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| Paid in Full | |
|---|---|
| Name | Paid in Full |
| Type | studio |
| Artist | Eric B. & Rakim |
| Released | July 7, 1987 |
| Recorded | 1986–1987 |
| Studio | Power Play Studios, Battery Studios |
| Genre | Hip hop |
| Length | 45:24 |
| Label | 4th & B'way Records, Island Records |
| Producer | Eric B., Rakim, Marley Marl (associate) |
Paid in Full
Paid in Full is a landmark hip hop album released in 1987 by the duo Eric B. & Rakim. The record is widely credited with reshaping hip hop lyrical technique, production approaches, and sampling practices, influencing artists across generations including Nas, The Notorious B.I.G., Jay-Z, Kendrick Lamar, and Eminem. The album's release connected scenes in New York City, Long Island, and the broader United States music industry, intersecting with labels, clubs, and radio outlets pivotal to late-1980s popular music.
Eric B. & Rakim formed amid the vibrant New York scenes that included artists such as Run–D.M.C., Public Enemy, LL Cool J, Beastie Boys, and producers like Rick Rubin and Jam Master Jay. The duo's emergence paralleled movements involving Def Jam Recordings, Tommy Boy Records, Sugar Hill Records, and street-level venues like The Roxy (New York City), CBGB, and The Tunnel (nightclub). Influences on their sound drew from earlier funk and soul catalogues, linking to figures such as James Brown, Sly Stone, Isaac Hayes, Curtis Mayfield, and producers including Prince Paul and Kool Herc. Industry executives and A&R figures from Island Records, 4th & B'way Records, and distributors like PolyGram played roles in promotion and distribution. The recording and production context involved engineers and studios associated with Power Play Studios and collaborators who worked with artists from Utopia Records to labels connected to Motown and Atlantic Records.
The 1987 album was constructed around Rakim's pioneering internal rhyme schemes and multisyllabic patterns, reflecting affinities with poets and lyricists from diverse traditions associated with institutions like Columbia University and cultural hubs such as Harlem and Queensbridge Houses. Production relied on sampling technology popularized by producers like Marley Marl, Prince Paul, DJ Premier, and equipment from manufacturers linked to Akai Professional and E-mu Systems. Singles drew attention on platforms including Hot 97, WBLS, and television shows such as Yo! MTV Raps and programs connected to MTV. The album's aesthetic resonated with contemporaneous releases by Eric B. & Rakim's peers and influenced subsequent records by A Tribe Called Quest, De La Soul, Gang Starr, and Wu-Tang Clan affiliates.
In 2002 a film titled with the same name premiered as part of a wave of hip hop–inspired cinema that included works associated with directors and producers tied to Universal Pictures, Lionsgate, and independent distributors who worked with artists like Ice Cube, Snoop Dogg, 50 Cent, and Tupac Shakur. The movie engaged actors and crew who had worked on projects connected to New Line Cinema, Paramount Pictures, and film festivals such as Sundance Film Festival and Tribeca Film Festival. Its narrative intersected with portrayals familiar from films like those starring Denzel Washington, Forest Whitaker, Morgan Freeman, and filmmakers influenced by the aesthetics of Spike Lee and John Singleton. Soundtracks and music licensing for the film involved rights holders including labels linked to Island Records, Interscope Records, and catalog managers overseeing recordings from artists such as James Brown and Curtis Mayfield.
The album's legacy permeates music, education, and media institutions: lyrics and techniques are studied in programs at universities like New York University, Harvard University, Columbia University, and cultural centers such as The Smithsonian Institution and The Apollo Theater. Its influence appears in the catalogs and samples used by Nas, The Notorious B.I.G., Jay-Z, Kendrick Lamar, Dr. Dre, Timbaland, Pharrell Williams, Kanye West, Questlove, and producers associated with Def Jam Recordings and Roc-A-Fella Records. The album has been cited in lists by publications and institutions including Rolling Stone, The Source, MoMA, and radio countdowns on BBC Radio 1 and American outlets. Commemorative events and retrospectives have involved museums and organizations such as Rock and Roll Hall of Fame, Smithsonian National Museum of American History, and festivals tied to Coachella, SXSW, and Glastonbury Festival.
Critics from outlets associated with Rolling Stone, The New York Times, Pitchfork, NME, and Spin (magazine) praised Rakim's lyricism and the production aesthetic, comparing innovation to earlier breakthroughs by acts like Grandmaster Flash and the Furious Five, Afrika Bambaataa, Kraftwerk collaborators, and producers such as Marley Marl and Rick Rubin. The album appeared on sales charts monitored by Billboard (magazine) and in year-end lists compiled by cultural commentators at Time (magazine), Vibe (magazine), and Q (magazine). Certifications were managed through entities like the Recording Industry Association of America and regional bodies in Europe and Canada tied to BPI and Music Canada.
Key contributors on the album included Rakim as lyricist and vocalist and Eric B. as DJ and co-producer, with engineering, mixing, and sampling credits linking professionals who worked across labels such as Island Records, 4th & B'way, and studios associated with Power Play Studios and Battery Studios. Musicians, mixers, and mastering engineers involved connections to artists and technicians who collaborated with Marley Marl, EPMD, KRS-One, and session players linked to Motown and Stax Records alumni. The track listing featured singles that received airplay on stations such as WBLS and Hot 97 and were promoted through performances at venues including The Garden (Madison Square Garden), Apollo Theater, and festivals like Summer Jam (Hot 97).
Legal matters surrounding sampling, licensing, and royalties implicated entities such as Island Records, dispute resolution through agencies akin to the American Arbitration Association, and litigation strategies employed by rights holders previously involved with cases linked to The Turtles, Biz Markie, and labels such as Cold Chillin' Records. Debates about intellectual property and sampling practice engaged courts and organizations including the United States Court of Appeals, music publishers associated with BMI, ASCAP, and collective management organizations in Europe. Public controversies involved media outlets such as The New York Post and legal commentary from scholars affiliated with institutions like Harvard Law School and Columbia Law School.
Category:1987 albums Category:Eric B. & Rakim albums