West Coast Connection Forum
DUBCC - Tha Connection => Outbound Connection => Topic started by: The Predator on May 26, 2024, 12:30:38 AM
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New album July 26th, produced by Rakim himself...
https://www.instagram.com/p/C7XdmzJyhGS/?utm_source=ig_embed (https://www.instagram.com/p/C7XdmzJyhGS/?utm_source=ig_embed)
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Rakim Is A Top MC, But He Ain’t No Joke As A Producer Either
Rakim is widely revered as one of the greatest MCs in Hip-Hop history. However, as the lyrical legend continues to speak about his career in a new light, he may also deserve recognition as one of the culture’s great producers.
Earlier this week, Rakim stopped by HOT 97’s Ebro In The Morning to promote his new memoir, Sweat The Technique: Revelations On Creativity From The Lyrical Genius. Per usual, Rakim Allah dropped some gems. He touched on many aspects of his career, including time with Dr. Dre, his famous musical aunt Ruth Brown, and influence from Grandmaster Caz, Melle Mel, and Kool Moe Dee. Perhaps most notably, the Wyandanch, Long Island legend opened about his work behind the production boards.
Around the 28:00 mark, Ebro Darden asks Rakim about how his beat selection process works and how involved was he for every track he every rhymed on. The R states, “[The] Eric B. & Rakim catalog—I may have done 80% of the music myself. [In the] early years, I didn’t know how to sample. Peace to my man Patrick Adams, he was the engineer. He’s a big producer and songwriter, but I would go to the studio with a crate full of records. Pat’ looped the beat [and] put this bassline on it, put these horns on it. Back then, I was grabbing samples from these different records. Luckily, Pat knew how to tune the samples. So if I put a horn on it, he made sure the horn was on key with the baseline. Earlier, I had Patrick Adams on that first album, and he facilitated a lot the music the right way.” Patrick Adams worked on Paid In Full and went on to work on 1988’s Follow The Leader.
The production credits on Eric B. & Rakim albums has been a subject of debate. Producers including Large Professor, 45 King, and the late Paul “C” McKasty are among the names said to be responsible, despite credits reverting to the group. In a recent Breakfast Club interview, Rakim credited Paul C. with teaching him things, and with producing “In The Ghetto.”
While speaking to Stretch Armstrong & Bobbito’s What’s Good last year about Paid in Full, Rakim described his input on the sounds. “At that point, you know, [I was] fresh out the street, fresh out the park, fresh out the basement parties and things of that nature. [In] 1985, I was, you know, considered like, you know, a B-boy MC. I liked rhyming off of break-beats. A lot of the songs that we picked was joints I used to rhyme off in the park. Paid In Full, I used to rhyme off of Dennis Edwards’ [‘Don’t Look Any Further’] all the time.”
At Ebro In The Morning, Rakim credited collaborator Pete Rock for his input on the God MC producing 1992’s “Juice (Know The Ledge).” At 37:00, Rakim recalls how, after viewing the crime-thriller, he was asked to do the title track to match the on-screen action. “I just seen [Juice], and I got the whole idea of what I just seen in my head. Maybe a week before that, I went shopping. I used to do my little record shopping and I would play my joints, listen to them, and then I would take the good ones, and put them at the front of the stack. So I get back to the crib and I know I got that stack waiting. I pulled the record out. First record.” Rakim, an avid Jazz fan since childhood, mimics Nat Adderley’s “Rise, Sally Rise” bassline. “I started looking around the room like, ‘this sh*t is too easy, man.’ took the record off [and] looped the beat up. I had the [Emu Systems] SP12 in the crib, and you only get like 12 seconds [of sample time]. Pete Rock taught me how to manipulate it. Sample fast, and then slow it down. What up, Pete! I ain’t forget, kid,” Rakim salutes.
Rakim May Be The God MC But He’s A Devil On The Turntables. This. Is. Hip-Hop
At 29:00, Rakim tells Ebro In The Morning about that Jazz foundation. He recalls, “My moms and pops would play a lot of Jazz in the crib. I noticed young that Jazz didn’t have to have words on it to give you a feeling. I always knew that music is supposed to feel. So when I was picking records, I would listen.” Rakim describes the different feelings he got from those records. If they were evocative, he’d sample them. “I always like writing to records that attracted me to it right away. Sometimes it wasn’t the popular choice that I guess was the universal sound. [Instead], I would pick abstract beats, [and] that brought ‘the abstract’ Rakim out.”
In addition to rapping and producing, Rakim is a DJ. Back in 2016, Rakim showed off his DJ skills (embedded below) in a video paying homage to Jam Master Jay with DJ Hurricane. He also displayed his other competence at the Rock The Bells festival in 2010 during a few live shows.
https://www.youtube.com/watch?v=imaW70jLfYM
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(https://pbs.twimg.com/media/GN246OuWsAAsWM1.png)
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if im correct its not a typical album from rakim cause he doesnt rap on every song.
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if im correct its not a typical album from rakim cause he doesnt rap on every song.
I think the same (Rakim Presents...), despite him producing the whole shit.
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looking forward to this 8)
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looking forward to this 8)
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It’s an ep, only 7 songs I think.
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https://www.youtube.com/v/3eTUivpXPDw (https://www.youtube.com/watch?v=3eTUivpXPDw)
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(https://rrcmusic.co/cdn/shop/files/RRC-066-MOCKUP-FRONT-OBI_700x.jpg?v=1718735311) (https://rrcmusic.co/cdn/shop/files/RRC-066-MOCKUP-BACK-OBI_700x.jpg?v=1718735311)
Hip-hop legend Rakim is breaking new ground with his upcoming studio album, G.O.D.’S NETWORK (REB7RTH), by flexing his skills both on the mic and behind the boards. Widely lauded as the best lyricist of all time, The God MC himself is blessing the culture with the next step in his historic career.
“I feel like the battery in my back has been reenergized,” Rakim said about his new album, which arrives nearly four decades after the release of his classic debut with Eric B., Paid In Full. Since then, he’s continued to shape the landscape and culture of hip-hop as we know it, inspiring rising artists with his hype live shows and incredible studio albums. And while he’s produced some of his previous work—notably “Don’t Sweat the Technique,” “Juice (Know The Ledge),” and “Paid In Full”—this feels like new territory for the 18th Letter, whose production and scratching talents are nothing short of remarkable.
G.O.D.’S NETWORK (REB7RTH) is proof that Rakim is truly one of the most special artists we’ve known not just in hip-hop, but all of music. You can tell he feels that level of praise when speaking about the genesis of the album. “Having the ability to showcase my talents behind the boards coupled with the elite lyricism the world already knows and gives me infinite praise for alongside some of the best talents to ever do it is truly a blessing and for that I am humbled,” he said.
Rakim is more than an official triple-threat as an artist, because he’s also showing off skills as a curator. On this album’s seven tracks, he enlists a who’s-who of top hip-hop talent, including the dearly departed Nipsey Hussle, Fred the Godson, DMX, and Prodigy (of Mobb Deep). Rakim also linked with many of his contemporaries, such as Snoop Dogg, Method Man, KXNG Crooked, B.G., and Kool G. Rap, among others.
