Man, Death Row missed out on really pursuing R&B

[Big Boss]

This was supposed to be a Death Row released album but like you guys said the big boss lost focus

 

[Big Boss]

 

[Michael's Black Son]

This another joint I recently came across. I listen to this shyt daily now. That "Summer Madness" sample/interpolation

this shyt smoooooove as fukk.

 

[Kool Kitty Kat]

They had a lot of R&B music recorded, but it never came out though. Sean "Barney Rubble" Thomas recorded a whole album (it was approved by Dr. Dre) in '94 that never came out.

 

[Michael's Black Son]

This was supposed to be a Death Row released album but like you guys said the big boss lost focus

BGOTI sounded like Xscape mixed with HTown but they clearly could sing and seemed edgy enough for DR. yet another wasted opportunity

 

[Michael's Black Son]

This another 1 from Jewell's Black Diamond album. Lord Jesus!

Ain't NO female R&B singer singing like this no more!



A couple more

Jewell might have been a phenomenal session singer but she was basically a backstory away from putting out shyt that would've fit that 90s R&B era where you actually had to sing. Her voice is light years more powerful than Faith, but Faith had a backstory and that story just happened to coincide with the label's biggest star. So she was gonna pop regardless. I;m sure back then all of DR's R&B acts relied heavily on the label, probably didn't write and the label got a ton of mileage out of their hooks then put them on disc's like Gridlockd/Gang Related/etc to fatten up the projects since there was no surefire Dre content to anchor it.

DR simply needed someone to take the whole R&B "division" over, separate them from the label's image and let them either be soloists who did their own thing or be groups. Its insane that you could have Quik in exile producing Come When I Call for Danny Boy and not have him bang out 11 more tracks or at least oversee 5 or 6 of them. shyt woulda been easy. fukkin Devante was rolling with them heavy back then and they could wrestle some tracks out of him? Just crazy.

and lets keep it 100, Jewell was the beta test version of Truth Hurts, who coincidentally, got Quik and Dre tracks but a weak label push even tho Addictive is a certified banger.

 

[Big Boss]

BGOTI sounded like Xscape mixed with Town but they clearly could sing and seemed edgy enough for DR. yet another wasted opportunity

Facts

 

[Big Boss]

Jewell might have been a phenomenal session singer but she was basically a backstory away from putting out shyt that would've fit that 90s R&B era where you actually had to sing. Her voice is light years more powerful than Faith, but Faith had a backstory and that story just happened to coincide with the label's biggest star. So she was gonna pop regardless. I;m sure back then all of DR's R&B acts relied heavily on the label, probably didn't write and the label got a ton of mileage out of their hooks then put them on disc's like Gridlockd/Gang Related/etc to fatten up the projects since there was no surefire Dre content to anchor it.

DR simply needed someone to take the whole R&B "division" over, separate them from the label's image and let them either be soloists who did their own thing or be groups. Its insane that you could have Quik in exile producing Come When I Call for Danny Boy and not have him bang out 11 more tracks or at least oversee 5 or 6 of them. shyt woulda been easy. fukkin Devante was rolling with them heavy back then and they could wrestle some tracks out of him? Just crazy.

and lets keep it 100, Jewell was the beta test version of Truth Hurts, who coincidentally, got Quik and Dre tracks but a weak label push even tho Addictive is a certified banger.

Death Row had it all

 

[SpacelySprockets]

and lets keep it 100, Jewell was the beta test version of Truth Hurts

 

[Jacaveli The Don]

Its insane that you could have Quik in exile producing Come When I Call for Danny Boy and not have him bang out 11 more tracks or at least oversee 5 or 6 of them. shyt woulda been easy.

Quik produced a lot of Danny Boy's material in '95, easily an album worth

 

[I love Latina women]

Man, this my shyt!!!!!!!!!! First time I heard this shyt was 2 summers ago in da homie low low and we was dippin' through da Nawfside.

Yeah

Man, I bump that shyt daily.

@stomachlines u right

Death Row had it all

They really did.

Suge should be a billionaire by now

Easily!

 

[I love Latina women]

This cover right here! Maaaan, Jewel was singing her ass off! I love this woman's voice.

 

[I love Latina women]

this shyt smoooooove as fukk.

Ain't it?! Man, that shyt is ICE COLD!

 

[DarkmanX]

They just ran out of time. People forget the record cycle was completely different then, especially when everything you'v dropped has gone multi-platinum. You let smashes ride out then similar to how Bruno has done 24K Magic.

Pac coming to Death Row was huge, but one of the side effects was it pushed back the release schedule. Add that with Snoop being on trial for murder.

1997 would have been the year for Death Row R&B and they were gearing up for it with stuff like Makaveli' s "Toss It Up," Nate's "Never Leave Me Alone" and Danny Boy "Slip-N-Slide."

Danny Boy's unreleased album that finally came out in 2010 was fie.


They had the group Sixx Feet Deep too. The 1996 Death Row Christmas album was basically the Death Row R&B showcase album.


Pac said in an interview that he loved this song

Word. I found out about them on here a few months ago.

Love this joint

 

[I love Latina women]

Jewell might have been a phenomenal session singer but she was basically a backstory away from putting out shyt that would've fit that 90s R&B era where you actually had to sing. Her voice is light years more powerful than Faith, but Faith had a backstory and that story just happened to coincide with the label's biggest star. So she was gonna pop regardless. I;m sure back then all of DR's R&B acts relied heavily on the label, probably didn't write and the label got a ton of mileage out of their hooks then put them on disc's like Gridlockd/Gang Related/etc to fatten up the projects since there was no surefire Dre content to anchor it.

DR simply needed someone to take the whole R&B "division" over, separate them from the label's image and let them either be soloists who did their own thing or be groups. Its insane that you could have Quik in exile producing Come When I Call for Danny Boy and not have him bang out 11 more tracks or at least oversee 5 or 6 of them. shyt woulda been easy. fukkin Devante was rolling with them heavy back then and they could wrestle some tracks out of him? Just crazy.

and lets keep it 100, Jewell was the beta test version of Truth Hurts, who coincidentally, got Quik and Dre tracks but a weak label push even tho Addictive is a certified banger.

Yeah, Death Row really did need someone to take the whole R&B division over and anchor it.
I agree with all of this except for her being the beta test version of Truth Hurts. I get the comparison in a way but Jewell vocally outshines Truth Hurts.
Now don't get me wrong, Truth Hurts can sing her ass off! I just think Jewell is a better singer.
For all the legendary work she's put in other artists' songs, it's a damn shame Jewell ain't even got her own hit record tho. Truth Hurts can at least say she got that.