What is the Greatest Hip-Hop Label of All Time?
Death Row, Bad Boy, Aftermath, and Cash Money — Which label experienced the greatest run of commercial and influential success?
Nowadays, it’s hard to keep track of the most successful labels in Hip-Hop, given their family-tree-like hierarchical structures. For instance, Young Money Entertainment — a record label founded by Lil’ Wayne — is an imprint of Birdman’s Cash Money Records, which is distributed by Republic Records, a division of Universal Music Group — one of the Big Four record labels, along with Sony, Warner, and EMI. Universal, by the way, is a subsidiary of the French media conglomerate Vivendi.
During Hip-Hop’s golden years, label structures were much simpler — Universal gave us Def Jam, Interscope fathered Suge Knight’s Death Row Records and Dr. Dre’s Aftermath Entertainment, While P. Diddy’s (then known as Puff Daddy) Bad Boy Records, as well as Eazy-E’s Ruthless Records, operated under Sony.
Things got muddled as every rapper felt the need to have their own label, staffed with a slew of their own artists, trying to expand their own positions within the market. Although this had the effect of depleting the strength of the great Hip-Hop labels — as their rosters naturally thinned out due to artists veering off into ever-shrinking subsidiaries — it’s understandable why the artists pursued labels of their own. For artistic and financial reasons, artists of a certain commercial caliber took control of their brand appeal.
With that said, there was something special about the heavyweight labels.
Looking back at the great ones, it’s obvious to me that the Hip-Hop label Mount Rushmore — in terms of the greatest seven-year runs — is made up of Death Row (1992–1998), Bad Boy (1994–2000), Aftermath (1999–2005), and Cash Money (2008–2014). (Sorry Def Jam!)
With that settled, the question now becomes: Which of these has the highest peak?
In order to figure that out, we’ll need a scoring system.
Each of the following four factors will carry a maximum score of 25 points, with the final score being out of a possible 100 points. Whichever label scores highest, wins.
Here are the factors:
- Lineup: Did they lean heavily on one star? Were they deep in talent? This is the depth chart factor.
- Commercial Performance: How each label’s releases performed commercially — in terms of chart performance, sales, and number one singles.
- Superstars Birthed: Did the label’s heavy hitters experience further success? Did they create their own labels? Did up-and-comers develop into stars?
- Cultural and Musical Influence: Did the label create a new sound? Further, did this sound influence other artists? Outside of its music, did the label help shape significant cultural trends? Did the trends outlast the label itself?
With the categories set, let’s get down to business.
I. Lineup
Death Row Records (‘92–98)
There hasn’t been a stronger Murderer’s Row of talent than Death Row’s during its mid ’90s run. After plucking Dr. Dre from Ruthless Records and finding 19-year-old Snoop Dogg, Suge Knight completed his superstar trifecta by signing Tupac — already one of the most popular rappers at the time — fresh out of jail. Further, Death Row had depth with its group act — Tha Dogg Pound. Made up of Kurupt and Daz Dillinger, Tha Dogg Pound also established artists Warren G and Nate Dogg, whose “Regulate” was one of the most significant tracks of the era.
Lineup Score: 25/25
Bad Boy Records (‘94–’00)
Bad Boy’s run of dominance is seperated in two facets. The ‘94-’97 run during the Notorious B.I.G.’s heyday, and the ‘97–’99 run after his death. Bad Boy’s first run was largely saddled to the popularity of five artists — Biggie, Craig Mack, Faith Evans, 112, and Total. Impressively, while Biggie’s death looked to be the label’s fall from grace, Diddy hedged its future success on his popularity as a solo act, as well as new talents — Mase and the Lox. Compared to Death Row’s three superstars, Bad Boy may have only had two, in Biggie and Mase, yet their depth and versatility made up for it.
