Death Row Records
“We named it Death Row because most everybody been involved with the law. A majority of our people was parolees or incarcerated” – Suge Knight, [Vibe]
DEATH ROW RECORDS is a Los Angeles based record label under the parent company of Jimmy Iovine’s Interscope Records promoting local so-called ‘Gangsta Rap’ giving birth to the second generation music from the west coast that completely swarmed the international industry overturning any previous conception of hip-hop forever. Created by Marion ‘Suge’ Knight and Andre ‘Dr. Dre’ Young, Death Row started the careers of today’s most successful artists to date. Under the infamous sub culture of an already dangerous way of life, Gangsta Rap portrayed the environment of the inner-city gang mentality and Death Row was a major player in the Los Angeles war that saw more casualties than Vietnam. Hip-hop artists were reporters and storytellers of the conflict in their neighbourhoods and this image made their careers. But Death Row artists found themselves in the front lines ducking shots and documenting the affair. Death Row took a side all the while sitting atop of the music industry reigning far supreme over any well established New York label. Founded in 1991, at a time that saw Los Angeles concreting themselves on the scene of hip-hop with the solo success of Ice-T, King T, Ice Cube and a group who stormed onto the scene disrespecting any current flow and temperament of the industry with their revolutionary style of street gangster portrayal, N.W.A. were the personification of gangsta rap. But at a time that saw them at their weakest with seeping cracks in the family, Death Row bullied their way onto the scene at the right time, with a gaping rift between N.W.A. members, Dr. Dre and Eric ‘Eazy-E’ Wright, the executive of N.W.A.’s label Ruthless Records, Dr. Dre left with label mate Tracy ‘D.O.C.’ Curry who introduced him to Suge Knight, a bodyguard of his and R&B star Bobby Brown and small talent manager of Vanilla Ice. A man with a building reputation of using strong-armed street bullying to conduct business, Suge was a Compton native like Dr. Dre and together with Dre’s musical savvy and already established name for himself and Suge’s prowess and influence they came up with the idea of instituting their own record label under Solar Records with CEO Dick Griffey.
Opening at Solar
Death Row’s seed was planted with help from Dick Griffey who fronted Suge’s entrepreneurial finances but there were still contractual ties Dre was under and the need for a strong cash injection for this new venture. Griffey, along with Sony Records assured Suge Dre would have work waiting for him if he could release him from Ruthless Records. Namely, the production for the Deep Cover movie soundtrack commissioned to Solar Records at the time. Sony evened pushed Suge $1million for Dre’s employment. Suge Knight put the streets of Compton to play and took the executive role in ironing out these problems. With a string of isolated attacks on the offices and management of Ruthless Records, Suge orchestrated a meeting with Eazy-E at the Solar Records offices to sort out the contractual ties. With accompanying thugs, Eazy’s life was threatened bluntly unless he signed off Dre, D.O.C., Michel’le, and Above The Law. Without any compensation or hesitation the result was in Suge’s favour. This was to be Suge’s iniquitous street diplomacy of settling business affairs for the future. With Dr. Dre under his belt, Suge had the power to create his own label. Together with defence attorney, David Kenner and his contact of a major west coast drug trafficker, Michael ‘Harry-O’ O-Harris and PCP dealer Patrick Johnson(both clients of Kenner’s) fronting a reported $1.5million of illegal gains a silent partner was brought in with the plans of using the organisation ‘Godfather Entertainment’(to be parent company of Death Row Records) for Harry-O to launder cash from the revenue of his drug trade while incarcerated in California State Prison at Tehachapi with wife Lydia Harris overseeing their investment. Dr. Dre was to be the face of Death Row Records and managing partner to CEO Suge Knight. Death Row Records was born. The west coast scene blew up beyond imagination.
Long Beach Connection
In the spring of 1992 Dre scouted for new talent, already working with the husky voiced talent of personal friend, The D.O.C. Dre’s step-brother, Warren ‘Warren-G’ Griffen resided in Long Beach in an unsigned group called 213 (postal code of LBC) with Calvin ‘Snoop Doggy Dogg’ Broadus and R&B voice Nathanial ‘Nate Dogg’ Hale. Warren G used nepotism to get a demo tape to Dre who eventually played it hearing the unique undeveloped skills of Snoop Dogg in his youthfulness of seventeen years. Together with the smooth blend of R&B from Nate Dogg, Dre invited the Long Beach natives to the Death Row recording studios and subsequently signed both artists to the label. With rappers, ‘RBX,’ ‘Michel’le,’ ‘Jewell’ and ‘The Lady Of Rage’ riding along this new wave, the Death Row family was growing strong with talent, hungry with street knowledge and raw hard-hitting flow unbeknown to hip-hop, epitomising the simmering black concrete-jungle epidemic of downtown Los Angeles balancing on the threshold of the riots. The scene was set and Death Row was at the forefront of reporting this with soundtrack. The nation was poised ready for this explosive ground-breaking genre.
