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William Michael Griffin Jr. (born January 28, 1968), better known by his stage name Rakim (/rɑːˈkɪm/), is an American rapper. He is one half of golden age hip-hop duo Eric B. & Rakim, with whom he released four albums: Paid in Full (1987), Follow the Leader (1988), Let the Rhythm Hit 'Em (1990), and Don't Sweat the Technique (1992). He also released four solo albums: The 18th Letter (1997), The Master (1999), The Seventh Seal (2009), and G.O.D.'s Network: Reb7rth (2024).

Rakim is considered a transformative figure in hip hop.[1] He helped to pioneer the use of internal rhymes and multisyllabic rhymes, and was among the first to demonstrate the possibilities of sitting down to write intricately crafted lyrics packed with clever word choices and metaphors rather than the more improvisational styles and simpler rhyme patterns that predominated before him.[1] Rakim is also credited with creating the overall shift from the more simplistic old school flows to more complex flows.[2] Rapper Kool Moe Dee explained: "Rakim is basically the inventor of flow. We were not even using the word flow until Rakim came along. It was called rhyming, it was called cadence, but it wasn't called flow. Rakim created flow!"[3]

Paid in Full was named the greatest hip hop album of all time by MTV in 2006,[4] while Rakim himself was ranked No. 4 on MTV's list of the Greatest MCs of All Time.[5] Steve Huey of AllMusic stated that "Rakim is near-universally acknowledged as one of the greatest MCs – perhaps the greatest – of all time within the hip-hop community".[6] The editors of About.com ranked him No. 2 on their list of the 'Top 50 MCs of Our Time (1987–2007)'.[7] In 2012, The Source ranked him No. 1 on their list of the "Top 50 Lyricists of All Time".[8]

Early life

[edit]

William Michael Griffin Jr. was born on January 28, 1968, in Wyandanch, New York.[9] He is the nephew of the late R&B singer and actress Ruth Brown. He grew up in Wyandanch on Long Island and wrote his first rhyme at seven years old, about the cartoon character Mickey Mouse. He initially aspired to play professional football, and was a quarterback on his high school football team.

However, after being introduced to local DJ Eric B. by his friend Alvin Toney, he began writing lyrics to fit Eric's instrumentals and chose instead to focus on a career in music. Then known as Kid Wizard, he made his first recordings live at Wyandanch High School in the year 1985.[1][10][11]

Rakim was initially introduced to the Nation of Islam in 1986; he later joined The Nation of Gods and Earths (also known as the 5 Percent Nation) and adopted the Arabic name Rakim Allah. He also chose to use “Rakim Allah” as his stage name, although it was most often shortened to simply “Rakim”.[12] During his career he has been nicknamed the "God MC" because of his acclaimed status as an MC and a reference to the "Allah" in his stage name, which is the Arabic word for God.[13][14][15]

Career

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Pairing with Eric B. (1985–1992)

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Main article: Eric B. & Rakim

First meeting in 1985, Eric B. and Rakim went on to release four studio albums before their separation in 1992. The duo were described by journalist Tom Terrell of NPR as "the most influential DJ/MC combo in contemporary pop music period",[16] while the editors of About.com ranked them as No. 4 on their list of the 10 Greatest Hip-Hop Duos of All-Time.[17] They were nominated for induction into the Rock and Roll Hall of Fame in 2011, although they did not make the final selection.[18]

1986–87: Beginnings and classic debut

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Further information: Paid in Full (album)

After Rakim responded to Eric B.'s search for "New York's top MC",[19] Eric B.'s friend and roommate Marley Marl allowed them to use his home studio. The first tracks they recorded—"Eric B. Is President" and "My Melody"—were released as a single/b-side on the independent Zakia Records in 1986. After Def Jam Recordings founder Russell Simmons heard the single, the duo were signed to Island Records and began recording the album in Manhattan's Power Play Studios in early 1987.[19]

On July 7, 1987, the duo released their debut album, Paid in Full, on the Island-subsidiary label 4th & B'way Records. The album peaked at No. 58 on the Billboard 200 chart and produced five singles: "Eric B. Is President", "I Ain't No Joke", "I Know You Got Soul", "Move the Crowd", and "Paid in Full".[20]

1988–89: Sophomore peak

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Further information: Follow the Leader (Eric B. & Rakim album)

While its singles attained moderate success, Follow the Leader performed better on music charts than Eric B. & Rakim's debut album and reached number 22 on the U.S. Billboard Pop Albums chart. It has been certified gold by the Recording Industry Association of America for shipments in excess of 500,000 copies in the United States. Released during hip hop's "golden age", the album was well received by critics and has since been recognized by music writers as one of the most groundbreaking and influential hip hop albums of all time. American author William Jelani Cobb wrote of the album's significance, "On the heels of Paid in Full, Eric B. & Rakim delivered a full clip of album titled Follow the Leader in 1988. Featuring a broader spectrum of sounds than the James Brown samples that had defined the initial release, Follow the Leader saw Rakim at his most lyrically fierce, issuing deft and death threats on such tracks as 'Microphone Fiend,' 'Lyrics of Fury,' and the nearly felonious 'No Competition.' The release marked the high point in the collaboration between the two and prefaced the long slide they faced in the 1990s."[21]

1990–92: Final albums and dissolution

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Let the Rhythm Hit 'Em, released in 1990, was Eric B. & Rakim's third album. This album saw the duo's sound develop further, with Rakim adopting a deeper, more aggressive tone of voice, as well as more mature and serious subject matter. Musically, the production ranges from smoother soulful tracks such as "In the Ghetto" to the hard-edged assault of the title track. Though it could not support singles as popular as the duo's previous albums, it is considered by many to be the duo's most coherent album. It is one of the few albums to have received a "five-mic" rating from The Source. In 1998, the album was selected as one of The Source's 100 Best Rap Albums. The back cover features a dedication to the memories of Rakim's father William and producer Paul C.,[22] who had worked on many of the album's tracks before his murder in July 1989. His protégé Large Professor completed his work. Neither receive credit in the album's notes.[23][24]

In 1992, Eric B & Rakim released their fourth and final album, Don't Sweat the Technique. The title track was a minor radio hit.[citation needed] "Casualties of War" was also released as a single. "Know the Ledge" first appeared in the film Juice under the title "Juice (Know the Ledge)". However, Eric B. refused to sign MCA's release contract, fearful that Rakim would abandon him. This led to a long, complicated court battle involving the two musicians and MCA. The legal wrangling eventually led to the duo dissolving completely.[1]

Solo-career (1993–present)

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[edit]
Further information: The 18th Letter
Rakim performing in Hamburg, Germany, June 3, 1998

After breaking up his partnership with Eric B. in early-1993, Rakim kept a low profile, only making one notable appearance on the soundtrack to the 1993 film Gunmen. A reshuffling in MCA caused Rakim to be dropped from the label in 1994. As Rakim continued to struggle with legal problems, he secured a deal with Universal Records and began recording his solo debut album The 18th Letter in 1996. In November 1997, the album The 18th Letter was released. Expectations were high for Rakim, as the album debuted at No. 4 on the Billboard 200 and was certified Gold by the RIAA.

