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#rewindreview: L.M.N.O. & Kev Brown ‘Selective Hearing 2’ 2010

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  Two underground HOP music staples got together to bring a not so subtle collection of songs honoring the great James Brown. L.M.N.O. of the Visionaries and Kev Brown of the Low Budget crew present ‘Selective Hearing 2,’ where the two select to chop up some of the best James Brown quotes and samples for a head nodding adventure. This is thirty-five minutes of pure HOP music that does not leave listener’s feeling overwhelmed from rapping as L.M.N.O. and Kev Brown compliment the vibe and beats on this project like jazz musicians. They are not alone on the mic and incorporate the talents of Mr. Brady, Hassan Mackey, Declaime, Kaimbr, Trek Life, Kenn Starr and Charlie 2na. All voices fitting extremely well among Kev Brown’s beats and the precise scratches by D.J. LD. ‘Selective Hearing 2’ reminds those who appreciate HOP music of why we took to it during those mid to late 1980’s and 1990’s, which was the DNA of James Brown and the soul he provided for black music. “It’s spring again,” so pull this album out for a repeat or dig in for the first time while touching some grass today! What did you think of the album? Singles include: ‘Ya Know’ 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 HD11 Worldwide @kpft.org/listen (under “kpft in HD2”) Catch past episodes by searching and following @https://linktr.ee/QLEAPRADIO

#ReemoApproved Review: Li-Ning x Staples Collab Event

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Staples x Li-Ning Ping Pong Event: SoHo Came to Play If you were in SoHo other night and didn’t pull up to the Staples x Li-Ning Ping Pong Event, I hate to say it—you missed a GOODIE!!!! Picture this: DJ setting the vibe, and a room full of sneakerheads, creatives, and people who just know a good event when they see one….with Ping Pong and Staple version of “Beer Pong” going simultaneously. Jeff Staple and Li-Ning didn’t just drop a collab—they threw an experience. And somehow, they made ping pong feel like the coolest sport on the planet.   The games? Competitive, yet FUN!!!!. What started as fun volleys turned into real matchups—crowds hyping up players, sneakers squeaking, people fully locked in. I saw footwork like this was the finals at MSG. Who knew ping pong had this level of intensity? (Psst….especially with Prizes involved). But let’s be real—the sneakers were the reason we were all there. The Staples x Li-Ning collab is clean. Futuristic but wearable, performance-ready but still fly enough to rock anywhere.  Jeff Staple always understands the balance between function and culture, and this drop proves it again. By the end of the night, it wasn’t just about the game. It was about the mix of streetwear, sport, and community—exactly what makes events like this special. If you weren’t there, just know: next time, don’t sleep.   As per usual #MyCreatives, ON TO THE NEXT!!!! Follow Me on Social Media: Instagram: https://www.instagram.com/reemomeerak_/ X(Twitter): Tweets by reemomeerak_ Tik Tok: @reemomeerak_ LinkedIN: https://www.linkedin.com/in/kareemreemomeeraktyson Subscribe to The Podcast; Reemo Meerak: The C.U.T.S. https://www.youtube.com/@TheCUTS_ Subscribe To My Vlog Channel; Reemo Meerak: ReemTV: https://www.youtube.com/channel/UCzeBLMMZerckVQ9LJa93oZw For Interviews, Cover your event, write a review, or Features: [email protected]

