All those No Limit albums were not Gold and Platinum. Some of them were and all of them were from Lousiana artists as opposed to artists outside of Louisiana. The South taking over the reigns of Hip Hop started when Crunk exploded. Most or all of those artists I listed collaborated with Lil' Jon to some capacity and that was the beginning of The South becoming omnipresent.
East Coast Lost It's Footing In the Early-Mid '90s Because Of The Lack Of Entertainment Value
- Thread starter Wacky D
- Start date
All those No Limit albums were not Gold and Platinum. Some of them were and all of them were from Lousiana artists as opposed to artists outside of Louisiana. The South taking over the reigns of Hip Hop started when Crunk exploded. Most or all of those artists I listed collaborated with Lil' Jon to some capacity and that was the beginning of The South becoming omnipresent.
Additionally, The South blew No Limit up, not the other way around. No Limit didn't hit its stride until P went back home and linked up with KLC. Most of the artists and producers on the label were there via KLC because they were on his Parkway label. When P got with KLC and the rest of BBTP and started making Southern music, he blew up. By that time Mystikal was already making a name for himself, Eightball & MJG were gold artist, Kast was platinum, Face was platinum, Goodie Mob was gold. So No Limit didn't blow the South up, it was already on. What No Limit did was flood an already thriving market with local talent. CMR came in with the same model.
lol.
listen man. the southern scene wasn't relevant until the no limit soldiers blew it up. everybody gotta tell you the same thing in every thread.
and youre completely contradicting your previous post. a minute ago, you were claiming that the south didn't have it like that until the mid-00s. now youre claiming that the south blew no limit up 8 years prior.
is it oochie wally wally or is it one mic?
lol.
listen man. the southern scene wasn't relevant until the no limit soldiers blew it up. everybody gotta tell you the same thing in every thread.
and youre completely contradicting your previous post. a minute ago, you were claiming that the south didn't have it like that until the mid-00s. now youre claiming that the south blew no limit up 8 years prior.
is it oochie wally wally or is it one mic?
To say the Southern scene was not relevant until No Limit is complete ignorance and a lie. No Limit did wonders in terms of creating a scene in Louisiana, but it didn't make Southern Hip Hop relevant.
I didn't contradict myself. There is a world of difference between being relevant/viable and being dominant/omnipresent. No Limit was a product of The South being relevant. There was already a scene by the time P was making Down South Hustlers and by the time he dropped "Bout It II" there was definitely a scene. Before that, P was pretty much a West Coast artist, once he saw that Southern Hip Hop was relevant, he changed the style, sound, and look of No Limit to fit.
Ur just making a further case for my statement that by 98 the South had taken the reigns. And as for no limit, in 98 they dropped a 4x platinum, a 3x platinum album,two 2x plats, 5 platinums and 5 gold albums. And the albums that went gold were approaching platinum and the releases that didnt get certified gold were approaching gold. So again I gotta ask who was making bigger waves at that point?
How was I making your point? I was talking about The South pre-No Limit in my post.
When Master P dropped in 1998, he was selling the same amount of copies as Aquemini in 1998. His was a double album, which sold 2 million copies (multiplied by 2 for certification purposes since it was a double disc). Snoop Dogg was already established. Unless you're referring to TRU 2 Da Game, nothing else on No Limit was 2X Platinum or better in 1998. Silkk, C Murder, and the I Got The Hook Up soundtrack were all platinum. Kane & Abel, Mean Green, and Fiend were all gold.
No Limit dropped 23 albums at the peak of their run, so of course when you're featuring the entire label and advertising album covers on the inserts of your biggest albums, a lot of those are going to do well. That business model is one of the most innovative and unique set ups ever and it worked worked. Up until 1999, when their popularity waned, it didn't work. So to answer your question, No Limit was selling more records because:
1) they had a deal which allowed them to release 23 albums in one year
2) they had a business model which allowed them to cross promote everybody on the label
^^^ None of this was occurring before No Limit adopted a Southern sound and when No Limit started to lose key aspects of that sound, it fell off.
you still haven't told me who was making bigger waves than the south during that time, check the soundscans, the south was outselling the other coasts by then. It's also around the time when the east coast started having south friendly bounce beats i.e. Cam and Ruff Ryder's.
The East was still bigger than The South in 1998. Nobody on No Limit was doing what Jay Z and DMX was doing. Busta was platinum and even had his squad on the come up. Bad Boy was still a force with Mase still killing it.