The album’s first single, “Be Ill,” is the perfect introduction, as it pairs Rakim’s raw rhymes and head-nodding production with slick guest features from Kurupt and Masta Killa. Elsewhere, Rakim slows it down for the soulful “Love Is The Message,” which features Nipsey Hussle, Planet Asia, Louis King, Snoop Dogg, Sally Green, Kobe Honeycutt, and the LA Grand Choir. And then there’s the chest-thumping “International,” a straight-up slapper with hard-hitting rhymes from Kool G. Rap, Tristate, and Joell Ortiz.
For fans of hip-hop, and especially of Rakim’s storied discography, there is so much to love on this record. You can hear his hunger as an emcee and producer on every track, as well as his desire to collaborate with so many respected artists. Despite having decades in the game and many classics to his name, it feels like Rakim is just getting started.
While the world awaits the July 26th release date, fans can catch Rakim performing live throughout the US from now until the end of year in support of G.O.D.S Network (REB7RTH).Hip-hop legend Rakim is breaking new ground with his upcoming studio album, G.O.D.’S NETWORK (REB7RTH), by flexing his skills both on the mic and behind the boards. Widely lauded as the best lyricist of all time, The God MC himself is blessing the culture with the next step in his historic career.
“I feel like the battery in my back has been reenergized,” Rakim said about his new album, which arrives nearly four decades after the release of his classic debut with Eric B., Paid In Full. Since then, he’s continued to shape the landscape and culture of hip-hop as we know it, inspiring rising artists with his hype live shows and incredible studio albums. And while he’s produced some of his previous work—notably “Don’t Sweat the Technique,” “Juice (Know The Ledge),” and “Paid In Full”—this feels like new territory for the 18th Letter, whose production and scratching talents are nothing short of remarkable.
G.O.D.’S NETWORK (REB7RTH) is proof that Rakim is truly one of the most special artists we’ve known not just in hip-hop, but all of music. You can tell he feels that level of praise when speaking about the genesis of the album. “Having the ability to showcase my talents behind the boards coupled with the elite lyricism the world already knows and gives me infinite praise for alongside some of the best talents to ever do it is truly a blessing and for that I am humbled,” he said.
Rakim is more than an official triple-threat as an artist, because he’s also showing off skills as a curator. On this album’s seven tracks, he enlists a who’s-who of top hip-hop talent, including the dearly departed Nipsey Hussle, Fred the Godson, DMX, and Prodigy (of Mobb Deep). Rakim also linked with many of his contemporaries, such as Snoop Dogg, Method Man, KXNG Crooked, B.G., and Kool G. Rap, among others.
The album’s first single, “Be Ill,” is the perfect introduction, as it pairs Rakim’s raw rhymes and head-nodding production with slick guest features from Kurupt and Masta Killa. Elsewhere, Rakim slows it down for the soulful “Love Is The Message,” which features Nipsey Hussle, Planet Asia, Louis King, Snoop Dogg, Sally Green, Kobe Honeycutt, and the LA Grand Choir. And then there’s the chest-thumping “International,” a straight-up slapper with hard-hitting rhymes from Kool G. Rap, Tristate, and Joell Ortiz.
For fans of hip-hop, and especially of Rakim’s storied discography, there is so much to love on this record. You can hear his hunger as an emcee and producer on every track, as well as his desire to collaborate with so many respected artists. Despite having decades in the game and many classics to his name, it feels like Rakim is just getting started.
While the world awaits the July 26th release date, fans can catch Rakim performing live throughout the US from now until the end of year in support of G.O.D.S Network (REB7RTH).
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VIDEO!
https://www.youtube.com/v/oOK7nXcXWdY&ab_channel=RakimOfficialVEVO (https://www.youtube.com/watch?v=oOK7nXcXWdY&ab_channel=RakimOfficialVEVO)
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VIDEO!
https://www.youtube.com/v/oOK7nXcXWdY&ab_channel=RakimOfficialVEVO (https://www.youtube.com/watch?v=oOK7nXcXWdY&ab_channel=RakimOfficialVEVO)
props 8)
produced by Ra as well as the whole album I believe
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8)
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produced by Ra as well as the whole album I believe
Yeah, the whole shit are produced by Rakim. Nice to see Kobe Honeycutt, Snoop & Nipsey on the same track. 8) Unfortunately, it's only 7 tracks, so it's like an EP.
(https://rrcmusic.co/cdn/shop/files/RRC-066-MOCKUP-BACK-OBI_700x.jpg?v=1718735311)
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didn't know rakim produces
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didn't know rakim produces
https://m.youtube.com/watch?v=PQPIAebOtZU
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didn't know rakim produces
From day one i think.
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From day one i think.
all the eric b & rakim classix were produced by both of em…we figured eric b was doing most the work on the production end but it was credited 50/50 so not so sure
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but we CANT say he just started to produce now, right?
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but we CANT say he just started to produce now, right?
Ra produces since Eric B. & Rakim albums, since "Paid in Full" his first Eric B. & Rakim's album.
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but we CANT say he just started to produce now, right?
he’s definitely been producing.. to what extent isn’t exactly clear .. but yea
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he’s definitely been producing.. to what extent isn’t exactly clear .. but yea
Rakim like you big fellla
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Rakim like you big fellla
or like u
:lulz:
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The Chino XL feature on here is insane, if you're a fan of his, you'll dig this majorly......Be Ill was a good single.
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The Chino XL feature on here is insane, if you're a fan of his, you'll dig this majorly......Be Ill was a good single.
Where you heard this? The Chino XL featured track.
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Where you heard this? The Chino XL featured track.
Only have his verse, he's family. Its out soon...''Rakim Allah let the beast loose...!!"'
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Rakim Partners With Gala Music For Exclusive Web3 Releases
(https://goout.net/cdn-cgi/image/format=auto,width=383/i/125/1257634-383.jpg)
"Iconic MC, Rakim is set to make a groundbreaking return to the music scene after 15 years with his highly anticipated new album, G.O.D.’s Network (Reb7rth). Partnering with cutting-edge Web3 music platform Gala Music, select songs from Rakim’s album release is available exclusively on Gala Music today before hitting digital streaming platforms (DSPs) July 26th. This collaboration marks a significant milestone in the fusion of music and technology, offering fans a unique and immersive listening experience.
“Partnering with Gala Music allows me to reach my fans in an innovative way, combining the best of music and modern technology. I’m excited to share my newest tracks with my loyal fans for the first time on web3,” says Rakim.
The exclusive release includes three new tracks that are available to stream now on Gala Music starting today. These tracks will go on sale on Friday, July 5 at 1 PM PT. Additionally, seven instrumentals from the album will be released exclusively on Gala Music on July 12th, available indefinitely.