#rewindreview: Kendrick Lamar ‘Section 80’ 2011

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  At the end of the 2000’s and beginning of the 2010’s, my filter for new acts in HOP music was fully active. Not many if any new acts was I giving a chance. This was mainly due to the overkill of acts that were springing up from the internet. It all felt too easy and a lot of it did not feel genuine but more like folks wanting to have “rap” on their resume when someone asks those individuals about themselves. Hip-Hop music at that time was like SXSW once it became corporate and everyone was just handing out CD’s on 6th street but didn’t even know how to perform on stage. Like a lot of those individuals I either turned them down or took an album and never listened. In 2011 a group I managed, H.I.S.D. was on the same ‘Beats, Arts + Lyrics’ show as Kendrick Lamar who headlined that show. Because of the co-sign of EQuality from H.I.S.D. (The HUE) I finally gave “K. Dot” a chance but needless to say this was only year before he would skyrocket as a HOP music force, and many at that event left by the time his set started. ‘Section 80’ was the album he was performing at the time and I stayed for a bit but was unfamiliar with the music so I couldn’t relate. Flash forward about a year later and I sat with ‘Section 80’ to see if I could understand the accolades he was receiving. From the first listen I was impressed with the production, although at the time the first half of the album I felt was not necessarily geared toward my ears but more toward the target generation he was in. Essentially the album felt like a better sounding effort of those CD’s that would be handed out at SXSW. Where this album has grown with me over the years is the projects after it giving me a better understanding of how ahead of his time and mature Kendrick Lamar was when ‘Section 80’ released. If ‘A.D.H.D’ is a summary of the youth and ignorance of his generation, ‘HiiiPower,’ ‘Kush & Corinthians’ are that medicine on this album that speaks to my generation. Kendrick Lamar was “bridging the gap” through teaching, giving his own life perspective and rapping at a high level. Day one fans often herald this as his best offering and I would never challenge their perspective because like Nas’ ‘Illmatic,’ sometimes you simply had “to be there” to understand. ‘Section 80’ is another example as to why I often compare “Kendrick’s” run to Outkast, as from their debut albums, the next and so on and so forth would sound so much different from the last. This will often cause discourse among listeners initially but when the dust settles and we all listen back, the greatness of the art is rarely ever challenged when looking at the landscape the art was created in. What did you think of the album? Singles include: ‘HiiiPower,’ ‘Tammy’s Song,’ ‘A.D.H.D.,’ & ‘Rigamortis’ 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 HD11 Worldwide @kpft.org/listen (under “kpft in HD2”) Catch past episodes by searching and following @https://linktr.ee/QLEAPRADIO

#rewindreview: All Natural ‘Second Nature’ 2001

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  One would not know it by the album cover but All Natural’s sophomore album ‘Second Nature’ is one of the rawest and realest HOP albums to come from the early 2000’s era. The Chicago duo consisting of Capital D. and Tone B. Nimble made sure that their second offering lived or at least tried to honor, what fans expected of them since their debut album in 1998. From the out set of the album ‘The Stick Up,’ listeners understand that the calming nature of the album cover is as mild as this journey will be. Capital D. upholds that “truskool” style of rhyme he has with a voice Rakim listeners would relate to. More importantly “Cap D.” uses his voice to not only show his talent but a beacon for providing truth to rhyme. ‘Uncle Sam’ featuring Slug is a point of view take on America and given current events can easily be applied to 2025. Same can be said for ‘Future Is Now’ as Capital D. prophesizes the importance of not waiting until the worst has happened to activate and mobilize. Other tracks like ‘Mr. Sexy’ go back to the days where the “line was drawn in the sand” between mainstream and underground while ‘Queens Get The Money’ adapts that popular Mobb Deep quote to talk about the women who deserve the spoils of men. Production is all in house, which is the Family Tree who on this album was G(R)iot, Memo, His-Panik, All Natural themselves and J. Rawls who produced one of the most banging tracks on this album, ‘The Renaissance’ featuring Lone Catalysts. New listeners will not hear this album and think that it was a monumental benchmark in HOP music but for me it is one of my favorite albums to listen to, due to how simple the approach is. My issue with the album over the years has been how it was mixed. Certain songs like ‘Ill Advisory,’ ‘Queens Get The Money’ and ‘The Renaissance’ sound great but the majority of the tracks have always sounded like there was an “amateur” engineer on the mix. Again this is balanced by how fresh and raw the songs are on ‘Second Nature.’ What did you think of the album? Singles include: ‘Stellar,’ ‘Elements Of Style’ & ‘Queens Get The Money’ 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”) Catch past episodes by searching and following @https://linktr.ee/QLEAPRADIO

