Drake recently hit up Atlanta for his first of two shows in the city for his It’s All A Blur tour with ATL MC 21 S*vage. On Monday (September 25), he hit the stage and gave fans what they’ve been seeing blow up online for the past two months or so. Moreover, the trek has been nothing short of exciting, star-studded, eventful, and creative. For this first performance in the A, the Toronto MC fulfilled that precedent and anticipation with a stellar concert going through his biggest hits and bringing out some close friends. Furthermore, Atlanta Hawks star Trae Young, UK rap giant Central Cee, and Twitch streaming sensation Kai Cenat turned up alongside him for this event.
“Of course, Atlanta- well, first of all, make some noise for my brother Central Cee killing this s**t tonight,” Drake told the cheering crowd as he embraced each of his invitees. “Make some noise for my brother Kai Cenat one time in here, you know. And of course, make some noise for Trae Young in here one time tonight. We at ATL and s**t, wassup!”
What’s more is that the 6 God also took some time to honor the city of Atlanta as the hub of hip-hop right now, and one of its key homes in the genre’s history. “What would any of us be without Atlanta?” Drake asked his fans in ATL. “All the love that you’ve shown, all the musicians that you birthed, all the contributions that you give. This is hands-down the most important place in rap music and you should be very proud of yourselves.
“I know me, all the artists that I’ve done the greatest work with, all the artists that I love, all the artists that inspire me, the majority of them come from right here in Atlanta,” the 36-year-old continued. “So y’all make some noise for yourselves tonight. We celebrating you.” He may have found a new home in Houston, but it’s clear that he loves Atlanta deeply as both a fan and as an artist inspired by its excellence. On that note, stick around on HNHH for more news and the latest updates on Drake.
Happy birthday to Nas, whose star-studded 50th birthday bash’s guest list speaks to his legendary career outreach. Many hip-hop icons reunited to celebrate the Queens icon, and new footage from the event shows some of them off. Among many others, Esco hosted Fat Joe, Mary J. Blige, Slick Rick, Diddy, N.O.R.E., and mainstays like his close collaborator Hit-Boy. Of course, the duo wasn’t just celebrating Nasir Jones’ special day, but also the release of their sixth and final collaborative project, Magic 3. With all this in mind, it was a ceremonious occasion no matter who you were or what your relationship to the game is.
In fact, celebrations like these are a heartening display of the unity that the older guard of rap displays these days. For example, Nas kicked it with Diddy, who also released an album of his own this week that’s directly competing with Magic 3. In addition, many of these figures were involved, whether directly or otherwise, in feuds and scuffles throughout their careers. It’s amazing to see them come together after all these years, with pioneers like Slick Rick and the legends that emerged after the “Represent” MC.
When it comes to those, there’s no one that people point to more as the lyricist of note today (and yesterday and tomorrow, at this point) than Kendrick Lamar. He popped by to say hello to Nas and celebrate with him and Hit-Boy, who he worked with in the past. Considering that, this was a slightly New York region-based but still comprehensive view of hip-hop today, bringing in the past with the torchbearers of the moment. We’re sure that one day, Nasty Nas will come out for Kendrick’s 50th, which will have its own leading star of its contemporary age.
Meanwhile, all these celebrations become all the more meaningful within the context of hip-hop’s 50th anniversary. It almost pans out too perfectly: the rawest and most crucial MC blueprint in many’s eyes is just as old and experienced as the genre itself. Much like rap, he continues to shine and push himself forward with grace, skill, and heart. For more news and the latest updates on Nas, stay logged into HNHH.
In celebration of hip-hop’s 50th anniversary, Variety partnered with the Black Music Coalition to put together an unranked list of the 50 greatest executives in the genre’s history. Of course, it highlighted a lot of big names like Jay-Z, Diddy, 50 Cent, Dr. Dre, Lil Wayne, Eazy-E, and Jermaine Dupri. Also on the list were non-artist figures like Lyor Cohen, Irv Gotti, Suge Knight, and Andre Harrell, making for a well-rounded breakdown. Of course, there are many more names to break down, and you can find the full list of innovators and leaders here. For each mention, they briefly spoke on each business mogul’s accolades, polling 40 voters or so that comprised of journalists and fellow industry execs.
“To paraphrase one of his most-frequently quoted lyrics,” Variety said of Hov. “In March 2023, Jay-Z officially became a $2.5 billion business, man. The Brooklyn native has earned that rep, not only as one of the top-selling rappers of all time but by launching Roc-A-Fella Records, amassing a diverse portfolio including clothing, spirits, a streaming service and a stint as president of Def Jam.” Furthermore, Dr. Dre earned similar respect for his work in both music and business, as did Diddy, 50 Cent, and many others.
