Edit Template

Month: October 2026

#rewindreview: H.I.S.D. (Hueston Independent Spit District) ‘Summer So Good’ EP 2008

Posted on by Quantum Leap Radio

  A movement was happening in Houston T.X. that was so grassroots and not backed by any known names, that it’s value was growing like a properly watered seed within two years. H.I.S.D. (Hueston Independent Spit District) was a group of individuals who came together through various avenues and stories, and created some of the best moments and HOP music out of #HUEston. With their debut album ‘The District’ in 2007 making a solid fanbase, and an impact among the underground Hip-Hop scene in Houston, the group gifted new fans with a surprise release a year later. What was clear on ‘Summer Sessions’ was that H.I.S.D. had grown more confident in the music they were making and the chemistry among them was becoming undeniable. Savvi, L Da Voice, Equality and Scottie Spitten were four voices that distinguished themselves with style and lyrics. It’s how a rap group should be. The audience knowing who is who and having their own idea of who is their favorites. The four M.C.’s make ‘Summer Sessions’ one of those releases that might have been simply “practice” for the people, into one of the groups most valuable products. The cover art displays a sense of happiness and serenity while the album is rough around the edges with tracks like ‘Never Die,’ Bring It Back’ and ‘Bang Out Music.’ It all blends together with songs that one might associate with Summertime like ‘Sweet,’ ‘Break Of Dawn’ and the lead single ‘Summer So Good’ featuring K-Otix. The musical backdrop is spearheaded and brought to you by King Coz (King Midas & D.J. Cozmos) with a sole contribution from J “8 Months” Lewis who also provides some lyrics along with Kay of The Roux. This release provides a bit of satire with the ear catching ‘Gon Off Patron,’ that is like a summary of how popular rap music sounded in the late 2000’s. Another attribute that displays the fun creativity the audience could expect from this unique collective. H.I.S.D. (Hueston Independent Spit District)’s ‘Summer Sessions’ was the perfect bridge to what they had done before and what they were about to do with their next release (The Weakend). The group also could not be contained within #HUeston any longer as ‘Summer Sessions’ made it to Questlove of The Roots, who also couldn’t deny what he heard while in an interview. ‘Summer Sessions’ is one of “The Districts” most underrated and solid projects, and still sounds sharp to this day. What did you think of the album? Singles include: ‘Summer so Good’ & ‘Gon Off Patron’ Listen to QUANTUM LEAP RADIO every Saturday from 4-6p.m. CST & Thursday from 1-3a.m. CST on 90.1 FM KPFT Houston in HD2 Worldwide @kpft.org/listen (under “kpft in HD2”) or get the KPFT APP in your playstore!!! Catch past episodes by searching and following @https://linktr.ee/QLEAPRADIO

#rewindreview: Joey Bada$$ ‘Summer Knights’ 2013

Posted on by Quantum Leap Radio

  The 2010’s was a time in HOP music that did not interest me much in terms of new acts. The internet had made music so accessible that not only was it easy to obtain music, which just devalued the product, but everyone was making music. Rarely anything felt discernible which also presented a great opportunity for any “cream” to rise to the top. During this time there were names consistently mentioned around the internet. Joey Bada$$ was one of these names but this seemed to be due to his “unique” style of music. As a young adult in the 2010’s, “Joey” and his crew PRO Era seemed to be “stuck in the 90’s.” Something that should have easily “moved them out of the paint” as the “old head verses new heads” conflict was really showing face during that decade. Joey Bada$$ and crew made it work somehow and gave a familiarity for those “old heads” while standing out among their peers with the “new heads.” ‘Summer Knights’ is the first release I gave a listen to. Up to this point I had to make sure that this throwback style of PRO Era was not just a gimmick. As I went through this particular release it became apparent to me that Joey Bada$$ was genuine in the music he was creating, but apart of me felt concerned that him and his crew might in fact be shooting themselves in the foot. On ‘Summer Knights’ the production and rhymes is truskool hip-hop music with no compromise. I truly questioned how the younger audience, and older audience who were trying their hardest to seem like they embraced the new acts, would respond to this style of music from Joey Bada$$. I hoped that he was not trying to go so against the grain that it ostracized his creations. Nevertheless he seemed to endure, and ‘Summer Knights’ was like a “stamp;” that him and his crew would lead the charge for the next generation of listeners to not forget a genuine sound of HOP music. I enjoyed this release and as someone who can’t stand when artist put out projects like this and call it a “mixtape,” I try to look past that and see the bigger picture. Joey Bada$$ created an album that had it been dropped just a decade earlier would have fit right into the days of physical releases. ‘Summer Knights’ is over an hour long with beats and lyrics that would have made for repeated listens. Instead the release had to strive to keep the attention of a new round of listeners that wanted quick audio payoffs. What did you think of the album? Singles include: ‘Unorthodox,’ ’95 Til Infinity,’ Hilary $wank’ & ‘My Yout’ Listen to QUANTUM LEAP RADIO every Saturday from 4-6p.m. CST & Thursday from 1-3a.m. CST on 90.1 FM KPFT Houston in HD2 Worldwide @kpft.org/listen (under “kpft in HD2”) or get the KPFT APP in your playstore!!! Catch past episodes by searching and following @https://linktr.ee/QLEAPRADIO

