West Coast Connection Forum
DUBCC - Tha Connection => Outbound Connection => Topic started by: TraceOneInfinite Flat Earther 96' on July 22, 2014, 07:17:31 AM
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Ill post up a pic later this week... but on the No Limit albums in the Source they say Produced by Beatz by the Pound... Want Beatz?... and then has their phone number to call them for beats??
How corny is that? Your advertising for a gold selling album like Ice Ceam Man and you put the phone number of the producer in the ad to sell beats to strangers? Lol... you'll see what I mean once I post the pic
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The game was different back in 96, people hustled instead of talking about hustling.
Look in the back, you'll see a tiny, postage stamp sized advert for Trick Daddy.
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The game was different back in 96, people hustled instead of talking about hustling.
Look in the back, you'll see a tiny, postage stamp sized advert for Trick Daddy.
...There's a difference between hustling and bad taste and looking cheap (not to mention I would think they just ended up getting calls from a gang of Haterz or wannabe rappers trying to get put on).. I know Master P never understood the difference, and who am I to argue considering the run of success he had from 96-99.
I don't see the Trick Daddy ad. I'm looking in the 2pac Commemorative issue Nov. 96.
Unfortunately I only have two Source issues from 96'. The Dre cover I've had since 96, and now this Pac cover I won off EBay. I used to have the Suge cover when it came out but lost that one while moving from place to place...
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they were independent at this point....this is actually how they came up, and they taught snoop the same values, which is why snoop was able to be successful wit dogg house records. bay area hustle.
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they were independent at this point....this is actually how they came up, and they taught snoop the same values, which is why snoop was able to be successful wit dogg house records. bay area hustle.
No Limit may have taught a Dogg new tricks, but they were all bad ones. No Limit taught Snoop how to stretch himself too thin, water down the industry, sell out, and become a business man first and artist second. Snoop's success at Dogghouse was a result of leaving the South, and getting back in touch with Dre and local homies from the LBC that shared the same musical vibe and vision as Snoop.
...Much love to Dre and Suge Knight for maintaining Snoop and the Dogg Pound's artistic integrity while they were on Death Row.
Suge Knight >>>>>>>> Master P
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they were independent at this point....this is actually how they came up, and they taught snoop the same values, which is why snoop was able to be successful wit dogg house records. bay area hustle.
No Limit may have taught a Dogg new tricks, but they were all bad ones. No Limit taught Snoop how to stretch himself too thin, water down the industry, sell out, and become a business man first and artist second. Snoop's success at Dogghouse was a result of leaving the South, and getting back in touch with Dre and local homies from the LBC that shared the same musical vibe and vision as Snoop.
...Much love to Dre and Suge Knight for maintaining Snoop and the Dogg Pound's artistic integrity while they were on Death Row.
Suge Knight >>>>>>>> Master P
master p taught snoop how to run a label, duno if u consider those "bad tricks", but it did help snoop out in more ways than one. dogg house woulda never been possible without the business acumen master p passed down to snoop, which P himself soaked from the bay.....also, while we're on it, 2pac soaked most his game from the bay as well, which is a major part of why he was as good as he was.
if master p was running a major label and was advertising beats in a magazine, that would be a different story. however, from an independent standpoint, anything goes when ur tryin to reach the top, and based on master p's rise to mainstream takeover post-this ad, i'd say he was doin it right.
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they were independent at this point....this is actually how they came up, and they taught snoop the same values, which is why snoop was able to be successful wit dogg house records. bay area hustle.
No Limit may have taught a Dogg new tricks, but they were all bad ones. No Limit taught Snoop how to stretch himself too thin, water down the industry, sell out, and become a business man first and artist second.
That might be the stupidest thing I have read on this site today lol. Its about growing and expanding, every rapper should be a business man first and an artist second.
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No Limit may have taught a Dogg new tricks, but they were all bad ones. No Limit taught Snoop how to stretch himself too thin, water down the industry, sell out, and become a business man first and artist second.
That might be the stupidest thing I have read on this site today lol. Its about growing and expanding, every rapper should be a business man first and an artist second.
It ain't about the paper, it's about the flava!!
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master p taught snoop how to run a label, duno if u consider those "bad tricks", but it did help snoop out in more ways than one. dogg house woulda never been possible without the business acumen master p passed down to snoop, which P himself soaked from the bay.....also, while we're on it, 2pac soaked most his game from the bay as well, which is a major part of why he was as good as he was.
if master p was running a major label and was advertising beats in a magazine, that would be a different story. however, from an independent standpoint, anything goes when ur tryin to reach the top, and based on master p's rise to mainstream takeover post-this ad, i'd say he was doin it right.