The three exclusive tracks available on Gala Music are:
“Love is the Message”: described as “one of the most beautiful and complete pieces ever created” in the modern hip-hop landscape, showcasing Rakim’s vocal and production talents. The track features the likes of Nipsey Hussle (RIP), Planet Asia, Gala Music’s Louis King, Snoop Dogg, and a choir led by Sally Green and Kobe Honeycutt. This powerful piece, backed by a violin quartet, sends a poignant reminder that love conquers all amidst the violence and crime plaguing the streets.
“Gods Playground”: a thought-provoking piece demonstrating a roller coaster of emotions, with Rakim taking on vocal, scratches, and production duties. Featuring underground legends .38 Spesh, Fred the Godson (RIP), and Skyzoo, the track focuses on the importance of maintaining composure through life’s obstacles to achieve true success. The song concludes with a heartfelt prayer from the late DMX (RIP), reminding listeners of his profound impact on the hip-hop world.
“Pendulum Swing”: this track marks Rakim’s first-ever fully orchestrated posse cut, featuring a stellar lineup including Kxng Crooked (Slaughterhouse), LA the Darkman (Wu-Tang), Caninus (Refugee Camp), and Chino XL. With Rakim handling vocal, scratches, and production duties, this track delivers a powerful display of lyrical mastery. Hip-hop enthusiasts will find themselves captivated by the lyrical dominance showcased in this track.
Rakim’s partnership with Gala Music represents an organic bridge between generations, showcasing how a pioneering artist can continue to innovate and connect with new audiences through non-traditional distribution channels. This collaboration highlights the attraction of legacy artists furthering their career by embracing new technologies and platforms like Gala Music, which pave the way for future musical endeavors and unprecedented fan experiences."
(https://www.cointrust.com/wp-content/uploads/2024/07/rakim-returns-web3-album-debut.jpg)
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You can listen to Pendulum Swing with Crooked I here:
https://music.gala.com/artists/rakim-presents---g-o-d-s-network--reb7rth-
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You can listen to Pendulum Swing with Crooked I here:
https://music.gala.com/artists/rakim-presents---g-o-d-s-network--reb7rth-
(https://img.gala.com/tr:n-large/music/selfservice/tracks/f8d7529b-2725-48d0-a443-ca0447293256/image.png)
Song features KXNG Crooked, L.A. the Darkman, Canibus & Chino XL and it's dope 8)
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Soooo, Word of mout is dat (maybe) Dre has a Joint on the. Maybe (!) leftova from oh my god ?
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Lots of features for seven tracks, looking forward to this.
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all the eric b & rakim classix were produced by both of em…we figured eric b was doing most the work on the production end but it was credited 50/50 so not so sure
A 16 years old Large Pro definitely was involved as well
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Lots of features for seven tracks, looking forward to this.
Oh yeaa this looks dope! Be Ill was a good lead off.
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all the eric b & rakim classix were produced by both of em…we figured eric b was doing most the work on the production end but it was credited 50/50 so not so sure
A 16 years old Large Pro definitely was involved as well
Preemo used Rakim & Eric. B's sample of the track "Move the Crowd" in "Kyrie & Luka" By Eminem in his new album.
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Has there been any leaks when Rakim was on Aftermath? Did he take his work with him when he left?
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Has there been any leaks when Rakim was on Aftermath? Did he take his work with him when he left?
There's a "Tha Crip" Custom album of "Oh My God" with real tracks and blends, the project is dope. You can found the download link in the OP in WestCoast Section.
Pure custom job here, since only a handful of tracks leaked from that era, I had to get creative and mix blends, using what little Ra acapellas out there and instrumentals from "The Wash" and "Bad Boys 2" movies that Dre scored...pretty much made this for peeps who wanted to hear Rakim spittin over Dre beats!!!
(https://i.imgur.com/d48XJdz.jpg)
Tracklisting:
01. Danger Intro (Produced By Dr. Dre)
02. Addictive Rmx (ft. Truth Hurts) (Produced By Dr .Dre & DJ Quik)
03. The Watcher 2 (ft. Dr. Dre, Hittman & Truth Hurts) (Produced By Dr. Dre)
04. R.A.K.I.M. (Produced By Denaun Porter)
05. After You Die (Produced By Denaun Porter & Dr. Dre)
06. Bad Boys Saga (Produced By Dr. Dre)
07. Don't Get Back (Produced By Dr. Dre)
08. A Watcher (Interlude) (Produced By Dr. Dre)
09. Saga Begins (Produced By Dr. Dre)
10. New York State (Produced By Dr. Dre)
11. Another Saga (Produced By Dr. Dre)
12. Is Love Enough (Skit) (Produced By Dr. Dre)
13. A Final Saga (Produced By Dr. Dre)
14. Hoodlum Soldier (Interlude) (Produced By Dr. Dre)
15. It Ain't Kool (ft. Truth Hurts) (Produced By Hi-Tek)
16. Welcome To The Hood (Produced By Dr. Dre)
17. Hip-Hop (Produced By Dr. Dre)
18. The Last Minutes Outro (Produced By Dr. Dre & Chris Botti)
Tracks 2 - 5, 15,16 = REAL TRACKS
Tracks 1, 6 - 14, 17,18 = BLENDS
Album Link
https://www12.zippyshare.com/v/LmG6lCzy/file.html (https://www12.zippyshare.com/v/LmG6lCzy/file.html)
https://www.youtube.com/watch?v=vA6WxaEv61o
https://www.youtube.com/watch?v=hsgSeDQASeI
https://www.youtube.com/watch?v=tkSi8jP95i4
https://www.youtube.com/watch?v=4P47XnPoJSQ
https://www.youtube.com/watch?v=Y9HZMljM58g
https://www.youtube.com/watch?v=sWizvBon6E0
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https://www.youtube.com/v/_UPUBR85_A0 (https://www.youtube.com/watch?v=_UPUBR85_A0)
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There's a "Tha Crip" Custom album of "Oh My God" with real tracks and blends, the project is dope. You can found the download link in the OP in WestCoast Section.
https://www.mediafire.com/file/k6cvm70ymf1mqnp/Oh+My+God+LP.zip/file
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Both OMG links are broken
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Both OMG links are broken
Zippyshare hasn't existed for years. LOL
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Both OMG links are broken
sorry. new link : https://files.fm/u/pu7e53sa6x
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Has there been any leaks when Rakim was on Aftermath? Did he take his work with him when he left?
also 3 years ago u got Ra spitting live his "Watcher 2" verse over the "Still DRE" beat : https://jperiod.bandcamp.com/track/still-r-a-j-period-live-remix-feat-rakim-exclusive
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also 3 years ago u got Ra spitting live his "Watcher 2" verse over the "Still DRE" beat : https://jperiod.bandcamp.com/track/still-r-a-j-period-live-remix-feat-rakim-exclusive
video of it at 11'18 :
https://www.youtube.com/watch?v=QmDpy0XAtW0
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https://www.youtube.com/v/tki9UEGz_K4 (https://www.youtube.com/watch?v=tki9UEGz_K4)
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Album has leaked. Too bad it's too short. Ra still got it. 8)
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https://www.youtube.com/v/OQnmT9T5TUA (https://www.youtube.com/watch?v=OQnmT9T5TUA)
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He produced the album but is actually ON like 2-3 songs. Production is all over the place too. Wack. Wish I knew this before I bought it.