Lineup Score: 22/25
Aftermath Entertainment (‘99-’05)
In 1996, Dr. Dre’s decision to leave Death Row, while at their peak, no less, for his own label — Aftermath — seemed unwise. Then, Interscope head Jimmy Iovine gave Dre a handout. Upon his recommendation, Dre signed Eminem in 1998, forming a one-two producer/rapper punch that somehow exceeded Dre’s earlier relationship with Snoop. Following Eminem’s enormous success, Dre had a hand in bringing 50 Cent and The Game to the forefront of rap, forming a four headed monster that rivaled the one previously established by Big Suge.
Lineup Score: 23/25
Cash Money Records (‘08-’14)
After having already experienced a great run in the late ’90s and early ’00s with the success of the Hot Boys, Big Tymers, Juvenile, Lil’ Wayne, and the label-head himself, Birdman, by the late ’00s, Cash Money’s fortunes seemed tied to the career of Lil’ Wayne. Right as Wayne was peaking with “Tha Carter III”, the label stumbled onto two goldmines in 2009 — Drake and Nicki Minaj. Despite Wayne’s imprisonment at the heigh of his powers, the success of Drake and Minaj carried the label during the first half of this decade. While their personal relationships aren’t what they once were, Cash Money has continued to remain relevant by way of their Big Three.
Lineup Score: 22/25
II. Commercial Performance
For this category, to make things simple, we’ll only look at the label’s five most successful releases. Although it hurts labels that have released more records, we’re going to weigh quality over quanity.
Death Row Records (‘92–98)
1992 — Dr. Dre’s The Chronic — 3X Platinum, #3 Billboard, #1 Single — “Nuthin’ But a G Thang”.
1993 — Snoop Dogg’s Doggystyle — 4X Platinum, #1 Billboard.
1994 — Above the Rim Soundtrack (Various Artists) — 2X Platinum, #1 Billboard, #1 Single — “Regulate”.
1996 — Tupac’s All Eyez on Me— 10X Platinum, #1 Billboard, #1 Singles — “California Love” and “How Do You Want It”.
1997 — Tupac’s The Don Killuminati: The 7 Day Theory— 4X Platinum, #1 Billboard.
Final Totals of Death Row’s Five Most Successful Albums: 23X Platinum, Four #1 Albums, Four #1 Singles.
In terms of certified classics, Death Row would easily take the cake with The Chronic, Doggystyle, and All Eyez on Me. In its heyday, the infamous West Coast label was truly something to behold.
Commercial Performance Score: 23/25
Bad Boy Records (‘94-’00)
1994 — Biggie’s Ready to Die— 4X Platinum, #15 Billboard, #1 Single — “Big Poppa”.
1996–112’s 112 — 2X Platinum, #37 Billboard, #1 Single — “Only You”.
1997 — Biggie’s Life After Death — 10X Platinum, #1 Billboard, #1 Singles — “Hypnotize” and “Mo Money Mo Problems”.
1997 — Diddy’s No Way Out — 7X Platinum, #1 Billboard, #1 Singles — “Can’t Nobody Hold Me Down”, “I’ll Be Missing You”, and “Been Around the World”.
1998 — Mase’s Harlem World — 4X Platinum, #1 Billboard, #1 Singles — “Feel So Good” and “Lookin’ at Me”.
Final Totals of Bad Boy’s Five Most Successful Albums — 27X Platinum, Three #1 Albums, 9 #1 Singles
If we disregard my top-heavy approach and look at every album released during each label’s seven-year run, Bad Boy wins in resounding fashion. Even so, their five most successful albums hold their own against those of any label. From ’94 through ’00, of Bad Boy’s 18 releases, SIXTEEN went at least Platinum. Three of those were by Black Rob, Carl Thomas, and Shyne…who? Exactly. Everything Diddy touched seemed to go Platinum.
Commercial Performance Score: 25/25
Aftermath Entertainment (‘99-’05)
2000 — Eminem’s The Marshall Mathers LP — 10X Platinum, #1 Billboard, #1 Single — “The Real Slim Shady”.
2002 — Eminem’s The Eminem Show — 10X Platinum, #1 Billboard, #1 Single — “Without Me”.
