Legendz

In 2007, if you asked the average rap listener coming-of-age in the era of Ring tones, ‘SMACK DVD’s, ‘106 and Park’ and MTV if they knew who Akir was, they’d probably have no idea. The oversight is understandable; after all Akir is an underground emcee signed to an relatively unknown independent label, Viper Records. His songs aren’t being ‘bombed’ by Funkmaster Flex, he doesn’t have videos on TRL, and if I remember correctly, he wasn’t invited to do that ‘Live Earth’ concert this summer with The Police and Shakira. In fact, if you were to ask that same listener to take give ‘Legacy’ a shot, chances are they would most likely reject the invitation. Sorry folks, this is 2007, not 1997. Ten years ago, the average rap listener would run the streets with Wu-Tang, party with Puffy, hustle with Jay-Z, get lyrical with Company Flow and at the end of day, turn into lovers like LL. These days you’d be hard pressed to find a rap consumer who’s that open-minded. Talented wordsmiths such as Akir are ignored by the mainstream because of this narrow mindset, but if there is any justice in this world, that won’t be the case for much longer.
This year, with the way the current rap climate is, Akir may end up joining Brother Ali, Evidence, Black Milk, El-P and Pharoahe Monch as another exceptional MC with a dope album that’ll be lucky to hit six figures in sales by the year’s end. Under the guidance of indie-rap phenomenon Immortal Technique, ‘Legacy’ is a 20 song exhibition of unbridled creativity, concise social commentary, top shelf lyricism with a sharp dose of reality. ‘Legacy’ is also an album that’s truly a throwback to a purer time in hip-hop music, and thankfully Akir has the sense to ensure its modern day edge.
Akir enforces this from the first line of the first joint on the LP. After quoting Nice and Smooth’s classic jam ‘Sometimes I Rhyme Slow’, Akir leaps right into ‘Rites Of Passage’, a track that sounds like another love song for hip-hop except for the expert use of three banging beats and a deeper verbal intensity. Speaking of which, let it be known that Akir is that politically and socially aware street dude that’s always armed with a message. Often times, his vocal style is reminiscent of a younger Nas with slight pinch of AZ circa 1996 with a bit of a Dead Prez mentality, and these influences positively empower this record. His presence is truly commanding on ‘Mood Music’, where over a slick re-interpretation of Van Halen’s ‘Right Now,’ Akir attests to his self-confidence and ambitious spirit. Ingenious sampling continues on ‘Apocalypse’ where Akir’s solid performance is only enhanced by the groovy and beefier interpolation of Bob Marley’s ‘War.’ ‘Grind’ finds Akir describing the mindset of a hustler close to the edge and on ‘Treason’ he addresses inner city genocide with Immortal Technique who ‘Like a white boy who got fired, is back with the burner!’ and claims that ‘Only snitches and Kanye speaks through a wire!’
Throughout this recording, Akir shows his unwavering concern with detailing the everyday struggles of minorities and an eagerness to speak on his ascendance and the growing pains in his career. His candor is what makes this album special, there’s no self-righteous manifestoes or overzealous ‘sermons’, just insight into the hopes, dreams (realized or shattered) and tribulations of people of color. It’s music with a ‘black pride’ other races can appreciate. ‘Politricks’ for instance, is an outstanding take on the longtime disillusionment faced by black voters come election time, with Akir finally convincing himself join the voting process even if has to go to Ohio do it while appreciating it’s pretty women. Regrets of a lost love and loneliness permeate the wordplay of ‘No Longer My Home’ where Akir and guest vocalist Mojo emotes their sadness over a beautiful array of mournful keys. He continues his search for place to call his own on jazzy Spanish vibe of ‘Homeward Bound’ describing his days of waiting tables, doing car rentals and surviving stock market crashes to attain his goals. On the flipside, the cleverly titled ‘Tropical Fantasy’ (named after the popular 50 cents soda) Akir brilliantly convinces his ‘girlfriend’ played by the consistently amazing ‘femcee’ Jean Grae to forget the ‘grind’ for a minute so they can take a well earned vacation.
As seen in ‘Treason’, Tropical…’ and ‘No Longer My Home’, Akir is more than happy to share the lyrical and musical wealth on ‘Legacy’. He teams up spitfire lyricist Hasan Salaam on ‘Change of The Seasons’, celebrates spiritual and mental enlistment on ‘Ressurect’ with moving vocals from Akua Wilder and Krysti Yardon and lets loose Mas-D and Veks One for a grand finale in the album’s title track, only to bring back Immortal Technique and the charismatic Poison Pen on the bonus track ‘The Louisiana Purchase’ for an encore. Underground hip hop in the past has had it’s examples of mind blowing poetry ‘married’ to sub-par production, this however isn’t the case on ‘Legacy’ as Akir utilizes great work from Southpaw, DJ N’ Finit, DJ Static, Fyre Dept. and even himself among others for a sonic output worthy of his weighty rhymes. With bars such as ‘My rappin’ hold you captive like a pirate ship captain/ Plus a nice package so I’m going ghetto platinum’, you definitely would want some serious ‘heat’ under that.

Akir’s ‘Legacy’ isn’t perfect. With a seventy minute plus running time, there is plenty of room for filler like ‘Ride 2 It’ to creep in. It is, however, an astounding collection of songs by an impassioned and focused emcee. He is evidence that an open minded hip-hop head interested in music beyond ‘Top 40’ rotation can be greatly rewarded.

Sion De Freitas

Props, I heard a good few songs off this album, sounds like a sick album, need to check it out.

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