Digiwaxx Culture Archives

#rewindreview: Cesar Comanche ‘Squirrel And The Aces’ 2005

Posted on March 31, 2026 by Quantum Leap Radio

For the JUSTUS League, 2002 through 2005 were the most beneficial and strongest years for the crew. With album releases from Little Brother, The Away Team, L.E.G.A.C.Y., 9th Wonder and a barrage of songs the crew provided online for free; the listening public had no choice but to understand their mission statement. If one were to compare the JUSTUS League to Wu-Tang Clan Cesar Comanche would be G.Z.A. Founding member who had an album prior to the crew’s brand. ‘Squirrel And The Aces’ is the third album from “Cesar” and takes a slightly different approach from his previous releases. The album is meant to highlight the JUSTUS League as well as a couple of outside collaborators. More along the lines of a Jazz collective or Diamond D.’s “Psychotic Neurotics.” The album is intentional and although there are features for the majority of songs, it doesn’t feel like it’s not Cesar Comanche’s album, and has a lot to do with the sound he is known for. With a production list of 9th wonder, Khrysis, Nicolay, D.J. Resident, L in Japanese and Cesar himself, ‘Squirrel And the Aces’ becomes another notch to the strong discography the JUSTUS League had created. The consistency of the album is that one will either like it and have no songs to skip or one is not going to be into the record period. There is no real in between. Cesar Comanche utilizes this moment to make a strong argument that him and the JUSTUS League were a presence to be respected and remembered for years to come. What did you think of the album? Singles include: ‘Up & Down,’ ‘Miss you (remix)’ & ‘The Grind’ 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: Kaze & 9th Wonder ‘Spirit Of ’94’ 2005

Posted on March 24, 2026March 24, 2026 by Quantum Leap Radio

In the mid-2000’s, 9th Wonder became a name that any upcoming HOP artist wanted to be attached to. In fact not only up and coming artist but veterans who also wanted to have a presence in the “truskool” Hip-Hop market. 9th Wonder was the “golden boy” during this time and if his name was attached, one had to listen. The internet had become more accessible and with that so did music. By 2004 many of the Justus League crew had their music floating around peer to peer sites like Soulseek and Limewire. This was intentional and only helped acts like Little Brother, Median and L.E.G.A.C.Y., but as the public was getting famliar with those names other acts were poppin up in these online music packages and D.J. mixtapes. Enter Kaze who was from North Carolina like much of the Justus League crew. He seemed it bit more rough around the edges and closer to street culture but his proximity to 9th Wonder motivated me to listen. A concentrated effort of his music with 9th Wonder started to float around called ‘Spirit Of 94.’ A release that would soon be made official a year later with a few more songs added from the original album. Kaze and 9th Wonder keep it simple and to the point with soulful beats and rough raps that don’t over stay the welcome of listeners ears. Kaze entertains with his boisterous content but also provides some life introspection on ‘Should’ve Been Here.’ ‘Soul Dojo (Essence Of Life Mix)’ is a letter of instruction on keeping not only the physical portion of ones life in order but the mental and spiritual too. ‘Stay A Customer’ is a street anthem for the hustlers with an immense beat from 9th Wonder while ‘Waiting To Exhale’ is for the smokers. ‘Spirit Of 94′ might not break new ground in HOP music but it is a solid listen. One will also not feel like they are listening to anything from 1994 as 9th Wonder’s sound was very specific during those mid 2000’s years. If anything the spirit of 1994 is representated on this album from it’s approach and confidence that ears will not be disappointed, or feel their time has been wasted after listening. What did you think of the album? Singles include: ’50/50 Amp’ & ‘Last Laugh’ 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: Lifesavas ‘Spirit In Stone’ 2003