Dr. Dre & 50 Cent With Eminem At The Hollywood Walk Of Fame
HOLLYWOOD, CALIFORNIA – JANUARY 30: (L-R) Dr. Dre, Curtis “50 Cent” Jackson and Eminem attend a ceremony honoring Curtis “50 Cent” Jackson with a star on the Hollywood Walk of Fame on January 30, 2020 in Hollywood, California. (Photo by Paul Archuleta/FilmMagic/Getty Images)
“Combs’ capacity for reinvention and diversification has enabled him to stay relevant for more than 30 years,” Variety penned for Diddy’s write-up. “He expanded into fashion, spirits, and wellness while setting an example for other aspiring moguls to follow.” For Fif, they shared: “The man born Curtis Jackson was already one of the world’s biggest rappers when he co-created Starz’s ‘Power’- a fitting title, since he’d long used it. He kickstarted his career by creating his own G-Unit mixtape series, revolutionizing the medium while drawing Dr. Dre and Eminem’s attention.”
Meanwhile, Variety also highlighted Julie Greenwald, Ethiopia Habtemariam, Cathy Hughes, Debra Lee, Sylvia Rhone, Sylvia Robinson, and Mona Scott-Young as unsung heroines in the industry. Still, with such a rich history within the genre, surely they left out some names in the process. With that in mind, let us know in the comments who are the most impactful or under-appreciated rap execs in the comments. In addition, keep checking in with HNHH for more news and the latest updates on your favorite business titans within hip-hop.
Trippie Redd is gearing up to drop some new music, very soon. Overall, fans are very excited about his new album, A Love Letter To You 5. This series has been a pleasure to listen to over the years. It had always included a whole host of amazing new tracks. Moreover, there is quite a bit of fanfare surrounding Trippie’s return. His last project left a bit to be desired, and now, there is this sense that he could be coming back with a classic. The lead single “Took My Breath Away” is certainly a good sign of things to come.
Now, however, Trippie Redd is commenting on the current state of hip-hop. Ultimately, this was prompted by a tweet from Carl Chery, who is the Head of Urban Music over at Spotify. Chery issued a statement on Twitter, saying “Hip-Hop needs new leaders who are intentional about dictating where the music and culture are going. It feels like artists either don’t think about it or don’t want that responsibility. We need it tho. Who’s gonna step up?” It was an interesting question, that subsequently led to Trippie’s comments.
Hip-Hop needs new leaders who are intentional about dictating where the music and culture are going. It feels like artists either don’t think about it or don’t want that responsibility. We need it tho. Who’s gonna step up?
As HipHopDX reported, the rapper wrote “He right, we gone bounce back tho. We let country and Spanish music take over cuz we too divided. That sh*t l*me as f*ck.” In case you haven’t noticed, the biggest songs in the world this year have been from reggaeton and country artists. There hasn’t been a single number-one album or song from a hip-hop artist in 2023. Some believe this is a sign of a genre in decline. However, others have theorized this is simply due to the fact that none of the genre’s superstars like Travis Scott or Lil Uzi Vert have dropped yet.
Either way, it is going to be interesting to see if the genre as a whole can break out of this sales rut. At the end of the day, huge pop stars like Taylor Swift have been dropping this year, which has also led to impenetrable records. Hopefully, someone in hip-hop is able to get that number-one spot and break the streak. Let us know what you think of Trippie’s comments, down below.
It seems like her near-beef with Latto over a misinterpreted lyric has really informed Coi Leray’s perspective. Moreover, she just took to Twitter to lament the fact that there still hasn’t been a number one rap song in 2023, and she has a plan to change that. What is it? Well, it consists of bringing together as many female rappers as possible for a ladies night of camaraderie, pure talent, and the ultimate collaborative spirit. “Ain’t been a #1 rap song at all this year,” the Boston native began her message. “Calling all the female rappers to front. Here me out. ladies night. Hip hop. Unity. #splash let’s make history with a number 1 … together .. with love. #justanidea.”
In addition, she also responded to fan questions and backlash. For example, one fan pointed out that there are simply too many out there to make a cohesive great song in time. “Someone of us can share verses,” Coi Leray suggested. “Split it up. Back and forth. Adlibs.” Another said that they don’t want unity, but rather beef. While Coi called that “distasteful and weird,” it’s unfortunately a prevailing attitude among not just fans, but plenty of artists alike right now.
Coi Leray’s Proposition For An All-Femcee Number One Song
Ain’t been a #1 rap song at all this year. Calling all the female rappers to front. Here me out. ladies night. Hip hop. Unity. #splash let’s make history with a number 1 … together .. with love. #justanidea
How many times have outlets like ours reported on the latest beef between rappers or their fanbases across genders, including Coi Leray herself? Egos are big, the attention and money that beef makes is even bigger, and especially female rappers are unfortunately pitted against each other thanks to misogynistic stereotypes and an unfortunate inability to “play with the boys” as a result. The perception of there being one hot female rapper at a time is quickly vanishing, but fanbases and outlets are far too quick to make them step on each other to reach an elevated status at all.