Come on man... honestly, how hard is it to run a rap label? You really think Snoop was sitting behind a desk, working behind a computer, and dealing with investors? All Snoop did was hired a trusted businessman or lawyer to handle the business side of things while he hung out with his homies and recorded a couple of nice albums with the Eastsidaz, recorded a couple videos where they banged out some video hoes and smoked some high quality Kush, and then turned in the final product to a label rep at the parent label which was probably TVT.
Snoop was already doing his thing with Doggystyle Records and the LBC Crew as far back as 1995. That shit with "Beware of My Crew" that came out on the Thin Line Between Love and Hate soundtrack was slammin' and better than anything that ever came out on Dogghouse. The only issue was that they had so much quality control and bomb shit at the parent label, Death Row that projects like that got pushed back.
...as for the 2pac, Bay Area thing you mentioned... sure he got a lot of his game from the Bay. But 2pac was the type of player that picked up game from wherever he went, whether NY, or Baltimore, or L.A., so let's not give the Bay too much credit... and besides that's kind of a separate topic we can discuss in another thread.
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they were independent at this point....this is actually how they came up
yeah, No Limit and Cash Money were legit hip hop labels before Master P's music blew up and Wendy Day helped Ass Money sign with Universal and replace their entire roster with Birdman and the Wack Boys
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master p taught snoop how to run a label, duno if u consider those "bad tricks", but it did help snoop out in more ways than one. dogg house woulda never been possible without the business acumen master p passed down to snoop, which P himself soaked from the bay.....also, while we're on it, 2pac soaked most his game from the bay as well, which is a major part of why he was as good as he was.
if master p was running a major label and was advertising beats in a magazine, that would be a different story. however, from an independent standpoint, anything goes when ur tryin to reach the top, and based on master p's rise to mainstream takeover post-this ad, i'd say he was doin it right.
Come on man... honestly, how hard is it to run a rap label? You really think Snoop was sitting behind a desk, working behind a computer, and dealing with investors? All Snoop did was hired a trusted businessman or lawyer to handle the business side of things while he hung out with his homies and recorded a couple of nice albums with the Eastsidaz, recorded a couple videos where they banged out some video hoes and smoked some high quality Kush, and then turned in the final product to a label rep at the parent label which was probably TVT.
Snoop was already doing his thing with Doggystyle Records and the LBC Crew as far back as 1995. That shit with "Beware of My Crew" that came out on the Thin Line Between Love and Hate soundtrack was slammin' and better than anything that ever came out on Dogghouse. The only issue was that they had so much quality control and bomb shit at the parent label, Death Row that projects like that got pushed back.
...as for the 2pac, Bay Area thing you mentioned... sure he got a lot of his game from the Bay. But 2pac was the type of player that picked up game from wherever he went, whether NY, or Baltimore, or L.A., so let's not give the Bay too much credit... and besides that's kind of a separate topic we can discuss in another thread.
lol there's clearly a lot more to runnin a successful business than you know brodie..that's why doggystyle didn't release shit under suge, because snoop didn't have his business acumen right. Once he started fuckin with P, he learned how to get shit done, which suge didn't care for snoop to know.....p got snoop fed, and in turn, we got the post no limit snoop, where he was able to put out a lot of his own stuff and build on that.
And pac would definitely credit the bay for his game above all else.. LA towards the end of his career, but his entire style and image was bay bred.
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No what Mike Jones did was corny. What Master P did was innovative promotion (remind yourself this was before twitter / facebook).
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lol there's clearly a lot more to runnin a successful business than you know brodie..that's why doggystyle didn't release shit under suge, because snoop didn't have his business acumen right. Once he started fuckin with P, he learned how to get shit done, which suge didn't care for snoop to know.....p got snoop fed, and in turn, we got the post no limit snoop, where he was able to put out a lot of his own stuff and build on that.
And pac would definitely credit the bay for his game above all else.. LA towards the end of his career, but his entire style and image was bay bred.
Stay in your place, youngsta... no offense but I don't think you are even old enough to correctly recall the Death Row era. That's why you always big up Snoop's Doggfather album—because like unsuccessful sex with Oprah—you came late. The LBC Crew did have an impact, "Beware of My Crew" was a successful single and video for the Thin Line Between Love and Hate soundtrack. The album was still a work in progress, in those days everything had to meet Dre's high standards, and after Dre it had to meet Suge's standards, which were also very high. It's called quality control, something Snoop has never had since his days at Death Row.
Snoop says in his 98' cover feature with the Source that Suge and Dre always counciled him about not spreading himself to thin and to stay in house. Snoop said he learned from cats like Puffy and Master P that there was no such thing as overexposure. Puffy and Master P are hardly the people you want to learn from when it comes to artistic integrity—they may know business, but the quality suffers.