Legacy Defined: Smif-N-Wessun’s Infinity Blends Soul, Grit, and Elite Lyricism

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On Infinity Smif-N-Wessun cement their legacy as Hip-Hop Hall of Famers, proving they’re still performing at the highest level. Delivering profound bars over 9th Wonder and the Soul Council’s production, this collaboration is a masterclass crafted for purists. The opening track, “Infinity,” samples a KRS-One line: “We will be here forever,” encapsulating their history and enduring presence in the game. “Moses Promise” features Steele and Tek trading verses, spitting wisdom over a soulful beat. Meanwhile, “Namaste” finds them reflecting on the pursuit of love and a brighter future. The bouncy “Medina,” backed by a children’s chorus, sees Pharoahe Monch delivering a razor-sharp verse, detailing warfare tactics with precision. “Black Eminence,” featuring the late Prodigy of Mobb Deep, pairs earnest verses with an R&B-inspired groove. “Chuuch,” featuring Jalisa, is a conscious and thought-provoking anthem, offering reflection and inspiration for overcoming unjust conditions. The 9th Wonder-produced “Enjoy Ya Life” combines energetic drums and a spirited chant, creating a sonically uplifting vibe. “Shine,” featuring Ralph Tresvant, showcases the duo trading bars over Tresvant’s harmonic melodies. The Jodeci-inspired “Just Stay,” featuring Conway the Machine, finds the trio delivering raw, heartfelt lyrics over a smooth, soulful backdrop. Another standout, “Heard About Me,” features the late Sean Price and Maverick Sabre, adding depth and intensity to the album. Infinity is a stellar contribution to the hip-hop ethos, with elite production from 9th Wonder and the Soul Council, paired with sharp, insightful lyrics from Steele, Tek, and their guests. The album is cohesive, blending soulful grit with contemporary relevance, taking listeners back to the essence of hip-hop while remaining fresh and forward-thinking.

#rewindreview: K. Sparks ‘Seasons Theme’ 2016

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  In the first years of QUANTUM LEAP RADIO, we were introduced to many new M.C.’s, that due to how loud the internet was by 2016, the “underground rapper” title held even less weight than ever. It was too easy to make music and even if it wasn’t easy the amount of acts to discover was overwhelming to the public. The advantage QUANTUM LEAP RADIO has is a benefit to the listener because we can be the conduit to filter these many acts that dwell in this newer age of the underground. K. Sparks sent his music to us at some point in 2016 and it was a satisfactory submission. The New York rapper upholds the attributes one would suspect is synonymous with that area but by 2016 I personally was thinking he was from the mid-west or a region not always associated with having a Hip-Hop scene. K. Sparks can rhyme without question. Has an active and engaging delivery, speaks on issues, intentional with his lyrics and chooses production that keeps heads nodding. All those things seem to be fleeting for New York rappers in this era. ‘Seasons Theme’ gives K. Sparks a means to plant the flag back in that corner of HOP music, if not for a moment. The album is a full record as it is close to an hour and K. Sparks handles all the rhymes with no features. Production remains consistent as Es-K, Moe Productions and Kurser take care of the release. K. Sparks guides listeners through all four seasons and the good and bad that can come with each one. A stand out track ‘#TRENDY’ is made during one of the last moments humanity had to listen, when so many warnings about the effects of social engineering were being actualized a decade ago. ‘Him vs Her’ is a soundtrack to the ever growing misunderstandings of men and women and the struggle to find common ground. Where ‘Seasons Change’ could have been better is K. Sparks himself. He raps a lot and at times the songs can be a bit long and one might lose their focus because he can be very bar heavy. That being said, if this is the weakest link it is a strong link to have and gives this album foundation and purpose. What did you think of the album? Singles include: ‘Black Caesar’ & ‘#TRENDY’ 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 HD11 Worldwide @kpft.org/listen (under “kpft in HD2”) Catch past episodes by searching and following @https://linktr.ee/QLEAPRADIO