Posted on March 17, 2026 by Quantum Leap Radio

Lifesavas were a group that functioned during the “independent Hip-Hop” movement that thrived during the late 1990’s and early 2000’s. The three man members comprised of Vursatyl, Rev Shines and beat maker JUMBO The Garbageman, were from Portland Oregon, which was not a known Hip-Hop hub at the time. Where Lifesavas got a lifeline was from being apart of the Quannum Projects collective that was known for their very left of center, yet soulful execution of HOP music. Acts like Latyrx, D.J. Shadow and the flagship group Blackalicious, had set a standard of sound for Quannum Projects, so the question would be could Lifesavas carry that torch? ‘Spirit In Stone’ is it bit more grounded than their peers in the Quannun Projects. There is a brighter energy to this album with very upbeat production from JUMBO The Garbageman and Blackalicious’ Chief Xcel. The album does a great job of providing positive messages while not feeling dreary. At the time of it’s release one could still go to a “underground” Hip-Hop function and experience dancing, and ‘Spirit In Stone’ makes sure that said D.J. could apply songs in rotation for that event. Where this album could have been better is shortening songs. Over the years it was personally harder for me to have repeat listens of it in full because tracks might meander. Often times it was hard to distinguish Vursatyl from Rev Shines as well, so connecting with the individual M.C.’s was a challenge. Much like many Quannum Project artist, Lifesavas had a cult fanbase and with good reason. There is no denying that ‘Spirit In Stone’ is a solid and consistent release even if it was an acquired taste. What did you think of the album? Singles include: ‘Head Exorcise,’ ‘What If It’s True,’ ‘Fever’ & ‘Fa Show’ 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: Big Boi ‘Speakerboxx’ 2003

Posted on March 3, 2026 by Quantum Leap Radio

This was probably one of the most odd or unique, depending on where one stands with Outkast, releases in HOP music. After multiple hits and platinum selling albums, Outkast returned in 2003 for their fifth album but as a sort of “two for one” release. With Andre 3000 focusing on his more abstract and R&B side, Big Boi maintained the rap portion of this release. ‘Speakerboxx’ is really the debut solo project for Big Boi. A chance for the Atlanta rapper to showcase his talent without the assistance of Andre on the microphone. Although it was his solo outing, the album feels like a house party hosted by Big Boi with invited guest. Those guest include Goodie M.O.B., Ludacris, Jay-Z, Lil’ Jon & The Eastside Boyz, Killer Mike, Slim Calhoun, Sleepy Brown, Jazzy Pha, Andre 3000 and others. If ever the audience could not figure out the difference in personalities within Outkast ‘Speakerboxx’ bluntly carves out where Big Boi stands. He’s the family member that shows up and is social with all the participants. The guy that pulls the girl on the dance floor to get the party started. The country cousin who frequents the whole in the wall spots during downtimes, but attends church every Sunday. This album doesn’t have a slew of “Hip-Hop Quotables,” throughout the album but more a vibe of the community Big Boi comes from. The first single ‘Ghettomusick’ was like a punch in the face while tracks like ‘Bowtie’ and ‘The Way You Move’ are the “batsignal” for the listener to get up groove. Big Boi does not simply stay in the “party” lane but also touches on the effect of wartime on ‘Bust’ featuring Killer Mike and ‘War,’ which the latter proves history simply repeating itself some twenty odd years later. ‘Speakerboxx’ can be looked at as a victory of circumstance or a casualty of Andre 3000’s hit ‘Hey Ya.’ For the fan of Outkast and HOP music, this album is a solid addition to one’s collection and a proper introduction to the expectation for future Big Boi solo releases. What did you think of the album? Singles include: ‘Ghettomusick’ & ‘The Way You Move’ 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 Flow Factory ‘SP to LP’ EP 2020

