POP MUSIC : Hammer Can’t Touch Rap’s Vitality, Pulse : * 1/2 HAMMER “Too Legit to Quit” <i> Capitol</i>

This album suffers from the same limitation as Hammer’s last one, “Please Hammer Don’t Hurt ‘Em”: ineffective rapping. But “Please” sold 13.5 million copies worldwide anyway.

This time, Hammer--he’s dropped the “M.C.,” in case you haven’t heard--relies neither on samples nor familiar oldies for his backing, possibly in answer to critics who dismissed the last album as unoriginal. It’s a bold, ambitious move--but also a mistake. Hammer, who co-produced and wrote most of the music, has come up with a handful of decent songs. Maybe one-quarter of the 76 minutes is worthwhile.

This album is more R&B; than rap, strongly reflecting the influences of Barry White, Marvin Gaye and the Temptations. Rather than rapping, Hammer often just recites, clumsily imitating White’s sexy style. Ignoring rap’s minimalist ethic, he uses heavy R&B; accompaniment as well as extensive backup vocals, which aren’t enough to hide his rap deficiencies.

On slow songs Hammer’s rapping is particularly woeful, because he oftens slips into a silly, nursery-rhyme cadence. Of the dance tracks, only “Count It Off” and the gospel-flavored “Do Not Pass Me By” are exceptional.

When Hammer turns social commentator, sermonizing about the woes of the ghetto in “Brothers Hang On,” “Living in a World Like This” and “Street Soldiers,” he’s thoroughly unconvincing. The problem? His poor sense of drama and the familiarity of the recycled message. It’s preachy rap at its worst.