Death Row Record’s first commission was to write the title track for upcoming movie starring Laurence Fishburn and Jeff Goldblum, Deep Cover. The track was orchestrated by Dr. Dre as his first solo project post N.W.A. career, starring the new future legendary flow of Long Beach’s own Snoop Dogg. Together they performed “Deep Cover(187 On An Undercover Cop)”. Dre began a lifelong association with Snoop when asked to work with him on the Deep Cover project. This was to be the most successful collaboration in west coast rap history. It was this that opened up the forte of Dre’s production called ‘G-Funk’ so called because of Parliament’s P-Funk-influenced beats and samples with “gangsta” subject matter. This was to be the ground-breaking phenomenon set to overtake the tone of hip-hop forever.
By 1992 Dre had created a hip-hop masterpiece demonstrating his G-Funk style. The Chronic project was under way. Death Row found themselves in serious legal trouble with lawsuits from Ruthless Records over the employment of Dre and Sony Record giants for unpaid shares to former distribution label Solar Records and CEO Dick Griffey. Suge sought help from the independent record company, Interscope headed by Ted Fields and Jimmy Iovine who had faith on Dr. Dre’s talent and power in the rap industry. Fronted with $10million, Knight and Death Row moved out of the Solar Records studios and formed their own offices out in Tarzana, San Fernando Valley. The new Death Row Records released their projects under Interscope Records. By this stage Kenner and Knight had written Harry-O’s partnership out of the story under heavy corporate shields of protection. Dr. Dre presented the world with his first solo album, using this platform to launch the careers of the entire Death Row family, showcasing the number one protégée, Snoop Dogg prominently throughout the album. Set to be the next top selling face of west coast hip hop, Snoop Dogg showed his flawless aptitude for rhyming flow with his laid-back weed-laced cadenced drawl, adding perfect compliment to Dre’s G-Funk creating timeless classics, “Nuthin’ But A G Thang” and “Fuck Wit’ Dre Day(And Everybody’s Celebratin’)” making The Chronic the best selling hip-hop album ever, going immediately four times platinum. The track “Let Me Ride” earned Dre a Grammy award for Best Rap Solo Performance in 1993. This new style of west coast hip-hop took the nation by the throat and had everyone choking on G-Funk chronic.
1993 entered as perfect timing for the much anticipated release of Snoop Dogg’s début album entitled, Doggystyle. Snoop introduced that fresh unique stoned flow of Long Beach County collaborating with his cousin Delmar ‘Dat Nigga Daz’ Arnaud and Ricardo ‘Kurupt’ Brown coming together with the smooth R&B blend from Nate Dogg to form ‘Tha Dogg Pound’ a strictly Long Beach connection on the album, Doggystyle that if ever possible, outsold Dre’s The Chronic. Instantly blowing up going six times platinum, it became a phenomenal success being the first début album for an artist to open at number one on the Billboard charts. Tracks, “Who Am I(What’s My Name?)” and “Gin n’ Juice” storming onto the mainstream charts of America and across the world. Dr. Dre and Snoop Dogg had changed the face of music’s mainstream market indefinitely.
By the close of that year, Death Row had made it to the top, clearly dominating the music industry becoming the most powerful record label in America. Well established long standing east coast labels tried tirelessly to compete. Nothing compared to the G-Funk phenomena. To celebrate the dominance of Death Row and marking the first year in business at the end of 1993 after Doggystyle took the world over, the label had amounted a fortune of $60million the first of many extravagant and often volatile parties were enjoyed by all artists and gangsters affiliated with Suge Knight and his Blood gang association. A bounty of drugs, liquor, sex and violence often laced the evenings. A joyous occasion was had by all, Death Row was notorious for their celebrations for time to come.