Regardless, the 26-year-old has more music to look forward to in the future regardless of whether this single works out. Her upcoming sophomore album COI has a lot of singles under its belt already, and many are excited to see what she brings to the table. Hopefully her tweets plant the seeds for a banger to come, especially one that shows that the women in rap are leading the way right now. For more news and the latest updates on Coi Leray, keep checking in with HNHH.
Russ’s refusal to cave into a major label record deal has supported the paradigm shift of the hip-hop industry over the past decade. Once a given that a successful MC would quickly dart to one of the major labels, it’s now become standard practice for artists to really evaluate their options before signing a deal. Throughout this trend, pressure has been put on record labels to begin treating artists with a more concrete level of sincerity. The ability for labels to micromanage the creative process of artists is beginning to drift away.
However, staying independent is a daunting task for any artist. To this day, the stark reality is that the big-budget marketing behind artists gives them an exponentially greater chance to become global icons. It’s a big reason why Olivia Rodrigo’s debut album Sour immediately rose to the top of worldwide charts. In addition, many of the headaches associated with tour scheduling, marketing, and scheduling go out the window when a record company controls the business aspect of the artists’ careers. However, this means that much of the artists’ streaming revenue will return to the record label.
Russ Encourages Hip-Hop Artists Not To Sign A Deal
ATLANTA, GA – SEPTEMBER 17: Rapper Russ performs onstage at 2017 Music Midtown at Piedmont Park on September 17, 2017 in Atlanta, Georgia. (Photo by Paras Griffin/WireImage)
Amidst this debate, Russ has symbolized an artist whose very much in support of independence. He wrote on Twitter, “Artists: own your music and stop letting these labels take 15% distribution fees for pressing an upload button.” He posted screenshots of his weekly payouts, occasionally eclipsing the $100,000 mark. The Atlanta-based rapper has been using Tunecore since his career began taking off in the early 2010s. Tunecore is an independent music distribution that independent artists can use to collect revenue from their art.
Russ has expanded on this issue throughout his career. Unfortunately, many successful artists continue to live paycheck to paycheck when signed to a label deal. Rather than receiving revenue from streams, artists who sign a deal tend to receive a flat check, while the label receives the streaming revenue. AIM Chief Paul Pacifico stated, “If you’re defining success as organically building a sustainable business, territory by territory, and really adding the personal touch, then an independent label may be a really, really good option. If what you’re looking to do is to hit global scale very, very quickly, then a global apparatus and a huge global marketing spend may be what you need.”
Russ initially blew up off of his 2017 hip-hop album, There’s Really a Wolf. Tracks such as “Losin Control” and “What They Want” blossomed into nationwide sensations, solidifying Russ as a name to watch. Since then, he’s become known as a DIY pioneer, controlling aspects of the process from producing to publishing his music. His music began garnering some attention all the way back in 2014 when he describes beginning to earn over $1,000 a month on music. “During that little spike, I was kind of like, ‘Oh, you can actually make money off of this.’ Like real money, you know?” The 21-year-old realized that he could rely on himself rather than a label.
However, Russ wasn’t always an independent artist. Back in 2017, he signed a multi-million-dollar record deal with Colombia Records. He explained to host DJ Akademiks, “I made sure that I built up leverage. I was selling out shows. I was doing all of this s**t. So, how much of me did I actually sign to you.” It’s an approach that’s become more commonplace over the past decade, as artists have waited to become successful independent artists before willingly signing over their royalties to labels. However, Russ’s deal with Colombia Records didn’t last very long. After releasing the deluxe version of SHAKE THE SNOW GLOBE, he had satisfied his obligation rights to the label. After three years, he realized that doing it himself was easier than relying on others.
He Founded Diemon Entertainment in 2022
In 2022, Russ would go on to expand his “artist-friendly” label, Diemon Entertainment, along with hip-hop artist Bugus. The two have a relationship that travels back to when Russ was still making beats in his parents’ house as a 20-year-old. In fact, Diemon Entertainment was created all the way back in 2011. Recently, he’s decided to turn Diemon from a creative collective into a fully-fledged record label. In an interview with Variety, Russ stated, “It’s just a super artist-friendly situation, where we’re here to provide resources and mentorship to artists that we believe in.”
Russ’s success as an independent hip-hop artist sets the stage for ownership as an artist. Of course, he’s not the only one to shift the conversation about signing a record deal. Artists such as Frank Ocean, Chance the Rapper, and Macklemore have all proven that success can be achieved without a label. Russ’s individualistic approach made things more challenging in the early stages of his career. However, Russ’s eventual success has made him a symbol of patience and individuality.
Timbaland is easily one of the greatest producers to ever grace the genre of hip-hop. Moreover, he has done some exceptional work in the pop and rock spaces, as well. One can just look at his work with One Republic, Nelly Furtado, and Justin Timberlake to understand what we mean. Overall, the producer will go down as a legend, and at this point, he is already considered as such. These designations are absolutely deserved, and it’s good to see the artist getting a ton of shine in interviews and other forms of media.