Any rapper of Snoop's stature can easily secure some distribution for a record they want to come out. So you ain't said nothin but a word to say "look at all the records Snoop put out after Death Row". He only had two quality records at Dogghouse, Eastsidaz debut and follow up, and neither would of been close to Death Row standard.
Like I said, a Dogg may have learned new tricks at No Limit, but that doesn't mean all of them were good. He may have learned a thing or two about running a label and putting out records, but he also lost credibility and artistic integrity.
...as for the Bay, again, stay in your place. Your not a Pac historian, your not even one of his biggest fans even here at the Dubcc.... do your research. Do you even know why 2pac got into hip-hop? Do you even know why 2pac started rapping? 2pac was an emcee long before he hit the Bay, junior.... 2pac was asked in an interview why he became a rapper, do you even know what he said? He said that he had to move around a lot growing up, that he was sort of like a nomad, and that Hip-Hop was the common denominator in all of his travels. Put down the Mac Dre album for a moment, and go listen to "Ol' School", study Pac's life, and then get back to me
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master p taught snoop how to run a label, duno if u consider those "bad tricks", but it did help snoop out in more ways than one. dogg house woulda never been possible without the business acumen master p passed down to snoop, which P himself soaked from the bay.....also, while we're on it, 2pac soaked most his game from the bay as well, which is a major part of why he was as good as he was.
if master p was running a major label and was advertising beats in a magazine, that would be a different story. however, from an independent standpoint, anything goes when ur tryin to reach the top, and based on master p's rise to mainstream takeover post-this ad, i'd say he was doin it right.
Come on man... honestly, how hard is it to run a rap label? You really think Snoop was sitting behind a desk, working behind a computer, and dealing with investors? All Snoop did was hired a trusted businessman or lawyer to handle the business side of things while he hung out with his homies and recorded a couple of nice albums with the Eastsidaz, recorded a couple videos where they banged out some video hoes and smoked some high quality Kush, and then turned in the final product to a label rep at the parent label which was probably TVT.
Snoop was already doing his thing with Doggystyle Records and the LBC Crew as far back as 1995. That shit with "Beware of My Crew" that came out on the Thin Line Between Love and Hate soundtrack was slammin' and better than anything that ever came out on Dogghouse. The only issue was that they had so much quality control and bomb shit at the parent label, Death Row that projects like that got pushed back.
...as for the 2pac, Bay Area thing you mentioned... sure he got a lot of his game from the Bay. But 2pac was the type of player that picked up game from wherever he went, whether NY, or Baltimore, or L.A., so let's not give the Bay too much credit... and besides that's kind of a separate topic we can discuss in another thread.
lol there's clearly a lot more to runnin a successful business than you know brodie..that's why doggystyle didn't release shit under suge, because snoop didn't have his business acumen right. Once he started fuckin with P, he learned how to get shit done, which suge didn't care for snoop to know.....p got snoop fed, and in turn, we got the post no limit snoop, where he was able to put out a lot of his own stuff and build on that.
And pac would definitely credit the bay for his game above all else.. LA towards the end of his career, but his entire style and image was bay bred.
word,
the difference between Suge and P as far as Snoop is concerned is Suge didn't want Snoop to make his own money, he wanted to keep using him as his cash cow and not paying what he was actually due but instead threw him a few bones (cars, houses, etc.). Snoop didn't have his own publishing company while on Death Row, so he basically was getting pimped by Suge. and Doggystyle Records failed miserably cause Snoop hadn't been schooled properly by Suge while he was sitting on g-funk gems.
Master P on the other hand was pimping most of his roster, including his brothers, but did Snoop right. he helped him found his label, set up his publishing company and gave him a decent contract on which Snoop could eat off of royalties. and if you listen to Snoop on Tha last Meal and other songs from the same era, he gives a lot of credit to Master P.
you can say a lot about Master P's music, but the blueprint he established along with non-profit organisations like Wendy Day's and other artists like E-40 helped switch the power between labels and artists. thanks to them and Wendy Day, a lot of artists were able to get fair, sometimes unreal contracts that were unheard of at the time.
if you want to read an excellent book which deals with, among other things, the shift of power between artists and labels (starting with Master P's and E-40's incredible multi million deals) I suggest you read Dan Charnas's The Big Payback, it's huge but it's really worth reading
(http://blogs.villagevoice.com/music/the_big_payback.jpg)
http://www.dancharnas.com/
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master p taught snoop how to run a label, duno if u consider those "bad tricks", but it did help snoop out in more ways than one. dogg house woulda never been possible without the business acumen master p passed down to snoop, which P himself soaked from the bay.....also, while we're on it, 2pac soaked most his game from the bay as well, which is a major part of why he was as good as he was.
if master p was running a major label and was advertising beats in a magazine, that would be a different story. however, from an independent standpoint, anything goes when ur tryin to reach the top, and based on master p's rise to mainstream takeover post-this ad, i'd say he was doin it right.