The Death Row Way
During the period of Dre’s solo release, 1992 saw Suge Knight exercise his capricious stature at Hollywood’s Solar Records recording studios with the incident that saw Suge charged with assault with a deadly weapon and robbery. Two men disrespecting Suge in front of his company of homeboys baited Suge’s ego and he made an example of the two, stripping naked, pistol-whipping them and threatening their lives. Police were reported but Suge’s attorney David Kenner was able to delay proceedings for three years enabling Suge Knight to get at the victims and prosecutor. This was only a mere glimpse into the shocking reputation that proceeded Suge Knight’s demeanour. Employees of Death Row knew to remain on the friendly side of Suge and his personal Blood entourage. It was at the height of Death Row’s success and Snoop Dogg’s fame that saw him fighting for his freedom in the courts of America over a murder trial with bodyguard McKinley Lee. August ’93 saw both arrested and charged with shooting local drug dealer/gang member from Long Beach in what they claimed as self defence. Right before the release of Snoop’s much anticipated Doggystyle album dropped stores he went through a period of maturing, taking stock of his care free life and surroundings. This inspired the track released late on Doggystyle and short movie expanding his career into acting entitled, Murder Was The Case depicting Snoop Dogg getting murdered. Although the video clip for the title track showed a chilling reality to his conscious troubles with murder charges and going to jail after promising to change his life for the better, giving up the vice of smoking marijuana and gang life for an enriched life as a superstar celebrity. The film and soundtrack presenting the new second generation of Death Row Records inmates sold very strongly propelling Snoop’s career even further. Death Row found it promising to release the début release of Kurupt and Daz’s Tha Dogg Pound’s, Dogg Food hit stores in 1995 selling three million copies. This played a huge part in the ascent of the west coasts new adopted powerhouse flagship label, Death Row and it’s G-Funk.
By the start of 1995 Suge’s legal troubles for assault with concealed weapon was coming to a head, fortunately he was in a position to persuade the Stanley brothers and prosecutor Larry Longo with enticing record deals in order for them to support his request for suspended sentence. Lynwood and George Stanley were given $1million contracts along with Longo’s 18 year old daughter Gina, making her the first white female artist on the Row’s payroll. Suge was let off with a five year probationary period after a one month stay in a halfway house. During this period of unrest and legal troubles with Snoop’s murder trial, Death Row experienced their first in-house separation seeing Suge Knight and Dr. Dre having business differences over Dre’s creative freedom. The blood red decorated studios of the Death Row offices saw more gang activity and violence than the streets of Compton providing Dre with a very disruptive environment in which to concentrate on his creative production skills. Having relinquished the street life for a quieter, more professional career Dre wanted to work elsewhere away from the dramas. Left quietly to work on the production of Tha Dogg Pound’s album and his own solo project, Dre kept quiet and out of the way of Death Rows’ trouble.
Suge’s ego brought a dark cloud over the Death Row business by bragging about their dominance over hip-hop at the 1995 Source Awards insulting East coast labels, most notably Bad Boy Entertainment and CEO Sean ‘Puff Daddy’ Combs. This created a devastating beef between Death Row and Bad Boy, birthing the infamous hip-hop war between east and west coasts. Suge already held an immense reputation as a very dangerous gangster in the American music industry this beef could only escalate into regrettable circumstances. During the shooting of the video for Tha Dogg Pound’s, “New York New York”, (a disparaging song depicting Snoop Dogg and the DPG as giants crushing the buildings of New York and stomping on east coast labels) the trailers of Death Row were shot up in retaliation for the tirade of insults by Suge at the Source Awards, believed to be orchestrated by Bad Boy. Nobody was injured but the message was understood. Not long after Suge Knight became furiously embroiled in the gritty affair after a notorious member of Suge’s Mob Piru gang, personal bodyguard and close friend of his, Jai Hassan Jamaal ‘Jake The Violator’ Robles was murdered at the birthday party for So-So Def Records producer Jermaine Dupri party in Atlanta. The feud between Death Row and Bad Boy had turned a vicious page as Suge personally blamed Bad Boy for setting up the hit. Death Row by this stage had built an army of street soldiers, namely Piru Bloods from his neighbourhood Compton (Leudis Park Pirus). An organization created from various Blood gangbangers employed for criminal activities ranging from drug trafficking to murdering at the behest of Suge Knight. Also adding several off-duty police officers from his friend Reggie White’s company, Wrightway Security to act as security detail for the Row’s star artists and related affairs, this entourage of Suge’s were naturally forming into a self-contained gang, Mob Pirus. A fearful security unit with flexible business roles within Suge’s company of Death Row entangled with the L.A.P.D. Notably officers, David Mack and Rafael Perez playing an integral part doubling as active Compton native Blood gang members. Assisting as Suge’s lookout for his illegal drug businesses, Mack and Perez took this job over the L.A.P.D in favour of very wealthy salaries with perks.