Additionally, Timbaland has been paying homage to the greats, whenever he can. For instance, he was on the I Am Athlete podcast, where he was asked to give his hip-hop Mount Rushmore. “Slick Rick, Doug E. Fresh, they changed my life,” Timbaland said. “I started getting more into it. Rakim who really set the bar high for me. I was like, ‘Oh, this bubblegum rap gotta go.’ Then Big Daddy Kane, you know what I’m saying? Then I was like, for me, like who is this? Then came LL Cool J. I’m goin’ from my DJ career. I’m naming them from that perspective.”
Timbaland Honors The Greats
From there, Timbaland continued to name the people who helped him throughout his career. Whether it be as a producer or just as a DJ, the artist got to see the history of the genre play out. “And then there was RUN-DMC. RUN-DMC might’ve been before LL Cool J because RUN-DMC had a lot of lyrics and they was poppin,’” Timbaland explained. “Now, if you want to talk about lyrics, I’m goin’ by what moved and changed lives. Then after that, then came DJ Premier and Guru. Then Wu-Tang, Method Man. Then came, I can say after that, Fat Joe and Big Pun, for me. But, then Outkast. Then Ludacris.”
While this might be a crowded Mount Rushmore, you cannot blame the super producer for including so many people. After all, hip-hop has a ton of amazing artists who have influenced the current generation. Let us know who would make your hip-hop Mount Rushmore, in the comments section below. Additionally, stay tuned to HNHH for more news from around the hip-hop world.
The hip-hop world’s been reacting to A.I.-generated songs, voice replications, and filters for a while, but it just took a whole new scary step. Moreover, a recent audio clip surfaced on social media of an A.I.-generated verse from Jay-Z, complete with lyrics and voice mimicry as if it was a recorded product. After it exploded on the Internet, some of hip-hop’s most notable behind-the-scenes figures (and greatest defenders) spoke out against it. However, perhaps “scary” isn’t the right word, as leaders like Young Guru are more concerned with how this will tangibly impact artists. He acknowledges that technology will continue to evolve and shape itself regardless, but that we must be ready to protect our art.
“I’ve been trying to tell everyone that this is where we are now with AI,” he wrote on Instagram, posting the clip in question. “For some reason this one got everyone’s attention. So what do we do. On one hand I’m well aware that you can’t stop technology. Once the genie is out of the box you can put him back in. On the other hand we have to protect the rights of the artist. Not only artist but everyone in society. People should not be able to take your Name, Image and Likeness without permission. We have to add the voice to this law.”
Young Guru Posts Words Of Concern After A.I. Jay-Z Verse
“We have to learn from past mistakes,” he continued. “You would be a fool to chase every person that is going to do this. We learned that lesson with Napster. The only way I see to deal with it is to change the law. There are so many different opinions. We could change the United States law tomorrow but the internet is world wide. What a time we live in!!”
Furthermore, 9th Wonder commented “My God,” and DJ Clark Kent wrote, “This is terrible.” While Guru previously warned fans of A.I. thanks to a Kendrick Lamar voice filter that can alter one’s voice to mimic his, this is an even deeper issue. As such, the hip-hop world might be intimidated by technology, but seems as committed as ever to defending its roots, culture and artistry. For more on Young Guru, Jay-Z, and A.I.’s revolutionary (and worrisome) evolution in music, stick around on HNHH.
When it comes to the music industry, a healthy and supportive label can mean the difference between stardom and failure. Sure, most of the immediate attention around a hot new song or album concerns the artist that created it. However, labels often help these creators get to that point of success, whether through financial support or through keen mentorship. Over time, many record companies build a stacked catalog of either varied stars or a tightly curated sound. Still, much conversation around labels these days (especially the most successful ones) concerns how they might mistreat, exploit, or fail to properly compensate their roster. Many within hip-hop could relate to that experience, and thus chose to take matters into their own hands.
Perhaps more than in any other genre, rappers and producers quickly cemented their industry legacy in various ways. Many of the biggest rap stars of all time either spearheaded their labels, started their own, or made huge business moves to become entrepreneurs within the music world. Great labels can inspire change, provide employment opportunities, and create a space of community and support within a volatile industry. Of course, things don’t always pan out perfectly, but many labels in the rap game etched themselves into its history books for reasons larger than the sum of their sometimes controversial parts.
To celebrate Black History Month, we compiled a list of some of the most iconic Black-founded hip-hop labels. A few notes before the list begins in no particular order. First, this list includes record labels which were founded or co-founded by Black artists, entrepreneurs, producers, etc. Of course, many of these labels have parent companies; in other words, the larger music group conglomerate that distributes its releases. Still, these labels appear on the list because at one point in time or another, they represented (or represent) independence, creativity, artistic progression, commercial success or stability, community, innovation, or some or all of the above. We’ll also include some notable releases from each label, although there are many, many more iconic releases than what we’ve listed for each group.