Come on man... honestly, how hard is it to run a rap label? You really think Snoop was sitting behind a desk, working behind a computer, and dealing with investors? All Snoop did was hired a trusted businessman or lawyer to handle the business side of things while he hung out with his homies and recorded a couple of nice albums with the Eastsidaz, recorded a couple videos where they banged out some video hoes and smoked some high quality Kush, and then turned in the final product to a label rep at the parent label which was probably TVT.
Snoop was already doing his thing with Doggystyle Records and the LBC Crew as far back as 1995. That shit with "Beware of My Crew" that came out on the Thin Line Between Love and Hate soundtrack was slammin' and better than anything that ever came out on Dogghouse. The only issue was that they had so much quality control and bomb shit at the parent label, Death Row that projects like that got pushed back.
...as for the 2pac, Bay Area thing you mentioned... sure he got a lot of his game from the Bay. But 2pac was the type of player that picked up game from wherever he went, whether NY, or Baltimore, or L.A., so let's not give the Bay too much credit... and besides that's kind of a separate topic we can discuss in another thread.
lol there's clearly a lot more to runnin a successful business than you know brodie..that's why doggystyle didn't release shit under suge, because snoop didn't have his business acumen right. Once he started fuckin with P, he learned how to get shit done, which suge didn't care for snoop to know.....p got snoop fed, and in turn, we got the post no limit snoop, where he was able to put out a lot of his own stuff and build on that.
And pac would definitely credit the bay for his game above all else.. LA towards the end of his career, but his entire style and image was bay bred.
word,
the difference between Suge and P as far as Snoop is concerned is Suge didn't want Snoop to make his own money, he wanted to keep using him as his cash cow and not paying what he was actually due but instead threw him a few bones (cars, houses, etc.). Snoop didn't have his own publishing company while on Death Row, so he basically was getting pimped by Suge. and Doggystyle Records failed miserably cause Snoop hadn't been schooled properly by Suge while he was sitting on g-funk gems.
Master P on the other hand was pimping most of his roster, including his brothers, but did Snoop right. he helped him found his label, set up his publishing company and gave him a decent contract on which Snoop could eat off of royalties. and if you listen to Snoop on Tha last Meal and other songs from the same era, he gives a lot of credit to Master P.
you can say a lot about Master P's music, but the blueprint he established along with non-profit organisations like Wendy Day's and other artists like E-40 helped switch the power between labels and artists. thanks to them and Wendy Day, a lot of artists were able to get fair, sometimes unreal contracts that were unheard of at the time.
if you want to read an excellent book which deals with, among other things, the shift of power between artists and labels (starting with Master P's and E-40's incredible multi million deals) I suggest you read Dan Charnas's The Big Payback, it's huge but it's really worth reading
(http://blogs.villagevoice.com/music/the_big_payback.jpg)
http://www.dancharnas.com/
Good shit on havin common sense
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lol there's clearly a lot more to runnin a successful business than you know brodie..that's why doggystyle didn't release shit under suge, because snoop didn't have his business acumen right. Once he started fuckin with P, he learned how to get shit done, which suge didn't care for snoop to know.....p got snoop fed, and in turn, we got the post no limit snoop, where he was able to put out a lot of his own stuff and build on that.
And pac would definitely credit the bay for his game above all else.. LA towards the end of his career, but his entire style and image was bay bred.
Stay in your place, youngsta... no offense but I don't think you are even old enough to correctly recall the Death Row era. That's why you always big up Snoop's Doggfather album—because like unsuccessful sex with Oprah—you came late. The LBC Crew did have an impact, "Beware of My Crew" was a successful single and video for the Thin Line Between Love and Hate soundtrack. The album was still a work in progress, in those days everything had to meet Dre's high standards, and after Dre it had to meet Suge's standards, which were also very high. It's called quality control, something Snoop has never had since his days at Death Row.
Snoop says in his 98' cover feature with the Source that Suge and Dre always counciled him about not spreading himself to thin and to stay in house. Snoop said he learned from cats like Puffy and Master P that there was no such thing as overexposure. Puffy and Master P are hardly the people you want to learn from when it comes to artistic integrity—they may know business, but the quality suffers.
Any rapper of Snoop's stature can easily secure some distribution for a record they want to come out. So you ain't said nothin but a word to say "look at all the records Snoop put out after Death Row". He only had two quality records at Dogghouse, Eastsidaz debut and follow up, and neither would of been close to Death Row standard.
