I'm thinking about back when I was growing up. I was big on Southern rap.
Anything that came out on No Limit or Cash Money Records was bought on sight.
I didn't even have to know who the artist was. I just trusted the label would put out something I liked.
Same thing with Death Row or Bad Boy (This may have just been a rap phenomenon?)

But does this exist anymore? Are people loyal to certain record labels?

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maybe Strange Music.
Maybach MG tries to make itself a "reliable brand" like that.

Blue Note does that too for non hip hop and Bronswood is trying to build it.

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"You can't beat white people. You can only knock them out."

I don't even see people really pledging allegiance to boutique labels run by artists they love anymore. They may like a crew, like Odd Future, but not a label.

I think Mello Music Group, Rhymesayers, and Strange definitely have loyalists like that though.

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https://weketchum.contently.com/

Every label has released some shit I don't like. Including any of my favorites. No Limit, the only artists I bought was Mac, Fiend, Soulja Slim, and Mia X. I did buy C-Murder's first album and Master P's Ghetto D. That's it though.

I think TDE is close. I fuck with all four of the main artists (Jay Rock, Kendrick, Q, and Ab-Soul). Not sold on SZA or the dude from Tennessee.

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Falcons, Braves, Bulldogs and Hawks

Geto Boys, Poison Clan, UGK, Eightball & MJG, OutKast, Goodie Mob

.....every label from def jam, to loud, to rawkus had some wack shit to go along with great stuff

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I like DFA and Ed Banger stuff still.

But it's not like it used to be with Tommy Boy, Loud, Def Jam, Sugar-Hill, Prism, Death Row, Sleeping Bag, Wild Pitch, etc.

For rock in the 80's we had Sire and IRS too.

After hearing the new Lapulux album yesterday, I said to myself "I really need to just listen/cop anything that Brain Feeder is attached to from this point forward."

www.twitter.com/seandammit

The difference is they arent MAKING new artists that are competing on that level. Those artists are doing it on their own and then the label becomes their bitch in meetings. But its very laughable for people to think labels dont matter. That is the case for majority of the industry but not the ones who are on top.




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ceschi's label. everytime FF puts out a project, I'm gonna check it out.

last time I felt like that was with stones throw, circa 2004-2007.

Happy 50th D’Angelo: https://chrisp.bandcamp.com/track/d-50

i mean lets be real who don't know Inteerscope? or anything associated with Dr Dre?

i mean a cat like Dr Dre alone makes you aware of the label from ruthless, death row,aftermath and the whole interscope fan and all the spin offs with eminem,50 cent, etc...

i mean on the majors it was fashionable to follow up to a young money/cash money

so if a label emerges as so then yeah.

generations of the past mainly with Motown onward knew the logo and what it meant.

mistermaxxx R.Kelly, Michael Jackson,Stevie wonder,Rick James,Marvin Gaye,El Debarge, Barry WHite Lionel RIchie,Isleys EWF,Lady T.,Kid creole and coconuts,the crusaders,kc sunshine band,bee gees,jW,sd,NE,JB

Miami Heat, New York Yankees,buffalo bills

People who are into techo, house, ambient, drone, folk or metal are very loyal to certain labels that maintain a high level of quality releases and/or a consistent aesthetic. I'm going to the showcase of a german techno label out of Weimar in May, damn near jumped for joy when I saw it was happening..

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was it the movement or the music?

The movement was fueled by tons of cross-promotion of artissts. So, you had a preview of what other No Limit artists offered before they even had an album. Chances were that, if you heard a banger on one album, that you'd check for that artist's product as soon as it dropped becuase the movement was that strong.

You heard some heat comin from Fiend on a Master P song/single. Copped the album only to be bumrushed by pictures of all the future albums. So, there would already be name recognition that helps you track release dates. And you cop Fiend when he drops an album.

Bad Boy's Total is the prime example of the movement trumping the music. The "Can't You See" single dropped when Big was hot as shit. When the video hit Video Soul, you see Puffy dancin all in the video. LOL... Big spits. And instantly everybody across the country is now checkin for Total. They couldn't sing worth a damn but the Bad Boy movement was thick.

b/c that song is hot as shit.

the beat knocks and Big's verse works. those are the reasons i was into the record not b/c it was a Bad Boy release. and most of the ppl around me back then who liked the record were into it b/c they seemed to think it was hot.

i do think a segment of the record buying public was caught up in identifying w/record labels and various groupings of entertainers (aka 'crews') as if they were gangs or some other kind of social club. but the overwhelming majority of us weren't on that.

fuck you.

And now that I've had time to think about it, the Bad Boy connection didn't really help Taral Hicks or Cherie Dennis. So, they are two exceptions to the Bad Boy movement not really being the impetus behind an artist becoming succesful.

Some labels, you just know that if you like one thing on the label, your chances of liking something else are fairly high.

Labels like Kranky, Drag City, Thrill Jockey, etc. I definitely am more willing to blind purchase something from these labels because I can predict pretty accurately if I'll like it or not by the cover art.


Nardwuar: "Why should people care?"
Archy: "You don't have to care. I don't care. If you like it, you like it."

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WHAT A TIME TO BE ALIVE

Not to me, but they seem to have a strong following.

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I don't blindly purchase everything my favourite labels put out but I definitely listen to what I can, plus it's a great way to find new acts:
Freestyle, Daptone, Record Kicks, Blue Note and Motema are all awesome independent labels with amazing catalogues.

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from the Jae Millz n those types buried deep on their roster.

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One of the reasons I got into it as a business was the fact that hardcore metalheads are loyal to both labels and physical formats. It's a small niche, but the people that care about it REALLY care about it and devote a significant chunk of their energy and income to it. It's strictly a labor of love for me anyway because there's not a big enough fan base there to make anyone rich, but at least I feel the love is returned from my customers.

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Today's standards of an artist being signed on a label and another label mate guest appearing on that artist's album is kind of over these days since it's basically only three major labels and every other label is basically "my boyz n' dem got a label" got a dozen mixtape albums on datpiff, bandcamp, & itunes featuring who's every hot.

Only a few still seek out artists by labels, and even then it's hard cause not everyone is on the same label these days, they jump ship to whoever willing to have them.

The days of Rawkus, DefJam, No-Limit is over, it's barely r&b collectives these days, Shanichie Records use to have some dope smooth jazz & r&b vocalist on their label but back in the 90's they use to be a popular reggae label, rock artists are now moving towards indie labels as well, but like I said before it's about collectives not artists getting signed without knowing or having a relationship beforehand.

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"We in here talking about later career Prince records
& your fool ass is cruising around in a time machine
trying to collect props for a couple of sociopathic degenerates" - s.blak