“Crash The Industry”: Hip-Hop Show Spotlighting Legends and Rising Stars

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Mr. CEO, Shanti Mann interviewing  acclaimed producer Amadeaus on ” Crash the Industry.”   “Crash The Industry,” the innovative hip-hop series created by Shanti Mann (aka Mr. CEO) and executive produced by his wife, Queen Nat, is making waves in the entertainment world. Filmed at BronxNet’s state-of-the-art studios in the heart of the Bronx—the birthplace of hip-hop—the show offers a unique blend of inspiration, education, and entertainment by spotlighting the journeys of both established icons and rising stars. The series delves into the behind-the-scenes stories of individuals who have “crashed” their way to success across various industries, from music and fashion to entrepreneurship and politics. By featuring a diverse range of guests, including record executives, politicians, rappers, singers, and designers, “Crash The Industry” provides a platform for voices that might otherwise go unheard. A standout feature of the show is its “Pass the Torch” segment, where seasoned professionals mentor emerging talent, creating powerful moments of wisdom and opportunity. This segment underscores the show’s mission to bridge the gap between legends and the next generation of stars. Since its debut, “Crash The Industry” has already hosted an impressive roster of guests. Legendary Bronx-born producer Amadeus, known for his work with J.Lo and French Montana, shared his insights, while Kim Osorio, Executive Producer of “Love & Hip Hop” and “Black Ink Crew,” offered her expertise. Hip-hop heavyweight Agallah The Don also made an appearance with his rising protege M. Tundra.   The next wave of  artists like Maury Haze, Nay Blanco, TDI Musik, and Keen Streetz, who is signed to Jim Jones’ Vamp Life Records have also made appearances.  The show’s dynamic format keeps audiences engaged with live performances, fashion shows, comedy stand-ups, and deep dives into industry trends. Aspiring artists, entrepreneurs, and creatives are encouraged to submit their bios and performance-ready tracks (clean versions, MP3/MP4) to [email protected] for a chance to be featured. For exclusive behind-the-scenes content, follow “Crash The Industry” on Instagram (@crashtheindustry_tv) and YouTube (Crash The Industry TV). Tune in every Saturday at 6:30 PM on www.Bronxnet.org to catch the latest episodes and witness the fusion of hip-hop culture, mentorship, and innovation.        

#rewindreview: Kidz In The Hall ‘School Was My Hustle’ 2006

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  In the mid-2000’s, Rawkus records staged a comeback after a hiatus that came on the back of albums that tried to compete with mainstream releases and did not hit the mark, as well as a hostile takeover (or shutdown) that was reminiscent of the show ‘Succession.’ This comeback would include acts like The Procussions, Hezekiah and our subject of the day Kidz In The Hall. The idea for Rawkus seemed to bring back the idea of the “underground act” that was a hidden gem, but the attributes that made Rawkus a Hip-Hop stable were long gone by 2006. The internet washed away those moments that included late night mixshows, the joy of discovering new music at record stores and the initial decline of the “mom & pops” record store. Kidz In The Hall would look to be the flagship for this new Rawkus renaissance, and with their most popular track ‘Wheelz Fall Off (06′ Til)’ gaining some traction due to it’s homage of Souls Of Mischief ’93 Til…’ track, one would think the mission was on good course. The Chicago duo which consist of Naledge and Double O who were a rapper and beatmaker team. The dynamics were simple and given the success of Kanye West and Lupe Fiasco, their personas as the “nerd kids” respected by the streets looked to carry on what was coming out of Chicago for those ears wanting “truskool” HOP music. For me the Kidz In The Hall just didn’t seem to figure out where they stood within HOP music. Granted their personas are pretty much what every rapper that started from the internet in the mid to late 2000’s were built off of and maybe that is why I could never really get past this album. ‘School Was My Hustle’ is a solid project that gives the group a chance to take listeners on a journey through the perspective of “kids” not ten toes deep in street activity while not being stepped on by the street cats. Naledge has a flow that is smooth and relatable to the listener that is not ready to hear Company Flow or Quasimoto while Double O’s beats are a hairline away from meeting the quota’s of Roc-A-Fella rappers. This is music to “ride” to but can also be an acquired taste of one feels Kidz In The Hall doesn’t necessarily bring anything new to table especially with the Rawkus name attached to it. What did you think of the album? Singles include: ‘Wheelz Fall Off (06′ Til)’ 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 HD11 Worldwide @kpft.org/listen (under “kpft in HD2”) Catch past episodes by searching and following @https://linktr.ee/QLEAPRADIO