Like I said, a Dogg may have learned new tricks at No Limit, but that doesn't mean all of them were good. He may have learned a thing or two about running a label and putting out records, but he also lost credibility and artistic integrity.
...as for the Bay, again, stay in your place. Your not a Pac historian, your not even one of his biggest fans even here at the Dubcc.... do your research. Do you even know why 2pac got into hip-hop? Do you even know why 2pac started rapping? 2pac was an emcee long before he hit the Bay, junior.... 2pac was asked in an interview why he became a rapper, do you even know what he said? He said that he had to move around a lot growing up, that he was sort of like a nomad, and that Hip-Hop was the common denominator in all of his travels. Put down the Mac Dre album for a moment, and go listen to "Ol' School", study Pac's life, and then get back to me
Pretty sure I know way more bout rap than you in general, from 2pac to death row to nas to mac dre to kool keith to do or die
"if ima claim somewhere ima claim Oakland" -PAC
https://m.youtube.com/watch?v=2o3vIloq_JY
Bay put Pac n Snoop up on game like suge never wanted to..deal wit it
As far as musical quality, every1 knows dre is a perfectionist and that anything under that label was a classic, that aint even bein debated so check yaself
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master p taught snoop how to run a label, duno if u consider those "bad tricks", but it did help snoop out in more ways than one. dogg house woulda never been possible without the business acumen master p passed down to snoop, which P himself soaked from the bay.....also, while we're on it, 2pac soaked most his game from the bay as well, which is a major part of why he was as good as he was.
if master p was running a major label and was advertising beats in a magazine, that would be a different story. however, from an independent standpoint, anything goes when ur tryin to reach the top, and based on master p's rise to mainstream takeover post-this ad, i'd say he was doin it right.
Come on man... honestly, how hard is it to run a rap label? You really think Snoop was sitting behind a desk, working behind a computer, and dealing with investors? All Snoop did was hired a trusted businessman or lawyer to handle the business side of things while he hung out with his homies and recorded a couple of nice albums with the Eastsidaz, recorded a couple videos where they banged out some video hoes and smoked some high quality Kush, and then turned in the final product to a label rep at the parent label which was probably TVT.
Snoop was already doing his thing with Doggystyle Records and the LBC Crew as far back as 1995. That shit with "Beware of My Crew" that came out on the Thin Line Between Love and Hate soundtrack was slammin' and better than anything that ever came out on Dogghouse. The only issue was that they had so much quality control and bomb shit at the parent label, Death Row that projects like that got pushed back.
...as for the 2pac, Bay Area thing you mentioned... sure he got a lot of his game from the Bay. But 2pac was the type of player that picked up game from wherever he went, whether NY, or Baltimore, or L.A., so let's not give the Bay too much credit... and besides that's kind of a separate topic we can discuss in another thread
Don't forget that Big C-Style was helping Snoop with the project back then and he was managin' everybody plus he was the A&R Director on the LBC Crew album.
Let's not give the Bay too much credit? Shit, even Daz went to the Bay to learn about the independent game from JT The Bigga Figga.
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Shit, even Daz went to the Bay to learn about the independent game from JT The Bigga Figga.
And the quality soon suffered
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Pretty sure I know way more bout rap than you in general, from 2pac to death row to nas to do or die
Ain't no future in your frontin'
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i think infant just resents bay rap because he lives in shithole kc and bay rap is bigger than their local shit out there. that and hes a fuckin clueless idiot
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U didn't even know pacs claims of the bay area bein where he got his game.. Some death row historian you are
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i think infant just resents bay rap because he lives in shithole kc and bay rap is bigger than their local shit out there. that and hes a fuckin clueless idiot
It's funny because all of his favorite rappers give major credit to the bay in terms of development..outside of the stuff he reads in the source bout death row, infinite don't know shit about west coast rap period.
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infinite claims to be a historian just because he witnessed first hand the golden era of rap and read a couple of books on 2pac but has very limited knowledge of most of rap music outside of Death Row/Nas/Eminem, lmao. like his anecdotes of him and his friends bumping albums in their rides gives him somewhat of an authority over rap matters when he clearly has no clue of what he's talking about, still having the same simple, manichean vision of rap music that he had some 15 years ago, shit is sad really.
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Shit, even Daz went to the Bay to learn about the independent game from JT The Bigga Figga.
And the quality soon suffered
that's because daz is a crackhead
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Shit, even Daz went to the Bay to learn about the independent game from JT The Bigga Figga.
And the quality soon suffered
that's because daz is a crackhead
I thought he liked X pills? I remember that Kurupt interview where he said Daz was sitting in the back seat of a car, full of X, sweating uncontrollably and just generally being fat. :D
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Thank god you don't know shit about hip hop
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they were independent at this point....this is actually how they came up, and they taught snoop the same values, which is why snoop was able to be successful wit dogg house records. bay area hustle.
