We’ve Got A File On You features interviews in which artists share the stories behind the extracurricular activities that dot their careers: acting gigs, guest appearances, random internet ephemera, etc.

Amid a tremoring bassline and jovial saxophone sample (courtesy of creative partner Eric B), Rakim (real name William Michael Griffin Jr) barely breaks a sweat on 1987’s masterful “I Ain’t No Joke.”
“I hold the microphone like a grudge!” a then teenage emcee raps gruffly yet gracefully, possessing an addictive gumbo of fierce attitude, social awareness, and impossibly smooth charisma. Cool as a cucumber, he calmly spits the telling words: “Before you know it/ You’re following and fiending/ Waiting for the punchline to get the meaning.”

Rakim grew from a boy to a man during the crack era, watching his hometown Wyandanch, Long Island, and all its neighboring areas switch from suburban family settings to violent neighborhoods. It seemed to happen overnight. Therefore, the 56-year-old artist agrees that there was always something quite radical about the very specific way he consistently converted microphones into weapons and pleaded with those at the bottom of society to be addicted to music (“Feed me hip-hop and I will start trembling” he chanted on “Microphone Fiend”) rather than self-destruction.

“The way crack cocaine spread across New York City in the 1980s — honestly, it felt like a plan to slow us down and disrupt all our positivity as young men and women representing America’s urban communities,” Rakim powerfully reflects during our relaxed lunchtime Zoom call. “It was very important that I changed the hood’s negative symbols into positive ones. If there’s one thing you should fiend for, it should always be for the music.”

”I Ain’t No Joke” is the perfect crystallization of this artist’s aims: to teach the youth without feeling preachy or losing sense of the groove. Back on this iconic track, Rakim revealed a refined rapping style that would go on to directly influence everyone from Nas to 2Pac, Mach-Hommy, Eminem, Prodigy (of Mobb Deep), Black Thought, and 50 Cent (“my favorite rapper used to sing check, check out my melody”).

Preserved in time, Rakim is wearing a trademark New York Yankees cap, a black tracksuit, and a regal gold chain, while he very rarely isn’t rocking a wide contagious smile. During our warm conversation, the one known as the “God Emcee” also tends to downplay his influence; a surprise given his larger-than-life nickname.

Of his approach, he continues further: “I’ve always wanted to show the young people in the inner cities that there’s other things we can get addicted to! It is about showing them that rap music can get you higher than any other drug. I got a gun charge when I was 12. I didn’t want to keep on disappointing my moms and pops. I knew I needed something to straighten me out; converting to Islam [at 17] and committing to rap did that. Those are the things that gave me a purpose.”

During the 1980s, when so many emcees in the mainstream prioritized cartoonish flows and booming, party-ready vocal deliveries, this naturally old soul’s carefully considered tone (once wrongly dismissed by producer Marley Marl as not being “hype” enough) represented a powerful shift for the rap game. With his “knowledge of self,” Five Percent Nation-funneled storytelling, and aloof mysteriousness (he didn’t tour nearly as much as peers like Kool G Rap, KRS-One and Big Daddy Kane, for example), Rakim felt less like an emcee and more like a Afro-futurist philosopher sent back in time to warn us of impending doom.

There was groundbreaking work with DJ-producer Eric B, which resulted in two undeniable masterpieces with Paid In Full and Follow The Leader. And also an evolution into an underrated solo career (sadly 1996’s The 18th Letter was washed out by the chaos of the Death Row vs Bad Boy era, but it has aged very well), with Rakim remaining the measuring stick for alliteration-heavy lyrical mastery. At a time where a lot of the pioneers from the 1970s and 1980s are so often overlooked on the “greatest emcees of all time” lists that go viral on Twitter, Rakim also knows now is an important moment to remind the world of his greatness.