There are too many iconic hip-hop labels to summarize perfectly in one list. So, with that said, let us know in the comments down below which are some of the most impactful Black-owned labels in your opinion, whether in hip-hop or beyond. Also, we recommend you search for independent record labels in your area of interest, as they can yield incredible and undiscovered talent. It’s that next generation of Black artists, businesspeople, entrepreneurs, and creatives that will continue to redefine the music industry. With all that said, let’s take a look at some of the biggest labels in hip-hop history.
Sugar Hill Records
Kicking off this list is, arguably, the label that started it all. Sugar Hill Records is responsible for some of the most essential and groundbreaking records in old school hip-hop in every metric. Sylvia Robinson founded this label with her husband Joe in 1986, along with Milton Madden and funding from Roulette Records. Sylvia already found artistic success in the 1950s and stepped into more of a producer role the next decade. With Grammy Award-winning experience working with Ike and Tina Turner, she created much of the blueprints for hip-hop’s pillars we take for granted today. She released the first rap single to dominate the charts and sell over a million copies with The Sugarhill Gang’s “Rapper’s Delight” (controversy aside). Also, she highlighted more established hip-hop acts like the legendary Grandmaster Flash & The Furious Five, who popularized the DJ as a musician and promoted social consciousness within their messaging.
With other artists like The Funky 4 + 1 and The Treacherous Three, Sylvia and Joe built one of the most successful and significant independent labels of its time in a few years. Unfortunately, Sugar Hill is now defunct following a distribution deal with MCA Records. While much of Sylvia’s work and talent went uncredited, she’s considered one of, if not the godmother of hip-hop. Much of Sugar Hill’s records are incredible distillations of what we know as rap today, and they set the groundwork for future independent companies from an artistic and business-minded standpoint. Hip-hop was born years before Sugar Hill, but Sylvia and Joe were among the first forces to stamp it in the music industry and commercial pop culture at large.
Notable Releases – “Rapper’s Delight” (1979) – The Sugarhill Gang – Sugarhill Presents the Sequence (1980) – The Sequence – The Message (1982) – Grandmaster Flash & The Furious Five – Drop The Bomb (1982) – Trouble Funk – “Whip It” (1983) – The Treacherous Three
Bad Boy Records
When Sean “Diddy” Combs was fired from his A&R job at Uptown Records, he knew that his skill at curation and ear for quality hip-hop couldn’t be squandered. As such, he founded Bad Boy Records in 1993, one of the most successful hip-hop labels of all time. To start, their catalog of artists represents titans of hip-hop and R&B in the ‘90s and 2000s. Faith Evans, The LOX, Craig Mack, Mase, Diddy himself, producers like Easy Mo Bee, Yung Joc, and of course the legendary Biggie Smalls. Sure, it had its ups and downs in its 30-year history, but the Bad Boy collective carved their name into East Coast hip-hop like few other labels have. In fact, although their output is more reserved, they continue to release significant albums in the music landscape.
Most recently, Janelle Monáe’s Dirty Computer received a Grammy nomination for Album of the Year, among a heap of additional critical and fan acclaim. Meanwhile, the label represents one of the most notable genre crossover artists in Machine Gun Kelly, whose latest album Mainstream Sellout saw much commercial success as well. With all that said, Bad Boy Records successfully shifted its focus across its history, and laid the groundwork for one of hip-hop’s billionaires. Diddy’s industry success, and the legacies of the rest of the Bad Boy crew, transcended far beyond label boundaries. Still, one can’t help but imagine what Bad Boy could’ve been if tragic events hadn’t marked its history so deeply. Much of the discussion around the label in the ‘90s concerned a rivalry with another imprint that caused a seismic shift in the genre, on the other side of the country.
Notable Releases – Ready To Die (1994), Life After Death (1997) – The Notorious B.I.G. – Faith (1995) – Faith Evans – Money, Power & Respect (1998) – The LOX – Dirty Computer (2018) – Janelle Monáe – Mainstream Sellout (2022) – Machine Gun Kelly
Death Row Records
When it comes to West Coast rap, few labels are as well-known, influential, and notorious as Death Row. Founded by Dr. Dre, Suge Knight, Dick Griffey, and The D.O.C. in 1991, the label became home to some of the most influential West Coast records of all time. Their first record was Dr. Dre’s The Chronic, which took G-funk to new heights and established the careers of label artists like Snoop Dogg, Kurupt, and Daz Dillinger. What followed were some of the most successful and beloved rap albums of the time, especially after they signed 2Pac in 1995. Also, the sheer popularity and gritty glamor of the collective’s aesthetic, their movement, and their public personas influenced rappers for decades to come. Even more so after their beef with Bad Boy Records, Death Row was as much of a philosophy as it was a brand.