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He produced the album but is actually ON like 2-3 songs. Production is all over the place too. Wack. Wish I knew this before I bought it.
from what i’m hearing, its more of a compilation put together by M80 to showcase Rakim production
and he’s working on an actual album as we speak
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Rakim, a name synonymous with the golden age of hip-hop, has once again proven his timeless relevance with his latest album, “G.O.Ds Network.” This project is more than just a collection of tracks; it’s a journey through the multifaceted artistry of one of rap’s most influential figures.
(https://www.clashmusic.com/wp-content/uploads/2024/07/VMM_2216.jpg)
Reflecting on the haunting track “Casualties of War,” Rakim shares a profound connection to the soldiers of Desert Storm. “I zoned out on that and I was trying to tap into the minds of the soldiers over in Desert Storm at the time. I was trying to put myself in their boots and what they were experiencing,” he explains. The song eerily predicted the tragic events of 9/11, a fact that left Rakim stunned when he saw himself associated with the World Trade Center attacks on AOL.
Rakim’s musical roots run deep, influenced by his aunt, the legendary Ruth Brown. His high school years saw him honing his skills on the saxophone, and this foundation laid the groundwork for his production talents. On “G.O.Ds Network,” he takes the helm as the producer for every track, a role he relishes. “This is something I should have done a long time ago,” he admits, recalling his early days making beats in his home studio.
The album features a powerhouse lineup of guest artists, each bringing their unique flavor to the project. Longtime collaborator Kool G. Rap, who graces the back cover of the iconic “Paid In Full” album, makes a notable appearance. “Me and Kool G go back to 1986. When I see him, I feel like he’s my brother,” Rakim says, underscoring the deep respect and camaraderie they share.
The late Fred The Godson also features on the album, a tribute to a rapper Rakim deeply admired. “He was definitely one of those who I love and respect and I’m glad he’s on this project,” Rakim reflects, adding a heartfelt dimension to the collaboration.
Setting the tone for the album, the single “BE ILL” features Kurupt and Masta Killa, encapsulating the project’s essence. “It’s a dope project. I tried to take it back to the essence and at the same time with brothers who are not here with us anymore, it’s some heartfelt music on there too,” Rakim shares.
Gathering such a stellar roster of MCs might seem daunting, but for Rakim, it was a smooth process. “It was kind of easy when we started reaching out,” he says, crediting M80 for orchestrating the collaborations. The album boasts appearances from Snoop Dogg, DMX, Nipsey Hussle, Prodigy, and more, each artist adding their unique touch to the project.
Ultimately, Rakim’s goal with “G.O.Ds Network” is to revive the authentic hip-hop vibe that fans crave. “With the team that we put together, hopefully, we can do a few more of these in the future and just bring back that hip-hop feel,” he expresses. The album stands as a powerful testament to Rakim’s enduring legacy and his unwavering commitment to the essence of hip-hop.
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It's pretty solid. Wish he was on more tracks though.
Very cool to have verses from Nipsey and Prodigy
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The GOD MC still got it, he's a good producer also 8)....i supported the god by buying instead of downloading 8)
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The GOD MC still got it, he's a good producer also 8)....i supported the god by buying instead of downloading 8)
u are a real one
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u are a real one
Real recognize real
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Interview -
Rakim on His First Album in 15 Years ‘The God’s Network: Reb7rth’
(https://encrypted-tbn0.gstatic.com/images?q=tbn:ANd9GcTGmi3jM0Wq5WkaLKCwn99tO-I0u6lJpSyR-g&s)
The legendary rapper discusses his passion for producing, battling Covid, and what it's like rapping alongside a diverse cast of rap trailblazers
Rakim is regarded by generations of rap fans as The God MC. But we may need to start referring to him as The God MC / Producer. Sitting in his studio on a sunny July afternoon, he tells Rolling Stone that he produced “a lot” of the seminal Eric B and Rakim albums, which were in part created from a stash of loops that he would keep in tow to rap along to at park jams.
Even in the hyperbolic sphere of hip-hop, Rakim’s microphone supremacy can’t be overstated — Kool Moe Dee has said he “invented flow” on classics such as “Paid In Full,” “I Ain’t No Joke,” and “Move The Crowd.” But not as many people recognize his DJing and production chops. He says that beat-making was his first love, but he hasn’t heavily showcased it throughout his career. That may start to change with God’s Network: Reb7rth, out today, Rakim’s first project since 2009’s The Seventh Seal.
The 56-year-old MC’s bars are still sharp, but the project predominantly highlights his production skills. He and A&R Matt Markoff compiled a cross-country collection of rappers like Snoop Dogg, B.G, Kurupt, and Method Man to rhyme on songs like the cipher-ready “Be Ill” with Kurupt and Masta Killa as well as the heartrending “Love Is The Message.” The latter track includes a posthumous verse from Nipsey Hussle, and there are also verses from the late Prodigy, DMX, and Fred The Godson. Impressively, the project’s verses blend in a cohesive manner that showcases Rakim’s curatorial ear.
He has three MPCs—a piece of hardware that heavily shaped the sound of New York rap’s golden era (stalwart producers Dj Premier, Pete Rock, and Large Professor are just a few MPC devotees). That sound is reminiscent throughout God’s Network, which Rakim says will be followed by a rap album he’s crafting with Jazzy Jeff.
Rakim says the term “Rebirth” reflects overcoming a tumultuous 2020 which included four brain fog-inducing bouts with Covid-19. “I think after 2020 the world went through a lot, I went through a lot, people around me went through a lot, and it kind of put things in perspective,” he says. “I was able to put my reality in perspective. It was a hard time for a lot of people, myself as well, but it was also a time where what we’ve been preparing for, [I realized] I’m built for this. I’m not going to say I’m Iron Man, but we put here to go through life. That’s what makes us men. So bring that on. But you want to try to direct your energy where you need it. Take the good with the bad. Being an artist, that’s what we got to do.”
We talked to Rakim about God’s Network, his love for beatmaking, and navigating his career on his terms.
Can you explain the title to me, specifically “Rebirth?”
The last few years I’ve been doing a lot of tours and things of that nature, a lot of good things and the energy that I’ve been getting, I translated that into the studio. One of the songs that I did was called “Rebirth.” And that’s just the way I’ve been feeling lately with everything that’s been going on with myself and Hip-Hop, and even life for itself. So it is a good feeling, and I’m riding that wave right now.
Have you ever had that kind of period before where you felt like you experienced a creative rebirth?
I think it’s what’s going on with me and where I’m at in life right now. I love getting on the road. I love the energy that the people give me that’s why I write what I write. But the foundation for me is in the studio. And when I’m not in the studio, I don’t feel like everything is complete. So after COVID hit and all the crazy nonsense that was going on in that period, I caught COVID like four times myself. You get to a period where, especially dealing with the COVID, nothing really matters. The studio didn’t matter, it wasn’t that important to me with all the things that was going on around me.
