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Harlem World
A photo of the artist kneeling and flashing a peace sign.
Studio album by
Mase
ReleasedOctober 28, 1997
StudioDaddy's House Recording Studio (New York)
GenreEast Coast hip-hop
Length66:04
Label
Producer
Mase chronology
Harlem World
(1997) 		Double Up
(1999)
Singles from Harlem World
  1. "Feel So Good"
    Released: October 14, 1997
  2. "What You Want"
    Released: December 3, 1997
  3. "Lookin' at Me"
    Released: July 7, 1998
  4. "24 Hrs. to Live"
    Released: February 20, 1998

Harlem World is the debut studio album by American rapper Ma$e. It was released on October 28, 1997, by Bad Boy Records and Arista Records. Overseen by Bad Boy head Sean "Puffy" Combs, the album was produced by a variety of musicians, including Jermaine Dupri, Dame Grease, The Neptunes, and Younglord, along with Bad Boy's roster of frequent collaborators or inhouse producers such as D-Dot, The Hitmen, Stevie J., J-Dub, Ron "Amen-Ra" Lawrence, and Chucky Thompson.

The album was released to favorable reviews and commercial success. It was nominated for Best Rap Album at the 41st Annual Grammy Awards and debuted at number one on both the Canadian Albums Chart and the US Billboard 200. It sold 3.3 million copies domestically and has been certified quadruple platinum in the United States. With "Feel So Good", "What You Want" and "Lookin' at Me", Harlem World produced three consecutive top ten hits on the US Billboard Hot 100.

Background

[edit]

After returning to Harlem, Mase and his childhood friend Cam'ron began rapping under the names Murda Mase and Killa Cam, forming the group Children of the Corn with local artists including Big L and Bloodshed.[1][2] Managed briefly by Damon Dash, Mase was later introduced to Cudda Love, who took him to Atlanta, where he met Puff Daddy. After impressing him at a rap convention, Mase signed a $250,000 deal with Bad Boy Records.[3] His stage name was shortened to Mase and he quickly gained exposure through features on 112's "Only You," Daddy’s "Can't Nobody Hold Me Down" and "Been Around the World", and Notorious B.I.G.'s chart-topping "Mo Money Mo Problems."[3] For Mase's debut album with Bad Boy, Puff Daddy enlisted producers including D-Dot, The Hitmen, Jermaine Dupri, The Neptunes, Dame Grease, and Mo-Suave-A.[3]

Critical reception

[edit]
Professional ratings
Review scores
SourceRating
AllMusicStarStarStarStar[4]
Robert ChristgauA−[5]
Entertainment WeeklyB+[6]
Los Angeles TimesStarStarStarHalf star[7]
Pitchfork8.1/10[8]
RapReviews7/10[9]
The Rolling Stone Album GuideStarStarStar[10]
UncutStarStarStarStar[11]

Matt Diehl from Entertainment Weekly said of the album: "Known for his funkified cameos on hits by Mariah Carey, Notorious B.I.G., and mentor Puff Daddy, rap’s newest bad boy Mase more than holds his own on his solo debut Harlem World. Like Puff Daddy, he laces hardcore raps with pop hooks and drops Big Willie boasts on cuts like 'Do You Wanna Get $'; his distinctive marble-mouthed drawl, however, creates a regular-guy persona all too rare in hip-hop."[6] AllMusic editor Leo Stanley wrote, "like many big-budget hip-hop records, Harlem World is nearly a various-artists collection, featuring an array of different producers and guest rappers that often obscure Mase himself. Still, all that talent guarantees that the record will be well crafted, and that certainly is true. With Combs and Dupri behind the decks for much of the album, Harlem World has a dense, funky sound that is up-tempo party rap at its best."[4]

Los Angeles Times critic Cheo Hodari Coker wrote that on Harlem World "Mase is consistently mellow and confident, relying on simplicity but also displaying moments of stunning insight and poignancy [...] With Harlem World, which features production from a host of hot studio hands, Mase manages to display commercial sensibilities without selling out, and he’s also able to poke fun at his own image when the time is right. For Mase, mo money seems like no problem."[7] Sheldon Pearce of Pitchfork called the album "larger than life. Mase had a buttery touch when in his groove, as if having an out-of-body experience watching himself churn out hits. His flows were as silky, or as plush, or as golden as the material world furnishing his songs. He made the realm of luxury feel quaint."[8] Robert Christgau called Harlem World a "hugely appealing, moderately disturbing piece of pop."[5]