In June 1999, Rakim appeared on three tracks of "The Seduction of Claude Debussy" by Art of Noise. AllMusic's Keith Farley notes that "the album charts the artistic use of sampled breakbeats – pioneered by the Art of Noise themselves – with nods to '80s hip-hop plus their '90s equivalent, drum'n'bass."[25]

In November 1999, Rakim released The Master, which received good reviews but sold poorly.[1]

Rakim was signed to Dr. Dre's Aftermath Entertainment record label in 2000,[26] for work on an album tentatively titled Oh, My God. The album underwent numerous changes in artistic direction and personnel and was delayed several times. While working on the album, Rakim made guest appearances on four Aftermath projects, including the hit single "Addictive" by Truth Hurts and its remix (which featured a different Rakim verse from the main version), the Dr. Dre-produced "The Watcher Part 2" by Jay-Z, and Eminem's 8 Mile soundtrack album with the track "R.A.K.I.M".

However, Rakim left the label in 2003 and Oh, My God was indefinitely shelved.[27] After Rakim eventually left Aftermath Entertainment, he stated that the reason he departed the label was because of creative differences with Dr. Dre. Discussing the period later, Rakim discussed how he was seeking to write conscious material, while Dr. Dre was encouraging him to pursue gangsta rap narratives instead.[28][29]

2007–2009: The Seventh Seal

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Rakim at the B.B. Kings in New York, November 25, 2006
Rakim at Cat's Cradle in North Carolina, 2006

Rakim retreated to his Connecticut estate to work leisurely on music. Not having released an album since 1999, he eschewed touring in favor of infrequent gigs.[30] Rakim was able to retain the tracks he had made with Dr. Dre[1] and, in 2006, announced that he would release a new studio album, The Seventh Seal.[31] The album was delayed into 2009; instead, he followed up with a live album, The Archive: Live, Lost & Found, in 2008.[1] In an interview with Billboard in 2007, when asked about story behind The Seventh Seal's title, Rakim said,

The number 7 has a lot of significance. The seventh letter of the [Supreme] alphabet is G—that stands for God. There are seven continents, seven seas. The Seventh Seal deals with that and also some revelations in the Bible. Some call it the end of the world, but for me it's the end of the old and the beginning of the new. By me naming my album that, I'm using it metaphorically in hip hop. I'm hoping to kill the old state of hip hop and start with the new.[31]

In another interview with Billboard in 2009, he stated,

The seals are from the Bible—Revelations and the coming of the Apocalypse. But Islam, Judaism, Christianity—all have a version of the same events. The Lion of Judah breaks the seven seals one by one, each imparting knowledge and inflicting catastrophe, ending with seven trumpets announcing the end of Times. After the Apocalypse, God rises from the ashes to recreate the Kingdom, taking only the greatest elements from the past with them. When you look at Hip-Hop, I want to do that: to spit fire and take our best from the ashes to build our kingdom; to recognize all the regional styles, conscious lyrics, the tracks, underground, mainstream, the way we treat each other. Lose the garbage and rebuild our scene. I've always tried to insert consciousness and spirituality in my records, interpreting the writings of all cultures and religions and how they apply to life in modern times.[32]

The Seventh Seal was released on November 17, 2009, after several delays on Rakim's own Ra Records, TVM, and SMC Recordings and distributed through Fontana and Universal Music Group.[33] Considered a comeback album after a ten-year gap between releases, the album features the two singles: "Holy Are You", which was released on July 14, 2009, and "Walk These Streets" which was released on October 7, 2009. It features production from several renowned hip hop artists, including Nottz, J. Wells, Needlz, Jake One, and Nick Wiz.[34] The album sold 12,000 copies in the United States by November 22, 2009, according to SoundScan.[35] Upon its release, The Seventh Seal received generally mixed or average reviews from most music critics; it holds an aggregate score of 59/100 at Metacritic.[36]

2011–present: Reunion with Eric B. and G.O.D.'s Network: Reb7rth

[edit]

In 2011, Rakim performed Paid in Full in its entirety at the Blue Note Jazz Club in New York City, in honor of the album's 25th anniversary.[37] He was backed by The Roots.[37]

In 2012, Rakim announced that he and Eric B. would release a 25th anniversary edition of their 1987 album Paid in Full, which would contain new tracks recorded by Eric B. & Rakim, by the end of 2012; Rakim announced he would release a new solo album by the end of 2012.[38] He performed at the annual Roots' Picnic in Philadelphia in June.[39] In an interview with The Detroit Free Press he announced he was in the studio with Pharrell Williams working on a new album set to be released in 2013, saying the first single will be released before the end of the year.[40]

On September 24, 2013, he released a collaborative single with DMX entitled "Don't Call Me".[41]

In 2014, Rakim is featured on the collaborative single with American rock band Linkin Park, titled "Guilty All the Same". The song was released on March 6, 2014, by Warner Bros. Records as the first single from their sixth studio album, titled The Hunting Party. He contributed his rhymes during the bridge for the main version of the song; however, he is not featured on the radio edit of the song. The song was officially released on March 7, 2014, for digital download.

On April 27, 2015, Rakim announced he was working on a new album and planned to release it in the middle or end of 2015. He said "This is one of those albums where I can have fun. My last album, The Seventh Seal, was somewhat of a conscious album. I wanted to make a statement on that album."[42]

On October 20, 2016, it was announced via Twitter that Rakim had reunited with Eric B. after 23 years. The duo teased a potential reunion tour the next morning, hosting a poll for the fans to give their opinion on what city Eric B. & Rakim should start the tour. Four locations were the potential candidates: New York City, Las Vegas, London, and Australia. Since the announcement of the reunion, fans have speculated if the two will drop a new studio album in the near future.[43]

In late-June 2018, a new song, "King's Paradise", was released on Luke Cage: Season 2 (Original Soundtrack Album). Rakim performed the song for the first time on NPR's Tiny Desk Concerts series along with former A Tribe Called Quest member Ali Shaheed Muhammad and producer Adrian Younge.[44]

In May 2024, Masta Killa teased an image of Rakim, Kurupt and himself with the upcoming release of a single on June 21, 2024, titled Be Ill.[45] Two weeks later, it was announced that Rakim's fourth studio album would be titled G.O.D.'s Network: Reb7rth, and would be fully produced by Rakim himself.[46] The limited special edition of the album has been announced to feature artists such as Nipsey Hussle, Snoop Dogg, Planet Asia and Kobe.[47] On May 29, 2024, Rakim posted a video of a potential video shoot of the new single on his Instagram.[48] G.O.D.'s Network: Reb7rth was released on July 26, 2024.[49]

Rakim collaborated with Hus Kingpin on the Big Ghost-produced single "Now Is The Time," the second release from his album The Re-Up, which was dropped on August 8, 2025, alongside the official music video, ahead of the album's full release.[50]

On May 21, 2025, Rakim was awarded the George Peabody Medal for Outstanding Contributions to Music and Dance in America, the highest honor bestowed by the Peabody Institute at Johns Hopkins University.[51]

Artistry

[edit]

