The Microphone Fiend

One-on-one with the legendary Rakim after his recent show at The Music Farm

Last Wednesday, the Music Farm and Night Vizzion Entertainment hosted the arrival of one of hip-hop's legendary emcees, Rakim. Taking the stage the way only a "microphone fiend" can, Rakim ripped through his classics and a couple tracks from his new album, "The Seventh Seal."

As the show ended, the crowd spilled out into the street to meet the emcee. In between shaking hands, taking pictures and listening to a couple of would-be rhymers spit verses, Rakim also was willing to do a quick interview before climbing back onto his tour bus.

Q: Can you take me back to the time you first heard your voice on the radio?

A: That was something real special. Back in N.Y. then, you didn't really have a lot of hip-hop on the radio. You had some DJs that would play a couple tracks in a set, but it's nothing like it is now, with 24 hour stations dedicated. Most of the hip-hop you would hear would be on mixtapes people were playing on the corner or in their cars.

I'm walking back to the crib one day and "Eric B is President" is banging in the car, and I decide to go up and say what's up. So I roll over to him and ask, "Yo, where'd you get that cassette?" and he tells me, "That ain't a tape, that's the radio." I think I must have looked at him kind of screw faced or something because he repeats what he says: "Yeah, that's the radio on live right now."

I'll tell ya, I don't really remember the walk home from that point. It was just this feeling that comes over you saying, "All right, this is real now," and you just sort of vibe out taking it all in.

Same thing happens today. I was in the record store just yesterday and keeping a real low profile when "Walk These Streets" (Rakim's latest single from "The Seventh Seal") comes on -- not something they pumped in on purpose because I was there, a live feed from the radio -- and it's like being on that walk

home again. It means people are listening to what I do and what I say. There's a responsibility in that, but there's also a lot of confidence that comes with it and a lot of real satisfaction and comfort that the love and respect creates.

Q: Back in the '80s, sampling was part of hip-hop's soul. Since then, it has become less prevalent due to legality issues. What is your take on sampling's dwindling presence in modern rap?

A: For me, sampling was a couple of things. First, you gotta realize that it was a way someone from the 'hood could get that big band sound without having the big band. We always wanted real musicians, real instruments with real grooves, but for a lot of those DJ/producers, there is only so many resources you have to work with. So to emulate that full band sound, you would dig into the crates and take pieces from here and there ... a strong bassline, add in some horns, turn up the kick, and now you've got that complete song. But its just one dude in a basement with decks and a recorder or an Akai.

Hip-hop has grown a lot since then, in scope and popularity, and, as it grows and more resources become available, you can bring in a whole band of musicians and create things from scratch. In fact, now that sample licensing has become a cash crop, its sometimes less expensive and easier to just create from scratch. So in a lot of ways, that's a good thing.

On the flip, we used sampling to honor some of those older songs. I've always said the original emcees were James Brown and John Coltrane, so we were showing them love by integrating and building on their music. When I was choosing the tracks for "The Seventh Seal," I tried to stay true to both those ideas, so I got a couple of sample free tracks on there I think are great and some with samples that are favorites.

Q: I'm sure you're aware of the mystique that surrounds your name when uttered by hip-hop fans. How does it feel to know that there are many who revere your work?

A: It's definitely a blessing, man. I put a lot of work into everything I write. I study my lessons and the life around me, and I try to make sure that every single syllable has meaning and conveys that.

Q: As time has gone on, do you find yourself listening to hip-hop still or have you moved away from it?

A: I got two families. The one back at the crib and the one in my earphones, and I'd never walk away from either. I'm an artist, but I'm a hip-hop fan first.

Q: As a veteran, what are your thoughts on the direction that hip-hop is headed? Do you view it positively, or do you feel it's losing its balance?

A: It's that balance that is key to the future of hip-hop. I've said this before, but its worth saying again that the biggest threat to hip-hop is to have everyone fall into that trap of following trends.