Posted on February 10, 2026February 10, 2026 by Quantum Leap Radio

One thing the Pandemic did was create a sense of urgency or appreciation for music creation, depending on one’s point of view. In #HUEston there was a select few at one point that might not have fit into the “box” the city was known for. I personally only knew of about three acts by the early 2000’s but while being on “the scene” in those days, I became aware of some acts I may have missed. Flow Factory which consist of three M.C.’s Mavrek, Big Ruk and Mynus had been navigating the rap battle circuits in Houston for some years. When combined as a group one could see them out performing at certain spots and hear them as a group or separately, featured on songs throughout the years. The void they lacked was having a release everyone could get to that showcased the trio’s talent. ‘SP to LP’ is that long awaited moment for Flow Factory to enter the proper release space that many of their peers like Example and K-Otix had done years prior. Maybe the reason it took so long was as simply three M.C.’s, there needed to be a guiding force to highlight their talents with a proper audio palette. Enter The Roux who consist of Kay, King Mason and Jermaine Williams. All had plenty of hours making incredible music in their own time, with the likes of Robert Glasper, Chris “Daddy” Dave and more, but now had come together as a collective to help extract the best out of some HUEston talents. Flow Factory was able to be in the list of those talents and this EP benefitted greatly with that. The Roux made sure to keep a ruggedness that Flow Factory radiate but also a lush sound to give this EP some meat. ‘SP to LP’ is meant to give a summary of how the three member group has stood firm all these years being from South Park and La Porte (Houston). The intro provided by Andre King work as a foreword for what the audience can expect for the next twenty-five minutes. ‘Hi Haters’ and ‘Don’t Stop’ is a “roll call” for the return of Flow Factory. Then on ‘A.M. To Da P.M.’ the trio decide to show that their content be about more than battle raps but provide a little slick talk for the ladies. ‘The Technique’ is my favorite track on this album as the production from The Roux and all members of Flow Factory are completely in sync on that track. My one complaint with the release is Mavrek’s vocals sounded a bit off with the exception of ‘A.M. To Da P.M.’ but his lyrics were not to be denied. ‘SP to LP’ has relatable ability to those of us who appreciate M.C.ing and comradery. Ask yourself how many times you’ve sat around talking about rap or reminiscing on childhood memories of forgotten toys. What did you think of the album? Singles include: ‘Hi-Haters’ 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

STILL SHINING TWENTY YEARS LATER: A TRIBUTE TO J-DILLA

Posted on February 9, 2026February 13, 2026 by Quantum Leap Radio

“The artist’s role is to raise the consciousness of the people. To make them understand life, the world and themselves more completely.” —Amiri Baraka Did Jay Dee a.k.a James Yancy complete this goal? I mean in 2026 one might say that he absolutely did but could that same point of view apply twenty years ago? To an audience that waited for B.E.T.’s ‘106 & Park,’ the nightlife they frequented, or local terrestrial radio to guide their ears, absolutely not. For this is why Jay Dee a.k.a. James Yancy was truly a “genius.” It took reading credits on albums from The Pharcyde, Keith Murray, A Tribe Called Quest, Busta Rhymes and more to continue to see this “Jay Dee” name and think there was maybe a spelling correction. At the time the only “J D” known was Jermaine Dupri, but clearly the ‘So So Def’ figure head was not making these types of beats, but had access to those same acts who were big in the industry. If Not Jermaine Dupri, who is this Jay Dee…? By the end of the 1990’s an “underground jewel,” which has gone on to be a cult classic was released in 2000. This was ‘Fantastic Vol.2 by Slum Village out of Detroit Michigan, and what a way for the audience to now understand who this “Jay Dee” was. Slum Village was beyond the method and audience this group was intended for. Had one major label took a chance with them for this particular album, I can only imagine the course T3, Baatin and Jay Dee would have been on. Here lies the paradox because Jay Dee never seemed to want the spotlight or cared for the accolades. His mission, for those of us who were paying attention at this time seemed to simply provide new ways of making music. Raising that “consciousness” which would influence so many over the years, unintentionally and intentionally, known and unknown. His mark on music was getting too massive to not recognize. This recognition didn’t come from millions of listeners but from those names in the industry like Pharrell Williams, Questlove and Kanye West, who understood that a juggernaut was operating behind the scenes. Well flash forward to third quarter of 2005 when a modest radio show in Houston T.X. called ‘Late Nite Snax,’ reported on a clip of a live show appearance from Jay Dee a.k.a. J-Dilla where he performed on stage in a wheel chair. This was odd by all means because Jay Dee was rarely ever seen so to find out he was dealing with some sort of ailment, but still wanting to perform was heartbreaking but also inspiring. Of course during those years the Hip-Hop audience was not losing figures left and right as we are today, so the thought was that he would power through whatever sickness this was. By December of 2005 “J-Dilla” had credits on a few albums and talk started about a new album from the Detroit native coming in the following year. As a host on ‘Late Nite Snax’ I remember even having talks about “J-Dilla” appearing on the show through a phone interview as we usually received guest. This never happened but we figured in 2006 we would finally have our “Captain Ahab” moment and catch the ‘Moby Dick’ of ‘Late Nite Snax.’ See this radio show had favorites and was never scared to make sure that whoever choose to tune in would hear those favorites while they could live and breath. After leaving work on February tenth of 2006, I received a text from one of Houston’s best M.C.’s, Snap (a.k.a Dirty Red), to which it read “did you hear about Dilla.” Automatically my mind went to his performance in a wheelchair from the year prior and thought the worst, but again in 2006 that feeling is foreign as Hip-Hop acts didn’t die. Upon further text messages and calling others, my worst fear was confirmed. It was surreal because Jay Dee wasn’t running around in the streets and killed by his enviroment. He wasn’t abusing illegal substances (at least to my knowledge). He was simply a young hip-hop act whose trajectory was heading upwards in the most genuine and natural way. Plus he had just dropped the incredible and defining album ‘Donuts’ on his birthday so this had to simply be rumor right, how can he be… gone? ‘Late Nite Snax’ never caught our ‘Moby Dick’ but best believe we did everything we could to speak as loud as we could for Jay Dee a.k.a. J-Dilla at the time. We were able to reach out to friend of the show Drake Phifer from Detroit, who put us in contact with D.J. House Shoes and Roc C., as we got their perspective on the man the myth and the legend. We also took this night out as a collective to just provide two hours of pure “Dilla.” A masterclass and only a slight percentage of his music up to that point. No posthumous remixes or unofficial blends, just a hefty catalog of the foundation laid by James Yancy, to justify why he has had such a legacy twenty years later. Rest in the most HEAVY BEATS James Yancy a.k.a. Jay Dee a.k.a. J-Dilla (Feb. 7, 1974 – Feb. 10, 2006) Take a QUANTUM LEAP back to the LATE NITE SNAX ‘J-Dilla Tribute Show’ February 23, 2006 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: Outkast ‘Southernplayalisticadillacmuzik’ 1994