A little time after that, I was able to refocus my energy back towards being creative. And it was hard after having COVID. The symptoms from having that leave you in a fog, but I was able to focus that energy back. One of the songs, like I said, was called “Reborn” and it was the way I was feeling after fighting that long way back, everything that I went through and the people around me, what they was going through, and definitely feel like I’m back, focused, but with a brand new agenda.
How long did it take to get back to feeling like yourself after COVID?
I started writing [for a project] just before I caught it. And to get back in the studio after a long time, you’re trying to get comfortable back in your pocket. So I was able to do that and everything was flowing, and then COVID hit. And then, I get back in the studio and things wasn’t flowing. And I’m being patient thinking, “All right, you ain’t working a long time, you got to…” And after a couple of weeks it’s like, nah, something ain’t right. So I reached out to my manager, Matt Kemp, and was like, “Yo, man, listen, I know what goes on with my mind and how I think. I don’t have to think for words to transform or concepts to come to me. I [usually] can’t stop thinking about words. A word can pop up in my head and automatically, I’m thinking of 100 words that rhyme with it. So I’m like, “Yo, Matt, something ain’t right, bro.” Long story short, man, we did a little research, and then, information start coming out about what happens after you catch COVID and how the symptoms, some are longterm, and it takes a while to get that out of your system. So knowing that — I felt better because I’d rather fight that than writer’s block. It was just something that I had to overcome. And that was the process of being reborn.
Can you tell me how the project came together?
My man, Matt Markoff, he been wanting to do some projects with me for a while. So finally, he came up with an idea where he wanted me to produce a couple tracks for some artists across states. I DJ when I got time at the crib and [I love] making beats. This is another thing that helped me enjoy the elements of hip-hop and then break the monotony [of writing]. When I come in my studio, I ain’t writing all the time. I come in, I write when I need to. I make beats. I DJ. Do whatever I feel for that day, man.
[But] I love doing beats, this was a good opportunity for me to showcase that side of Rakim, so I jumped on the opportunity. And I started sending the beats back to Matt Markoff. And I don’t know what he thought I was going to give him, but I sent him some nice joints. And he said, “Yo, we should make a project, get some artists and make it happen.” So he went out and started hollerin’ at rappers and letting them put they ear on the music. And before you know it, they start picking beats and writing their verses, and [it] came together. We planned it exactly like it did, but it was just organic, artists being creative. And what was dope is just everybody feeling the vibe of the track or whatever was going on.
How collaborative was the artist selection process? Did Mark spearhead the artists that he reached out to, or did you give him advice?
Matt networks with the hip-hop community. So he went out and let the right artists put their ear on the music, and [they said] “Yo, I like that beat right there. I love that beat. I like this beat.” It all came together. And then, from there, it was just a matter of making it fit and making it sound like we did it all together in the studio at one time. So big up to Matt Markoff. And peace to everybody that worked on the project, everybody did a hell of a job, especially the way that we had to do it. Modern technology is beautiful, the way you can send music to somebody, they can do what they need to do, send it back to you.
How do you feel about that adjustment? Back in the day, music was moreso created together in a studio. Now, so much stuff is digital and you lose some of the human connection of the creative process. How do you balance that dynamic?
I praise the artist that was on it because everybody understood what was going on and made it work. I think the tracks that I put out was easy to read. What was crazy is I named my tracks and I think a lot of the artists went on to [reference] that I named the original tracks. So everybody was on the same page and it came together. Even if we tweak the title later on, everybody still had the same agenda when it came to every record that was done.
There are artists from all over the country on the project. Can you speak to how cool that is and what kind of statement that makes about just the universality of hip-hop?
I think it speaks volumes how everybody came together. And again, it sounded like we was all in the studio for each track. The tracks and the music that I do, of course, I’m from New York, so they’re heavily New York influenced, but universal enough where anybody can understand the concept and say, “Yo, that’s a nice track.” So to be able to bring these artists from different places, and connect, and we all on one page is a beautiful thing. I think it should break down some of the limitations that hip-hop has.
And I’m sure also, nobody expected somebody from my time to be able to do what we doing, which is a blessing as well. But it just shows good music is good music. It don’t have to be a down South beat. It don’t have to be a trap beat. It don’t have to be a West Coast beat. It don’t have to be an East coast beat. Just a good universal track, I think that’s what I was trying to do from the beginning.
There are four posthumous verses on the project from Prodigy, Nipsey Hussle, DMX, and Fred the Godson. How did those come together?
Fred, Nip, Prodigy, and DMX [are] well-loved brothers in hip-hop, and artists that I love and respect myself. So some of these joints that he was getting, he was surprising me, [Like] “Yo, I’m not going to tell Ra I got this verse yet. I’m just going to surprise him.” So it was a couple surprises. Some of them were joints that I know that he was seeking out for, but it’s an honor to be able to have them brothers on a project, and then, at the same time, showcase their work and give the world more of these artists that we love and miss so much.
The Nipsey Hussle joint is called “Love.” It’s a heartfelt joint. You hear pain. You hear struggle. You hear also victory. It’s hard for me to listen to it without thinking about our reality, my reality, things we go through, things they went through. But things like that, it just made the project that much better and gave it that much more substance.
The Prodigy verse in particular, he was saying “ayo, God,” it really sounded like he was talking to you.
Right. Right. Incredible. When I heard it, man, that was a surprise too. I got the chills. People already understand that he’s gone, [but] how could you not think we ain’t do that in the studio together? Every time he said it, I wanted to respond on a record, but I didn’t want to mess with it like that. I wanted to respond on the record as if we was talking and having that conversation, but it goes without saying. So I just let it rock, so [it’s] beautiful to me.
I saw that you said that production was your first love with hip-hop. How involved were you in the beat-making process of the early Eric B. & Rakim projects?
I did a lot of those tracks. A lot of those tracks was records that I rhymed off of back in the day in the parks and the little yard parties and things of that nature. From Dennis Edwards to James Brown [who I sampled on] “I Ain’t No Joke,” these was all records that I rhymed off. If I knew the DJ didn’t have what I liked rhyming to when I went to the park, I had them in my little case. [I’d say] “Yo, my man, throw these on for me.” Those were some of my loves. And the first thing I thought of when we went to the studio is that, that was my bag.
How much does it streamline your process when you’re making your own beats and you can write to what you’re creating vs. just getting beats from another producer? Are those processes any different for you as a writer?
Yeah, very, very. For some reason, the tracks that I do is easier for me to find concepts for. When I get a track from somebody else, being that I make beats as well, I’m always trying to make sure that we on the same page. So I’ll try to come up with a concept and the first thing I’ll do was holler at the producer and be like, “Yo, this is what I came up with. What was you thinking when you made the track?” So it’s harder for me to figure out what I’m going to do because again, I always want to be on the same page as the producer because sometimes, they’ll [give you conceptual advice] which is important.
Making tracks myself, I know exactly what to do. It almost comes as I’m picking a record. I can be searching for a record, and when I put that needle on a record, as soon as it starts playing, information starts coming to me. By the time I finish looping it up, if I’m going to rhyme to that, I’m already halfway. It’s different and a little easier when I make my own beats. But my problem is I don’t trust myself like I should, I’d rather get a beat from Primo or Dre or one of the heavyweights because that’s normal. But maybe I’ll get to the point one day where I can trust myself or take [my music] serious enough to know it’s good enough.