Rakim's rhyming deviated from the simple rhyme patterns of early 1980s hip hop. His free-rhythm style ignored bar lines and had earned comparisons to jazz pianist Thelonious Monk.[52] The New York Times' Ben Ratliff wrote that Rakim's "unblustery rapping developed the form beyond the flat-footed rhythms of schoolyard rhymes".[53] While many rappers developed their technique through improvisation, Rakim was one of the first to demonstrate advantages of a writerly style, as with for instance his pioneering use of internal rhymes and multisyllabic rhymes.[54] Unlike previous rappers such as LL Cool J, KRS-One, and Run-D.M.C., who delivered their vocals with high energy, Rakim employed a relaxed, stoic delivery.[19][55] According to MTV, "We'd been used to MCs like Run and DMC, Chuck D and KRS-One leaping on the mic shouting with energy and irreverence, but Rakim took a methodical approach to his microphone fiending. He had a slow flow, and every line was blunt, mesmeric."[56] Rakim's relaxed delivery results from his jazz influences; he had played the saxophone and was a John Coltrane fan.[52][57][58][59]

Artists and critics often credit Rakim with creating the overall shift from the more simplistic old school flows to more complex flows.[2] Kool Moe Dee says, "any emcee that came after 1986 had to study Rakim just to know what to be able to do.[60] [...] Rakim, in 1986, gave us flow and that was the rhyme style from 1986 to 1994.[61] [...] From that point on, anybody emceeing was forced to focus on their flow."[62] Kool Moe Dee explains that before Rakim, the term 'flow' wasn't widely used – "Rakim is basically the inventor of flow. We were not even using the word flow until Rakim came along. It was called rhyming, it was called cadence, but it wasn't called flow. Rakim created flow!"[3] He adds that while Rakim upgraded and popularized the focus on flow, "he didn't invent the word".[60]

Rakim's subject matter often covered his own rapping skills and lyrical superiority over other rappers.[63][64] AllMusic editor Steve Huey comments that "the majority of his lyrics concern his own skills and his Islamic faith."[6] He also notes Rakim for his "complex internal rhymes, compounding, literate imagery, velvet-smooth flow, and unpredictable, off-the-beat rhythms."[65] Pitchfork writer Jess Harvell described his rapping as "authoritative, burnished, [and] possessing an unflappable sense of rhythm".[64]

Legacy

[edit]

Paid in Full was released during the period that became known as golden age hip hop.[66] Alex Ogg considered it the duo's magnum opus in his book The Men Behind Def Jam.[19] Rakim's rapping set a blueprint for future rappers and helped secure East Coast hip hop's reputation for innovative lyrical technique.[54][67] William Jelani Cobb stated in his book To the Break of Dawn that his rapping had "stepped outside" of the preceding era of old school hip hop and that while the vocabulary and lyrical dexterity of newer rappers had improved, it was "nowhere near what Rakim introduced to the genre".[66] The New York Times' Dimitri Ehrlich, who described the album as "an artistic and commercial benchmark", credited Rakim for helping "give birth to a musical genre" and leading "a quiet musical revolution, introducing a soft-spoken rapping style".[68] Allmusic's Steve Huey declared Paid in Full one of hip hop's most influential albums and "essential listening" for those interested in the genre's "basic musical foundations".[65] MTV ranked it at number one in "The Greatest Hip-Hop Albums of All Time", stating it raised the standards of hip hop "both sonically and poetically" and described it as "captivating, profound, innovative and instantly influential".[56] The album is broken down track-by-track by Rakim in Brian Coleman's book Check the Technique.[69]

Rolling Stone magazine listed it at number 227 on "The 500 Greatest Albums of All Time", calling it "Ice-grilled, laid-back, diamond-sharp: Rakim is a front-runner in the race for Best Rapper Ever, and this album is a big reason why."[70] Similarly, Blender magazine included the album in its "500 CDs You Must Own Before You Die".[71] Time magazine listed it as one of the eighteen albums of the 1980s in its "All-TIME 100" albums; editor Alan Light acknowledged the record for changing the "sound, flow, and potential" of hip hop and that if Rakim is "the greatest MC of all time, as many argue, this album is the evidence".

Jess Harvell of Pitchfork complimented Rakim for an "endless display of pure skill" and described the album as "laidback and funky", but believed it contained "too much filler to get a free 'classic' pass".[64] Pitchfork placed Paid in Full at number fifty-two in its "Top 100 Albums of the 1980s"; editor Sam Chennault wrote that Rakim inspired a generation of MCs and "defined what it meant to be a hip-hop lyricist".[72] The rappers who have used the unique rapping style employed by Rakim and attribute it as inspiration include GZA, Ghostface Killah, and Raekwon (from the Wu-Tang Clan), Tupac, Nas, Kool G. Rap, Jay-Z, The Notorious B.I.G., Eminem, 50 Cent, Cordae[73] and many more.[68][74] On July 11, 1995, the Recording Industry Association of America (RIAA) certified the album platinum.[75] As of December 1997, it has sold over a million copies.[68]

Discography

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Main article: Rakim discography

Studio albums

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Solo

With Eric B. & Rakim

See also

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Main article: Eric B. & Rakim

References

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Further reading

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[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Rakim

View on Grokipedia
from Grokipedia
William Michael Griffin Jr. (born January 28, 1968), known professionally as Rakim, is an American rapper and record producer from . He gained prominence as one half of the hip-hop duo , whose innovative approach to lyricism and production during the of hip-hop profoundly shaped the genre's evolution. Rakim's debut album with Eric B., Paid in Full (1987), introduced complex internal rhyme schemes, multisyllabic rhymes, and a relaxed, introspective flow that contrasted with the faster, simpler styles of earlier rap, establishing a blueprint for modern MC techniques. The duo followed with critically acclaimed releases including Follow the Leader (1988), Let the Rhythm Hit 'Em (1990), and Don't Sweat the Technique (1992), which solidified their legacy through dense, knowledge-infused bars and Eric B.'s soul-sampled beats. After the duo's disbandment, Rakim pursued a solo career, releasing albums such as The 18th Letter (1997) and The Master (1999), while maintaining his status as a foundational influence on artists across generations. His contributions have earned him recognitions including induction into the Berklee Hip-Hop Hall of Fame in 2025 and a BET Lifetime Achievement Award, affirming his role in elevating hip-hop's artistic sophistication.

Early life

Childhood and upbringing

William Michael Griffin Jr. was born on January 28, 1968, in Wyandanch, a suburb of New York, into a working-class family with deep musical roots. As the youngest of five children, he grew up in a household where music permeated daily life; his mother performed and , his sisters sang, and his brothers played various instruments. His father, described as sensitive and soft-spoken, supported the family's artistic inclinations, while Griffin was the nephew of pioneering R&B singer , whose career in the 1950s influenced the home environment. From an early age, Griffin immersed himself in music, learning to play the and absorbing music theory fundamentals amid constant exposure to artists like and . Known as "Pop" during childhood, he navigated a challenging youth in Wyandanch, a predominantly community, where hip-hop's emerging street culture began intersecting with his familial heritage. By age 16, Griffin converted to through the , adopting the name Rakim Allah, which reflected a spiritual awakening amid his musical development. This period solidified his foundational influences, blending structured musical education with the improvisational ethos of that would later define his lyrical style.