Commercial performance

[edit]

Harlem World debuted at number one on the US Billboard 200 and the Top R&B/Hip-Hop Albums chart in the week of November 15, 1997, selling nearly 273,000 copies in its first week.[12] It was certified both Gold and Platinum by the Recording Industry Association of America (RIAA) on December 2, 1997.[13] It reached 2× Platinum status two weeks later, 3× Platinum status in July 1999, and 4× Platinum status in October 1999.[13] With 3.3 million units sold, the album remains Mase’s biggest-selling to date.[14]

Track listing

[edit]
Harlem World track listing
No.TitleWriter(s)Producer(s)Length
1."Puff's Intro" Sean "Puffy" Combs1:40
2."Do You Wanna Get $?" (featuring Puff Daddy)
3:49
3."Take What's Yours" (featuring DMX)
  • Nashiem Myrick
  • Carlos "Six July" Broady
  • Combs
3:45
4."Mad Rapper (Interlude)" 
  • Combs
  • Angelettie
  • Mase
1:13
5."Will They Die 4 U?" (featuring Puff Daddy and Lil' Kim)
  • Combs
  • Lawrence
4:04
6."Lookin' at Me" (featuring Puff Daddy)
The Neptunes4:15
7."White Girl (Interlude)" 
  • Combs
  • Angelettie
  • Mase
0:52
8."Love U So" (featuring Billy Lawrence)
Stevie J.3:12
9."The Player Way" (featuring Eightball & MJG)
Mo-Suave-A Productions4:13
10."Hater (Interlude)" 
  • Combs
  • Angelettie
  • Mase
1:00
11."Niggaz Wanna Act" (featuring Busta Rhymes)
4:09
12."Feel So Good" (featuring Kelly Price)
  • Combs
  • Angelettie
3:24
13."What You Want" (featuring Total)
  • Combs
  • Myrick
4:02
14."Phone Conversation (Interlude)" 
  • Combs
  • Angelettie
  • Mase
1:49
15."Cheat on You" (featuring Lil' Cease and Jay-Z)
Jermaine Dupri3:15
16."24 Hrs. to Live" (featuring The LOX, Black Rob, and DMX)
  • Angelettie
  • Myrick
  • Broady
4:16
17."I Need to Be" (featuring Monifah)
5:12
18."Watch Your Back (Interlude)" 
  • Combs
  • Angelettie
  • Mase
0:56
19."Wanna Hurt Mase?"
  • Combs
  • Lawrence
4:23
20."Jealous Guy" (featuring 112)
  • Combs
  • J-Dub
6:25
Total length:66:04

Sample credits

Personnel

[edit]
  • Prince Charles Alexander – mixing (5)
  • Deric "D-Dot" Angelettie – mixing (16), associate executive producer
  • Dave Aron – mixing (1)
  • Carlos "Six July" Broady – piano (3)
  • Sean "Puffy" Combs – mixing (5, 6, 9), executive producer
  • Lane Craven – mixing (2, 8, 20)
  • Mike Daddy – grooming
  • Stephen Dent – engineer (2, 5, 6, 8, 9, 11, 13, 16, 17, 19)
  • Jermaine Dupri – mixing (15)
  • Ben Garrison – engineer (20)
  • DJ IROC – scratches (5, 13)
  • J-Dub – additional programming (12, 16)
  • Groovy Lew – stylist
  • Tony Maserati – mixing (6, 9)
  • Michael Patterson – engineer (2), mixing (3, 11, 12, 17, 19)
  • Lisa Peardon – photography
  • Herb Powers – mastering
  • Kelly Price – additional vocals (12)
  • Phil Tan – engineer and mixing (15)
  • Rich Travail – mixing (13)
  • Barry White – grooming
  • Doug Wilson – engineer (1, 3, 11, 12, 17)
  • Jimmy Wilson – engineer (9)

Charts

[edit]

Certifications

[edit]
Certifications for Harlem World
Region Certification Certified units/sales
Canada (Music Canada)[27] 3× Platinum 300,000^
United States (RIAA)[13] 4× Platinum 4,000,000^

^ Shipments figures based on certification alone.

