Rakim

I love this album, but at the same time, I don't think it's 100% successful. But no worries. It's kind of like: "yeah, I know there are a few details that could be improved, but it's freaking awesome, so I don't give a damn!". Well, after all, it's Rakim, "The God MC", "The R". The artist who not only defined rap in the late 80s with Eric Barrier but also persisted into the 90s, influencing the further development of the genre with his solo comeback. The album "The 18th Letter," released in 1997, is a loud "Guess Who's Back," making a significant contribution to the evolution of American rap and his personal career.

This album not only solidifies Rakim's status as a legend but also reflects the overall state of American rap during that period. A lot was happening then. It was the golden era (in my opinion and that of millions of others) in the fifty-year history of hip-hop culture. Since the early 90s, many legendary albums were released, recognized as milestones in the genre. At the same time, the dust had just settled from the East Coast vs. West Coast feud. We lost 2Pac and Biggie, and rap entered the mainstream. Looking back, "The 18th Letter" stylistically fits perfectly into that narrative. It's just a "Classic" as The R once rapped alongside Nas and KRS-One to DJ Premier's beats. The guy who doesn't swear returned. The kind of artist who many considered and still consider one of the best MCs. The type who was and is an idol of idols (remember Nas's U.B.R.?).

“The 18th Letter”, the 18th letter of the alphabet, was released in 1997 under MCA/Universal Records, five years after “Don’t Sweat the Technique”, which was the last album released in collaboration with Eric B. Fortunately, the end of their partnership didn’t diminish Rakim's caliber as an artist. He seamlessly transitioned to beats from other producers, and it has to be said, those beats are dope. DJ Premier (“It’s Been a Long Time”, “New York (Ya Out There)”), Pete Rock (“The Saga Begins”, “When I’m Flowin'”), and Clark Kent ("Remember That", "Guess Who's Back", "Stay a While") are responsible for most of the tracks on the album. Well, they did an outstanding job.

As some of the more astute readers might easily calculate, the album celebrated its 25th anniversary last year. Sometimes I think I'm genuinely getting old, and time seems to flow faster each year. I can still remember listening to a bootleg copy, a twentieth-generation duplicate. Back then, I had no clue about what this guy was rapping about; I was 15 and learning Russian in school. Nonetheless, his flow still moved me – probably through some telekinesis ;) – nodding my head up and down. The dude is incredible. There are few rappers out there who can surpass him in terms of rhythmical intuition. I only figured out what he was rapping about a while later. It goes to show the sheer power of music. The impact it has on the listener. Whether it's the melody alone or an incomprehensible message, regardless of the genre.

I have several favorite tracks, like all of them... But seriously, it's seven. Seven after excluding the skits and unnecessary remixes (more on that later). I'll start with the top three. I'd like to point out that the message and content aren't the most critical aspects of rap for me. It used to be, but I've been listening to this music for 30 years, which might be why I now pay more attention to flow and beats. To the vibe. Of course, it's essential for everything to mesh well, and in the end, the whole package matters. However, for me, what counts the most is how much fun I had while listening to the album.

The top three tracks for me are “Remember That”, "When I'm Flowin” and "Guess Who's Back". I admit, it was a tough choice. I'd gladly add a few more to the "top three", but I don't want to write too long of a piece. Because who's going to read it? In “Remember That”, Rakim revisits the highlights of his career and iconic New York spots. It's a track that's both nostalgic and a tribute to the past. I listen to it with a smile on my face, trying to visualize that era, Rakim's adventures, and the vibe of New York City. Plus, the brilliant beat by Clark Kent. The first few seconds give me ASMR, that pleasant tingling sensation on my skin.

Similarly with “When I'm Flowin'” with Pete Rock's beats, which feels - to me - like an underrated track (probably because of the company of other brilliant songs). On the surface, it's just typical braggadocio, but what does this guy do in it? Some of the best flows I've ever heard. And then there's "Guess Who's Back", another track produced by Clark Kent (I once heard a great descriptor for this track, specifically "jam in the park"). Hearing that phenomenal instrumental (I love "Sky's The Limit"), my mind instantly goes to DJ Premier, which, in my opinion, is quite a compliment considering that Premier is the greatest producer of all time.

I've got this feeling that by not describing more tracks, I'm committing some sort of sin. But this blog isn't a review blog. It's just a few of my words about my favorite albums. I get a similar sensation when I'm not praising DJ Premier at every opportunity. On "The 18th Letter", he crafted two beats. The first and better of the two is for "It's Been a Long Time". The second is for the tribute to the Big Apple, "New York (Ya Out There)", which is raw and atmospheric, reminding me a bit (probably because of the theme and the producer) of "N.Y. State of Mind". Also worth mentioning are the very good tracks: "The 18th Letter (Always and Forever)", "The Saga Begins", and "The Mystery (Who Is God?)".

In the first sentence of this post, I mentioned that not everything was to my liking, and that's true. I don't get the addition of remixes at the end of the album, which was all too common in those days. In my opinion, it's an unnecessary, artificial extension of the album. I'm also not too fond of the tracks geared towards the ladies, "Stay a While" and "Show Me Love". They aren't bad, they just don't quite resonate with me. I think trimming the album of these few tracks would elevate its quality even more, although, as it stands, while it's an outstanding album, I wouldn't place it alongside “Illmatic”. That's about it. I might have blind spots on certain matters, and sometimes I'll call white black. Some things might not sit right with me, but whatever.

"The 18th Letter" – an album deeply rooted in nostalgia and self-reflection – was not only a commercial success but also garnered critical acclaim for Rakim's artistic vision. It influenced many younger artists and is still regarded as one of the most pivotal albums of the '90s. It represents a kind of transition, both for Rakim as an artist and for rap as a genre. At a time when American rap was undergoing profound changes, Rakim demonstrated that he wasn't just a product of his era but also a driving force of a new age. The golden age. His ability to weave the past with the present and the future makes "The 18th Letter" a cornerstone album not just for his career but for the entire genre.

It's a defining moment in history that reflects both Rakim's artistic vision and the broader evolution of the genre during one of its most exhilarating and dynamic periods. Rakim achieved something great. Five years after "Don’t Sweat the Technique", he made a comeback, met the high expectations for a solo album, and proved that the legend is alive and continuing to write new chapters about himself.