Musical influences and entry into hip-hop

William Michael Griffin Jr., known professionally as Rakim, grew up in a musically inclined family in , where his aunt, R&B singer , exposed him to performance traditions. As a youth, he learned and , drawing heavily from and fusion sounds that shaped his rhythmic approach to . Rakim has cited saxophonist as a key influence, particularly Coltrane's syncopated rhythms and diverse phrasing, which informed his internal rhyme schemes and off-beat delivery that deviated from the simpler, end-rhyme patterns of early hip-hop. This jazz-infused style allowed for and free-flowing cadences, mimicking improvisational solos over fixed beats. At age 16, in 1984, Griffin converted to the , adopting the name , which infused his lyrics with esoteric Islamic and black nationalist themes emphasizing knowledge, self-awareness, and cosmic order. This ideological shift coincided with his initial forays into rapping, transitioning from poetry and instrumental practice to MCing amid Long Island's burgeoning hip-hop scene. In 1985, while still in high school, he connected with DJ Eric B. through local networks, marking his formal entry into recording; their collaboration began with demos that showcased Rakim's introspective bars over Eric B.'s scratched samples and drum breaks. By age 18 in 1986, Rakim had refined his technique in Queensbridge studios, debuting on tracks like "," which highlighted his poised, multitracked flow against the era's party-rap norms. This partnership propelled him from amateur circles to professional releases, establishing a blueprint for introspective, structurally complex hip-hop.

Partnership with Eric B.

Formation of the duo

Eric B. (born Eric Barrier) and Rakim (born William Michael Griffin Jr.) met in 1986 when Barrier, then a DJ at New York City's radio station, sought a rapper to pair with his production work. A mutual acquaintance, Rakim's football teammate Alvin Tony, introduced Barrier to Griffin at the latter's home on , New York, where Barrier auditioned him after hearing a demo tape. At the time, the 18-year-old Griffin, who had recently converted to and adopted the name Rakim Allah, was initially reluctant to pursue music professionally, prioritizing plans for , but Barrier persuaded him to collaborate without a formal contract, positioning Rakim as a featured artist on an initial single. The duo formalized their partnership that year, marking the origin of as a DJ-MC team rooted in the emerging East Coast hip-hop scene. Their first recording session took place at producer Marley Marl's apartment in Queensbridge, where they cut the track "," with Rakim delivering his signature internal-rhyme style over Barrier's turntable scratches and samples. Released as a single in 1986 on , paired with "My Melody," it established their innovative sound—combining complex lyricism with minimalist beats—and propelled them from local obscurity to national attention. This debut underscored Barrier's role in scouting talent and Rakim's transformative approach to flow, setting the foundation for their influence on hip-hop's .

Debut era: Paid in Full (1986–1987)

Eric B. and Rakim formalized their partnership in 1986, recording their debut single "Eric B. Is President" that year on Zakia Records, with distribution through 4th & B'way Records. The track, produced mainly by Eric B. using samples from Fonda Rae's "Tuch Me Again," James Brown, and others, paired his turntable work with Rakim's measured delivery, establishing a template for layered production in hip-hop. While producer Marley Marl later claimed credit for key elements like the drum pattern—drawn from the Ultimate Breaks and Beats compilation—Eric B. disputed this, asserting primary control over the session conducted on rudimentary equipment. The single's b-side, "My Melody," previewed Rakim's lyrical advancements, employing internal rhymes placed mid-bar rather than solely at line ends, a departure from prevailing styles. Building on the single's buzz, the duo signed to Island-subsidiary and tracked their full-length debut, Paid in Full, across 1986 and early 1987 at spots including Marley Marl's home studio, relying on four-track recorders for its sparse, sample-heavy sound. Released on July 7, 1987, the 10-track album featured standouts like "," with its precise multisyllabic schemes ("Thinkin' of a master plan / 'Cause I ain't got no time for the superficial"), and "I Know You Got Soul," which interpolated sampling techniques from earlier acts while amplifying Rakim's conceptual depth on self-mastery. Eric B.'s beats emphasized boom-bap rhythms and obscure breaks, creating space for Rakim's innovations, influenced by jazz figures like for rhythmic phrasing over strict meter. Initial reception positioned Paid in Full as a pivot in hip-hop's evolution, with Rakim's technique—favoring off-beat emphasis and rhyme density—expanding MC possibilities beyond rote couplets, as evidenced by its rapid adoption in New York circles and eventual sales surpassing 500,000 units by late 1987. The title track's remix by Marley Marl, incorporating Coldcut's additions, further boosted airplay, underscoring the duo's role in bridging underground sampling with broader accessibility during rap's golden age onset.

Eric B. & Rakim's peak and decline

Follow the Leader and commercial height (1988–1989)

Follow the Leader, the second studio album by , was released on July 26, 1988, via Uni/. The duo self-produced the project, drawing on Eric B.'s signature sampling techniques with and records, while Rakim delivered intricate, over sparse, hard-hitting beats recorded primarily at Studios in . Standout tracks included the title song "Follow the Leader," which showcased Rakim's commanding flow and boasts about lyrical supremacy; "," a raw depiction of addiction to rapping; and "Lyrics of Fury," emphasizing rapid-fire delivery and internal rhyme schemes that advanced hip-hop's technical boundaries. The album received strong critical acclaim for elevating rap artistry, with Rakim's sophisticated wordplay and Eric B.'s minimalist production setting a new standard for duo dynamics and influencing subsequent MCs in and poise. It built directly on their debut Paid in Full by refining thematic depth—exploring mastery, street life, and —while maintaining a cool, authoritative tone that contrasted the era's more energetic styles. Commercially, Follow the Leader marked the duo's breakthrough, peaking at number 22 on the chart and achieving gold certification from the RIAA on September 27, 1988, for shipments exceeding 500,000 units. Singles like "Follow the Leader" reached number 16 on the chart, bolstering their visibility amid a packed 1988-1989 touring schedule that included frequent live performances across the U.S. This period solidified Eric B. & Rakim's commercial peak, outpacing their prior sales and positioning them as hip-hop frontrunners before internal tensions emerged.

Later albums and partnership dissolution (1990–1992)

Eric B. & Rakim released their third studio album, Let the Rhythm Hit 'Em, on June 19, 1990, through , with production handled primarily by the duo themselves at studios including the Soundtrack Studios and in . The album featured 11 tracks emphasizing Rakim's intricate lyricism over Eric B.'s sampled beats drawn from and sources, including cuts from and , marking a shift toward more layered production compared to their earlier work. It debuted at number 65 on the and peaked at number 32, while reaching number 10 on the Top R&B/Hip-Hop Albums chart; the lead single "Let the Rhythm Hit 'Em" climbed to number 2 on the chart by July 28, 1990. The duo's fourth and final collaborative album, , followed on June 23, 1992, also via , recorded at in with the pair overseeing production. Comprising 12 tracks, it showcased Rakim's evolving multisyllabic rhymes and philosophical themes atop Eric B.'s minimalist, sample-heavy beats sourced from artists like Bill Withers and , with the title track sampling The Eagles' "Those Shoes" for its hook. The album peaked at number 22 on the and number 9 on the Top R&B/Hip-Hop Albums chart, with the title single topping the chart, reflecting sustained commercial viability amid rising trends. Tensions culminated in the duo's partnership dissolution shortly after Don't Sweat the Technique's release, primarily due to a disagreement over a record contract, as Rakim later described in a 2018 interview, noting miscommunications that prevented renegotiation with . recounted a differing perspective, attributing the split to Rakim's pursuit of solo opportunities without adequate discussion, exacerbating unresolved issues from their MCA deal. The acrimonious end involved no further joint releases, with Rakim signing a solo deal with Universal Records by 1997, while pursued independent production.

