1/  The King Is Home                           (Babatunde)                   1.36
  2/  Kings of Pain                              (Hassan)                      6.18
  3/  The Time Has Come                          (Oyewole)                     4.17
  4/  Trapped                                    (Hassan,Oyewole,Showard)      5.02
  5/  Panther                                    (Dieng,Hassan)                5.03
  6/  Down To Now                                (Piper,Hassan,AO,Chuck D.)    4.25
  7/  For the Millions                           (Oyewole)                     5.06
  8/  Silence of the Jams                        (Hassan)                      5.23
  9/  Do You Feel Good?                          (Oyewole)                     2.53
  10/ Hollow Wood                                (Hassan)                      3.00
  11/ The King Is Home (Reprise)                 (Babatunde)                   1.23

          Recorded at Greenpoint Studio, Brooklyn, New York
          Track 6 recorded and mixed at The Spot
          Engineered by Robert Musso
          Track 6 engineered by Keith Shocklee
          Track 6 mixed by Keith Shocklee
          Produced by Bill Laswell
          Track 4 produced by DXT
          Track 6 produced by Thomas (Tic-Tac) Piper
          Compiled and mastered at Greenpoint Studio by Oz Fritz
Umar Bin Hassan & Abiodun Oyewole: voices; Don Babatunde Eaton: congas; Chuck D. (6): voice; Pharoah Sanders: saxophone; DXT: turntables; Aiyb Dieng: percussion; Bill Laswell: bass, beats, loops, sounds; Khalil Hassan & Jamal Whatley: voices.

          1997 - Mouth Almighty/Mercury (USA), MELP 149 (Vinyl)
          1997 - Mouth Almighty/Mercury (USA), 314 534 467-2AD (CD)
Note: The vinyl version contains the album cuts 2,4,5,6 and 7 as well as acapella versions of tracks 2,4,5 and 7.


Picking up where Holy Terror and Omar Ben Hassan's solo album Be Bop or Be Dead left off, The Time Has Come is a scalding blend of avant-jazz, bebop and hip-hop, highlighted by cameos from Chuck D and Pharoah Sanders. These two guests may be impressive, but they don't steal the show -- they merely demonstrate that the Last Poets are too diverse and way too smart to be pigeonholed into one particular category. Occasionally, the record may be a bit unfocused, and its relentless barrage of avant-poetry may be headache-inducing to some, but few records are as politically powerful and articulate as this.

Leo Stanley (courtesy of the All Music Guide via the Get Music website)