In the basement of a Queens home, a beer was spilled on a wall, and a new era of hip hop was born. William Griffin, known as Rakim, sat drinking a beer while Eric Barrier, the future DJ Eric B., cut records from a basement collection. Barrier had borrowed records from Rakim's brother, Stevie Blass Griffin, who worked at a plant pressing bootleg albums. Barrier took Fonda Rae's Over Like A Fat Rat and used its bass line for a new record. Rakim spit the beer all over the wall, laughing at the absurdity of the moment. Barrier told him, just like you laughing now you going to be laughing all the way to the bank and be a millionaire one day because of this record. This casual, almost accidental moment in 1986 would become the foundation for one of the most influential duos in music history. The duo, formed on Long Island, New York, would go on to redefine the sound of hip hop, blending jazz influences with complex lyricism and innovative production techniques. Their partnership began with a simple idea: to create something that felt different from the high-energy, shouting style of early 1980s hip hop. Instead, they chose a methodical, relaxed approach that would become their signature. The story of Eric B. and Rakim is not just about music; it is about the quiet revolution that happened in a basement, where a spilled beer and a borrowed record set the stage for a cultural shift.
The First Million Dollar Deal
The debut album Paid in Full, released in 1987, was not just a commercial success; it was a landmark moment in hip hop history. The album, which featured the singles Eric B. Is President and the title track, climbed into the Top Ten on the US Billboard Top R&B/Hip-Hop Albums chart. It sold over a million copies and was certified platinum by the Recording Industry Association of America in 1995. The duo became the first rap act to sign a million dollar record deal, entering into an agreement for three albums with MCA. This deal was unprecedented for a hip hop group at the time, signaling a shift in the industry's perception of the genre. The album was named in part after the Paid in Full posse, a notorious New York collective of gangsters and rappers, including the original 50 Cent, Killer Ben, Kool G Rap, and Freddie Foxxx. The posse is featured on the back cover of the album, adding a layer of cultural significance to the record. Despite the album's success, Eric B. later admitted that it was rushed. The whole album came together in a week, with Rakim writing his rhymes in the studio and reading them from paper. This rushed process, while resulting in a short album, did not diminish its impact. The album's influence was immediate and lasting, with MTV listing it as the greatest in hip hop history. The duo's ability to blend complex lyricism with innovative production techniques set a new standard for the genre, influencing countless artists who followed.
Rakim's approach to rapping was a stark contrast to the high-energy, shouting style of his contemporaries. He employed a relaxed, stoic delivery that was inspired by jazz, particularly the work of John Coltrane. Rakim had played the saxophone and was a fan of Coltrane, which influenced his methodical approach to his microphone fiending. His free-rhythm style ignored bar lines and had earned comparisons to Thelonious Monk, a jazz pianist known for his unconventional style. While many rappers developed their technique through improvisation, Rakim was one of the first to demonstrate the advantages of a writerly style, using internal rhymes and multisyllabic rhymes to create a complex, layered sound. His subject matter often covered his own rapping skills and lyrical superiority over other rappers, as well as his Islamic faith. Rakim's relaxed delivery was a deliberate choice, a rejection of the flashy, energetic style that dominated the early 1980s. He chose to focus on the substance of his words, creating a sound that was both mesmeric and authoritative. This approach was not without controversy, as some critics and peers questioned his lack of commercial success and his refusal to engage with the mainstream media. Rakim's enigmatic reputation was evident in his song Set 'Em Straight, where he stated, who needs the TV screens and magazines or shooting through the city in fly limousines? He was trying to stick to his guns, prioritizing integrity over commercial gain. This commitment to his artistic vision would become a defining characteristic of his career, setting him apart from many of his peers.
The Silence That Spoke Volumes
In 1989, the pair teamed up with Jody Watley on her single Friends from the album Larger Than Life. The song reached the Top Ten on the Billboard Hot 100 chart and was one of the first notable collaborations between hip hop and dance pop. Despite this success, Eric B. and Rakim rarely collaborated with other rappers. This was evident in early 1990, when KRS-One's Stop the Violence Movement put together the charity single Self-Destruction. The song featured numerous notable rappers, but Rakim was noticeably absent from the proceedings. He told HalftimeOnline.net years later, I don't think they hollered at me or they hollered at Eric B. and he didn't say anything to me. I was a little bitter with that shit because I felt I had something to do with bringing consciousness in hip hop to the table. Rakim's absence from the song was a reflection of his broader philosophy about collaboration and the music industry. He believed that he had contributed significantly to the genre and felt that his contributions were not being recognized. At the same time, a lot of reasons I didn't do records with people is because I never wanted their light to reflect on me. He was not interested in sharing the spotlight, preferring to maintain his independence and control over his artistic output. This decision to remain silent on certain projects was a deliberate choice, one that reflected his commitment to his own vision and his desire to avoid the distractions of the music industry. Rakim's silence was not a sign of disinterest; it was a statement of his values and his approach to his career.