See also

[edit]

References

[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Harlem World

View on Grokipedia
from Grokipedia
Harlem World is the debut studio album by American rapper , released on October 28, 1997, through and . Featuring guest appearances from artists such as Puff Daddy, , and , the album embodies the shiny suit era of late-1990s hip-hop with its glossy production and themes of luxury and success. The record debuted at number one on the US Billboard 200 chart, selling 273,000 copies in its first week of release. It produced three top-ten singles on the —"Feel So Good" (number 5), "What You Want" (number 6), and "" (number 8)—which contributed to its commercial dominance. Overall, Harlem World sold over four million copies in the United States, earning quadruple platinum certification from the RIAA and marking it as Mase's most successful project. Produced primarily by Puff Daddy and his Hitmen collective, along with contributions from , , and , the album's sound is characterized by smooth, sample-heavy beats that prioritize Mase's charismatic delivery over complex lyricism. Tracks like "Take What's Yours" and "24 Hrs. to Live" highlight Mase's storytelling about Harlem life and rising fame, while interludes from the Mad Rapper add playful energy. Critically, it received mixed reviews for its polished commercial appeal, praised as a for aspirational rap but critiqued for superficiality amid the Bad Boy label's flashy aesthetic.

Development

Background

Mason Betha, professionally known as Mase, emerged from Harlem's underground rap scene as a member of the group Children of the Corn, formed in 1993 by Big L and featuring fellow Harlem rappers Cam'ron (then Killa Cam), Herb McGruff, and Bloodshed. The collective, known for its raw lyricism and local performances, represented the vibrant yet gritty hip-hop culture of 139th Street and Lenox Avenue in Harlem, where Mase honed his skills during his teenage years. In 1996, Mase's trajectory shifted dramatically when he auditioned for The Notorious B.I.G. in New York City outside the Apollo Theater, arranged by Cudda Love, catching the attention of Bad Boy Records founder Sean "Puff Daddy" Combs, who signed him to a $250,000 deal, outbidding competing labels. He was then taken to the Jack the Rapper convention in Atlanta, where he auditioned for Combs at the Hard Rock afterparty. This signing positioned Mase as Combs' hype man and a key figure in Bad Boy's roster, following initial features on tracks like the remix of 112's "Only You." His breakthrough came with the 1997 single "Can't Nobody Hold Me Down" from Combs' album No Way Out, which introduced Mase to a mainstream audience and built anticipation for his solo project. The murder of The Notorious B.I.G. on March 9, 1997, profoundly impacted Bad Boy Records, leaving a void in the label's leadership and creative direction amid recent tragedies. Mase, who had been mentored by Biggie, stepped forward to pursue his solo career as the label's new headliner, deciding to channel his energy into a debut that contrasted the prevailing somber mood with an upbeat celebration of Harlem's essence. Harlem World was conceived as this debut album, announced in the summer of 1997 to capture the neighborhood's street life and infectious party vibe, serving as a follow-up to Bad Boy's blockbuster releases like No Way Out.

Recording and production

The recording sessions for Harlem World primarily took place at and Daddy's House Recording Studios in , beginning in late 1996. Additional sessions occurred at Doppler Studios and KrossWire Studios in Atlanta, Georgia, to accommodate contributions from select producers and guests. Sean "Puff Daddy" Combs served as executive producer, overseeing the project through his Bad Boy Records imprint, while the core production was handled by Combs himself, Stevie J, and Nashiem Myrick as part of the in-house Hitmen team. Their collaborative approach emphasized a glossy, commercial aesthetic tailored for radio play, building on Bad Boy's established sound. The production featured shiny, sample-heavy beats that interpolated elements from 1980s R&B and pop tracks, creating a polished and upbeat vibe distinct from the label's grittier East Coast roots. Most tracks were completed by September 1997, though final mixes were expedited following the March 1997 death of The Notorious B.I.G. to maintain Bad Boy's momentum in a challenging period. Guest features were recorded during these sessions, with artists such as Total, Kelly Price, and contributing vocals; hooks often incorporated live instrumentation to enhance the album's melodic layers. Stevie J, in particular, highlighted the intensive studio environment, where Mase's charisma drove quick iterations on beats and ad-libs.

Musical style and themes

Genre and sound

Harlem World is primarily classified as East Coast hip-hop, incorporating significant pop and R&B elements that contribute to its commercial appeal and radio-friendly structure. The album's sound emphasizes upbeat, anthemic tracks designed for club play and mainstream rotation, featuring glossy production that aligns with ' signature polished aesthetic. Key sonic elements include prominent samples drawn from 1970s and soul and records, often interpolated into catchy hooks, alongside shiny synth lines and layered background vocals that foster a celebratory, escapist atmosphere. For instance, tracks like utilize sped-up samples from Kool & the Gang's creating an energetic, dance-oriented vibe, while other cuts incorporate flips of classics by artists such as , , , and . Production techniques highlight call-and-response choruses and relatively minimalistic beats, which spotlight Mase's smooth, laid-back delivery and silky vocal tone. The comprises 20 tracks blending party anthems, romantic interludes, and street-oriented narratives, with an average duration of approximately three minutes per song, maintaining a concise yet varied flow. This structure departs from the era's more gritty rap conventions, instead prioritizing a fun, luxurious portrayal of life through Bad Boy's opulent, jiggy sound—marked by spacey synths on cuts like "Lookin' at Me" produced by and epic, posse-driven backdrops on others.