After the summer of ‘95, Suge Knight and David Kenner made moves to secure the employment of Tupac while in Danemorra Prison, visiting him in jail and offering to have him released early into their care. Needing a saviour, Tupac credited Suge with resurrecting his career. After signing a hand-written contract from Kenner, Tupac was welcomed by a huge white limo and private jet back to Los Angeles. Straight into the studios of Death Row, Tupac vowed to put Death Row back on top of America. Death Row also inherited Tupac’s venomous beef with Bad Boys’ superstar, Chris ‘Notorious B.I.G’ Wallace. United under common foe, Tupac and his group, Tha Outlawz with Death Row increased their war against east coast artists Capone-N-Noreaga, Mobb Deep, The Fugees, Nas, Jay-Z, Chicago’s Da Brat, Lil’ Kim and the Junior M.A.F.I.A., but primarily Puff Daddy and Notorious B.I.G. This fatal feud had caused the biggest and ugliest underbelly of hip-hop, putting a deep scarring on the industry for time to come. Albums sales, careers and lives hung in the balance of this unfortunate war. And that is exactly what this had catapulted into, a war. Releasing the most destructive force of hip-hop in Tupac Shakur from prison into the arms of the most dangerous man in hip-hop, Suge Knight had carried detrimental effects on this reparable damage to the coastal differences. The anger and venom of Tupac with the fearsome power of Suge Knight and the Mob Piru army had left this in frightening circumstances to come. At this time Suge furthered his plans of disavowing himself from the partnership of incarcerated cocaine kingpin, Michael ‘Harry-O Harris. Conspiring to cheat Mr. And Mrs. Harris out of their rightful share of the most profitable rap label in music history, with reputed attorney Kenner, (former attorney of Harris’) Suge finalised his shut out, provoking a multi-million dollar lawsuit from Lydia Harris for their share. Around this time Harry-O was transferred from Lancaster State Prison to a downtown L.A. Detention Centre to work with federal agents investigating the illegal business dealings with Death Row Records over tax evasion, drug trafficking and other thirty illegitimate companies associated with Suge Knight. With several attempts to start up entertainment companies, Lydia Harris had failed and pressed on with the lawsuit against Jimmy Iovine’s Interscope Records and Death Row Records. Tupac had spent every waking moment of that autumn in the studio recording an unprecedented collection of songs, the first of which grouped together into hip-hop’s first double album ever sold, All Eyes On Me with the first released single, “California Love” a track that broke the straw on Dre’s back. A track he had worked on personally for his next solo project, he was apparently taking too long and Suge demanded the single be released on Tupac’s upcoming album with his added verses.
Dr. Dre made first moves to leave Death Row Records and set out alone… Again. In the public eye this collaboration of Dre and the newly revamped Tupac made giants of both careers. Insurmountable success came from the 1996 All Eyes On Me album selling five times platinum. This was not enough to contain Dre in Death Row. He left at the start of ’96 to form his own company.
Death Row was experiencing strong cracks in the concrete walls of the empire. A while into his employment with Death Row, Tupac found himself in distrustful predicaments with Suge Knight and David Kenner’s business claiming he wasn’t getting the appropriate payments of his record sales, (reported $10million in royalty dues). Tupac was almost part-way through his second Death Row album release of The Don Killuminati: 7 Day Theory under the moniker of ‘Makaveli’ selling seven million copies in 1996. During this time Tupac went behind Suge’s back to start his own production company and transferring the rights to his pre-recorded unreleased tracks to his mother, Afeni Shakur. Fearing the end of his relationship with Death Row Records and possibly his life, he terminated the aid of attorney, David Kenner. Suge Knight was preoccupied with losing the firm grip of star artist, Snoop Dogg around the same time. Snoop had sought refuge down south in Louisiana companying with Percy ‘Master P’ Miller (CEO of No Limit Records). Suge was losing the battle and losing his star artists between his fingers. Suge Knight was branching his company out, attempting to start a ‘Death Row East’ company boosting employment from the east coast, New York hip-hop scene. To be headed up by Eric B (of Eric B and Rakim) along with legendary Big Daddy Kane and the Wu Tang Clan.
September 4th, 1996 at the MTV Video Music Awards show Suge made amends by inviting Tupac to sit with him at the Mike Tyson-Bruce Seldon fight held the following weekend at the MGM Grand in Las Vegas. Tupac accepted. Keeping the separation quiet for the public Tupac braved his confidence and showed his allegiance for his label, sporting a Death Row East shirt, Tupac promoted the new venture on a televised interview quoting, “If you believe in God, believe in Death Row East”. This was Tupac’s final interview.