Posted on February 3, 2026 by Quantum Leap Radio

This is the beginning of an era, a movement and a legacy. Outkast seemed to appear among a multitude of southern acts during the mid 1990’s. At this time the sound and interest of HOP music was reaching beyond the East and West Coast. With their first single ‘Player’s Ball,’ I personally remember just hearing it as “background noise” and not paying much attention to it. By the time the second single, which is the title track for the album dropped, the understanding was this group might be a bit more ahead of the race than their current peers. Although that was a merit for them, Outkast still was not the groundbreaking group we know them to be today. It personally took their second album ‘ATLiens’ and a couple of songs replayed from this album on college radio for me to eventually sit down with the record a few years after its release. ‘Crumblin’ Erb’ was the main catalyst for me to listen to ‘Southernplayalisticadillacmuzik.’ Growing up in the south and in particular the area I grew up in, that “audience” I never associated with the vibes ‘Crumblin’ Erb’ present. Needless to say it made me appreciate those first two singles more and as a whole this album was planting a flag for the group and the city of Atlanta. Between ‘Myintrotoletuknow’ and ‘Ain’t No Thang,’ it was clear that Outkast was providing a sound bigger than what I had ever expected from this first album. Organized Noize and Outkast were a symbiotic relationship on this record favorable to your arm and hand. Providing Outkast with music that fit their personalities and experiences, while also being a bridge to sounds the audience were married to from the East and West Coast, made this album a perfect fit for the diversity and fresh sounds HOP music birthed during 1994. Outkast do a great job of not preaching to listeners but relaying point of views that can be true learning lessons like on ‘Call Of Da Wild’ and Git Up, Git Out,’ which ironically are the introductions to the public of Goodie Mob. There is another side to the South that they display which is “Southern soul music” which they do unapologetically on ‘Funky Ride.’ In 1994 this seemed like a huge risk in the eyes of record executives, as having R&B songs on a Hip-Hop album was not yet common. It worked as well as moments like ‘Hootie Hoo’ which begins like it will be one of the more weaker tracks, until about a minute and a half in and Organized Noize start to build on the track with live instruments that gives the song a whole new life by the end of it. ‘Southernplayalisticadillacmuzik’ is this hidden seed that a person like myself could not actualize at the time. Outkast was building their presence and setting a blueprint for how they would create and evolve later. The intro to ‘D.E.E.P.’ literally is the “alley op” to what would become their “benchmark release” ‘ATLiens.’ What did you think of the album? Singles include: ‘Player’s Ball,’ ‘Southernplayalisticadillacmuzik’ & ‘Git Up, Git Out’ 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: Apollo Brown ‘Sincerely, Detroit’ 2019

