the moment. Feel-good Hip Hop that holds up without needing nostalgia to carry it. A timeless slice of De La Soul at their most playful.

5. Buddy (Remix) - De La Soul ft Jungle Brothers, A Tribe Called Quest & Monie Love

“Now when Tribe, the Jungle, and De La Soul / Is at the clubs our ritual unfolds…”

The remix of “Buddy” is a full-on Native Tongues celebration—seven minutes of energy, chemistry, and pure mic love. Built on a thumping bassline and layered with playful vocal stabs, the beat rides a danceable groove that hits harder than the original version from 3 Feet High and Rising. Where the album cut keeps things more contained, the remix explodes with guest spots from Jungle Brothers, A Tribe Called Quest, and Monie Love, turning it into a posse cut that actually delivers.

The verses are packed with humor, clever phrasing, and lines full of double meanings—all wrapped in a loose, joyful back-and-forth that never loses steam. Q-Tip floats in with his usual laid-back charm, Monie Love brings sharp wit and control, and the Jungle Brothers lean into the track’s bouncy rhythm. Pos and Dave hold the center, threading it all together with ease.

“Buddy (Remix)” isn’t just a song—it’s a snapshot of a moment when collaboration was creative, not crowded. One of the finest examples of what made the Native Tongues movement so magnetic.

4. Say No Go (1989)

“Nah, no my brother / No my sister / Try to get hip to this / Word, word to the mother / I’ll tell the truth so bear my witness / Fly like birds of a feather / Drugs are like Pleather / You don’t wanna wear it…”

“Say No Go” is one of the sharpest cuts on 3 Feet High and Rising—a track that hits hard with message, rhythm, and style. Built around a flipped sample of Hall & Oates’ “I Can’t Go for That (No Can Do),” Prince Paul turns the familiar hook into a head-nodding beat with bounce and bite. It’s playful on the surface, but there’s real purpose underneath.

De La Soul uses the track to take a clear stance against drug culture, specifically the rise of crack in the late ’80s. But they deliver the message without preaching—using humor, wordplay, and smart structure to keep the verses engaging and layered. Posdnuos leads with tight phrasing and clever flips, keeping the tone serious without losing the flow.

“Say No Go” is proof that music with a message doesn’t have to sound heavy-handed. It’s bright, danceable, and packed with details that still sound fresh decades later. One of many moments on their debut where creativity and clarity walk hand in hand.

3. Ego Trippin (Part II) (1993)

“Now I’m somethin’ like a phenomenon / I’m somethin’ like a phenomenon…” 

“Ego Trippin (Part II)” is De La Soul at their sharpest—funny, biting, and completely unbothered by the wave of gangsta rap dominating the early ’90s. Released on Buhloone Mindstate, the track plays like a mirror held up to the genre’s growing obsession with image, ego, and excess. From the over-the-top bars to the absurd visuals in the video (including a certain poolside scene that may or may not have ruffled 2Pac’s feathers), this is parody with teeth.

De La isn’t wagging fingers—they’re dismantling the clichés line by line, using exaggeration to expose the hollowness behind the flash. The lyrics are loaded with references to classic Hip Hop, weaving in and out of old-school flows and phrases that nod to the past while critiquing the present. For heads who catch the layers, it’s a masterclass in subtle jabs and clever homage.

Sonically, the track slaps. The beat is dusty, bass-heavy, and laced with chopped vocals that bounce under the verses. It’s gritty without leaning dark, complex without sounding cluttered. “Ego Trippin (Part II)” is De La Soul reminding everyone they could clown the trends and still out-rap most of the scene doing it.

2. Millie Pulled A Pistol On Santa (1991)

“She had the curves that made you wanna take chances / I mean on her, man, I’d love to make advances / I guess her father must ‘a got the same feelin’ / I mean, actually findin’ his own daughter Millie appealing / At the time no one knew but it was a shame / That Millie became a victim of the touchy-touchy game…” 

“Millie Pulled a Pistol on Santa” is one of the darkest, most affecting tracks in De La Soul’s catalog—a stark turn away from the brightness of their debut and a clear sign of the group’s range and willingness to take risks. Released on De La Soul Is Dead, the song delivers a harrowing narrative about a girl named Millie who is being abused by her father, a man hiding behind the trusted image of a community figure—he plays Santa Claus at the local department store.

The beat is cold and steady, looping a minor-key groove that gives the story room to breathe. There’s no bounce, no humor, no distance. Just a slow-moving tension that creeps under every bar. Posdnuos tells Millie’s story with an unsettling calm, laying out the details in plainspoken language that lands hard without ever turning melodramatic.

What makes the song hit even harder is how real it feels. There’s no twist to soften the blow—just a bleak ending that leaves more questions than answers. When Millie walks into the store and pulls the trigger, it’s not framed as justice or revenge. It’s loss, plain and unresolved.

In an era where Hip Hop was often boxed into braggadocio or party music, De La used their platform to tell a story many wouldn’t touch. “Millie Pulled a Pistol on Santa” isn’t easy to listen to, but it’s unforgettable—a cold, brilliant moment that showed how much weight Hip Hop could carry when the right artists were behind the mic.

1. Stakes Is High (1996)

“I’m sick of bitches shakin’ asses / I’m sick of talkin’ about blunts / Sick of Versace glasses / Sick of slang / Sick of half-ass awards shows / Sick of name brand clothes…”

“Stakes Is High,” the title track from De La Soul’s 1996 album, cuts through the noise with laser focus. It’s a critique, a warning, and a challenge, all wrapped into one tightly written, no-nonsense track that lands with clarity and force. Over a stripped-back, soul-inflected beat produced by the then-unknown J Dilla, Pos and Dave lay out everything that’s been bothering them about where Hip Hop was headed in the mid-’90s. What they saw then—industry greed, shallow lyrics, gimmicks over substance—has only grown louder, making the track feel even sharper with time.

There’s no yelling, no self-righteousness. The anger here is controlled and deliberate. Pos opens with a verse that picks apart the commercialization of the culture, calling out artists who chase trends instead of meaning. Dave follows with equal weight, holding a mirror to a scene that had started to prioritize flash over truth. Every line is pointed, and none of it feels dated.

The beat is minimalist but full of tension. A dusty loop and laid-back drums give space for the words to cut through, and nothing distracts from the message. It’s Hip Hop reduced to its core elements: beats, rhymes, and a reason to speak.

“Stakes Is High” is more than a standout track—it’s a moment where De La Soul documented. It’s music with a spine, made by artists who refused to play along with the industry’s shifting rules. Nearly three decades later, the stakes they warned about haven’t gone away. If anything, they’ve only gotten higher.