Lyrical content

The lyrical content of Harlem World centers on Mase's portrayal of a flashy, carefree hustler navigating success, emphasizing celebration of Harlem life through materialism, romance, and street credibility while largely steering clear of violence in favor of positivity following The Notorious B.I.G.'s death earlier that year. Themes of rags-to-riches transformation dominate, with Mase contrasting past struggles with present-day affluence, including luxury consumption like Bentleys and champagne that symbolizes power without ongoing labor. This shift reflects a sanitized, mobile urban fantasy rooted in 1990s Harlem's vibrancy, blending braggadocio with community pride through references to local landmarks like 139th and Lenox Avenue, Rucker Park, and Lenox Avenue itself. Key motifs recur throughout the album, including luxury cars, jewelry, women, and parties, often framed as everyday elements of Mase's elevated lifestyle, such as Dolce & Gabbana tube socks or TVs in car headrests. Romance is depicted through tales of sexual conquest and abundance, masculinizing as a tool for attraction, exemplified in lines about escalating from "no hoes at shows" to "ménage in suites." This reinforces a globalized identity where money enables escape from gritty origins without dwelling on conflict. The recurring phrase "Harlem World" serves as a motif tying personal success to neighborhood representation, evoking pride amid the era's . Mase's lyrical style features a smooth, melodic flow with catchy hooks, simple rhymes, and repetitive phrases designed for accessibility and radio appeal, delivered in a nonchalant, confident cadence that makes extravagance feel effortless and plush. This approach, distinct from faster-paced New York contemporaries, transformed his earlier "Murda Mase" street persona into a under Puff Daddy's guidance, prioritizing charm over dense wordplay or double-entendres. Guest verses provide contrast, adding depth to the ensemble dynamic; for instance, The LOX's contributions on "24 Hrs. to Live" introduce grittier, hood-oriented perspectives amid the track's hypothetical end-of-life reflections, blending Yonkers toughness with Mase's finesse. Other features, like DMX's raw energy and JAY-Z's mafioso flair, further highlight this interplay, enriching the album's portrayal of Harlem's multifaceted culture without overshadowing Mase's upbeat, celebratory core.

Release and promotion

Singles

The lead single from Harlem World, "", was released in October 1997 and featured vocals by . It peaked at No. 5 on the chart. The track was certified gold by the RIAA on November 12, 1997, and later achieved platinum status. Following its success, "What You Want" was released on December 3, 1997, featuring the R&B group Total and emphasizing romantic themes through its smooth production and hooks. The single reached No. 6 on the Billboard Hot 100. "", the third single, arrived on July 7, 1998, with production by and a by Puff Daddy, showcasing Mase's charismatic delivery over an upbeat, synth-driven beat. It climbed to No. 8 on the Billboard Hot 100. The singles were strategically selected for their crossover potential, blending hip-hop with R&B elements to appeal to broad audiences, while heavy radio rotation generated significant pre-album hype. Single releases often included remixes and bonus tracks, such as non-album cuts and album deep cuts like "I Need to Be" featuring , to extend promotional reach.

Marketing and music videos

The marketing campaign for Harlem World capitalized on ' established network following the success of prior label releases, emphasizing radio airplay and music television exposure to position as a key figure in the label's roster. A for the album aired in October 1997, highlighting Mase's debut and featuring clips from lead singles to generate pre-release buzz. Promotional efforts included high-profile television appearances, such as a joint performance with Puff Daddy on in 1997, where they showcased tracks tied to the Bad Boy sound. The album was released on October 28, 1997, through and , timed to sustain the label's momentum from earlier 1997 projects. Music videos played a central role in the visual promotion, with high-production values underscoring themes of luxury and urban aspiration. The lead single "Feel So Good" featured a video directed by , depicting , Puff Daddy, and cruising in a amid bright green outfits and accompanying dancers, blending opulent imagery with the track's celebratory vibe. Similarly, the video for "What You Want" featuring Total, directed by Joseph Kahn, incorporated dynamic group performances and choreography to emphasize its R&B-infused appeal. Mase's visibility was further amplified through inclusion in Puff Daddy's No Way Out Tour, which ran from late 1997 into 1998 and featured live sets across multiple venues, allowing him to perform album material to large audiences. These tour dates, such as the November 23, 1997, show at Wright State University's , integrated alongside other Bad Boy artists to cross-promote the label's output. Additional efforts included brief spots in 1997 where discussed the album's concept, reinforcing its Harlem-rooted identity.