However, that philosophy ended up becoming dangerous. Multiple losses on both sides, such as Pac and Biggie, meant tragic outcomes for both camps. In Death Row’s case, they didn’t fully recover after the conflict, as there were already internal battles between Dre, Pac, and the label executives. Despite its murky history, the label released art that impacted millions, regardless of the circumstances of its creation. In fact, Snoop Dogg recently bought the label from MNRK Music Group last year, so perhaps there will be a different ending to the Death Row story. As many other labels have done, maybe a new generation of Death Row artists will sidestep the label’s past struggles and capitalize on the music that made it truly special.
Notable Releases – The Chronic (1992) – Dr. Dre – Doggystyle (1993) – Snoop Dogg – “Regulate” (1994) – Warren G & Nate Dogg – All Eyez On Me (1996) – 2Pac – BODR (2022) – Snoop Dogg
Ruthless Records
Before Death Row, however, there was Ruthless Records. Eazy-E founded the label in 1987 alongside Jerry Heller. What started out as recordings in Eazy’s parents’ garage became some of the most influential tracks and albums in West Coast hip-hop. Through close collaboration and a relentless desire to do things their way, artists like N.W.A forged monumental careers. While internal discussions and money eventually got in the way of its key members, their influence during those days established them as leaders of the West Coast. Dr. Dre went on to co-found Death Row, and Ice Cube founded Street Knowledge Records, now known as Lench Mob. During this time, a lot of label turmoil was still being figured out in hip-hop, but it didn’t stop anyone from putting out impactful music.
Still, the Ruthless roster stands among many other West Coast pioneers who also contributed to the scene’s success. What makes this label special are its impressive and distant bookends. First, the gritty depictions of street life, hard-hitting production, and gangster attitudes that radicalized late ‘80s hip-hop. Then came Bone Thugs-n-Harmony in the mid ‘90s, who themselves laid some of the groundwork for the most popular sounds of today. The Ohio group not only proved Eazy-E had the vision to lead Ruthless to other scenes and movements in hip-hop, but were also one of the first to pioneer trap music in its prototypical stages. Perhaps Death Row gets a bit more name recognition these days, but Ruthless remains arguably one of the most enduringly influential labels in hip-hop history.
Notable Releases – Straight Outta Compton (1988) – N.W.A – Eazy Duz It (1988) – Eazy-E – No One Can Do It Better (1989) – The D.O.C. – Michel’le (1989) – Michel’le – E. 1999 Eternal (1995) – Bone Thugs-n-Harmony
Cash Money Records
Our first Southern representative on this list was founded by two brothers, Ronald “Slim” Williams and Bryan “Birdman” Williams. With a desire to overcome poverty from rough upbringings, the label became the genre’s biggest revolution in years. In its early days, Cash Money established itself thanks to keen curation, which turned the streets’ favorites into hit artists. With a few years of experience under their belt, they signed Lil Wayne and Juvenile in 2006, and would go on to include Nicki Minaj, Drake, Jacquees, DJ Khaled, and many more (under Young Money, a later imprint of Cash Money started by Lil Wayne). Albums were selling millions of copies and many of these projects ended up defining much of the 2000s bling era. Weezy, for example, is just as well-known for his mixtape series as he is for his classic albums.
Of course, eventually Cash Money’s biggest players ended up moving on. Wayne in particular had a lot of issues with Birdman surrounding the release of Tha Carter V, and a lot of those label tensions could’ve boiled over into other careers. Nicki Minaj, for example, is on Lil Wayne’s Young Money label, which used to be an imprint and later partner of Cash Money (or YMCMB). Regardless of how things have shifted, Cash Money continues this list’s trend of influential labels defining how future ones could operate. Birdman even played a hand in the rise of artists like Young Thug, who not only has beef with his idol Lil Wayne but created a whole generation of clones of his own. Many of today’s most traveled roads in rap were paved by the sound Cash Money championed.
Notable Releases – 400 Degreez (1998) – Juvenile – 5 * Stunna (2007) – Birdman – Tha Carter III (2008) – Lil Wayne – Pink Friday (2011) – Nicki Minaj – If You’re Reading This It’s Too Late (2015) – Drake
No Limit Records
No Limit’s history slightly mirrors that of Cash Money, at least at first glance. Similar come-up in 1991, reached mainstream success from the mid ’90s to the 2000s, and so on. Percy “Master P” Miller started to sell his recordings through a small storefront, seeking out and signing local California talent. However, given he’s from New Orleans, the sound of No Limit was something more new from the jump. Eventually the label relocated to his home city in Louisiana in 1995, and found more MCs hungry to succeed. Within two years, No Limit was one of the more commercially successful labels of the moment. They dropped movie soundtracks and signed the one and only Snoop Dogg after his Death Row exit.
While No Limit’s music wasn’t a critical darling, its artists were so prolific and idiosyncratic that they connected with audiences in a way few other rap labels could. Though all good things came to an end, they represented yet another fresh take on the game. At the time, there was still had a bit of binary bias between West and East. While No Limit is no more, it lives on through No Limit Forever Records, founded by P’s son Romeo Miller. Their groovy, raw, and relentless run of albums in the ‘90s and 2000s was quite impressive as a new player. Also, dozens of rappers have spoken on how Master P shaped their consumption of the art form. During a time in which labels seem to want to put more music out than ever, perhaps No Limit set a blueprint for how artists could make that supply and demand work.