2003 — 50 Cent’s Get Rich or Die Tryin’— 8X Platinum, #1 Billboard, #1 Singles — “In Da Club”, “21 Questions”, and “PIMP”.
2004 — Eminem’s Encore — 5X Platinum, #1 Billboard.
2005 — 50 Cent’s The Massacre — 5X Platinum, #1 Billboard, #1 Singles — “Candy Shop” and “Just a Lil Bit”.
Final Totals of Aftermath’s Five Most Successful Albums — 38X Platinum, Five #1 Albums, Seven #1 Singles
Having the best-selling rapper of all-time — Eminem — and a superstar whose first two albums had unprecedented success — 50 — goes a long way when calculating Aftermath’s commercial performance.
Commercial Performance Score: 25/25
Cash Money Records (‘08-’14)
2008 — Lil’ Wayne’s Tha Carter III— 3X Platinum, #1 Billboard, #1 Singles — “Lollipop” and “A Milli”.
2010 — Nicki Minaj’ Pink Friday — 3X Platinum, #1 Billboard, #1 Singles — “Your Love” and “Moment for Life”.
2011 — Lil’ Wayne’s Tha Carter IV — 2X Platinum, #1 Billboard.
2011 — Drake’s Take Care — 2X Platinum, #1 Billboard, #1 Singles — “Headlines”, “Make Me Proud”, and “The Motto”.
2013 — Drake’s Nothing Was the Same— 2X Platinum, #1 Billboard, #1 Single — “Hold on We’re Goin’ Home”.
Final Totals of Cash Money’s Five Most Successful Albums — 12X Platinum, Five #1 Albums, Eight #1 Singles.
When compared to the others, Cash Money’s most recent run coincides with the record industry’s declining sales, thus, their platinum achievements — while a lot lower than the other labels — must be taken with a grain of salt. Let’s grant that this industry-wide decline justifies their lower numbers; but their eight #1 singles, and five #1 albums somewhat make up for it.
Commercial Performance Score: 22/25
III. Superstars Birthed
Death Row Records (‘92–’98)
While Suge Knight assembled a who’s who of rap stars during the label’s heyday, Snoop Dogg was an unknown quantity upon signing. The others were already heavy-hitters: Dre came up with NWA, while Tupac was already one of the genre’s most successful rappers prior to joining Death Row. Here’s the thing, though: During their Death Row days, all three major artists took their careers far beyond where they were prior to joining, and all three experienced their career peaks while with Death Row. Thus, three legends were born, along with three flash-in-the-pan stars — Nate Dogg, Kurupt, and Warren G.
Score: 22/25
Bad Boy Records (‘94-’00)
Diddy was responsible for orchestrating one of the most dominant runs in Hip-Hop, by way of his ability to cycle talent in and out. While Biggie established an immortal reputation among the upper echelon of rap, Mase, 112, Faith Evans, Total, The Lox, and Craig Mack, experienced a short life of success. With that said, ironically, the biggest talent — partly due to Biggie’s untimely death — the label produced was Diddy himself. He fared quite well as a solo act —despite the fact he didn’t write his own material — with his first three albums going Platinum. It’s safe to say the label birthed two legends, in Biggie and Diddy, with one highly-successful follow-up star — Mase — and an array of flash-in-the-pan stars — 112, Faith Evans, Total, The Lox, and Craig Mack.
Score: 21/25
Aftermath Entertainment (‘99-’05)
Compared to the aforementioned two, only Aftermath single-handedly brought three stars to the forefront of Hip-Hop. Eminem became the biggest and best-selling rapper in the world, 50 Cent had a two-year run that cemented his status as the biggest rapper in the industry, and The Game became a household name by way of the success of his debut — The Documentary. On Eminem’s and 50’s success alone, Aftermath’s seven-year run was a monumental success, becoming a blueprint for seeking out unknown talent.