Solo career beginnings

Following the dissolution of in early 1993, stemming from business disagreements over finances and the duo's remaining three-album contract with , Rakim encountered extended legal disputes with his former partner and the label that stalled his solo pursuits. Eric B.'s refusal to sign a release agreement, motivated by fears of being left behind, triggered proceedings and tied Rakim to unresolved obligations, preventing him from freely negotiating new deals or recording independently. These contractual entanglements, compounded by royalty disputes, kept Rakim largely out of the public eye during a pivotal era for East Coast hip-hop. In 1994, internal changes at MCA further disrupted Rakim's momentum when the label dropped him amid the ongoing turmoil. Despite beginning work on solo material around this time, persistent legal hurdles over contracts and payments delayed progress, forcing Rakim to maintain a low profile for several years. He did not secure a new recording agreement until 1996 with Universal Records, which acquired his contract and enabled the completion of his debut solo album, The 18th Letter, released the following year. Rakim also faced personal legal challenges during this period, including an arrest on August 2, 1996, in , as documented in sheriff's records. While details of the 1996 charge remain unspecified in public accounts, it aligned with prior incidents such as a 1991 gun possession arrest following reported gunshots on , contributing to the broader pattern of interruptions that sidelined his career until resolutions were achieved.

The 18th Letter and early solo reception (1997)

The 18th Letter, Rakim's debut solo album, was released on November 4, 1997, by Universal Records following a five-year delay due to legal and label issues. The project featured production from collaborators including , , DJ Clark Kent, and Rakim's brother Father Shaheed, blending beats with samples evocative of hip-hop's golden age. Key tracks like "It's Been a Long Time" and "Guess Who's Back" showcased Rakim's signature internal rhyming and multisyllabic schemes, addressing themes of perseverance, philosophy, and industry reflection, while the initial two-disc edition included a bonus disc, The Book of Life, compiling early 1980s demos from his pre-Eric B. era. Commercially, the album debuted at number 4 on the U.S. chart and reached number 1 on the Top R&B/Hip-Hop Albums chart, selling 500,000 copies in the United States and earning gold certification from the RIAA. The lead single "It's Been a Long Time" peaked at number 22 on the Hot R&B/Hip-Hop Songs chart, underscoring Rakim's enduring appeal amid a shifting rap landscape dominated by and emerging East Coast revivalists. Critical reception affirmed Rakim's status as a lyrical pioneer, with reviewers praising the album's dense wordplay and intellectual depth as a return to form after his duo's decline. awarded it 4 out of 5 stars, highlighting its "lyrical excellence" and Rakim's refreshed flow, while RapReviews noted the absence of major flaws despite some repetitive beats, positioning it as a solid validation of his solo viability. Some outlets, however, critiqued the production for lacking the groundbreaking synergy of his collaborations, viewing it as competent but not revolutionary in an era of rapid genre evolution. Overall, The 18th Letter was seen as a commercially viable reintroduction that prioritized Rakim's core strengths over commercial trends, garnering favorable but measured acclaim for bridging his legacy with contemporary hip-hop.

Mid-career solo efforts

The Master and label instability (1998–2003)

Following the release of his debut solo album The 18th Letter in 1997, Rakim began work on its successor under his contract with Universal Records. The resulting project, The Master, was recorded primarily at Soundtrack Studios in New York City and Carriage House Studios in Stamford, Connecticut, featuring production from contributors including Fat Joe, Clark Kent, and DJ Scratch. Released on November 30, 1999, via Universal Records, the album comprised 16 tracks emphasizing Rakim's intricate lyricism over boom bap beats, with guest appearances from artists such as Method Man and Shaqueen. It debuted at number 51 on the Billboard 200 and number 16 on the Top R&B/Hip-Hop Albums chart, though exact sales figures remained modest compared to his earlier duo work, hampered by limited promotional support from the label. Critics offered generally positive assessments for Rakim's technical prowess and thematic depth—exploring personal growth, Islamic faith, and hip-hop's evolution—but noted uneven production and a failure to recapture mainstream momentum amid shifting genre trends toward more commercial sounds. Post-The Master, Rakim encountered prolonged instability across multiple labels, stalling his output for several years. In 2000, he signed with Dr. Dre's Aftermath Entertainment, an Interscope imprint, anticipating a high-profile collaboration on a tentative album titled Oh, My God. The partnership aimed to blend Rakim's abstract, knowledge-driven style with Dre's polished West Coast production, but creative clashes arose; Rakim resisted pressures to adopt a more gangsta-oriented persona misaligned with his Five Percenter-influenced worldview, leading to extensive revisions and no finalized release. By July 2003, Rakim amicably parted ways with Aftermath after three years of development without an album, citing irreconcilable artistic directions despite mutual respect. Seeking stability elsewhere, Rakim briefly inked a deal with shortly after leaving Aftermath, but the label shuttered operations soon thereafter, further derailing progress on new material. This sequence of transitions—from Universal's underpromotion of The Master to Aftermath's unfruitful stint and DreamWorks' collapse—exemplified broader industry volatility in the early , where mergers, executive shifts, and genre commercialization marginalized veteran lyricists like Rakim in favor of flashier, radio-friendly acts. No further solo releases emerged until 2009, as Rakim focused on sporadic features and live performances amid these contractual hurdles.

Extended hiatus and The Seventh Seal (2004–2009)

After departing Dr. Dre's Aftermath Entertainment due to creative differences in the early 2000s, Rakim faced ongoing challenges securing a suitable label deal, leading to an extended period of reduced output from 2004 onward. He maintained a relatively low profile, prioritizing artistic control over rushed commercial releases, as he later explained wanting to "make a statement" with his return. During this time, Rakim focused on live performances and developing new material independently through his Ra Records imprint, occasionally collaborating but avoiding major commitments that compromised his vision. In 2008, Rakim issued The Archive: Live, Lost & Found, a compilation of live recordings and rarities that previewed his enduring stage presence and served as an appetizer for upcoming studio work. This release underscored his continued relevance amid a shifting hip-hop landscape, where he positioned himself as a purist amid commercial trends. The project helped build anticipation without fully breaking the hiatus from full-length studio albums. The Seventh Seal, Rakim's third solo studio album, emerged on November 17, 2009, distributed via Ra Records and SMC Recordings after multiple delays. Drawing its title from the biblical imagery in the —evoking themes of , judgment, and divine revelation—the album featured 14 tracks produced primarily by lesser-known beatsmiths like Nick Wiz (a longtime associate), , and , emphasizing gritty, sample-based hip-hop aesthetics over mainstream polish. Guest spots included rapper Maino on "R.A.K.I.M." and Rakim's daughter Destiny on "Presidential," blending with contemporary voices. Lead single "Holy Are You," released July 14, 2009, highlighted introspective lyrics on faith and perseverance, while "Walk These Streets" addressed urban realities. Rakim described the work as a deliberate effort to reaffirm his foundational influence on rap's lyrical depth, amid a decade where industry priorities had evolved toward faster production cycles.