Makaveli’s Last Breath
The following appointment at the title fight in Las Vegas saw a complete show of strength by the Death Row family all remaining artists and entourage including the infamous Mob Pirus were there for the weekend’s event. Tupac sat right next to Suge with new young R&B sensation Danny Boy sitting behind. Mike Tyson of course won the fight and after Tupac followed Suge to get ready for the after party at Suge’s nightclub, 662(spells M-O-B on a phone keypad) what ensued in the lobby of the MGM was an altercation with a Baby Lanes Southside Crip, Orlando Anderson who snatched the Death Row logo chain from Tupac’s neck. Tupac gave chase and knocked him down to the ground, with closed circuit television capturing the whole scuffle which included Suge Knight stomping on the assailant several times before dispersing into the crowd to avoid being arrested. Tupac and Suge continued on their way to their respective hotel rooms to get changed and prepare for the drive to 662. Suge and Tupac travelled in Suge’s black BMW and at the main intersection a white Cadillac pulled up beside the vehicle and unleashed a barrage of gunfire emptying out of Tupac’s side, fatally wounding ‘Pac and grazing Suge Knight. What followed was Tupac being hospitalised and as a result a week later dying of gunshot wounds - September 13, 1996.
As a result of investigations Suge Knight was found in breach of his probation in the tussle at the lobby of the MGM finding him back in prison serving the five year sentence for the 1992 assault charges from the Stanley Brothers. Death Row Records had suffered immensely without its leader. Most artists had jumped the sinking ship. From the fateful night in Las Vegas, Death Row had all but closed operations down forever. A quiescent heartbeat kept the label alive while Suge languished in state prison until 2001. Of course the Death Row East venture never went forward, remaining artists, RBX, The Lady Of Rage, Jewell, Daz and Kurupt had eventually left, along with Nate Dogg. What kept finances in the company was the remaining master tapes Suge still had ownership of. Death Row had the rights to a vast amount of content from the longest serving artist who never got their break in the height of the Row’s success. Daz’s, Revenge, Retaliation and Get Back, Lady Of Rage’s, Necessary Roughness Jewell’s, Hung Jury and several soundtracks for Tupac’s last movie roles. As well as many of Tupac’s tracks as he could keep released on several double albums. Just before Suge’s imprisonment he managed to over see the release of Christmas On Death Row and Death Row’s Greatest Hits. There were several other releases with obvious intent on cashing in on the rights to the legendary stars of the crumbled empire of Death Row Records but because of these varying sales successes, Suge Knight had managed to remain in control of the west coast label.
In 2001 Suge Knight was released from prison with a huge freeway billboard he bought notifying of his return to the industry in L.A. In large Blood red lettering in which he announced his new roster, headed by a gifted Long Beach rapper named ‘Crooked I’. The new Death Row also signed Lisa ‘Left Eye’ Lopez of TLC, under the name N.I.N.A. (New Identity Non-Applicable). There was rumour that she was persuaded to sign onto the label. Nothing was confirmed of this matter. Lisa died shortly after in a car crash without releasing any project.
Death Row released several revamped Death Row albums, Tha Dogg Father, Tupac’s, Don KiIluminate: The 7 Day Theory. With no new solo records from the ‘Inmates’ released with the exception of Tupac’s unreleased material, Suge tried to live off of Tupac’s legacy by signing artist ‘Tha Realest’ with similar, uncanny vocal traits to that of ‘Pac. A career short lived as of yet. The artists under Suge’s banner were bullied into writing songs relating negatively to the former Death Row stars, Dre and Snoop. On the 2001, Too Gangsta For Radio compilation, numerous skits were aimed at enemies of Tha Row. The intro had a Snoop impersonator, fresh from a nightmare, using his wife to call up Suge Knight’s prison to make sure he was still there. On “Fuck Dre”, Tha Realist, Twist and Lil’ C-Style, (formerly of the LBC Crew) recorded a skit where Dre rapes a potential signee, and on K-9’s “Gangsta’d Out”, a racist skit portrayed Eminem as a tool of the Ku Klux Klan. Come the apparent new age of west coast rap and change in the balance of powerin Cali’… Through no coincidence the torch was placed firmly in the grip of Dr. Dre, performing the same surgical production genius with his label, Aftermath. We might argue that Dre had always had the torch and it left Death Row with him.