The Album That Broke the Rules
Their 1990 album Let the Rhythm Hit 'Em was another successful gold album for the duo, selling over 700,000 copies. The album was one of the first to receive the honor of a 5 mic rating in The Source, a testament to its critical acclaim. Mark Coleman of Rolling Stone stated, There's nothing trendy about this impassive duo, no Steely Dan bites or bits of Afrodelic rhetoric here. Eric B. and Rakim are hip-hop formalists devoted to upholding the Seventies funk canon and advancing rap's original verbal mandate. The album was built on poetic boasts and wicked J.B. samples, but dismissing it as some sort of conservative reaction completely misses the point. Masters of their appointed tasks, rapper Rakim and Eric B. are also formal innovators. They both can riff and improvise like jazzmen, spinning endless variations on basic themes and playing off each other's moves with chilly intuition. The resulting music is as stark, complex and edgy as Rakim's stone-cold stare on the album cover. The album's production was controversial, with some questioning the credits and the involvement of others in the recording process. Despite this, the album's impact was undeniable, with its complex rhythms and innovative production techniques setting a new standard for the genre. The duo's ability to blend jazz influences with hip hop production created a sound that was both timeless and forward-thinking, influencing countless artists who followed.
The Legal Battle That Ended a Legacy
The duo made an appearance on the soundtrack for the 1991 comedy House Party 2, What's On Your Mind, and also recorded the theme for the film, Juice. Both singles were included on what would become the duo's last album together, Don't Sweat the Technique, released in 1992. The album was not supposed to be the last; but their contract with MCA was due to expire. During the recording of the album, both members expressed an interest in recording solo albums. However, Eric B. refused to sign the label's release contract, fearful that Rakim would abandon him. This led to a court case involving the two musicians and their former label. The legal wrangling eventually led to the duo dissolving completely. Eric B. has clarified that the monetary problems stemmed from labels like Island and others claiming ownership of the masters, not from any financial disputes between him and Rakim. The money got split 50/50 from the door, because I remember people would try to keep shit going. When we first came out, people were saying Eric was getting all the money and he was trying to shine more than Rakim, but that's not true. I would go to all the interviews, because Rakim didn't want to go to the interviews. He didn't like that part of the business. But we split all the money from dime one. I don't care what money I spent in the past, that money is never coming back. Whatever money we made, we split 50/50. Even up until now, we split every dime 50/50. The legal battle was a significant blow to the duo, ending their partnership and leaving a legacy of unresolved questions about their future. Despite the legal issues, the duo's impact on hip hop remained undeniable, with their music continuing to influence artists and fans alike.
The Solo Paths and the Reunion
Eric B. released a self-titled solo album in 1995 on the independent label 95th Street Recordings. Legal issues continued to delay Rakim's solo career, but he finally released The 18th Letter in 1997. In 1999, Rakim's second solo album The Master was released to less favorable reviews. By the turn of the millennium, Eric B. was pursuing other business interests outside of music. Rakim signed with Dr. Dre's Aftermath label in 2000, but the expected album never materialized. Since then, Rakim has made guest appearances with numerous other artists such as Jay-Z, Truth Hurts, Nas, KRS-One, and Kanye West. In 2002, Don't Sweat The Technique appeared in the video game Aggressive Inline. In November 2009, Rakim released The Seventh Seal. Ownership of the duo's catalog consolidated in 1999, when PolyGram, which owned Island Records, which released Paid in Full, merged with Universal Music Group, an outgrowth of MCA Records, which owned the rest of the duo's albums. Eric B. and Rakim were announced as one of fifteen finalists to the Rock & Roll Hall of Fame in September 2011 and were nominated for a second time in 2024. On the 20th of October 2016, Eric B. announced via Twitter that he and Rakim reunited as a duo after 23 years and would tour in 2017. This was confirmed by Eric B's business representative Uncle Louie during an interview with Rolling Stone. The duo's first reunion concert was held at the Apollo Theater in New York City on the 7th of July 2017. In 2018, they announced a 17-date American tour for that spring. The reunion was a testament to the enduring legacy of the duo, with their music continuing to resonate with new generations of fans and artists.
The Jazz Soul of Hip Hop
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 Thelonious Monk. The New York Times Ben Ratliff wrote that Rakim's unblustery rapping developed the form beyond the flat-footed rhythms of schoolyard rhymes. While many rappers developed their technique through improvisation, Rakim was one of the first to demonstrate the advantages of a writerly style, using internal rhymes and multisyllabic rhymes to create a complex, layered sound. Rakim's relaxed delivery was inspired by jazz; he had played the saxophone and was a John Coltrane fan. 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. 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. Rakim's subject matter often covered his own rapping skills and lyrical superiority over other rappers, as well as his Islamic faith. AllMusic editor Steve Huey comments that the majority of his lyrics concern his own skills and his Islamic faith. He also notes Rakim for his complex internal rhymes, compounding, literate imagery, velvet-smooth flow, and unpredictable, off-the-beat rhythms. Pitchfork writer Jess Harvell described his rapping as authoritative, burnished, and possessing an unflappable sense of rhythm. The duo's musical style was a blend of gritty, heavy, and dark beats, with Eric B. reinstating the art of live turntable mixing. His soul-filled sampling became influential in future hip hop production. Music critic Robert Christgau noted that Eric B. had incorporated touches of horn or whistle deep in the mix of his sampled percussion and scratches. The duo's ability to blend jazz influences with hip hop production created a sound that was both timeless and forward-thinking, influencing countless artists who followed.