Later career and reunions

Sporadic releases and duo performances (2010–2019)

Following the release of in 2009, Rakim produced limited new solo material over the subsequent decade, with guest appearances serving as his primary contributions to recordings. One notable collaboration occurred on March 6, 2014, when he featured on "Guilty All the Same," a track from Linkin Park's album The Hunting Party, blending hip-hop verses with the band's nu-metal style. Such sporadic outputs reflected Rakim's selective approach amid ongoing solo touring and development of unreleased projects, though no full-length solo albums materialized until later. Eric B. & Rakim's partnership, dormant for live performances since the early due to personal and financial disputes, saw intermittent revivals starting in 2017. On July 7, 2017, the duo reunited at Harlem's for a one-off show commemorating the 30th anniversary of Paid in Full, performing the full album with guest appearances from artists including , Special Ed, and Roxanne Shanté. This event marked their first joint stage appearance in over two decades and reignited interest in their catalog. Building on the Apollo success, Eric B. & Rakim launched "The Technique Tour"—named after their 1992 album Don't Sweat the Technique—on April 8, 2018, at Boston's House of Blues, encompassing 18 dates across major U.S. cities including New York, Philadelphia, Los Angeles, and San Francisco through May 3. The tour featured full renditions of their classic material and drew celebrity attendees such as Nas and Cynthia Nixon at the April 10 Irving Plaza stop in New York. Additional duo performances followed later in 2018, including year-end shows, though no new collaborative recordings emerged from these efforts. Rakim balanced these reunions with ongoing solo gigs at festivals and venues, emphasizing his enduring influence through live delivery rather than studio output.

G.O.D.'s Network: Reb7rth and recent innovations (2020–present)

In July 2024, Rakim released G.O.D.'s Network: Reb7rth, marking his first full-length studio album since in 2009. Self-produced entirely by Rakim under the Holy Toledo Productions imprint and distributed via , the seven-track project features collaborations with and on "Be Ill," B.G., Hus KingPin, and Compton Menace on "," and others including and Lil Fame. The album draws on Rakim's production expertise, incorporating layered beats and samples that echo his golden-age roots while emphasizing themes of spiritual rebirth, lyrical mastery, and Five Percenter philosophy. Critical reception highlighted Rakim's enduring precision in delivery and rhyme schemes but noted vocal strain attributable to age and health challenges, including a prior bout with COVID-19. described it as Rakim ceding the spotlight to disciples, with flashes of his signature magnetism amid uneven collaborations, while RapReviews praised effective pairings like with but critiqued harsher production elements at high volumes. Extending his creative output into 2025, Rakim announced The Re-Up, a project released on August 29 featuring the lead single "Not To Be Defined" with rapper Lazarus and a solo track "I'm Good" produced by Big Ghost Ltd. This followed singles like "The Players" from CTRL Beats and a re-up version of "," signaling continued focus on strategic and production experimentation. Beyond music, Rakim innovated in by launching Notes Technology on January 27, 2025, an AI-driven platform designed to provide independent artists with capital access, tools, and revenue optimization. The initiative includes the "Ask RA" voice assistant, modeled after Rakim's persona to deliver personalized financial advice, addressing longstanding industry issues like royalties disputes through data analytics and elements. This venture reflects Rakim's shift toward entrepreneurial applications of technology, leveraging his hip-hop credibility to empower creators amid economic precarity in the music sector.

Artistry and technique

Lyrical innovations and rhyme structure

Rakim's introduction of internal rhymes—rhyming words positioned within lines rather than exclusively at their ends—marked a pivotal shift in hip-hop's structural possibilities, first prominently featured on Eric B. & Rakim's 1987 debut album Paid in Full. This innovation enabled greater lyrical density and rhythmic fluidity, diverging from the era's predominant end-rhyme patterns seen in acts like , and compelled subsequent MCs to adopt more layered compositions. His rhyme structures often integrated multisyllabic sequences with internal placements, , and , allowing rhymes to span across bar lines and create interwoven patterns that enhanced melodic . For instance, in dissecting verses like those from Follow the Leader (1988), analysts note Rakim's reconfiguration of —treating nouns as verbs and inverting conventional phrasing—to prioritize sonic and semantic precision over strict grammatical adherence. This approach expanded rap's expressive range, fostering a prose-like intricacy that prioritized intellectual engagement. Rakim further innovated by employing "cliffhanging" techniques, where unresolved s or ideas bridged lines or verses, sustaining narrative tension and listener anticipation—a method that complemented his sparse delivery and jazz-influenced phrasing. These elements collectively elevated from rhythmic boasting to a form of poetic , influencing generations by demonstrating how could serve as both scaffold and ornament in hip-hop composition.

Flow, production, and thematic elements

Rakim's flow is characterized by a smooth, laid-back delivery that prioritizes rhythmic precision and syllable density, enabling the integration of internal rhymes and multisyllabic patterns unprecedented in early hip-hop. This approach, often described as mesmeric and jazz-inflected, contrasted with the shouted cadences of old-school rappers, allowing for extended bars that crossed bar lines while maintaining a groove. In production, particularly during his duo era with Eric B., tracks relied on minimalist loops derived from sampling 1970s funk, soul, and jazz records—such as James Brown's vocals and instrumentation—processed via the sampler for gritty, filtered beats that emphasized and sparse drum patterns. Eric B.'s technique favored raw, unpolished loops over layered , creating a foundation that spotlighted Rakim's lyrical intricacy without overwhelming it, as heard in albums like Paid in Full (1987), which peaked at number 54 on the 200. Thematic elements in Rakim's lyrics center on self-knowledge, spiritual enlightenment, and black empowerment, heavily influenced by doctrines that posit black men as divine "gods" and emphasize esoteric , supreme , and critiques of systemic . Tracks like "Who Is God?" (from The 18th Letter, 1997) explore through references to universal truths and celestial metaphors, while broader motifs reject in favor of intellectual elevation and moral introspection. Later solo works extend these to reflections on hip-hop's evolution and personal resilience, maintaining a pedagogical tone that instructs listeners on cultural and cosmic awareness.