No Limit may have taught a Dogg new tricks, but they were all bad ones. No Limit taught Snoop how to stretch himself too thin, water down the industry, sell out, and become a business man first and artist second. Snoop's success at Dogghouse was a result of leaving the South, and getting back in touch with Dre and local homies from the LBC that shared the same musical vibe and vision as Snoop.
...Much love to Dre and Suge Knight for maintaining Snoop and the Dogg Pound's artistic integrity while they were on Death Row.
Suge Knight >>>>>>>> Master P
truth.
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Beats By The Pound had the wackest most tone deaf compositions I'd ever heard since Swizz Beats walked into the studio and decided he could play every instrument (without any experience) on the same damn track which he programmed via Casio presets. The complete opposite of Snoops elegant singsong flow that needed lush compositions to bring out the best in it.
I do wonder what would have happened had he went to Cash Money though as Mannie Fresh dropped some heat in those days and always seemed to tailor his beats to the artist as opposed to pumping out generics. Heck, even Rap A Lot could have done Snoop some favours...
Funny isn't it that if Suge didn't insist on jerking his artists and treating them like hoes he probably could've stayed on top a bit longer and ran his lot from the box, but no, once the immediate fear generator is out of the vicinity the dogg can clip his teeth back in and show his true colours.
https://www.youtube.com/watch?v=hxdqj4Ofk2A
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they were independent at this point....this is actually how they came up, and they taught snoop the same values, which is why snoop was able to be successful wit dogg house records. bay area hustle.
No Limit may have taught a Dogg new tricks, but they were all bad ones. No Limit taught Snoop how to stretch himself too thin, water down the industry, sell out, and become a business man first and artist second. Snoop's success at Dogghouse was a result of leaving the South, and getting back in touch with Dre and local homies from the LBC that shared the same musical vibe and vision as Snoop.
...Much love to Dre and Suge Knight for maintaining Snoop and the Dogg Pound's artistic integrity while they were on Death Row.
Suge Knight >>>>>>>> Master P
master p taught snoop how to run a label, duno if u consider those "bad tricks", but it did help snoop out in more ways than one. dogg house woulda never been possible without the business acumen master p passed down to snoop, which P himself soaked from the bay.....also, while we're on it, 2pac soaked most his game from the bay as well, which is a major part of why he was as good as he was.
if master p was running a major label and was advertising beats in a magazine, that would be a different story. however, from an independent standpoint, anything goes when ur tryin to reach the top, and based on master p's rise to mainstream takeover post-this ad, i'd say he was doin it right.
what alot of ppl didnt understand was p had a gang of connections in texas to help his empire grow fast as it did..he had a southwest wholesale account..so cds got pressed up fast and cheap ...n he had pen n pixel account who did graphics n shit cheap...
put those 2 together..n knowledge of how often the consumer gets paid...he put albums out damn near every 2 weeks...
he literally turnt his label into a trap...when he brought out the different color cd cases (http://singlebarbed.com/wp-content/uploads/2011/05/crack_vial.jpg)(https://encrypted-tbn2.gstatic.com/images?q=tbn:ANd9GcSQOMIm5weOC71162XNKdbGlZTOfq_DIqpWrrBwVBUi9o9y0ayZ)
u can say it represented crack vials..or weed baggies...but put in a low key genius way turned the rap game to a dope game..red cds were fiends..p was his connect..blue cds was snoops ..p was his connect..orange p..etc
everything was cheap..n u got more for your bucks vs the competitors ...avg cd back track was was 15-17 song..p had 20+
funny all these dboy rappers today didnt pay homage to the ice cream man...
p >>>>>suge every single way with out bullyin his artist.or the controversy... everything p put out in a 5yr span went gold or platinum, and they were all nobody..n he didnt lose his catalog either..kept all his masters...didnt lose it
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they were independent at this point....this is actually how they came up, and they taught snoop the same values, which is why snoop was able to be successful wit dogg house records. bay area hustle.
No Limit may have taught a Dogg new tricks, but they were all bad ones. No Limit taught Snoop how to stretch himself too thin, water down the industry, sell out, and become a business man first and artist second. Snoop's success at Dogghouse was a result of leaving the South, and getting back in touch with Dre and local homies from the LBC that shared the same musical vibe and vision as Snoop.
...Much love to Dre and Suge Knight for maintaining Snoop and the Dogg Pound's artistic integrity while they were on Death Row.