By 2002 Kurupt an original Death Row inmate and co-founder of the Dogg Pound had returned to the label that started his career for the man who the DPG escaped from, Suge Knight. Kurupt re-signed with the Row shortly after Suge’s release after apparent constant friendly relations between the two professionally and personally. By signing with Death Row, Kurupt started a feud with Daz, Snoop and all of the DPGC, his old friends. Regardless Kurupt laid down the first original music release from the Row in many years, although it was put out finally by Koch Records which at the time had the distribution rights of Death Row Records. Still reputed as running drugs and illegal racketeering through gang activity, Suge Knight and his Mob Pirus had unexpected visits from the Los Angeles S.W.A.T. team, raiding the offices and homes of Suge and Death Row in search for evidence related to drug trafficking and weapons involved in gang homicide. Suge was imprisoned again in 2002 for breach of parole associating with known gang members. Released in 2003 to resume activities with his various companies, Suge was received with several rounds of bullets fired into the Beverly Hills offices of Death Row.
At 2:30 am May 27, 2003 several bullets were fired by unknown assailants damaging the front door, windows and wall of the offices thus never giving a chance for the music label to retain any real business dealings. The record label suffered immeasurably. Suge received further jail time in late ’03 for assaulting a parking lot attendant. The tireless criminality of Suge Knight paints an image as being more of a gangster involved in organised crime with a music business serving as his empire than a music mogul as he would suggest. He was released in April 23, 2004 with Kurupt as acting boss of the small-time label, Kurupt’s project, ‘Against The Grain’ was put on hold as Suge announced they would collaborate with other labels to produce a Christmas hip-hop album to benefit the families of soldiers serving in Iraq. Not a well received stunt, 2004 proved to be tumultuous year for Suge’s label as he was forced to rename his label to ‘Tha Row’ with most promising artist, Crooked I and R&B youngster Danny Boy walking away from the label after not having anything of his released. The label’s last breath lies in already popular artist Petey Pablo who has signed with Tha Row in April 2005 with a release due in spring 2006. Tha Row is still active today and Suge Knight habitually finds himself in trouble with the law breaching parole conditions and lawsuits from various entities, mainly from parties involved with the murder of Notorious B.I.G. and Michael Harris’ ownership dispute.
The latest trouble of Suge was being shot at while attending a pre-awards party held by rapper Kayne West in Miami. Holding strong beefs with Dr. Dre’s immensely successful record label, Aftermath and sub label G-Unit, Suge Knight continues to aim in the direction of anyone who dares overshadows his diminished Death Row Records. The west coast owes a lot of due respect to the label that changed the face of hip-hop and concreted the presence of the American west coast genre of hip-hip. Gangster Rap and G-Funk was owned and controlled by the Almighty Death Row Records. But do we thank Suge Knight or in fact the multi-platinum surgery of Dr. Dre?
Suge Knight // Dr. Dre // Snoop Dogg // Tupac // Lady of Rage // Danny Boy // DPG // Nate Dogg // Kurupt // Daz // RBX // Sam Sneed // Crooked I // MC Hammer // Eastwood // Bad Azz // Jewell // Soopafly
1992 Dr. Dre - The Chronic
1993 Snoop Dogg - Doggystyle
1994 Murder Was the Case soundtrack
1994 Above the Rim soundtrack
1995 Tha Dogg Pound - Dogg Food
1996 Tupac - All Eyez on Me
1996 Tupac - Don Killuminati: 7 Day Theory
1996 Snoop Dogg - Tha Dogg Father
1996 Christmas on Death Row
1996 Death Row’s Greatest Hits
1997 Gridlock’d soundtrack
1997 Gang Related soundtrack
1997 Lady Of Rage - Necessary Roughness
1998 Daz Dillinger - Retaliation, Revenge & Get Back
1998 Tupac - Greatest Hits
1998 Michel’le - Hung Jury
1999 Tupac + Outlawz - Still I Rise
1999 Suge Knight Represents: Chronic 2000
2000 Snoop Doggy Dogg - Dead Man Walkin’
2000 Too Gangsta 4 Radio
2001 Tupac - Until The End of Time
2001 Tha Dogg Pound - 2002
2001 Snoop Dogg - Greatest Hits
2002 Tupac - Better Dayz
2003 Dysfunktional Family soundtrack
2003 Tupac - Nu-Mixx Klazzics
2004 Tupac - Live At Club 662
2005 Tupac - Live At The House Of Blues
2005 Kurupt - Against Tha Grain
2005 The Very Best Of Death Row