Notable Releases – The Shocker (1996) – Silkk the Shocker – Ghetto D (1997) – Master P – Tru 2 da Game (1997) – TRU – Da Game Is to Be Sold, Not to Be Told (1998) – Snoop Dogg – Mama Drama (1998) – Mia X
Def Jam Recordings
Of all the labels on this list, Def Jam might be the broadest selection, the most difficult to talk about, and the hardest to summarize in two paragraphs. After linking with producer Rick Rubin, Russell Simmons built upon some of his industry experience to build an empire. Early signees included some of hip-hop’s most impactful innovators: Run-DMC, LL Cool J, and The Beastie Boys. Then came Jay-Z, DMX, Kanye West, Redman, Mariah Carey, Rihanna, Big Sean, Frank Ocean, Pusha T, and so many more. Artists either formed gargantuan careers starting off in Def Jam or have arrived at it as established superstars. The sheer variety of genres and styles, the businesses it’s directly and indirectly created, and its broad influence is outstanding.
However, with such a wide pool, you’re bound to have some sharks in the water. In many ways, Def Jam’s size and versatility emphasizes everything a label can be. It can be freeing, restrictive, personal, cold, rewarding, unforgiving, the best thing to happen to your career, the music business screwing you over, or all those things at once. In fact, Simmons is no longer even on the board as executive due to various accusations of sexual assault. Despite that, this label gave artists the experience and infrastructure knwoledge to excel independently, at least in some cases. Even with excitement around Def Jam disappearing with time and context, many of its artists are still invigorating and inspirational. No matter who you are, odds are that you will find something that moves you on this label’s discography.
Notable Releases – Radio (1985) – LL Cool J – Licensed To Ill (1986) – The Beastie Boys – It Takes a Nation of Millions to Hold Us Back (1988) – Public Enemy – The Blueprint (2001) – Jay-Z – It’s Almost Dry (2022) – Pusha T
Top Dawg Entertainment
One of the top labels right now was founded almost twenty years ago. In 2003, after six years producing, Anthony “Top Dawg” Tiffifth met a then-15-year-old Compton rapper named Kedrick Lamar. Eventually, TDE became a proper label with the help of Terrence “Punch” Henderson in 2004 and first started seeing commercial success thanks to successful mixtapes from Jay Rock. Soon after, Ab-Soul and ScHoolboy Q joined, leading the four MCs to form Black Hippy in 2009. With later signees including SZA, Isaiah Rashad, and most recently Doechii, TDE represents commercially successful but artistically progressive hip-hop. For example, many consider Kendrick Lamar one of the greatest to ever do it. Now that he’s exited the label, they might wonder where they go from here.
Well, so far, the incredible success and acclaim behind albums like SZA’s SOS, Zay’s The House Is Burning, and Ab-Soul’s Herbert quell all doubts of quality discographies coming through. Moreover, Doechii became one of the XXL Freshmen of 2022 and is one of the most beloved rising MCs. While some labels fall to either complete lack of notable output or too much infighting, TDE focused on its artistry. Of course, it hasn’t dodged those industry pitfalls, as release conflicts from behind the scenes, accusations of “mid” on the Internet, and the fact that TDE releases take a while still affect the label. However, for what it’s worth, they might have the highest batting average here and inspire many other independent labels.
Notable Releases – Control System (2012) – Ab-Soul – Oxymoron (2014) – ScHoolboy Q – To Pimp A Butterfly (2015) – Kendrick Lamar – Ctrl (2017) – SZA – The House Is Burning (2021) – Isaiash Rashad
Dreamville Records
Next up is TDE’s biggest competition, although they actually feel more like kindred spirits. J. Cole founded Dreamville in 2007 with manager Ibrahim Hamad. Cole wanted to put music out, Hamad wanted to start a label, and within seven years they released the label’s first group mixtape Revenge of the Dreamers after Cole’s mainstream success. While their roster is often compared to TDE’s, they certainly shine as a unified label with just as much talent. Bas, Ari Lennox, JID, and EARTHGANG are just a few of the charismatic creators that push Dreamville forward today. Cole continues to do incredible things, but just like TDE, the newest names are the most exciting thing about it.
JID reached rap royalty with 2022’s The Forever Story, which established him as a leader after already proving his skills. Much of the roster is entering what many would call their veteran years, but their music remains fresh and unencumbered. Let’s not forget their recent Gangsta Grillz tape with DJ Drama, which proves they can dominate on the home court or in another city. Dreamville also has a Foundation in Fayetteville, North Carolina that helped many of its community members through rough times. While many labels often engage in charitable endeavors and extracurriculars like film soundtracks and business deals, few artists come off as genuine, well-mentored, and prepared to take on those responsibilities as Dreamville’s artists do.