The reason we’re talking is because of the release of Rakim’s first album in 15 years, G.O.D’s NETWORK – REB7RTH. In truth it’s more a celebration of Rakim the producer (he produces all seven tracks) and conductor of talented people (guests include Method Man, B.G., Canibus, Chino XL, Kurupt, Snoop Dogg, Masta Killa, etc.). The rap legend tends to spit sharp bars to kick a song off, but then quickly fades into the background. You sense he’d most like to remind the world of his instrumental abilities — as a talented saxophonist, drummer, and crate digging beatmaker who was taught to “master” the SP-1200 by friend Large Professor (more on that later).

Inspired by the sedate funk of “Now Is The Time,” Rakim brags he’s still spending “’86 money.” It’s a delicious bar that will instantly spark nostalgia for those old enough to recall those glorious days where “Thinking of a master plan” felt like the greatest opening line since The Great Gatsby’s “In my younger and more vulnerable years.” Rakim also uses this song to remind today’s rap generation of their responsibility to stand up to power, rather than simply caressing it, spitting the wise words: “If it ain’t adding up/ Do the math and expose it!”

The open-hearted blues that reverberate through “Love Is The Message” feel like toasting to lost ones in musical form, as the air is fogged out with weed smoke, whisky glass clinks, and dancing ghosts (it contains a poignant verse from the late Nipsey Hussle). While day-one fans might get upset that there aren’t more new Rakim verses, the project has an undeniable heart and grit, and it clearly means a lot to its creator. In the long gap between this new album and 2009’s The Seventh Seal, Rakim says he did a lot of soul searching. He also caught COVID-19 four times, almost losing his brother to the virus as well.

Unable to tour due to lockdown restrictions, Rakim spent isolation trying to re-spark his passion for hip-hop — ultimately a successful endeavor. “During that time in lockdown I just fell completely back in love with hip-hop and being creative and embracing what I grew up obsessing over, which was trying to make beats or to mix vinyl as a DJ. I guess this project is about falling back in love with all the core elements of hip-hop.”

In a year where fellow veterans like LL Cool J, Pete Rock and Common, Tha Dogg Pound, and DJ Quik have all dropped stellar new projects, Rakim hopes his new music further shatters any lingering ageism in hip hop culture and can prove that our rap gods only get more multifaceted with each freshly sprouted gray hair. “As I get up in age, I see things more clearly. I understand life a little more,” Rakim claims. “[Because of this] I really do believe some of my best moments are still in front of me.”

To celebrate the release of G.O.D’s NETWORK – REB7RTH, I spoke at length with Rakim for a new We’ve Got A File On You. We covered a lot: embracing male pattern baldness, working on a new solo album with Dr. Dre, predicting 9/11, remembering what it was like creating alongside “brothers” Linkin Park, Eminem being a GOAT, and why Rakim’s family name carries a spiritual connection to Ancient Egypt.

G.O.D’s NETWORK – REB7RTH (2024)

There’s this lyric on “Now Is The Time” where you say: “If it ain’t adding up / do the math and expose it.” It feels like rappers in the mainstream aren’t trying to expose corruption as much anymore; would you agree?

RAKIM: I feel that as artists we all have a responsibility to show substance and to be able to manifest reality. It’s important that we put information out there that truly elevates the people, as there’s so much gossip being shared right now. It’s up to the rappers to do the math and take on the role of the archeologists, you know? We must use our voices to dig up what they’ve been burying, and trying to hide from us, and expose it.

When you call yourself “a walking paradox” on “Be Ill” with Masta Killa and Kurupt, well, I think that bar speaks to how you’ve always been a bit of a mystery beyond your art. Being mysterious…is that the key to longevity?

RAKIM: I got to tell you a story and take you back to 1986. A lot of crazy things were going on around that time with my career. Even though I was only 17 or 18, I made sure I was super picky about the fame. Whenever it came to playing big shows or hanging out with all the big artists, I would fall back completely. This was the Latin Quarter days, and I’d find my little table in the back and chill out; that was just fine for me. I remember Eric B told my dad I needed to do more promotion and pop out at malls to meet our fans. My pops was like: “You need to get out there while you’re still hot!” But I told my dad that hip-hop was different and it’s important not to wear out your welcome mat within this culture. You have to preserve yourself a little bit. If you get a new gift every day, you become spoiled, and then it isn’t special anymore.