Suge Knight >>>>>>>> Master P
master p taught snoop how to run a label, duno if u consider those "bad tricks", but it did help snoop out in more ways than one. dogg house woulda never been possible without the business acumen master p passed down to snoop, which P himself soaked from the bay.....also, while we're on it, 2pac soaked most his game from the bay as well, which is a major part of why he was as good as he was.
if master p was running a major label and was advertising beats in a magazine, that would be a different story. however, from an independent standpoint, anything goes when ur tryin to reach the top, and based on master p's rise to mainstream takeover post-this ad, i'd say he was doin it right.
what alot of ppl didnt understand was p had a gang of connections in texas to help his empire grow fast as it did..he had a southwest wholesale account..so cds got pressed up fast and cheap ...n he had pen n pixel account who did graphics n shit cheap...
put those 2 together..n knowledge of how often the consumer gets paid...he put albums out damn near every 2 weeks...
he literally turnt his label into a trap...when he brought out the different color cd cases (http://singlebarbed.com/wp-content/uploads/2011/05/crack_vial.jpg)(https://encrypted-tbn2.gstatic.com/images?q=tbn:ANd9GcSQOMIm5weOC71162XNKdbGlZTOfq_DIqpWrrBwVBUi9o9y0ayZ)
u can say it represented crack vials..or weed baggies...but put in a low key genius way turned the rap game to a dope game..red cds were fiends..p was his connect..blue cds was snoops ..p was his connect..orange p..etc
everything was cheap..n u got more for your bucks vs the competitors ...avg cd back track was was 15-17 song..p had 20+
funny all these dboy rappers today didnt pay homage to the ice cream man...
p >>>>>suge every single way with out bullyin his artist.or the controversy... everything p put out in a 5yr span went gold or platinum, and they were all nobody..n he didnt lose his catalog either..kept all his masters...didnt lose it
interesting
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p >>>>>suge every single way
Not the most important one my dude; quality.
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they were independent at this point....this is actually how they came up, and they taught snoop the same values, which is why snoop was able to be successful wit dogg house records. bay area hustle.
No Limit may have taught a Dogg new tricks, but they were all bad ones. No Limit taught Snoop how to stretch himself too thin, water down the industry, sell out, and become a business man first and artist second. Snoop's success at Dogghouse was a result of leaving the South, and getting back in touch with Dre and local homies from the LBC that shared the same musical vibe and vision as Snoop.
...Much love to Dre and Suge Knight for maintaining Snoop and the Dogg Pound's artistic integrity while they were on Death Row.
Suge Knight >>>>>>>> Master P
master p taught snoop how to run a label, duno if u consider those "bad tricks", but it did help snoop out in more ways than one. dogg house woulda never been possible without the business acumen master p passed down to snoop, which P himself soaked from the bay.....also, while we're on it, 2pac soaked most his game from the bay as well, which is a major part of why he was as good as he was.
if master p was running a major label and was advertising beats in a magazine, that would be a different story. however, from an independent standpoint, anything goes when ur tryin to reach the top, and based on master p's rise to mainstream takeover post-this ad, i'd say he was doin it right.
what alot of ppl didnt understand was p had a gang of connections in texas to help his empire grow fast as it did..he had a southwest wholesale account..so cds got pressed up fast and cheap ...n he had pen n pixel account who did graphics n shit cheap...
put those 2 together..n knowledge of how often the consumer gets paid...he put albums out damn near every 2 weeks...
he literally turnt his label into a trap...when he brought out the different color cd cases (http://singlebarbed.com/wp-content/uploads/2011/05/crack_vial.jpg)(https://encrypted-tbn2.gstatic.com/images?q=tbn:ANd9GcSQOMIm5weOC71162XNKdbGlZTOfq_DIqpWrrBwVBUi9o9y0ayZ)
u can say it represented crack vials..or weed baggies...but put in a low key genius way turned the rap game to a dope game..red cds were fiends..p was his connect..blue cds was snoops ..p was his connect..orange p..etc
everything was cheap..n u got more for your bucks vs the competitors ...avg cd back track was was 15-17 song..p had 20+
funny all these dboy rappers today didnt pay homage to the ice cream man...
p >>>>>suge every single way with out bullyin his artist.or the controversy... everything p put out in a 5yr span went gold or platinum, and they were all nobody..n he didnt lose his catalog either..kept all his masters...didnt lose it
i agree 100%
as much as i love west coast rap i know that Master P was better then suge knight,
actually allot of Exec. Rap producers were better then suge,
Infinite if you ever wanna be a real hip hop head instead of a biased hip hop fan and extend and broaden your knowledge on some good southern rap and its history, take lessons from my boy 3rd Coast,
you fuckin jabroni
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p >>>>>suge every single way
Not the most important one my dude; quality.
quality = acquired taste... u may not like no artist ever on no limit..
but it was ppl who did...
thing about p is...he set up his artist on those soulja/posse cuts he had...mystikal come n show his ass..mystikal is demand...p put mystikal out..
mystikal got a posse song...silkk show his ass..silkk album up next ...n so on...p made sure his featured artist eat.. when the tank was still runnin...
suge was kinda dumb...rage should have followed the dogg food...she was shelved for the longest.. was at death row height..a better mc than kim or foxy..or any bitch out for that matter..
everytime rage was feature she was shittin on kurupt, daz, and snoop...yet suge dumb ass didnt see it...rage should have shined...before pac came...
