Rakim Album: “The Master [PA]”

Description :

Personnel includes: Rakim (vocals); DJ Clark Kent (vocals, drums, programming, scratches); Rahzel (vocals, sound effects, beat box); Nneaka Morton, Connie McKendrick (vocals); Punch (various instruments, programming); Ron Lawrence (keyboards, bass); Naughty Shorts, Big Jaz (keyboards, programming); Kevin Osborne, Ted Berkey (keyboards); DJ Slice (bass, scratches); Andy Katz (bass); Trevor Randolph (drums, programming); V.I.C. (percussion, programming); 45 King (programming). Producers include: DJ Premier, Ron Lawrence, Jaz-O, Clark Kent, Big Jaz. Engineers include: Cus, Andy Katz, 45 King. Personnel includes: Rakim (vocals); DJ Clark Kent (vocals, drums, programming, scratches); Rahzel (vocals, sound effects, beat box); Nneaka Morton, Connie McKendrick (vocals); Punch (various instruments, programming); Ron Lawrence (keyboards, bass); Naughty Shorts, Big Jaz (keyboards, programming); Kevin Osborne, Ted Berkey (keyboards); DJ Slice (bass, scratches); Andy Katz (bass); Trevor Randolph (drums, programming); V.I.C. (percussion, programming); 45 King (programming). Producers include: DJ Premier, Ron Lawrence, Jaz-O, Clark Kent, Big Jaz. Engineers include: Cus, Andy Katz, 45 King. With an MC as talented as Rakim is, there is always the threat that the production will not live up to his superior lyrical flow. 1997's THE 18TH LETTER may not have been the classic record hip-hop purists were waiting for, but it definitely didn't disappoint. 1999's THE MASTER is a pleasant reminder that Rakim is still at the peak of his game. So how does the production fit into the equation? Luckily, the producers assembled for this go 'round are reverent enough to not take their opportunities lightly. DJ Premier comes correct as always with two solid tracks, "When I B on Tha Mic" and "Waiting for the World to End." Other standouts include Punch's party anthem "All Night Long," Big Jaz's "It's a Must" (featuring guest vocal scratches by Rahzel), and Amen-Ra's "Uplift." But it's the 45 King who produces the most timeless track, "How I Get Down," which has a nostalgic feel without sounding dated. It's this song that reminds us of the early days, and what hip-hop used to be, and what it has become. Rakim remains one of the few MC's who manage to ease the blow of change while keeping rap moving forward at the same time.

The Ra is definitely BACK....if you are late to the hip hop game and not a true aficionado of the rap genre DO NOT purchase this album. If you are not aware of the contributions of Spoonie G, Kurtis Blow, Jimmy Spicer(Super Rhymes), Sonnie Cheba, Grandmaster Flash, The Funky Four or the Fearless Four and your ONLY frame of reference is Li'l Kim, DMX, Jay-Z or Biggie for that matter DO NOT(I repeat), DO NOT purchase this album. If you pass the above test, then PLEASE purchase this album. Just as in the BeBop period of the 50s with stellar giants such as Miles and Dizzy you have Rakim. The production is tight as well as the lyrical content. DO NOT expect to hear Crystal, platinum or tired designer clothing references. If you are concerned about the current state of hip hop.....you know what to do. PS-especially check for the cut featuring Rahzel.

...this album should've and could've been better! When I purchased this CD I wasn't expecting some of the mesmorizing material that Rakim produced along with Eric B. but I was expecting a solid album from start to finish. This album falls short of that though. It's better than "The 18th Letter" and is more indicative of a 'come back' because Ra's lyrics are more sharper and there seems to be more hunger in his flow and voice. As an emcee, Rakim is still brilliant and hasn't lost anything although his lyrics tend to seem watered down when he rhymes about weak subject matter. His flow, voice, and lyrics are still second to none so in that sense he's stiil "The Master". On the other hand this album really doesn't show any musical mastery from the producers. Ra's former partner Eric B. had a knowledge of music, he knew where to put the instrumentals ie. the flute on "Paid In Full" and "Know The Ledge". Rakim is now working with producers who lack vision and musical understanding. These beats are too formulated, even the Primo tracks aren't too incredible. I just hope that Rakim has it in him to make another album and not make the same mistake again. He needs to find ONE producer who has a musical understanding like a Large Professor. Rakim Allah is still the only sacred entity within hip-hop and this album doesn't take away from that.