Critical reception

Contemporary reviews

Upon its release in October 1997, Harlem World received mixed to positive reviews from critics, who frequently praised Mase's charismatic and laid-back delivery alongside the album's infectious hooks and party-ready energy, while some pointed to its formulaic commercialism and limited lyrical depth as shortcomings of the Bad Boy sound. In the Los Angeles Times, Cheo Hodari Coker awarded the album three-and-a-half stars out of four, commending Mase for his "consistently mellow and confident" approach that balanced simplicity with "stunning insight and poignancy," particularly on tracks like "What You Want," which offered a candid look at fame's temptations. Similarly, Robert Christgau of The Village Voice gave it an A- grade, describing it as a highly appealing, moderately disturbing piece of pop, highlighting Mase's cuddly yet streetwise persona, knack for hooks, and first-rate production, though he noted its questionable credibility among hip-hop purists. The album's industry impact was further affirmed by a nomination for Best Rap Album at the 41st Annual Grammy Awards in 1999.

Retrospective assessments

In the years following its release, Harlem World has garnered renewed appreciation for its role in defining the shiny suit era of hip-hop, with critics highlighting its polished production and escapist appeal. A 2006 review by RapReviews described the album as "well done, sometimes even ambitious," praising its balance of commercial hooks and narrative depth in tracks like "What You Want." Similarly, Pitchfork's 2019 retrospective lauded it as "the sleekest rap album about becoming super famous," noting how it established precedents for posh rap consumerism that influenced subsequent artists. These reassessments softened earlier critiques of its pop-leaning style, emphasizing its function as a celebratory antidote to the genre's darker themes post-Notorious B.I.G.'s death. Updated rankings in the and have solidified Harlem World's place among 1990s rap essentials, reflecting a broader recognition of its commercial for East Coast hip-hop. Complex included it in their 2021 list of the best rap albums of the '90s, commending its blend of "jiggy and " elements and standout collaborations with , , and . Likewise, .com ranked it at No. 100 in their 2020 compilation of the 100 greatest hip-hop albums of the decade, acknowledging its embodiment of Bad Boy's pop sensibility despite perceptions of corniness among some listeners. These placements underscore the album's enduring status as a staple of 1990s rap, valued for tracks like "" that bridged underground grit with mainstream accessibility. Scholarly analyses of the Bad Boy era have positioned Harlem World as a key text in hip-hop's commercialization, illustrating how it aestheticized wealth to propel the genre into pop dominance. In a 2025 study published in Popular Music History, the album is examined as a multi-platinum catalyst for hip-hop's mainstream integration, codifying money as a "sensuous abstraction" through lyrics and visuals that prioritized luxury over traditional ghetto narratives. The work highlights Mase's contributions alongside Puff Daddy and The Notorious B.I.G. in creating the "playa" archetype, which facilitated Bad Boy's chart dominance and reflected broader urban economic shifts in 1990s New York. This perspective frames the album as instrumental in transforming East Coast rap from regional sound to global phenomenon. Perspectives in the 2020s, particularly around its 25th anniversary in 2022, have celebrated Harlem World's lasting influence and Bad Boy's golden age endpoint. A HipHopDX editorial marking the milestone praised its No. 1 Billboard debut and over four million U.S. sales, noting how it launched Mase to superstardom while featuring early breakthroughs for producers like The Neptunes. The album's reissue on vinyl underscored its nostalgic appeal, with discussions emphasizing its fun, party-oriented vibe as a blueprint for hip-hop's escapist side. Aggregated retrospective scores, such as Album of the Year's 79/100 critic rating based on later reviews, indicate an improved critical consensus around 70-80/100, affirming its historical significance.