From a production standpoint, everything is produced by you on this album. Do you think you get enough credit as a producer?

RAKIM: You know, the Large Professor was showing me how to work the SP-1200 sampler way back in 1987, so I was always making beats in my spare time and digging in the crates with the crew! There was this shop called Paradise Records in Manhattan that I used to go to all the time, taking all their James Brown vinyl home with me to sample. This new album was definitely a chance to showcase my production skills; I wanted to show off another side to Rakim.

Predicting The 9/11 Attacks On New York City On “Casualties Of War” (1992)

Another bar on the new album that really stood out to me is when you say: “In life it is either to be or not to be.” I wondered, do you believe in fate? Like, did God have a plan for Rakim to be a legendary rapper, or did you create your own fate in this life?

RAKIM: That’s one hell of a question. You know, I always felt like I was gifted with these jewels from a higher power. Sometimes when I listen back to old songs, it doesn’t even feel like I wrote it, you know? I know that sounds super corny man, but it was like the spirits had taken over my body. I remember I once rapped: “Cursed by every spirit that never made it to birth.” Whoever the spirits are, I don’t know fully, but they’ve been taking care of me all this time.

Has there ever been a time, though, where you’ve listened back and thought to yourself, wow, maybe that verse was a little too prophetic?

RAKIM: For sure, for sure. “Casualties Of War.” I had a lot of friends fighting in the Gulf War at the time, and I would be in the crib watching TV, chilling, but in the back of my mind I was wondering what my brothers were going through and if they’d even survive. The idea was to write a song from their perspective. There’s this lyric: “I look for shelter when a plane is over me/ Remember Pearl Harbor? New York could be over, G.”

I remember when 9/11 happened like it did…it definitely bugged me out. My friend from California called me up and said: “Yo, Ra, Go on AOL News right now!” And they had this news story that said: “Rakim predicted 9/11” with my picture next to the Twin Towers. Any hair I had left, well, it stood up on my bald head. I guess whenever I hit the booth, I try to tap into something deep and I let it take over the writing process.

Embracing Baldness And Truth Hurts’ “Addictive” Music Video (2002)

You were one of the first visible figures in pop culture that made me feel less scared about the idea of going bald. My dad was bald and, because he died so young, I guess I associated hair loss with decay and it filled me with this overpowering dread. But when I saw how fucking cool you looked in the Truth Hurts’ “Addictive” video, it made me embrace losing my hair. Does it trip you out that you played that Fatherly role for so many men?

RAKIM: When it comes to [going bald], I got into this car accident back in the day. Back then I had it short at the sides and the dreads sticking up, right? Anyways, it was a nice little fender bender and I bumped my head on the windshield. I noticed one side of my dreads just stopped growing after the accident. I went and got some clippers and just cut it all off: it seemed like the best thing to do! What was funny is I went to the hood the day after I went bald and everyone was like: “Nah, you bugging out man!” They laughed at me. Maybe a week later and 10 cats were suddenly rocking shaved heads. Then it went up to 20 cats! To see somebody rocking the baldie made other people feel okay [about losing their hair]. Michael Jordan did it too! I’m glad I could also play that role for the culture.

Is it depressing that so many men in the TikTok era go get hair transplants in Turkey? Especially celebrities.

RAKIM: I still shave my own head and beard. If I didn’t, I might go to the barbers. But you know, I was never into going to get pedicures and shit like that. These guys are doing way too much now [with the fake hairlines]. If you’re doing it because you don’t love yourself then that’s sad, because that’s not what we’re supposed to be doing out here! We’re supposed to be [making people feel better about themselves]. The social media has made people too obsessed over their appearance, especially as men.

Back to the “Addictive” music video, which was like a block party held inside an Arabian palace. Any memories from that shoot?

RAKIM: Truth Hurts was dope. She definitely made me look like a real king in the music video. I appreciated it! Dr. Dre [the song’s producer] doesn’t waste one dime when he’s working on a project. Everything is done perfectly and comes out looking just right.