Personal life

Family, relationships, and religious conversion

Rakim, born William Michael Griffin Jr. on January 28, 1968, in , grew up in a musically inclined family as the nephew of R&B singer and actress , whose career success provided early exposure to the entertainment industry. He has been married to Felicia Griffin, his high school sweetheart, since the 1980s; the couple shares three children—sons Tahmell Griffin and Jabar Griffin, and daughter Destiny Griffin—while Rakim has an additional daughter from a previous relationship. In 1986, coinciding with the formation of his duo , Griffin converted to the Five Percent Nation (also known as the Nation of Gods and Earths), a black nationalist religious movement founded in 1964 by as a split from the Nation of , emphasizing self-knowledge, , and the doctrine that black men are "gods" capable of achieving supreme wisdom through study of the 120 lessons. Upon conversion, he adopted the name Rakim , signifying his embrace of the group's teachings that original black people represent divine knowledge and civilization. This affiliation profoundly influenced his personal identity and artistic output, integrating esoteric references into his lyrics without formal ties to orthodox .

Health challenges and daily life

Rakim has encountered challenges in preserving due to the rigors of touring, including frequent consumption of , nightly performances, and associated partying and drinking, which led to rapid from his baseline of 160 pounds. To address this, he recommitted to dietary adjustments and exercise, with his preparing steamed meals tailored to his picky eating habits, while he practices moderation by avoiding excess beef and adhering to the principle of eating to live rather than living to eat. Rakim's exercise routine remains minimal, consisting of occasional push-ups to sustain functional strength, such as for delivering a punch; he attributes his sustained vitality and youthful appearance primarily to genetic factors from his parents rather than rigorous training or supplements. In daily life, Rakim maintains a low-key existence centered on family and selective professional engagements, expressing gratitude for his longevity in hip-hop—reaching age 54 as noted in a 2021 interview—as a profound blessing amid the industry's demands.

Business ventures and disputes

Royalties, label conflicts, and financial realities

& 's partnership with , an subsidiary, for their 1987 debut Paid in Full resulted in no royalties despite the album's enduring and cultural impact, as alleged no formal contracts were signed with and masters were not returned per agreement. The success prompted a shift to ' Uni imprint for Follow the Leader (1988), but underlying payment issues persisted from the prior label. These royalty shortfalls fueled litigation, including Eric B.'s 2003 lawsuit against Island Def Jam, , and , which contested a remastered re-release and demanded compensation for unpaid earnings from ongoing sales, compilations, and licensing—estimated by Simmons at $60–70 million. In January 2004, jointly sued Simmons, Cohen, , Def Jam, and , claiming zero royalties on Paid in Full and singles such as "Eric B. Is President" and "My Melody," while seeking a comprehensive . Eric B. described the situation as labels profiting "year after year after year off our work" without remuneration. Internal conflicts exacerbated financial strains, culminating in the duo's 1992 dissolution amid disputes over their remaining three-album MCA contract. released a solo album, which Rakim approved, but then refused to sign off on Rakim's solo project—intended to allow each full profit retention before a reunion album—citing fears Rakim would not return, leading to protracted legal wrangling. Rakim later attributed the split directly to "money signs" and business misalignment. The fallout delayed Rakim's solo debut The 18th Letter until July 1997, five years after the split, despite public demand and a million-dollar advance, due to ongoing contract and royalty entanglements with both the label and . These issues underscored the era's artist-label imbalances, where opaque dealings and unsigned agreements left even influential acts undercompensated relative to output.

Entrepreneurship in music and technology

In January 2025, Rakim co-founded Notes Technology, an AI-powered fintech platform designed to provide independent urban music artists and creators with access to capital, financial literacy tools, and business education. The platform, developed in partnership with serial entrepreneur Victor Lombard (known as DIVINE), addresses longstanding challenges in the music industry by offering loans, funding options, and resources to support career sustainability and reduce reliance on exploitative advances from labels. Notes integrates to personalize financial advice, including training tailored to music business operations, while expanding into practical tools such as business banking, debit cards, and payment services. Rakim's involvement stems from his observations of industry inequities, aiming to empower creators through data-driven and equitable revenue streams, with sign-ups available via the company's as of February 2025. This venture marks Rakim's pivot from performance to technological innovation, leveraging his hip-hop legacy to foster economic independence in a sector often hindered by opaque royalty systems.

Legacy and impact

Influence on hip-hop evolution

Rakim's introduction of internal rhyme schemes and multisyllabic rhyming on the 1987 album Paid in Full marked a pivotal shift in hip-hop's rhythmic and structural evolution, departing from the predominant end-rhyme patterns of early rap to enable more intricate, jazz-influenced flows. This technique, exemplified in tracks like recorded in 1986, allowed for seamless, stream-of-consciousness delivery that prioritized density over repetition, influencing the genre's transition toward lyrical complexity during its . His emphasis on precise diction, extended metaphors, and philosophical content—drawn from Five Percent Nation principles—elevated the MC's craft from performative boasting to intellectual prose, setting standards for technical mastery that reshaped hip-hop's artistic expectations. By 1988's Follow the Leader, Rakim's innovations had inspired contemporaries like and to experiment with similar sophistication, fostering a competitive environment that advanced rhyme construction across the East Coast scene. These developments contributed to hip-hop's maturation into a form capable of sustaining album-length narratives, paving the way for lyricists who built upon his for flow and content depth, as evidenced by the genre's shift toward boom-bap production and conscious themes in works by artists like on (1994). Rakim's enduring legacy lies in democratizing advanced poetic tools, enabling hip-hop to evolve from regional party music into a global medium for verbal artistry without sacrificing accessibility.

Awards, rankings, and cultural recognition

Rakim has been frequently ranked among the greatest rappers in hip-hop history by music publications and networks. In 2006, placed him at number 4 on its list of the Greatest MCs of All Time. The Source magazine ranked him as the top of all time in 2012, citing his innovative rhyme schemes and internal rhyming techniques. He has also topped various fan and critic polls for best MC, reflecting his enduring influence on lyrical craftsmanship. Eric B. & Rakim received a Soul Train Award nomination in 1988 for their debut album Paid in Full, recognizing its impact on hip-hop production and delivery. In 2023, Rakim was honored at the inaugural Hip-Hop Grandmaster Awards by the Paid In Full Foundation, receiving $500,000 alongside Scarface for contributions to the genre; presented the award, performing lines from "Paid in Full" in tribute. On May 21, 2025, Rakim became the first rapper to receive the Medal from University's , along with an , joining recipients like and for artistic excellence. He was inducted into the Music and Entertainment Hall of Fame, acknowledging his roots in the region. Rakim is slated for induction into the Berklee Hip-Hop Hall of Fame on November 13, 2025, during a hosted by Berklee's Africana Studies Division, joining prior inductees such as Roxanne Shanté and producer . were nominated for the Rock & Roll Hall of Fame in 2011 but have not yet been inducted, despite advocacy for their pioneering role in elevating hip-hop's technical and intellectual standards. Rakim received a BET Lifetime Achievement Award, further cementing his cultural stature in hip-hop.