#rewindreview: Sach ‘Suckas Hate Me’ 2002

Posted on by Quantum Leap Radio

  This is the first release from Sach, after the death of Yusef Afloat, his partner in the group The Nonce. Sach has always been the more abstract out of the duo and ‘Suckas Hate Me’ continues that attribute. Gathering up a list of rappers associated with ‘The Good Life’ movement to expand on this release makes this album not only a reflection of Sach but the culture he was bred from. My initial feeling on this release was that it was too short. In 2002 it was quite rare to release an album of twelve tracks and it was only about thirty minutes. I felt back in 2002 I wanted more but what was provided is a piece of music that feels like a modern day jazz record. The abstractionism in lyrics are complimented by the production which was mainly provided by Sach and also Adlib. The music pallet sets the tone of the record which might not be everyone’s “cup of tea,” but if one is a fan of The Nonce’s previous recordings, ‘Suckas Hate Me’ does not feel foreign. Although there is a very laid back feel to the project, songs like ‘Uh 3, Uh2, 1’ featuring Suga B. give a more hardcore presence to the album. ‘Illustrations’ featuring Zagu Brown recognize the women who leave lasting impressions on men’s lives, while rapper Medusa shows up on ‘For The Love Of Hip Hop’ with a very confident and regal air. The album feels eerily beautiful with ‘Introducing The Topology Crew,’ which features Yusef Afloat. With his passing and the title of that song, it makes The Nonce fans have a sense of nostalgia that will no longer be. Yusef sounds like he was still in the physical as the “Topology Crew” was an alias for The Nonce. Sach put together a solid piece of work that gives the listener just enough to want and expect more. No need for hate, just a need for one’s ears with this assortment of music. What did you think of the album? Listen to QUANTUM LEAP RADIO every Saturday from 4-6p.m. CST & Thursday from 1-3a.m. CST on 90.1 FM KPFT Houston in HD2 Worldwide @kpft.org/listen (under “kpft in HD2”) or get the KPFT APP in your playstore!!! Catch past episodes by searching and following @https://linktr.ee/QLEAPRADIO

#rewindreview: Diamond D. & The Psychotic Neurotics ‘Stunts, Blunts & Hip-Hop’ 1992

Posted on by Quantum Leap Radio

  I was twelve years old when I was introduced to Diamond D. with the hit single ‘Sally Got A One Track Mind.’ This was a descriptive tale of a girl from the inner-city whose seductive lifestyle caught up with her quickly, but this was over a very energetic track which drove the message home in a danceable atmosphere. At the time I was only making tapes, mainly off of video shows so for many years Diamond D. just seemed like “that guy with that one song.” It wasn’t until I got a bit older in my teens that I realized how important “Diamond” was to just my own personal listening of HOP music. In 1997 Diamond D. dropped his second album ‘Hatred, Passions And Infidelity,’ which would be the first album I heard from him. Although that album provided a couple of solid singles, as a whole it left me underwhelmed. I say this because at that time I’m not thinking about hearing anything previous from Diamond D., or at least I was not in the correct mind frame yet. Enter Quasimoto, the alias of the legend “beatconductor” Madlib, that dropped a debut album ‘The Unseen’ in the year 2000. That album I could not put down and when looking back, it served as an audio library to the samples it used to create such a unique record. It also brought me down a “rabbit’s hole” of the vocal samples it used. A good thirty percent of it came from ‘Stunts, Blunts & Hip-Hop,’ which by the early 2000’s I finally got around to. There is something about when you hear where samples came from, it can enhance one’s experience of the original. ‘Stunts, Blunts & Hip-Hop’ can seem very intimidating due to it having twenty-three tracks. Along with that the songs themselves, a lot is going on as during the early to mid-1990’s, stacking samples and using horns was simply the sound of HOP music at the time. ‘Stunts…’ on the other hand is just a different beast. Diamond D. put together an album that one could almost say shaped that very sound those years in HOP music were known for. He raps but doesn’t outrap the music; in fact like most producer/rappers he sounds the best over his own works. For just over an hour, the album doesn’t have a dull moment. Diamond D. unlocked the code to service the listener with the “dope sound,” that as a person who heard the album almost a decade later could appreciate as if I was hearing it in it’s first years. Diamond D. doesn’t do this all on his own as he gets assistance from Large Professor, Jazzy Jay, The 45 King, Q-Tip, Lakim Shabazz and fellow D.I.T.C. member Showbiz. “Diamond” is still captain of the ship and to this day ‘Stunts, Blunts & Hip-Hop’ is still regarded as one of the more important albums in HOP music. It’s never too late to get what’s served on this menu from one of the silent greats in Hip-hop production. What did you think of the album? Singles include: ‘Best-Kept Secret,’ ‘Sally Got A One Track Mind’ & ‘What U Heard’ Listen to QUANTUM LEAP RADIO every Saturday from 4-6p.m. CST & Thursday from 1-3a.m. CST on 90.1 FM KPFT Houston in HD2 Worldwide @kpft.org/listen (under “kpft in HD2”) or get the KPFT APP in your playstore!!! Catch past episodes by searching and following @https://linktr.ee/QLEAPRADIO