The only coast that was being outsold by The South in 1998 is the West. The East having "South friendly" beats was not a result of No Limit though. These existed pre-1998:
And the "South friendly bounce beats" came courtesy of Timbaland's sound blowing up, which paved the way for The Neptunes and Swizz. After that, the East moved away from the replayed looped sampling of The Trackmasters and The Hitmen, and the chopped up soul boom bap of Premo to Timbaland, The Neptunes, and Swizz being all over their albums.
we go thru this same song & dance with @JustCKing all the time.
I don't know why its so hard for him to understand.....or maybe he just doesn't want to understand.
the scene was relevant to you beforehand because youre from down there. they didn't just make louisianna pop off. they generated interest and opened the game up for other people like slip-n-slide, 3-6 mafia, etc to make some noise, including your own atlanta scene, along with other acts that were already around. they gave suave house their biggest hit.
also, there as nothing like no limit coming from the south beforehand. and they didn't really make str8 southern rap. they were heavy with elements from the east and especially the Midwest & west coasts. that's another one of the main factors as to why they were the ones that made the south pop off. they bridged the gap.
as for the period later on when you think the south became dominant/omnipresent, they really just became pawns used to dumb down the culture. whats funny is, youre a guy that's stuck on sales, but don't even realize that those records weren't selling like that. they were mostly novelty acts, being thrusted to the forefront in order to push an agenda. that's hen I jumped off the south ship.
the east & south were on equal footing by '98.
and lol @ those beats youre naming being southern. you named a timbaland beat, a Midwest double-time cut, and an east coast club banger. lol. that's not what @KingSol81 was describing in the previous post when he mentioned Camron & the ruff ryders.
and
@ the thought of timbaland paving the way for swizz beatz.
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There's no we. You again, don't know what you're talking about because as always, your own biases blind you to FACTS.
The scene being relevant beforehand has nothing to do with my perspective. These were acts that were on a national level before No Limit jumped on a Southern bandwagon. This is a fact that has been reiterated by artists from Louisiana.
No Limit didn't give Suave House it's biggest hit. MJG's "That Girl" was easily bigger than any song they did with No Limit.
No Limit opened the door for independence. Many of these artists had already generated interest before No Limit blew up. What No Limit did was show those artists that they didn't have to get nickel and dimed by a label who could care less about the worth of the artists and just saw them as a meal ticket.
You accuse me of being contradictory now you're saying No Limit didn't make "straight Southern rap", but you'll criticize other Southern acts for incorporating the same elements in their music that P did. For starters, a lot of Southern acts were already doing this before P came along.
Breh, you can't speak on novelty acts being thrusted to the forefront and praise No Limit in the same breath. Most of that roster were novelty acts. Most only dropped one album and disappeared. Even the bigger artists on the label had a short shelf life. And this conspiracy theory you're using about dumbing down the culture is one that has been used against P as well.
he east & south were on equal footing by '98.
and lol @ those beats youre naming being southern. you named a timbaland beat, a Midwest double-time cut, and an east coast club banger. lol. that's not what @KingSol81 was describing in the previous post when he mentioned Camron & the ruff ryders.
and
The South and The East were not on equal footing by 1998. Nobody from The South was equivalent to a Jay or DMX.
Let the poster I quoted speak for himself. You're way out of your league speaking on music. He's referring to "Southern bounce". By your post, I know you don't know what that means. Southern bounce has tribal elements (i.e. what is heard in Busta's "Put Your Hands Where My Eyes Can See"), the Southern marching band element, and even the triplet, double time beat, which paved the way for now (which can be heard in the Puff joint). That Puff joint isn't Midwestern at all aside from Twista being featured. Again, and I've posted this before Stevie J (who produced the Puff joint) talks about how he was influenced by Timbaland. Proves you don't know music. You referenced these songs by who made them and who was featured vs what they actually sound like.
After Timbaland blew up, producers were turning more so to keyboard driven production vs. the samplers and drum machines that were used before.
I give up. Apparently men lie, women lie AND numbers lie.
How do numbers lie?
DMX had one album that sold 5 million and another that sold 3 million. Both released in the same year. Jay had an album that sold 5 million. Red was platinum, Meth was platinum, Rush Hour OST was platinum. All this was 1998 from Def Jam alone and you're saying No Limit was bigger?
Devil Plisken…CMS
Veteran
Not counting Nore fresh off the success of Super Thug & Pun off the heels of "Not A Player Remix" & Cam/Mase with "Horse & Carriage"
Look at the numbers I posted and the numbers you posted, then do some quick math and get back to me.