Maybe that could be part of the rebirth.
Yes, sir.
As a beat maker, what’s your workflow like? Some producers will make a quick beat and just be onto the next one. Others are more methodical and meticulous and may spend all day with one beat.
Well, it depends. There was a time, me and my brother, Stevie Blass, we used to sit down, and I [would] do like five beats a day and just record. This was after I came back from California working with Dre. But that’s just in the MPC, or I remember, back then, I was using the ASR-X as well, but I wasn’t dumping them to Pro Tools and building them up and making the bass big. But if I’m doing a track for a project and I know it needs to be concrete, I might go through a couple joints, I might make four beats to come up with that one, or I might just pop up on that sample that I know like, yo, this is it right here. And if I get that, it’ll take me a couple of hours or an hour to sample it and get it to where I’m ready to dump it on Pro Tools.
Once I dump it on Pro Tools, that’s sometimes where I like to take time. I don’t want to give none of my MOs away. [Laughs] But once I get into Pro Tools, I like to build the track up and make it sound big and I might add something to it. I’m sitting in my little studio right now. I got guitars in here, got a piano in here, I got the drums over there, I got a sax in here. So I come in here and I add whatever it needs to make it what it is. And that might take two, three hours. And again, it might take me a day depending on what the sample is.
How many beats would you say are in your vault?
That’s funny because when they asked me to do this project, I think there was two beats that I had already, but I did everything else from scratch. And my manager, Matt Kemp, he know I got samplers with millions of beats. I got Pro Tools with hundreds and hundreds of beats. He was like, “Yo, why don’t you just pick [from] what you have?” I was like, “I made those for me.” This was for somebody else. Everybody don’t want to rhyme off what I rhyme off.
Not everything I’m making in my library was made for me, but for certain projects you might have something for it, and you might say, “I’m going to make this from scratch, knowing what I’m doing, who I’m doing it for, or what the project is.” I think I’m at the point where I [have] minimum 500 beats. I got three MPCs, I got a 2500. I’ve got a MPC X. I just got the MPC XE. I had Pro Tools since 2002. So I got beats in Pro tools that go all the way back to 2002. I got beats in my samplers that go all the way back to the ’90s.
It’s funny, I just did a project the other day and I went to my oldest MPC, the 2500, and ran through a couple beats and played this one joint, and it was perfect for what I needed. So I’m starting to realize that I got to trust my production. I got some heat in there, bro, so I got to start using it, putting it out, and trusting my work. So it’s a good time for me right now. It lets me have a little fun. I take my writing real serious. But this allows me to enjoy [music making] and see it from a different view.
I saw you’re working on a solo album. What can you say about that it?
Well, that’s one of the songs where the title Rebirth came from. I got a project I’m working on with Jazzy Jeff. It might be like five songs deep, but that’s the project that I’m putting my all into. We got some other heavyweights that’s going to be on the album producer-wise. But this is that feeling I’ve been feeling these last few years that I’m translating to paper right now. So I’m real anxious for the world to hear it and see what they think about it. So big up to my man Jazzy Jeff. Of course, big up to Primo. I ain’t doing too much without brothers like these giants. And I got a big surprise on there that people, I don’t know if they expecting it or not, but I got something coming for them that I think they going to appreciate.
So listening to the project, the way the other artists were referencing you in a reverent manner, even what Snoop said, I was wondering-
Yeah, man, big up to Snoop. Not to cut you off. I had to call Snoop up and be like, “Yo, Snoop, man. Thank you my G. I love you my brother.” And he gave that love right back. From the project we just did, and my journey in hip-hop, it’s shone a lot of light on who I am and how these people feel about me. It was a beautiful feeling. I told Snoop, “Yo man, you made me tear up my brother.” It’s that real. Big up man. I love these brothers and they definitely is helping me. That’s what that reborn feeling is all about, love like that. And the comments and what I get from my fans when I see them out on the road, that’s what’s giving me this rebirth feeling.
That’s a cool story to hear. I was going to ask, as the top five discussions and the barbershop debates go, how much do you care about being seen as the best rapper?
I mean, at this point, hip-hop is so diverse, so many different forms of hip-hop, it’s hard to say which ones are everybody’s choice, but to just be mentioned, at this point, is my blessing. I’ve been around since ’86. And my rhymes always said, “Yeah, I’m number one, and nobody’s better than me.” And I even said, “As long as the mic is loud and the volumes pumping, I’m going to move crowds to 2000-and-something.” Now did I really know that? That’s my ego. That’s just me talking crunchy. Being able to do rap, to be able to do things right now in hip-hop that’s relevant and get shine and get love, I still count my blessings twice a night and then I lock them up in the safe so nobody can steal them. It’s that real.
Did I expect to be here like this at this point? No. Did I want to be? Yeah. Do I want people to mention me in the top five every time? Yeah. If I’m not, does it matter? Sometimes no, it depends on how I feel during the day. I might be sitting with my granddaughter and somebody might say, “Top five,” and not mention me, I don’t give a fuck. But I might be in a different mood where I’m putting in work and I’m doing this and I’m just in an energy where I know my worth. And then [there will be] somebody that I feel like, “Hold up, I know he didn’t just not mention me.”
Why do you feel the references to the 5 Percent Nation aren’t as prevalent as they once were in hip-hop?
The conscious substance, that type of hip-hop is seldom heard now. The majority [of artists are] talking party rap. So for an artist to come out and talk conscious, you’ll get alienated. It’s hard for a lot of artists that would prefer to be conscious rappers and say things that have substance, they may be scared to knowing that they might get pushed aside. It’s something that was very relevant in the ’80s and in the ’90s, and then, gangster rap took over. And even in that time, when the majority of the genre shifts, if everybody don’t shift with it, then the artists feel they are going to get left behind. For artists that stand for something and don’t conform for any reason, we have to be careful and stand our ground, but you don’t want to get left behind.
So it’s something that I got to fight with just through the times. I understand hip-hop is going to shift from time to time, but at the end of the day, I always feel that reality is reality, and long as I deal with reality when I create and still make sure that my art imitates life and not the other way around, I feel that it will endure more than a lot of the other things. That’s the move right now.
So just trying to stick to my gun, stay focused and not let it get in my head that I should be rhyming a certain way or saying certain things or rhyming off a certain music. I feel that I got to a point where if I was to do that, my fans [would be like], “What is Ra doing? Come on son.” I got to a point where I could stick to my guns. And I think my fans expect me to do that. And people that may not be fans, I think they understand too, I think they understand the reason why I am who I am is because of my journey…the things I did and the things I decided not to do.
How much did that alienation of conscious rap play into you not releasing a project since 2009?
