how many fruitless ventures did major labels grant to rappers in the 00's?

why did somebody like nas have his own major label-distributed vanity imprint but somebody like rockwilder didn't?

almost every subsidiary label given to a successful rapper has flopped.

imo one of the most important things behind every successful label is a producer or a production team.
that concept seems to have been lost in the terrible 00's.
everything became freelance.
a lot of missed opportunity and potential money as well imo.

---
“Change is inevitable. Progress is optional.” – Tony Robbins

I guess the big dogs (Tim, Pharrell, etc.) did, but the Rockwilders or EZ Elpees did not. Most of them likely had production companies and were grooming artists, but never the backing of one of the major labels.

I think it also comes down to the fact that a lot of producers don't seem to be all that interested in that sort of thing. They're in the studio making beats.

Granted, a lot of rappers who were given labels probably weren't either (Nas is a good example as he's had TWO labels that have done nothing), but I suspect what happened there is it was offered to them and they shrugged and said "sure, why not?".

___________________________
OL' DIRTY BASTARD on himself:
"I may curse, I may have a bad mouth, whatever whatever. I'm not that bad, yaknow'mean. Bad to y'all, I dunno how y'all... I don't give a fuck. Um, I'm a good person at heart, for real and shit.

>I guess the big dogs (Tim, Pharrell, etc.) did, but the
>Rockwilders or EZ Elpees did not.

rockwilder and ez elpee on the same level?
that's "interesting".

there's a ton of producers that were hot that just did freelance work who should have just had an entire label established around their sound/vision.

lex luger for example...
why he doesn't have his own major label-distributed imprint is beyond me.
i mean maybe he does but at this point it should already have several projects under it's belt.

---
“Change is inevitable. Progress is optional.” – Tony Robbins

>>I guess the big dogs (Tim, Pharrell, etc.) did, but the
>>Rockwilders or EZ Elpees did not.
>
>rockwilder and ez elpee on the same level?
>that's "interesting".

In terms of success, they're not far off

"Get Money"
"Bad Boyz"
"Oochie Wally"
"Special Delivery"
"Bloody Money"

___________________________
OL' DIRTY BASTARD on himself:
"I may curse, I may have a bad mouth, whatever whatever. I'm not that bad, yaknow'mean. Bad to y'all, I dunno how y'all... I don't give a fuck. Um, I'm a good person at heart, for real and shit.

Dude Rockwilda made Lady Marmalade...

PINK
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MISSY
KIM

Double 0
DJ/Producer/Artist
Producer in Kidz In The Hall
-------------------------------------------
twitter: @godouble0
IG: @godouble0
www.thinklikearapper.com

...those three guys do a ton of the production on releases on that label

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nor at the forefront, not to mention the omarion press conference

So he hates to see other cats getting it in on the niche tip.

And plus no one wants to hear a 40 yo foreigner over trap beats

http://i54.tinypic.com/2j51hj4.jpg

n/m

---
“Change is inevitable. Progress is optional.” – Tony Robbins

---
“Change is inevitable. Progress is optional.” – Tony Robbins

The producers inevitably become a crutch for said artists. People really only ever seem interested in them because it's a vessel for the producer to give new music to fans so the reliance becomes on the producer – they inevitably sign more artists than they’re able to create albums for, top their label’s output with their frequent work for the far bigger cheques coming from the heavy-hitters and it proves to be just too much.

Taking Timbaland for instance, Sebastian and Attitude are unlikely to ever have solo releases; Neptunes – no releases followed for Roscoe P Coldchain, FamLay, Vanessa Marquez, Ab liva, etc.

The biggest buzz some artists ever receive is the fact that they signed with <insert big name producer here>. I suppose the trick is bringing an artist in who can do enough on their own to not need to solely rely on the producer.

Prince too – so few of the people he signed could generate enough interest as solo artists that when Prince lost interest in them, sadly, everyone else did too (clearly not saying that’s the case for all Prince signings!).

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It was rare for a producer led label to work out. G.O.O.D. Music, Aftermath, and So So Def are the only labels I can think of that worked. None of the others did very well.


---------------------------

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R.I.P. Disco D

If you are a producer, why would you give your best beats to a up and comer? who may or may never catch on, versus say landing a spot on a major label artists. By doing the freelance work, you get your name out there and it drives up your asking price.

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sure, so-called "super-producers" commanded larges sums up front, but that's also the reason they dwindled out. it's really radio play and publishing deals (which are dependent on a certain amount of placements on major LPs) that make producers rich.

you only getting major radio play and royalities off major label placement.

---------------------------------
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Superproducers rarely exist anymore, and trends seem to go in and out of music so quickly that making an entire label investment based on actual sounds - at least in hip-hop - doesn't seem as sound of an investment. If they sign a producer to a label deal based on his sound popping, and that sound falls out, then they're assed out.

Meanwhile, artists are only a hit away and they can pop at anytime. You can give an artist, or an artist-based label, whatever sound is going on take a shot. But if the foundation of your label is based on a certain sound, then it can fall off pretty quickly.

----

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I really don't know that many sub-labels/imprints that were headed by a producer/beat-maker?

https://tinyurl.com/y4ba6hog

---------
"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

Called Division 1. He signed Young Chris and Teairra Mari. I haven't heard any new music from either in quite a while, but I assume it still exists.

That's the most recent one I can think of, unless an obvious one is slipping my mind.

___________________________
OL' DIRTY BASTARD on himself:
"I may curse, I may have a bad mouth, whatever whatever. I'm not that bad, yaknow'mean. Bad to y'all, I dunno how y'all... I don't give a fuck. Um, I'm a good person at heart, for real and shit.

for at least 5 years.

---
“Change is inevitable. Progress is optional.” – Tony Robbins

They hitched their wagon to that dude early.

___________________________
OL' DIRTY BASTARD on himself:
"I may curse, I may have a bad mouth, whatever whatever. I'm not that bad, yaknow'mean. Bad to y'all, I dunno how y'all... I don't give a fuck. Um, I'm a good person at heart, for real and shit.

producers.

*bammer says some 6th grade toilet humor diss and ignores my point*

---
“Change is inevitable. Progress is optional.” – Tony Robbins

Only the big dogs deserve them... and they pretty much still exist

Will.I.Am
Kanye
Just Blaze
Neptunes
Timbo
Dr Dre
Polow Da Don
Swizz

In fact... that's one of Jimmy Iovine's favorite type of deals.


EDIT: the rise of EDM Djing and labels like warp have made it so producers don't need to go "major label artist" chasing either...

Double 0
DJ/Producer/Artist
Producer in Kidz In The Hall
-------------------------------------------
twitter: @godouble0
IG: @godouble0
www.thinklikearapper.com

i dont see it

death row (dre) worked as they had suge knight running it
ruff ryders worked as it wasnt swizz running it, just producing
cash money worked as it wasnt mannie freshs label, it was babys

the neptunes' label put out some good records but producers as label heads almost always = failed label

the best labels are those with someone in charge who isnt really a creative-only figure

the artists out now work with beat-makers who ain't true producers 1)

they can get turkeys in there bedrooms or basements to send dats to set act 2)

copycat syndrome 3)

sounds get played out quicker than they did back in the day Dr.Dre might even have a hard time making it today with the quick turn around 4)

in the ringtone era why does a label need to have a super Producer with a vanity label again? 5)


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