Score: 23/25
Cash Money Records (‘08–’14)
While Death Row, Bad Boy, and Aftermath birthed the careers of many legends, only Cash Money has been able to pass the torch for the best rapper alive from one of the label’s artists to another. Death Row is only in the discussion because of Tupac — it’s the same with Bad Boy and Biggie. And although Aftermath got close — from Eminem’s run to 50’s — 50’s short peak mitigates their argument. We’re left with Cash Money. Near the end of Wayne’s peak in 2009, Drake began his ascent into Hip-Hop’s stratosphere. By the time Wayne came out of jail in 2011, the torch had been passed. Since then, Drake has been, if not the best, certainly the biggest rapper alive. That means that Cash Money has represented the biggest rapper alive throughout the entire decade.
Score: 25/25
IV. Cultural and Musical Influence
Death Row Records (‘92–’98)
By 1992, the most infamous subgenre of Hip-Hop was “Gangsta Rap”. With its first two releases — Dr. Dre’s The Chronic and Snoop Dogg’s Doggystyle— Death Row, by way of Dr. Dre, introduced G-Funk (or Gangsta Funk) to the world. On The Chronic, Dr. Dre created the unprecedented soundscape of “Weed Rap”, with his funk and jazz sampled beats, alongside Snoop’s laid-back drawl. Further, Snoop’s Doggystyle, soaked in Dre’s G-Funk sound, established West-Coast “Party Rap”.
By the time Tupac arrived to the label in 1996, Bad Boy had wrestled back the position as Hip-Hop’s Best Coast. And then “California Love” happened. In what would be the peak of the G-Funk sound, Tupac heralded the “Thug Life” to a clumbthumping, vocoder-steeped phenomenon. Culturally, Death Row culturally made its presence felt, embodying the strongarm personality of Suge, the thug mentality of Tupac, and the pothead aura of Snoop. It’s safe to say few other labels ever enjoyed the influence Death Row wielded in their day.
Influence Score: 25/25
Bad Boy Records (‘94-’00)
At a time when G-Funk was the craze, Diddy and Biggie took on the other extreme — basking in opulence. Their cartoonishly gregarious music videos, replete with with modern mansions (“Juicy”), champagne, women, and hot tubs (“Big Poppa”), yachts and expensive cars (“Hypnotize”), and flashy suits (“Mo Money Mo Problems”), were spectacular in their lavishness. This was Bad Boy’s blueprint. Musically, Diddy’s production oversaw a soulful, sample-laden approach that made pop crossovers realistic. The bubble-gum pop sound, touched on by Biggie and mastered by Mase, influenced the genre immensely (see: Ja Rule, Fabulous, and Nelly). Thus, musically and culturally, Bad Boy rivals Death Row in terms of influence.
Influence Score: 25/25
Aftermath Entertainment (‘99-’05)
Considering he was the first truly great rapper, Eminem’s cultural influence was earth-shattering. Musically, he was blessed by the latest iteration of Dre’s sound. Beyond Eminem, the label had 50 Cent, who had more street appeal on account of the fact that he…was actually from the streets. He used this ruggedness to great advantage, occupying the Gangsta Rap position when he needed to while maintaining crossover pop appeal when a club song was in the calling. These two were massively
Influence score: 20/25
Cash Money Records (‘08-’14)
Although their influence culturally doesn’t touch the heights of the aforementioned labels, Cash Money — by way of Drake and Nicki Minaj — has steered the genre toward a sing-song approach. While past rappers mastered the ability to sing their hooks, never before had we seen one who could hit notes a la Drake and Nicki. And so, their influence is rooted in their outsize talent, that has made the genre demand that a rapper checks all boxes.
Influence Score: 20/25
V. Final Score
Death Row — 95/100
Bad Boy — 93/100
Aftermath — 91/100
Cash Money — 89/100
Not surprisingly, the winner is Death Row. Headed by the genre’s all-time intimidating presence — Suge Knight — with superstars Tupac, Dr. Dre, and Snoop Dogg, Death Row was groundbreaking — musically, culturally, and commercially. The realness, the Thug Life, the Gangsta sensibility — it was all there. Yet none of that would have mattered had their music been unspectacular. It was all in their sound.
All eyez on them.