Commercial performance

Sales figures

Harlem World debuted at number one on the Billboard 200 chart, selling 273,000 copies in its first week of release in the United States on October 28, 1997. The album's strong initial performance was bolstered by the holiday season timing and the surging popularity of Bad Boy Records following the release of The Notorious B.I.G.'s Life After Death earlier that year, which had solidified the label's commercial dominance in hip-hop. The album ultimately sold over 4 million copies in the United States, driven by sustained momentum from its hit singles that extended sales through 1999. Worldwide, Harlem World achieved approximately 5 million units sold, with additional boosts from Mase's international tours promoting the project. In the streaming era, as of November 2025, the album has accumulated over 387 million streams on Spotify, contributing to renewed digital consumption and equivalent album sales.

Chart performance

Harlem World debuted at number one on the US Billboard 200 chart on November 15, 1997, holding the top position for two weeks and spending a total of 54 weeks on the chart. The album's strong initial performance was driven by the success of its lead singles, such as "Feel So Good," which had already reached the top ten on the prior to the album's release. On the Top R&B/Hip-Hop Albums chart, Harlem World also debuted at number one on November 15, 1997, marking Mase's first chart-topping project in that category, though it held the position for one week during its initial run. The album ranked number 117 on the year-end chart for 1997, reflecting its late-year release, and climbed to number 20 on the same chart for 1998. Internationally, Harlem World peaked at number 53 on the , where it charted for 16 weeks. In , it reached number one on the Billboard Canadian Albums chart. In 1998, the album re-entered the top 50 several times, boosted by the release of the single "," which peaked at number nine on the Hot 100. The project experienced brief re-entries on the in the through catalog sales, underscoring its enduring popularity.

Certifications and accolades

Harlem World achieved significant commercial certifications in shortly after its release. , the album was certified by the RIAA on December 2, 1997, for 500,000 units shipped, and the same day for 1,000,000 units. It reached 2× Platinum status shortly thereafter, 3× Platinum by July 1999, and ultimately 4× Platinum for 4,000,000 units, reflecting its strong sales performance. , certified the album 3× Platinum in 1998 for 300,000 units. No certifications were awarded in the by the BPI. The album and its singles also earned notable award nominations tied to its commercial success. Harlem World received a for Best Rap Album at the in 1999. Additionally, the lead single "Feel So Good" was nominated for Best New Artist in a Video at the . No major re-certifications have occurred since the early 2000s, with the RIAA maintaining its 4× Platinum status as of 2025.

Credits and track listing

Track listing

The standard edition of Harlem World consists of 20 tracks with a total duration of 65:51. The production credits are primarily attributed to Sean "Puff Daddy" Combs and The Hitmen, with additional producers including Stevie J., Jermaine Dupri, Ron "Amen-Ra" Lawrence, Deric "D-Dot" Angelettie, Nashiem Myrick, Dame Grease, and The Neptunes across various tracks. Songwriting credits typically feature Mason Betha (Mase) and Sean Combs as primary writers, alongside contributions from featured artists and co-writers specific to each track. International editions occasionally include bonus remixes, such as alternate versions of "Feel So Good" and "What You Want."
No.TitleFeaturingDuration
1"Puff's Intro"1:40
2"Do You Wanna Get $?"Puff Daddy3:49
3"Take What's Yours"3:45
4"Mad Rapper (Interlude)"1:13
5"Will They Die 4 You?"Puff Daddy, 4:04
6"Lookin' at Me"Puff Daddy4:15
7"White Girl (Interlude)"0:52
8"Love U So"3:12
9"The Player Way"4:13
10"Hater (Interlude)"1:00
11"Niggaz Wanna Act"4:09
12"Feel So Good"3:24
13"What You Want"Total4:02
14"Phone Conversation (Interlude)"1:49
15"Cheat On You", 3:15
16"24 Hrs. to Live"The L.O.X., , 4:16
17"I Need to Be"5:12
18"Watch Your Back (Interlude)"0:56
19"Wanna Hurt Mase?"4:23
20"Jealous Guy"1126:25