The Aftermath Years (2000-2002), Working On A New Album With Dr. Dre, And Eminem’s Greatness

People always look at that period when you joined Aftermath Records as a great “What If” in hip hop history. I know there’s been some leaks, but the album you worked on obviously never got finished. What did Dr. Dre teach you most about being an artist?

RAKIM: Just the process and being observant. When someone is so in tune with the music like that, it’s difficult not to feel inspired. Dr. Dre is still my friend today. We spoke just the other day. Right now he’s back in the lab: he gets up first thing in the morning and starts recording. Seeing that motivates me [to keep going].

My dream is for your Aftermath project to finally be released officially in some form. Or, is that an impossibility?

RAKIM: A lot of those songs were leaked out already, so yeah, we wouldn’t put anything out officially. It would be better to go back to the drawing board and make a new album completely. I’ve been in touch with Dr. Dre for the last year or so, maybe a little more. We talk every couple months. It’s like, man… I don’t want to say nothing or reveal too much. But yeah, we’ve definitely been talking about [making a new album together].

Being on Eminem’s 8 Mile soundtrack was also a real highlight during that period of your career. I know that placement helped introduce your music to a new generation. Where does Eminem rank on Rakim’s greatest rappers list?

RAKIM: Eminem is in my top five dead or alive, no question. You’ve got to keep it a buck: that’s one of the best to ever do it! Wordplay? Bananas. He also came into the game with his own point of view as a rapper and spoke about subjects no one else ever touched on before. Most rappers are too scared to say even half the shit he says! I’m very thankful for that 8 Mile opportunity, for sure. To me, Eminem is one of the dopest we’ve ever seen.

Feeling A Connection To Ancient Egypt

“It’s Been A Long Time” is one of my all time favorite songs; you just belong on those gutter, scratch-heavy DJ Premier’ productions. On that song you have this lyric about having the “mind of an Egyptian Pharaoh,” while on “Guess Who’s Back,” you talk about wanting to be buried in Cairo with your rhyme books. I always sensed it was important that you boasted about the achievements of Ancient Egypt, particularly because they were African achievements too.

RAKIM: 100%. It was always important my fans knew we weren’t born as slaves. Our history as Black people didn’t start with slavery! We were something far greater than just a few people brought over here to build America, and that stretches right back to Ancient Egypt. I always felt this deep connection to those people, because my surname is Griffin, and you would see the griffins carved into the pyramids. That told me something! As I learned more about the sciences and ancient ideologies, it gave me a more profound understanding of life. You know we were going to film the music video for “In The Ghetto” at the pyramids, but I stopped flying, so it didn’t happen.

Playing The Drums On “Know The Ledge” (1992) And Phone Calls With 2Pac

I feel like you should have got an Oscar for your work on the Juice soundtrack, because “Know The Ledge” is such a rush to listen to and totally nails the tone of the movie. Clear this up for me: did you really play the drums on that track?

RAKIM: I made that beat on the SP-1200. It only had eight seconds for sample time, and I couldn’t find the right drums to fit with the song. So I said to my mans: “Ayo, are those drums mic’d up? Yo, give me a few minutes.” I went in there, he played the beat, and I started rocking the drum set real fucking hard, not realizing my engineer had already started recording. I sampled four bars of my own drumming and it came out perfect. We had a lot of fun that night, too. It isn’t often you get to use the whole studio like that and the process feels so organic.

The energy of your drums and the ferociousness of your raps completely nail the explosive rage of 2Pac’s Bishop character in Juice. Was that intentional?

RAKIM: No doubt. I remember they let me see the movie early in a private theater. And I was just glued to the screen. The film ends and the lights come on. A producer said to me: “What did you think?” And I was like: “I’ve got you, don’t worry.”

Is it true you and Eric B were supposed to have cameos in Juice? Why didn’t that happen?

RAKIM: That’s true. They wanted us to rob somebody. It was like, come on man, is that really all you got for me? So I fell back. I didn’t go to the set. That just wasn’t the message I wanted to project.

Did you ever get the chance to speak to 2Pac properly? I know you were a big influence on his rapping style.