Notable Releases – 2014 Forest Hills Drive (2014) – J. Cole – Milky Way (2018) – Bas – Shea Butter Baby (2019) – Ari Lennox – Mirrorland (2019) – EARTHGANG – The Forever Story (2022) – JID
Griselda Records
Finally in this list, we have Griselda, the independent Buffalo, New York label with one of the most prolific and quality discographies in recent memory. Founded in 2021 by Westside Gunn, Conway the Machine, and Mach-Hommy, the label was inspired by their experiences with drug dealing, their focused artistic visions, desire for independence, and building off of rap innovators like Roc Marciano. With the help of rapper Benny the Butcher and in-house producer Daringer, they cultivated a rebirth of hardcore hip-hop. Their beats feel incredibly atmospheric, gritty, and menacing, like the best grimy East Coast boom-bap of the 1990s. Their aesthetic creativity and business acumen in many areas has given each member an illustrious career of their own.
Speaking of Griselda’s roster, it includes the aforementioned wordsmiths plus some of the most respected MCs working today. There’s Boldy James, Rome Streetz, Armani Caesar, Jay Worthy, YN Billy, and Stove God Cooks. In fact, you can count the current Griselda roster with both hands. Even with Conway’s amicable departure, any one of those nine could likely body an average label roster today. Griselda is more than just a label in people’s minds. It’s almost more of a hivemind or a genre at this point. Few labels ever in hip-hop have been so easily identifiable and respected, not just because of their trademark style but because of the consistency of their output. More than any other label on this list, Griselda clearly has a very specific goal. They produce essential hip-hop music and get its hard-working artists a lot of cash, recognition, and freedom while doing so.
Notable Releases – The Plugs I Met (2019) – Benny The Butcher – Pray for Paris (2020) – Westside Gunn – The Liz (2020) – Armani Caesar – Pray for Haiti (2021) – Mach-Hommy – God Don’t Make Mistakes (2022) – Conway The Machine
50 Cent just said that Future is “way bigger” in the streets than Jay-Z, as hard as they may be for some to believe. However, it’s not like the talent gaps between the two are all that big nowadays. After all, they both have over a decade of experience in the game, and are incredibly influential in their own right. Still, 50 addressed the comparison (that Future himself made initially) in a recent interview with MSNBC. Overall, 50 maintained that although Jay-Z dominates commercially thanks to his legacy, the Southern pioneer has a lot of treasures to unearth.
HOUSTON, TEXAS – FEBRUARY 03: Rapper 50 Cent attends a game between the Houston Rockets and the Toronto Raptors at Toyota Center on February 03, 2023 in Houston, Texas. NOTE TO USER: User expressly acknowledges and agrees that, by downloading and or using this photograph, User is consenting to the terms and conditions of the Getty Images License Agreement. (Photo by Carmen Mandato/Getty Images)
“Yeah, yes,” the Queens MC responded to the interviewer’s prompt that Hendrix is bigger than Hov in the streets. “Way bigger. Like, there’s consistent music from him that didn’t chart that [are] huge records that people love and appreciate. Later, it may not have the same things to hold onto that you have at points.” On that last comment, it’s unclear whether he compared the two discographies or made a statement on longevity. Regardless, the “In Da Club” rapper’s point also reflects what kind of music people want to listen to now. At the end of the day, Jay is a legend, but many believe Future’s still in his prime. What’s more is that many consider him a legend already, especially due to his influence this past decade.
However, the self-proclaimed King of New York doesn’t exactly blow out the Atlanta trap icon’s numbers. In fact, it’s a pretty close race, considering Future’s wealth of Billboard Hot 100 hits across his catalog. Even if old heads might flare up in anger at 50’s comments, it’s a very specific and circumstantial question. Beyond that, what’s wrong with bumping “HOLY GHOST” these days instead of “Holy Grail”?
Regardless, it’s quite an interesting conversation, especially coming from a legend of the genre in his own right. In the same interview, Fif spoke on his early career and why the youth fell in love with his artistry. “The stuff that they see that I’ve learned, it kinda kept me out of trouble at points. The stuff I was saying in the music in the very beginning, I was crazy to tell you the truth, Ari. I was absolutely crazy at that point. Kids fell absolutely in love with me and they were in love with the wrong part of me.
Hip-hop artist and mogul 50 Cent on his success: “I have had kids that were absolutely in love with me and they were in love with the wrong part of me. The part that won’t actually continue to be successful. The part that won’t continue to be something that people celebrate.” pic.twitter.com/gv8TUItGLH
“The part that won’t actually continue to be successful,” he continued. “The part that people won’t continue to be something that people celebrate. They have to turn into something bigger and better as they go with the new information and new opportunities that come because they’re really street.” However you may feel about Future and Jay-Z’s comparison, return to HNHH for the latest on them and 50 Cent.
let’s make history with a number 1 … together .. with love. 