Personnel

Lead Artist and Vocals
Mase served as the lead rapper and primary vocalist throughout the album, delivering verses on all tracks. Sean "Puffy" Combs, known as Puff Daddy, acted as executive producer and provided background vocals on multiple tracks, including "Do You Wanna Get $?","Will They Die 4 You?","Lookin' at Me", and "Feel So Good". Featured Artists
The album features a range of guest performers from the Bad Boy roster and beyond. Total appears on "What You Want," contributing vocals to the chorus. The L.O.X. provide rap verses on "24 Hrs. to Live." Kelly Price delivers additional vocals on "Do You Wanna Get $?"" and "Feel So Good." 112 features on "Jealous Guy," handling the hook. Other notable guests include DMX on "Take What's Yours" and "24 Hrs. to Live," Lil' Kim on "Will They Die 4 You?," Jay-Z and Lil' Cease on "Cheat On You," Busta Rhymes on "Niggaz Wanna Act," 8Ball & MJG on "The Player Way," Billy Lawrence on "Love U So," Black Rob on "24 Hrs. to Live," and Monifah on "I Need to Be." Production Team
Production was led by Bad Boy in-house talents. Stevie J contributed keyboards and drums on several tracks, including "Feel So Good" and "What You Want." Nashiem Myrick handled guitars and co-production duties on tracks like "Take What's Yours" and "Will They Die 4 You?." Additional producers included Deric "D-Dot" Angelettie as associate executive producer and co-producer on numerous cuts, Ron "Amen-Ra" Lawrence, Carlos "6 July" Broady, Jermaine Dupri on "Lookin' at Me," "Love U So," "I Need to Be," and "Cheat On You," and J-Dub on bonus material. Dame Grease produced "Niggaz Wanna Act," while The Neptunes handled "Lookin' at Me." Technical Staff
Recording and mixing involved key engineers from the era. Prince Charles Alexander engineered and mixed tracks such as "Feel So Good." Rich Travali mixed "What You Want," while other mixers included Tony Maserati, Phil Tan, and Jermaine Dupri. The album was mastered by Herb Powers Jr. at The Hit Factory in New York. Additional contributions came from DJ IROC on scratches for "Will They Die 4 You?" and "What You Want," and Ben Garrison on recording for bonus tracks.

Samples

The album Harlem World incorporates numerous samples from classic R&B, funk, and soul tracks, primarily from the and , which were cleared through ' production team to evoke a nostalgic vibe blending hip-hop with earlier black music traditions. These samples, drawn from influential artists, underscore the album's shiny suit-era production style while paying homage to and eras. Sample credits are compiled from verified sources like as of 2025, though some lesser-known tracks may lack full documentation due to historical clearance practices.
TrackSampled MaterialOriginal Artist and Year
"Feel So Good""Hollywood Swinging"Kool & the Gang (1976)
"Feel So Good""Bad Boy"Miami Sound Machine (1985)
"What You Want" (feat. Total)"Right on for the Darkness"Curtis Mayfield (1971)
"24 Hrs. to Live" (feat. Black Rob, DMX, and The LOX)"Moses Theme"Frankie Bleu (1979)
"24 Hrs. to Live" (feat. Black Rob, DMX, and The LOX)"Say Hello to My Little Friend"Scarface soundtrack (1983)
"Love U So" (feat. Billy Lawrence)"Square Biz"Teena Marie (1981)
"Love U So" (feat. Billy Lawrence)"Ooh Boy"Rose Royce (1976)
"Do You Wanna Get $""Do You Wanna Get Funky With Me?"Peter Brown (1977)
"Niggaz Wanna Act" (feat. Busta Rhymes)"Hostage Part 1 & 2"Harold Melvin & the Blue Notes (1976)
"Lookin' at Me" (feat. Puff Daddy)"Illegal Search"LL Cool J (1990)
"Cheat On You" (feat. Jay-Z, Lil' Cease)"Between the Sheets"The Isley Brothers (1983)
These selections highlight producers like Deric "D-Dot" Angelettie, Nashiem Myrick, and , who integrated loops and hooks from these sources to craft the album's upbeat, party-oriented sound.

Legacy

Cultural impact

Harlem World played a pivotal role in popularizing the "shiny suit" aesthetic within hip-hop fashion, emblematic of ' late-1990s opulent style that emphasized luxury branding and high-end consumerism. The album's flash and bravado influenced Harlem rap collectives such as Dipset, whose members adopted similar styles of confident, locale-specific presentation during the early 2000s. This era's glittering attire, often featuring metallic fabrics and designer labels, shifted hip-hop's visual narrative from gritty realism to celebratory extravagance, setting trends that permeated music videos and . The album's tracks have appeared in various media, enhancing its cultural footprint; for instance, "Feel So Good" was featured on the soundtrack for the 1997 film Money Talks, starring and , underscoring its alignment with mainstream entertainment's party-centric vibe. In , Harlem World fostered a surge of local pride by spotlighting the neighborhood as a hip-hop powerhouse, rivaling other New York boroughs and inspiring a of rappers. This legacy reinforced 's identity as a breeding ground for innovative rap acts. On a broader scale, the album advanced Bad Boy's of rap, blending R&B hooks with boastful luxury themes that dominated airwaves and critiqued the genre's shift toward pop accessibility. It contributed to the shiny suit era's polarization, eliciting backlash for prioritizing glamour over lyricism amid rising tensions over hip-hop's commercial direction. As of 2025, Harlem World continues to receive nods in hip-hop retrospectives, appearing in discussions of nostalgia within outlets examining the shiny suit era's lasting commercialization effects, though without dedicated anniversary events.

