Loud Records

They also say that, like, this song got popular on radio and stuff way before they got a deal and stuff.

But they said, and Steve Rifkin, that's the owner of Loud Records, mentioned this, that they were playing this song for them in the office.

And they were listening to it.

They had other execs there.

And what label are you signed to at that time? 'Cause-

Loud.

Lo- Lou- oh, my God.

Oh, my God.

And then, you know, Loud, Monteith.

Right, yeah, yeah.

Fun, Jones.

Mother Nature took my album from me.

And he had a bunch of different groups.

There was Madcap, which was one of the first artists signed to Loud.

He was working on King T's stuff.

And Alcoholics Row, they were doing their own thing, right? And so I was just raw when I met that.

Scared to death.

How am I going to feed this kid? I'm barely able to feed myself.

Two months before he was born, I got signed to Loud Records.

And so all of these things are happening.

You went too far.

They went to Loud Records and Steve Rifkind said, "Jay-Z's not our type of rapper."

Steve Rifkind?

Yeah.

It's a concept album consisting of 12 love songs.

Before I Love Mekons was released, the Mekons had been in a two-year battle or argument with the record label at the time, Warner Brothers Records subsidiary Loud Records.

As a result, the Mekons did not release any albums for two years after the release of Curse of the Mekons in 1991.

Originally, Warner Brothers had refused to release I Love Mekons because they thought it was not good enough.

After the Mekons left Loud Records, the album was released in 1993 on Quarterstick.

Melody maker Dave Jennings described I Love Mekons as simultaneously a brilliant, exhilarating pop record and an exploration of the assumptions behind other people's pop records.

Robert Criscow gave the album a B-plus grade, describing it as love songs laid out casually across disc and lyric sheet, a country album without a happy ending.

The label wants to churn it out.

Loud Records is on fire.

That's how Mobb Deep is doing their thing.

And this was, again, the third studio release, 1996.

November means it's a fourth quarter release, correct, Scan? That means it's a fourth quarter release.

It's a very important release to the label and the entire distribution group and all that good stuff.

Loud RCA, if you need a little fresher, Loud Records, one of the great hip-hop labels of all time.

This released four singles, and we're going to talk about all four.

Well, that earthquake scared him up out of here, and he shook it and went to New York.

Until the beatings got so bad, he called me and he said, "Can you bring me home?" At the time, I was working for Loud Records.

I was the West Coast Director of A&R for Loud Records, Loud RCA.

And I, I was like, "Absolutely." I bought him a ticket, and he came home.

When he comes home, it's me and his protector.

This got the song hot and had labels around the city knocking on Wu-Tang's door.

One label in the mix was Loud Records, led by executive Steve Rifkin.

He got in contact with RZA and after some negotiation, he agreed to RZA's business plan.

He signed Wu-Tang as a group while keeping each member free to release their own music and sign to whoever they'd like.

now with loud records behind the group and a few months in the lab to cook up records the clan had everything they needed to drop their debut album and to the wu-tang 36 chambers wu-tang fans worldwide consider this a classic record but the actual creation of it was very scrappy it was recorded in pieces at firehouse studio in manhattan and rhythm made all the beats with old drum machines and samplers like the n sonic eps He would sample everything from old soul records to the kung fu movies that inspired him.

That's why a ton of songs on the tape have movie cuts in them.

The resulting sound was raw, gritty, and unpolished, but in a good way.