I don’t think [that] was so much of what was going on, I think it was what I was going through trying to find the right deal that makes sense. And then also, trying to find a reason to do a project. Time went on, and before you know it, it was 2020. But for me, time moves different. I’m always on the road, so I may not realize that the years is going by [like] this. But again, at this point, I have a nice fan base where I can put out music and my fans will check for it. I don’t have to worry about what’s going on at the time. If I had to conform, I think I wouldn’t have no fans at this point.
It’s funny, Jay Z called me up to his office a few years back and they was going to sign me to a deal. Long story short, Eric B. got involved and something happened and it never came through. But again, if the stars aren’t aligned perfectly for me, not only [will it not] happen, but I won’t let it happen. I don’t just jump on anything, especially for money. I don’t do deals for money. I got to do it because I love what I’m doing or I want to do it. A lot of things that I was going through, for one reason or another, some things wasn’t working out. And again, I know my worth and I’m not going to let nobody feel like [they can tell me] “take this [unfair deal].” Nah bro, I’m not going to do that. I’m good. I don’t need that. Things happen when they’re supposed to happen. I’m a heavy believer in that.
Yeah. Do you remember what year that was? Were those the Roc-A-Fella, Def Jam or Roc Nation days?
That’s when Jay just got that big deal. They gave him a few bags. He had the office downtown. I think it was shortly after 2020. But I mentioned that just to show how some things was this close to getting a good deal and then something may happen and for whatever reason it don’t work out. But big up to Jay, he definitely tried to make it happen for me. Some things took place and it didn’t go down, but again, you have to know when to put all the chips in one pot or when to keep the chips in the bag.
You did a promotional video for the Yankees before this season. How did that come together?
What’s dope, is they reached out. They was trying to get in touch with me, and what’s funny is, somehow, they got in touch with my oldest brother and was like, “Yo, we’re trying to get in touch with Rakim. Would you have him call us up? We want him to do something for the home opener.” So right away I called them back. I love the Yankees. Come on man, that’s the Bronx. And I’ve been representing the Yanks just as long as I’ve been representing the Knicks and the Giants. So, I got back in touch with them. And they let me know what they wanted to do and I was on board right away. It’s things like that that let me know that I’m doing something right, that make me feel like all the sacrifices and the hard work and everything is paying off.
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Reviews -
Rakim - G.O.Ds NETWORK - REB7RTH
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Rakim is one the greatest emcees of all time, no need to discuss that fact. So a new record from a Hip Hop icon like Rakim is a big event in Hip Hop. G.O.D.’S NETWORK (REB7RTH) marks a long-awaited return for the legendary emcee but falls short of the high expectations set by his iconic status. This seven-track project, clocking in at just over 30 minutes, feels more like a compilation than a cohesive Rakim album.
The God MC takes on production duties himself, delivering solid boom-bap beats that, while competent, lack the finesse to truly elevate the tracks. Rakim’s own verses, though sparse (besides the hooks he only has three real verses on the whole project), showcase glimpses of his legendary skill, but are completely overshadowed by an overwhelming roster of guest appearances.
With over 20 featured artists, including notable names like Kurupt, Masta Killa, Snoop Dogg, Skyzoo, Canibus, Chino XL, Kool G Rap, and Method Man, the album suffers from a lack of focus. Posthumous verses from Nipsey Hussle, DMX, Fred the Godson, and Prodigy add a bittersweet nostalgia but further contribute to the project’s disjointed feel – the album’s overall impact is diluted by its brevity and the limited presence of Rakim himself.
While G.O.D.’S NETWORK provides a welcome dose of classic Hip Hop for die-hard fans, it leaves us yearning for a more substantial, Rakim-centric project that truly showcases the skills of one of rap’s greatest rappers.
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Rakim :: G.O.D.’S NETWORK (REB7RTH)
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2024 appears to be the year of the return, following last year’s 50th birthday celebrations. The cake has long left the system, the hangover now a fading memory, and rappers have awakened with renewed passion and fresh fire in their bellies. LL Cool J announced he’s readying an album for a September release. We’ve already had a return from Tha Dogg Pound, and Common hooked up with Pete Rock for the recent “The Auditorium Vol. 1”, the first in a series of records. Even Will Smith is returning. Speaking of which, Jazzy Jeff is working on an album with Rakim, but before we are treated to that, the God MC has delivered an EP as an appetiser, as he admits he too “feels like the battery in his back has been re-energised”.
Before we even get to the music, the name of this project is worth clearing up. Aside from the continued fascination with capitalizing each letter, G.O.D. doesn’t stand for anything – it’s just referring to Rakim’s nickname – the God MC. “Seventh Seal” was Rakim’s seventh album which arrived in 2009, so shoving a ‘7’ in the name of this one has nothing to do with it being his seventh. The “Network” is doing the heavy lifting here, as this is a record that showcases other emcees, rather than the God himself. Similar to fellow rap heavyweights such as Inspectah Deck, Guru and Redman, Rakim isn’t really associated with being a producer, despite crafting some of the most iconic songs in the genre. Much has been made of how much (or little) Eric B did behind the boards on the duo’s earlier output, and Rakim even admits in recent interviews that he has always produced tracks: “I did a lot of the Eric B & Rakim music, but never really let it be known”.
He feels reborn after a tough time during the COVID-19 pandemic, including a failed deal with Jay-Z and contracting the virus four times. The name “Rebirth” originates from a song called “Reborn” that he was working on with Jazzy Jeff, but it’s difficult to gauge whether he really is experiencing a renaissance, considering there are so few verses here to judge. “Be Ill” fits the matter-of-fact deliveries of Kurupt and Masta Killa, and the same can be said of Rakim, who kicks the track off. This is the most successful collaboration, as their styles combine effectively, and Rakim sounds suitably precise, even if he’s clearly showing his age in the video.
If you told me that Rakim was assembling a record with some of the best rappers around, “Pendulum Swing” is what I envision. La the Darkman didn’t immediately spring to mind, but King Crooked, Canibus and Chino XL on the same track is probably illegal in 49 States. The beat is a revisit of the phenomenal “Come Thru” beat that sold many copies of the “Violator Vol. 2” compilation back in 2001 and fits the modis operandi. It’s only right we delve into the Chino XL (R.I.P.) verse, which is what the song inevitably culminates in:
“Rakim Allah let the beast loose (Yeah), somebody better call the paramedics
I said pair of medics, ’cause you gon’ be needing at least two
Scribblin’ written religion, head-on collision, metal airbags couldn’t stop me
My word scriptures don’t just burn bridges, they collapse ’em like the Francis Scott Key
Your favorite coke rapper don’t wanna do it with big Chi (Ahem)
Clearly you can hear the crack in my voice like I’m going through puberty
Since been in plastic cassette tapes, the Puerto Rican bastard superhero without capes
I’m the reason why they invented faster rewind buttons in the first place
Notebooks for my rhymes are ostrich-sized, get me ostracized
I don’t care how many hoodies my opp eyes, hope he buys my merch and dies
The star and the seven, I’m the prosperous weapon that has formed against you
You better have Jon Taffer on speed dial to get your bars rescued (It’s crazy)
Chino XL, but I’m every size when I’m spitting
A small medium at large like a midget psychic that just escaped outta prison (Fuck outta here)
Westbound with the alphanumeric, crowds in and out of America wanna call the cleric
You just inherited derelict genetics out of generic
Adobo spice, you can inherit, you imbecile (Yeah), you’re running out of time in a tomb with turmeric
Admit it, don’t be discouraged, you pathetic idiot, you are consumed with Derek
I’m clapping at you like Tibetan rituals, driving out the evil
I’m prime and regal, I’m lethal, don’t let the IQ deceive you
The haiku is brutal, sharper than the tip of a heroin needle
I’m leaving you bleeding (What), and leaning fetal, you ain’t half of half of Chino
I’m putting that on everything like red and green Tapatio (It’s crazy)
Even if the record skips, I’m the sickest heretic born in darkness
It’s a rare shift, mind readers go insane around Chino when using their gifts
And apparently my therapist needed to be airlifted, I’m a perilous parent-less, fighting effortless
I’ll more than barely beat a bear to death effortless with my bare fist
I’ll bear gifts that are dreadful
If there was a button that wiped out humanity, I’d on purpose accidentally press it like, “What does this do?”