NEMS Levels Up to a Higher Plateau with his album America’s Sweetheart

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At first NEMS is challenging to figure out. At one end he is joking on folks on his Instagram posts, and spitting menacing disrespectful bars, as he yells “Fuck Your Life.” But the more you hear his music, you notice there is teddy bear quality to him. As he expresses his vulnerabilities, such as the pain of the death of his father due to AIDS on “Keep on, “on his last album Rise of the Silverback. And the murder of his two cousins on the track “Cousins,” on his 2021 release Congo. You get different layers from him; sensitivity, intelligence, pain, and humor.  His latest album “Americas Sweetheart” which was cleverly marketed and dropped on Valentine’s Day is fitting. As on the album cover, he is smiling but also delivering two middle fingers. The great sarcastic contrast. It is like a Larry David episode, you do not know what he has gotten in store next. Some might confuse Nems as a childish antagonist, but he is difficult not to love. His talent and respect for the craft of hip hop is undeniable. He makes you want to root for him. And root they do on the lead single “Go Fat Boy,” which is an underdog head nodding anthem. The production is solid throughout, serving as a  proper backdrop for his calculated lyrics. Tracks like “CTE, “is bar heavy, and “My Side,” featuring Millyz out of Boston is catchy as the chorus steals the show.  While “Gunther,” is a hilarious toxic exchange with a woman who has gotten to his very last nerve, as he showers her with the opposite of compliments.  And “Coney Island Part 1 or 2,” is dedicated to his neighborhood, which is known for its amusement park, beach, and history of professional basketball players.  “God’s Hands,” has him reflecting on his hurdles and thanking his blessings,  while “Afuera,” is a heat rock with Tony Touch as they exchange urban slang expressions in Spanish and will be a warm weather anthem and played heavy at the New York City Puerto Rican parade. The closing track “Viral,” shows a focused Nems emphasizing his goals, as he avoids any pitfalls or distractions on his way to higher plateaus.   On America’s Sweetheart NEMS continues to level up, as Coney Island’s Mayor is expanding his grasp through America and Beyond. But there is nothing sweet about his barz, Go Fat Boy! 

#rewindreview: DcQ ‘Save The Children’ EP 2013

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  DcQ might not be known to many but for those ears that listened to Rawkus records in the late 1990’s, his voice will bring you back to a certain era. DcQ was apart of Medina Green who’s ’12 inch single ‘Crosstown Beef’ was an underground classic for those vinyl collecting D.J.’s and listeners of mixshow radio. Also he was one third of UTD (Urban Thermo Dynamics) who consisted of Ces and DcQ’s blood brother Yasiin Bey a.k.a. Mos Def. In 2013 I found this EP somehow as it was a “free release.” I was a bit off put by the cover art as it felt uninspiring, and that a person with the resume I just described would have more effort put into the presentation of anything he would release. What I would hear is about twenty minutes of that nostalgic feel I remember from Median Green but with more emphasis on a message of cultural awareness for black youth. Produced entirely by Ayotallah who was working heavy with the likes of Mos Def, Busta Rhymes and others during the early 2000’s, and Shawneci Ice-Cold, gave this EP the sound needed for DcQ to continue the vibes he was known for. Features include Sadat X, Joell Ortiz, Kash Ru, Jah Born and fellow Medina Green members Mos Def and Ali Shine. The album cover notwithstanding, this is a solid release and a rare find as it was released during the digital age but no where is the full project available online and no known physical copies. Stick with QUANTUM LEAP RADIO because we got it for you! What did you think of the album? Singles include: ‘Save The Children’ 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 HD11 Worldwide @kpft.org/listen (under “kpft in HD2”) Catch past episodes by searching and following @https://linktr.ee/QLEAPRADIO

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