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If you believe Suge was a better business man than Master P, you're either A a fan boy of Suge or B do not know shit about business.
Suge took one of the biggest artists in the West Coast at the time and built the label around him and his beef with another one of the biggest artists in the West Coast at the time. Dre jumped in the studio with D.O.C. (an artist that came along from Ruthless), Warren G (his family), Snoop Dogg (Warren's friend), Daz (Snoop's family), Nate Dogg (Warren/Snoop's friend), RBX, etc. etc. Suge didn't build a conglomerate.
Now, P, he made a name for himself off of his grind. He sold records out the trunk of his car. His biggest collaborator on No Limit from 91-94 was E-A-Ski. And he was with Ski around the time Ski broke into the mainstream. He didn't go out and sign let's say Too $hort to a record deal to create his label. He didn't strong arm others into doing what he wanted. It was pure grind.
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Now, P, he made a name for himself off of his grind. He sold records out the trunk of his car. His biggest collaborator on No Limit from 91-94 was E-A-Ski. And he was with Ski around the time Ski broke into the mainstream. He didn't go out and sign let's say Too $hort to a record deal to create his label. He didn't strong arm others into doing what he wanted. It was pure grind.
spot on, the funny thing is when P started putting albums out and being successful in the Bay with the West Coast Badd Boyz compilation, early TRU projects, etc. he was kinda looked down upon by other established bay/nor cal artists at the time (like E-40, Too $hort, Spice 1, Pac, C-Bo) cause he sounded like a knock off Spice 1 and C-Bo (using their gimmicks and all) and he didn't get many features on his album outside his roster (Dangerous Dame, Lil Ric, King George etc.) and producers (K-Lou, E-A Ski, Al Eaton) only a few cats like GLP, Pizzo (C-Bo did appear on True, though), but once he became successful and nationwide these same people started acknowledging him and collaborating with him (you can see D-Shot and E-40 in the If I Could Change video and E-40 is featured on Da Last Don, B-Legit on the Mean Green No Limit compilation). Young Dre the Truth speaks on it in an old interview with Pushin the Bay TV.
P's deal was phenomenal as it was a distribution deal with Priority rather than a regular production deal, it allowed him to keep his masters and the bulk of the profits. and it was brokered by Wendy Day. but P didn't treat all his artists right, Soulja Slim,even C-Murder complained at some point.
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If you believe Suge was a better business man than Master P, you're either A a fan boy of Suge or B do not know shit about business.
Suge took one of the biggest artists in the West Coast at the time and built the label around him and his beef with another one of the biggest artists in the West Coast at the time. Dre jumped in the studio with D.O.C. (an artist that came along from Ruthless), Warren G (his family), Snoop Dogg (Warren's friend), Daz (Snoop's family), Nate Dogg (Warren/Snoop's friend), RBX, etc. etc. Suge didn't build a conglomerate.
Now, P, he made a name for himself off of his grind. He sold records out the trunk of his car. His biggest collaborator on No Limit from 91-94 was E-A-Ski. And he was with Ski around the time Ski broke into the mainstream. He didn't go out and sign let's say Too $hort to a record deal to create his label. He didn't strong arm others into doing what he wanted. It was pure grind.
u right n wrong but overall +1... the gist of it is...suge n d.o.c had the friendship..since doc had em as a body guard...suge n doc had their own label...dj quik n others were signed...it didnt do anything..
dre was goin thru it with his situation at ruthless.. warren g snoop daz n nate..were tryin 2 get on..dre needed a new situation...doc got dre to fuck with suge...knowin snoop warren was tryin 2 get on...dre got em to come too..
doc doesnt get the credit he deserves for the foundation of death row..
u spot on bout it all tho..
p had the best of both worlds to be tell u the truth..he was in the south...when rap-a-lot was startin out when he was a houston cougar..he saw the grind..they had independent..and the girnd from ppl in his own city... mc jro'j, ice mike, the def boys dj captain charles n etc..n the stuff he learned in the bay...
they bay n the south always had a connection...p coming up...used that as an advantage...he knew mean green was gettin cats like e40 n spice spins down in texas...p knew the artist dj screw was puttin on tapes..gain legs as a rapper in the bay..
started doin compilations with the artist he built over time...puttin em out in the south..then started puttin his city on...p grind >>>>> suges