Influence and reappraisal

Harlem World played a pivotal role in shaping pop-rap hybrids during the late , blending infectious hooks with luxurious production that emphasized commercial appeal over gritty lyricism. The album's formula of R&B-infused tracks and high-profile features served as a for hook-heavy, feature-packed releases, influencing the bubble-gum pop sound adopted by subsequent artists in the genre. Its polished aesthetic, mastered under , extended the label's shiny suit era into a broader strategy for mainstream dominance. The success of Harlem World, which sold over copies, solidified Bad Boy's production and marketing approach, prioritizing crossover hits and ensemble collaborations to maximize chart performance. This model influenced label strategies. In the and , Harlem World underwent reappraisal from initial dismissals as commercial fluff to recognition as a classic and enduring emblem of posh rap . Critics highlighted its sleek portrayal of fame and wealth as setting precedents for decades of aspirational hip-hop. In October 2025, reflected on the album's creation and impact in an post, underscoring its ongoing relevance. While the 25th anniversary in 2022 prompted limited vinyl reissues, including a translucent edition, no full remaster has been released as of 2025. The album's legacy persists through streaming platforms, with over 388 million streams as of November 2025, underscoring its revival in playlists despite limited formal updates. This digital endurance, combined with its quadruple platinum certification, affirms Harlem World's lasting impact on hip-hop's commercial evolution.

References

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  2. https://pitchfork.com/reviews/albums/mase-harlem-world/
  3. https://www.latimes.com/archives/la-xpm-1997-nov-06-ca-50603-story.html
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  6. https://www.rapreviews.com/2006/12/mase-harlem-world/
  7. https://www.discogs.com/artist/285226-Children-Of-The-Corn
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  9. https://www.revolt.tv/article/11-classic-songs-mase-helped-write
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  11. https://theboombox.com/mase-harlem-world-cemented-bad-boy-beyond-the-era-of-shine/
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  51. https://www.whosampled.com/sample/3215/Mase-Feel-So-Good-Miami-Sound-Machine-Bad-Boy/
  52. https://www.whosampled.com/sample/273/Mase-Total-What-You-Want-Curtis-Mayfield-Right-on-for-the-Darkness/
  53. https://www.whosampled.com/sample/24263/Mase-Black-Rob-DMX-The-Lox-24-Hrs.-To-Live-Frankie-Bleu-Moses-Theme/
  54. https://www.whosampled.com/sample/377836/Mase-Black-Rob-DMX-The-Lox-24-Hrs.-To-Live-Scarface-Say-Hello-to-My-Little-Friend/
  55. https://www.whosampled.com/sample/4393/Mase-Billy-Lawrence-Love-U-So-Teena-Marie-Square-Biz/
  56. https://www.whosampled.com/sample/4394/Mase-Billy-Lawrence-Love-U-So-Rose-Royce-Ooh-Boy/
  57. https://www.whosampled.com/sample/49287/Mase-Do-You-Wanna-Get-%24-Peter-Brown-Do-You-Wanna-Get-Funky-With-Me%253F/
  58. https://www.whosampled.com/sample/344776/Mase-Busta-Rhymes-Niggaz-Wanna-Act-Harold-Melvin-%2526-the-Blue-Notes-Hostage-Part-1-%2526-2/
  59. https://www.whosampled.com/sample/915/Mase-Puff-Daddy-Lookin-At-Me-LL-Cool-J-Illegal-Search/
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  61. https://mancunion.com/2025/10/07/hypercommercialisation-shiny-suit-era/
  62. https://www.discogs.com/release/1736619-Various-Money-Talks-The-Album
  63. https://www.revolt.tv/article/how-camron-and-dipset-changed-hip-hop-forever
  64. https://.com/reviews/albums/mase-harlem-world/
  65. https://www.trapital.com/episodes/the-legacy-of-bad-boy-entertainment
  66. https://www.instagram.com/reel/DQXaiABj3-i/
  67. https://www.discogs.com/release/25081123-Mae-Harlem-World
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