Discography

Eric B. & Rakim albums

Eric B. & Rakim released four studio albums between 1987 and 1992, establishing benchmarks in hip hop through Rakim's intricate internal rhyme schemes and Eric B.'s sample-heavy production drawing from and records. Their debut, Paid in Full, arrived on July 7, 1987, via , peaking at number 58 on the and featuring singles like "" and "I Know You Got Soul." The follow-up, Follow the Leader, was issued on July 26, 1988, by , showcasing denser lyrical content over tracks produced at Power Play Studios in . , their third effort, came out on June 19, 1990, also on MCA, with tempos building on James Brown-inspired grooves and reaching number 10 on the chart. The final collaborative album, , followed on June 23, 1992, via , incorporating faster cadences and samples amid contract disputes that ended the duo's partnership.
AlbumRelease dateLabelSelected chart peaks
Paid in FullJuly 7, 19874th & B'way: #58
Follow the LeaderJuly 26, 1988MCACertified Gold by RIAA
June 19, 1990MCA: #10
June 23, 1992MCA-

Solo albums

Rakim's debut solo album, The 18th Letter, was released on November 4, 1997, by Universal Records. The project debuted at number four on the U.S. chart and sold 500,000 copies domestically, marking a commercial return after his duo work with It featured production from contributors including Clark Kent and , with standout tracks like "Guess Who's Back" showcasing Rakim's continued emphasis on intricate lyricism over beats. His follow-up, The Master, arrived on November 30, 1999, also through Universal Records. Produced by figures such as and Clark Kent, the album included tracks like "Flow Forever" and "When I B on tha Mic," maintaining Rakim's signature internal rhyming style amid late-1990s hip-hop trends. Despite positive critical notes on his technical prowess, it underperformed commercially compared to its predecessor, reflecting label distribution challenges and shifting industry priorities toward flashier acts. After a decade-long gap, Rakim independently released on November 17, 2009, via his Ra Records imprint distributed by SMC Entertainment. The album, delayed multiple times due to production and contractual issues, featured beats from New York producers and addressed themes of perseverance, with "Holy Ghost" highlighting his influences. Reception was mixed, praised for lyrical depth but critiqued for uneven production in a post-gangsta rap landscape dominated by mainstream sounds. Rakim's fourth solo studio album, G.O.D.'s Network: Reb7rth, emerged in 2024, continuing his sporadic output with collaborations emphasizing raw hip-hop fundamentals. This release underscored his enduring commitment to cerebral bars, though specific sales and chart data remain limited as of late 2025, aligning with his pattern of artist-driven projects over major-label machinery.

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  61. https://www.rollingstone.com/music/music-news/eric-b-rakim-reuniting-for-u-s-tour-119911/
  62. https://www.revolt.tv/article/2018-04-10/39253/eric-b-rakim-reunion-tour-draws-actress-cynthia-nixon-nas-n-o-r-e-jay-zs-mom
  63. https://www.brooklynvegan.com/eric-b-rakim-playing-year-end-shows/
  64. https://pitchfork.com/reviews/albums/rakim-gods-network-reb7rth/
  65. https://genius.com/albums/Rakim/G-o-ds-network-reb7rth
  66. https://open.spotify.com/album/1soc8ka4Q7dRKUpqrdpSO2
  67. https://www.rollingstone.com/music/music-features/rakim-interview-new-album-the-gods-network-reb7rth-1235068714/
  68. https://www.rapreviews.com/2024/08/rakim-g-o-d-s-network-reb7rth/
  69. https://rockthebells.com/news/new-lazurus-single-rakim-the-re-up
  70. https://www.youtube.com/watch?v=MkUHAsCv8Rs
  71. https://finance.yahoo.com/news/hip-hop-icon-rakim-launches-193103978.html
  72. https://www.bet.com/article/w3n2kr/hip-hop-icon-rakim-ventures-into-fintech-with-notes-technology
  73. https://peopleofcolorintech.com/founders/hip-hop-legend-rakim-creates-new-fintech-platform-to-help-artists-gain-financial-stability/
  74. http://www.derekbermel.com/blog/2006/1/6/rakim-the-rhyme-got-rougher
  75. https://www.overthinkingit.com/2016/04/18/rakim-rap-genius/
  76. https://wild941.com/2025/08/04/lyrical-geniuses-exploring-the-complex-wordplay-of-the-best-lyrical-rappers/
  77. https://chaka85.wordpress.com/2011/12/19/music-infoms-the-experience-the-bobbi-humphrey-eric-b-rakim-sessions/
  78. https://hiphopgoldenage.com/theres-only-one-true-god-why-rakim-is-hip-hops-most-cherished-gift/
  79. https://genius.com/Outside-the-lines-with-rap-genius-new-podcast-rakim-65-annotated
  80. https://www.kennedy-center.org/education/resources-for-educators/classroom-resources/media-and-interactives/media/hip-hop/hip-hop-a-culture-of-vision-and-voice/
  81. https://benwesthoff.substack.com/p/the-hip-hop-25-18-rakim
  82. https://carter-mag.com/post/707692944723968000/today-in-history-rakim-allah-was-born-on-this
  83. https://www.celebritynetworth.com/richest-celebrities/richest-rappers/rakim-net-worth/
  84. https://www.imdb.com/name/nm0707582/bio/
  85. https://forum.sectioneighty.com/discussion-the-five-percent-nation-hip-hop.t35838
  86. https://www.britannica.com/topic/Five-Percent-Nation
  87. https://www.npr.org/transcripts/642400564
  88. https://blackdoctor.org/rakim-turns-50-its-a-blessing-to-be-around-this-long/
  89. https://allhiphop.com/news/eric-b-wants-to-be-paid-in-full-suing-island-def-jam/
  90. https://en.apoplife.nl/eric-b-and-rakim-paid-in-full/
  91. https://www.music-news.com/news/UK/391/Eric-B-Rakim-not-paid
  92. https://www.interviewmagazine.com/music/rakim-paid-in-full-anniversary-summerstage
  93. https://www.revolt.tv/article/rakim-launches-fintech-and-ai-platform-notes
  94. https://techcrunch.com/2025/01/30/serial-founder-divine-launches-creator-app-with-hip-hop-legend-rakim/
  95. https://www.blackenterprise.com/rakim-launches-notes/
  96. https://afrotech.com/rakim-launches-notes-technology
  97. https://www.notestechnology.com/
  98. https://musically.com/2025/01/31/rakim-is-helping-notes-startup-ensure-artists-get-paid-in-full/
  99. https://www.instagram.com/reel/DFqjl3lxVxn/
  100. https://lithub.com/a-brief-oral-history-of-rakim-and-the-golden-age-of-hip-hop/
  101. https://www.discogs.com/master/12854-Eric-B-Rakim-Paid-In-Full
  102. https://rateyourmusic.com/release/album/eric-b-and-rakim/paid-in-full/
  103. https://www.discogs.com/master/12874-Eric-B-Rakim-Follow-The-Leader
  104. https://www.discogs.com/master/13184-Eric-B-Rakim-Let-The-Rhythm-Hit-Em
  105. https://www.discogs.com/master/13419-Eric-B-Rakim-Dont-Sweat-The-Technique
  106. https://www.allmusic.com/album/release/the-18th-letter-mr0000128727
  107. http://hiphopgoldenage.com/albums/rakim-the-18th-letter/
  108. https://www.discogs.com/master/215776-Rakim-The-Seventh-Seal
  109. https://www.albumoftheyear.org/artist/4138-rakim/
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