RAKIM: I first met 2Pac way back, around 1988, when he was just a roadie with the Digital Underground. I had a show in Miami and as we pulled into the area on the coach, Shock G was holding up this big painting he had made of me. It’s me laying on a slab, with a bunch of emcees stuck under the concrete. The painting was real dope, and I’ve still got it hanging in my mic booth to this day! It inspires me. Anyway, we gave Digital Underground backstage passes and I spoke with all them, as well as 2Pac, after the show. Years after Juice came out, I got on the phone with Pac properly. That was just a passionate artist, period. He was a revolutionary and a poet. You know, I’ve got a lot of poetry myself, but Pac is different, because he shared his deepest thoughts on paper. The energy, the work rate, and the passion he had? I think it is still unmatched.

“Musical Massacre” (1988) And Taking A Risk With Linkin Park (2014)

“Musical Massacre” still sounds so great. “Go manufacture a match / Send me after a blast / from the master that has to make musical massacre.” The way you use alliteration has always been trance-inducing for me. That’s intentional, right?

RAKIM: It’s funny you say that specific example, because that’s some of those bars I remember being super happy with directly after I rapped them. That doesn’t always happen. I was definitely proud of all that wordplay! My whole thing was always built around mashing words together, until they sounded like something else entirely. Back in the day producers would think I was bugging out, but I would tell them I want to take American words, cram them together, and make them sound like foreign words. I wanted to play around with words and use tongue twisters, so it felt like the words themselves were being played like new instruments you had never heard before.

That’s crazy. I also see your intrinsic need to experiment phonetically through your guest verse on “Guilty All The Same” by Linkin Park. Maybe people wouldn’t expect to hear Rakim over those nu-metal guitar riffs, but it works somehow.

RAKIM: When I spoke to Linkin Park, Chester Bennington told me the song was all about exposing the devils of the music industry and letting them know they’re guilty for the decline of the record business. So when he told me all that, I just ran with that concept and tried to dance with the guitars. I remember thinking, damn, there isn’t too many words that rhyme with guilty! So I had to really dig in and make it work. I loved doing that joint though, because it was so unexpected. Rest in Peace to my man! Love to his family. Linkin Park are definitely my brothers.

Performing In The Hip Hop 50 Medley At The Grammys (2023)

I wanted to talk about that Grammys Hip Hop 50 medley performance. Was that a proud moment for you?

RAKIM: I enjoyed it. But I also felt like a fish out of water, because I didn’t know how the people would take me, you know what I mean? I didn’t know if they still knew about me! But man, when I came out and heard the crowd make that noise, it was a beautiful thing! A lot of people don’t realize I am a pretty modest cat. I’m laid back. Yes, I do a few things here and there, but I don’t really know how much the people love me or hate me. So to see the crowd rock with me like that, and even Jay-Z dancing, that was a proud moment!

Did it feel like Questlove’s medley was a bit too New York-centric? That it didn’t deal enough with the Midwest, South, and West Coast’s contributions to hip hop over the last 50 years?

RAKIM: We can always do better with balancing the scales. That goes from the demographics to the timelines. We’ve got to learn how to, you know, mix the vegetables up a little better. But you can never satisfy everybody, and I think Quest did a great job trying to bring all of those artists together! It was a lot of artists that was supposed to be there, but they kind of stepped out at the last minute. I think that’s why we were missing a lot of that mixture.

Achieving The Dream

Back on “In The Ghetto” you spoke about owning property in all five boroughs. Have you achieved that dream? I sure hope so. And you famously said, “It ain’t where you’re from, it’s where you’re at.” Are you happy with where you’re at in 2024?

RAKIM: I wish I had those five properties. Look: I always wondered if my dad was right and I should have done more [with my fame], but I do believe you have to preserve your gift and take a step back sometimes. That way people can truly savor the music. I’m not greedy. I have a place where I can sit and think. I might not have a crib in every borough, but I’ve definitely got a nice place with a bunch of acres. Man, it’s beautiful.

G.O.D’s NETWORK – REB7RTH is out now on Holy Toledo/Compound Interest.