If this is his final verse, obliterating a song on a Rakim album feels like a suitable high few can ever replicate. These lyrical collectives fit Rakim’s production, as he keeps his beats relatively simple, with some light scratching included when he’s not adding a hook himself. “Now Is The Time” is a grimier affair, with B.G. and Hus Kingpin providing something more ignorant and straightforward. There are a number of deceased rappers collaborating, indicating that Rakim has been working on these songs for a few years, and it lends the “Rebirth” theme a haunting quality you’d expect from some bizarre project funded by AI tech bros.
DMX (R.I.P.) and Fred the Godson (R.I.P.) assist Skyzoo and 38 Spesh on “God’s Playground”, but it’s the one song that runs too long and a bit like the later Snoop feature, it’s DMX talking rather than rhyming. I can’t really complain, as it’s the most powerful performance on the album, because few emcees can evoke such emotion from reading out a prayer, particularly when it focuses on death. It’s almost self-aware, from beyond the grave:
“God, we thank You for this gathering of souls
We say that with two more gathered in Your name
But You are present, and we thank You for Your presence
We ask that Your grace and blessings are upon the show this evening
We pray that any obstacle the Devil plans to place in our path be removed
We pray that there are no fightings, no stabbings, no shootings
No arrests, no drunk drivings or altercations, or incidents whatsoever
We pray that we are able to touch one person for Your namesake, for Your glory
That if we do so, then we’ve done something wonderful with our lives
We thank You, Lord, for the things that we realize are blessings
Things that most people take for granted
When’s the last time somebody said
“Thank You God for that last breath of air?”
“Thank You for that last sip of water?”
But without these things, we perish
So right now, as a group, we just thank God for the things that
That we realize are actual blessings
But that we still take for granted
We humble ourselves before You
We ask that You guide our steps, that You have Your will
You have Your way in our lives
Father, we didn’t make us, so we don’t know what to do with us
We thank You for the power that You give us in the spoken word”
The power of the spoken word is something Rakim specializes in, possessing such a smooth, effortless style late into his 50s, and when he does B On The Mic, he shows he’s still got it. Production on the song “International” is again, decent, but the verses and hook have the feel of four different songs woven together, and the vocal quality varies between each emcee. The hook is actually recycled from an old Rakim track too, which was disappointing considering it’s one of the songs where all the artists are alive. The final track, “Sign of Se7en”, is more successful, with the ever-reliable Method Man, Prodigy (R.I.P.), Big Twins, and an X-Raided verse that felt suitably vicious.
The West Coast gets its own supergroup moment, with Nipsey Hussle (R.I.P.) teaming with a gruff-sounding Planet Asia and the newer name Louis King “Love Is The Message”. Snoop Dogg even pops by to talk s*** to close out the instrumental, but calling it a feature is a little cheeky.
I’m not going to compare this to the God MC’s other albums, because this is a glorified EP presented by Rakim. His production is solid throughout, nothing special and seasoned listeners will be familiar with some of the samples. The guest list is a who’s who of great emcees, but performances aren’t as consistent as I’d like given the talent on display; one minute you’ve got X-Raided or Chino XL rhyming like their life depends on it, and the next you get Joell Ortiz phoning in a selection of non-descript rhymes. What makes “G.O.D.’s Network” fascinating is its unique selling point. Nope, not the age-old “let’s get as many great emcees as possible onto one project” that this is being marketed as, but Rakim has done something I don’t think anyone has tried before. He’s gone to a 38-year-old rap lyric and crafted it into a reality. The lyric in question is from “My Melody”:
“I take seven emcees put ’em in a line
And add seven more brothers who think they can rhyme
Well, it’ll take seven more before I go for mine
Now that’s twenty-one emcees ate up at the same time“
There are 21 known emcees rhyming on “G.O.D.’s Network”. Okay, it’s a convenient coincidence perhaps, and it’s 22 if you include newcomer Louis King, but that only highlights this project’s primary flaw. The idea, the ingredients and the expertise are all here, its just each emcee offers varying levels of their capability. Nonetheless, the brief bits of Rakim rhyming has raised my anticipation levels for his next album.
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Snoop only said a very few words, but it was high praise.
Proably the last time we hear DMX preach a sermon, it was a touching one too R.i.P. Dog
Meth' the best guest.
5. Pedulum Swing - Love the boom-bap energy on here, love it...Rakim on the cuts!
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Next project from Rakim will be another E.P. (5 songs deep) beats by Jazzy Jeff, Primo etc...and also a surprise.
(https://i.gifer.com/origin/51/519887dc368affa397707a982492bd7a_w200.gif)
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https://www.youtube.com/v/3lkzQlw9bC4 (https://www.youtube.com/watch?v=3lkzQlw9bC4)
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Snoop only said a very few words, but it was high praise.
Proably the last time we hear DMX preach a sermon, it was a touching one too R.i.P. Dog
Meth' the best guest.
5. Pedulum Swing - Love the boom-bap energy on here, love it...Rakim on the cuts!
---------------
Next project from Rakim will be another E.P. (5 songs deep) beats by Jazzy Jeff, Primo etc...and also a surprise.
(https://i.gifer.com/origin/51/519887dc368affa397707a982492bd7a_w200.gif)
Great to know there’s will be another EP. Did u know the release date?
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No release date yet.
I saw you’re working on a solo album. What can you say about that it?
Well, that’s one of the songs where the title Rebirth came from. I got a project I’m working on with Jazzy Jeff. It might be like five songs deep, but that’s the project that I’m putting my all into. We got some other heavyweights that’s going to be on the album producer-wise. But this is that feeling I’ve been feeling these last few years that I’m translating to paper right now. So I’m real anxious for the world to hear it and see what they think about it. So big up to my man Jazzy Jeff. Of course, big up to Primo. I ain’t doing too much without brothers like these giants. And I got a big surprise on there that people, I don’t know if they expecting it or not, but I got something coming for them that I think they going to appreciate.
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GOD'S PLAYGROUND is my shit!!!!