Auto Draft

Posted on by coreyl

L   DIGIWAXX ARTIST SPOTLIGHT  P.A.T. Louisiana’s Finest Brings Southern Energy, Real Music & “The IT Factor”!! The Opelousas, Louisiana artist is bringing Southern storytelling, club energy and a deep respect for DJ culture to his next chapter. Some artist names are created. Others are earned. For P.A.T. Louisiana’s Finest, born Pat Jones, the “Louisiana’s Finest” title came after a performance in New York City where he worked the crowd so well that the name was given to him immediately afterward. Raised and still based in Opelousas, Louisiana, P.A.T. represents a Southern musical tradition while refusing to be boxed into one sound. “My music is like a breath of fresh air,” he says. “I’ve been told I describe what I’m saying to the listener like they can see what I’m saying.” Influenced by Geto Boys, UGK, OutKast, 2Pac, Dead Prez, screw tapes and Southern freestyle culture, P.A.T. describes his approach as rooted in Louisiana but built around lyricism, storytelling and craftsmanship. “I love music differently and respect it too much just to throw together anything and put it out,” he explains. “I care about the craftsmanship of it.” A RECORD BUILT FOR THE CLUB P.A.T. is currently pushing “Beat Her Back Up / Fuck Sum Shit Up,” featuring Level, a high-energy record that came after supporters challenged him to create something specifically for Louisiana’s club culture. Having never considered himself a traditional club-record artist, P.A.T. tapped producer Mikki Gunz to provide the sound. Once he heard the production, he immediately knew who belonged on the record with him: Level. The mission was simple: ENERGY. P.A.T. wants people dancing, recording the moment, Shazaming the song and asking the DJ to run it back. His ambitions for the record extend beyond clubs and radio. He sees the music potentially living in movies, video games, digital worlds and other entertainment platforms. A music video is also on the way. “DJs ARE THE BACKBONE OF THIS GAME” For P.A.T., DJs remain essential to breaking new music. “DJs are the backbone of this game,” he says. “The DJ has the ear to the crowd, so they reach your audience at the best possible time, when they are actively seeking music to listen to.” His message to the Digiwaxx DJ community is equally direct. “I love the music like you love your hard drive.” And why should a DJ unfamiliar with P.A.T. take a chance and press play? “If you a real DJ, you would wanna know if this is some gas or some trash!” That confidence is part of what P.A.T. is bringing into his next project. THE IT FACTOR “Beat Her Back Up / Fuck Sum Shit Up” is part of a bigger rollout leading into P.A.T.’s upcoming project, The IT Factor. He’s also promoting “3 JONES,” featuring Fiend of Jet Life, with additional music and collaborations on the way. But behind the ambition is a surprisingly simple definition of success. For P.A.T., winning means being able to make music without worrying about bills, food or whether he can afford to continue creating. It means having the freedom to create. Outside of music, P.A.T. describes himself as a loyal man who enjoys peace and quiet and is passionate about becoming the person God wants him to be. But when it comes to the music, his mission remains clear. “I joke and have fun when it’s time for it, and I still take this serious enough to care what I put out and what the end goal is.” And ultimately, there’s one thing he wants listeners to take away from discovering P.A.T. Louisiana’s Finest: “I WANT PEOPLE TO WANT MORE REAL MUSIC — AND THAT’S SOMETHING I WILL ALWAYS BRING.” ARTIST: P.A.T. Louisiana’s Finest HOMETOWN: Opelousas, Louisiana CURRENT SINGLE: “Beat Her Back Up / Fuck Sum Shit Up” feat. Level ALSO ON THE RADAR: “3 JONES” feat. Fiend UPCOMING PROJECT: The IT Factor INSTAGRAM: @instapat Digiwaxx Artist Spotlight Where Tomorrow’s Records Meet Today’s Tastemakers.

App coming soon
Facebook-f Twitter Linkedin-in Instagram
  • © Digiwaxx, LLC.
WP Twitter Auto Publish Powered By : XYZScripts.com

Terms and Conditions - Privacy Policy