Posted on July 16, 2025July 16, 2025 by

I have said on record (you can see old Late Nite Snax radio shows) that “there was something in the water” in Detroit. For many Eminem is the reference point for the city. Others might be older and M.C. Breed is that origin point. For me it was Slum Village and anyone that was affiliated with them. That unit clearly had a certain sound and type of rhyming that might be in total contrast to an Eminem. What was undeniable was there was a diverse Hip-Hop scene in Detroit that any listener could choose from. Enter Apollo Brown, who’s name I started to see around 2010. Initially I had no idea where he was from but the music was enough to keep me interested. In 2014 he did a collaboration album with Ras Kass called ‘Blasphemy’ which I personally think is one of Ras Kass’ best albums. Now there is no denying Apollo Brown which come to find out is from that city with that “…something in the water.” In 2019 the beat maker put out ‘Sincerely, Detroit’ which is truly a thank you letter to the cities most effective and talented M.C.’s and gives somewhat of a “crash course” to those not in the know of these acts. This is a compilation record with Apollo Brown exclusively on the beats while he also had the daunting task of gathering Detroit’s best for an almost hour and a half album. The audience will recognize names like Royce Da 5’9, Slum Village, Elzhi, Melanie Rutherford and Kinuva; but Apollo digs deeper and highlights those acts that have been effective not just on the Detroit underground scene but across the world like Boog Brown, Boldy James, Guilty Simpson, Black Milk, Leaf Erikson and Ty Farris just to name a few. This is a hefty album that I have to warn is strictly Hip-Hop with no room for trying to fit in or cookie cutter material. If there is an issue listeners might have, is the amount of time one would have to sit with the record. It can be argued that it is too long but at the same time this “love letter” of Detroit HOP music might not mean the same if all these acts could not be represented on one project. What did you think of the album? Singles include: ‘The Backbone,’ ‘Deception & Woes, ‘365’ 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

#rewindreview: ‘Silent Weapons For Quiet Wars’ 1997

Posted on July 8, 2025 by

The mark that Wu-Tang Clan left on the music industry will probably never be duplicated, in terms of ideas and themes that seemed so opposite of what Hip-Hop was. With that influence there were acts that clearly were trying to duplicate what the crew brought to listener’s ears. It was only fitting that by the time of their second album in 1997, Wu-Tang introduced their immediate family who they felt deserved to be “cuban linx” by proximity. Killarmy was a six M.C. crew with an in house producer. Killa Sin, Beretta 9, Islord, 9th Prince, P.R. Terrorist and ShoGun Assasson provided raps while 4th Disciple made his way on to the Wu-Tang chess board with his production on this album. ‘Silent Weapons for Quiet Wars’ fits the theme of Killarmy’s name and they lean heavy on it throughout this record. The book ‘Behold A Pale Horse’ was somewhat of a bible for many rappers that came up during the 1990’s to which the album name is a quote from the publishing. A lot of “theory” on how the world was operating and who was “in control,” played a huge factor in the content listeners received. Killarmy is a mashup of “strength in numbers” instituted in the Wu-Tang Clan lure, and soldiers ready for the “quiet war” that was being fought for people’s minds. The question is why this album and group never made the splash of their predecessors and it can be because they felt too “familiar.” With the six M.C.’s it was often hard to distinguish who was who but one could also pinpoint their rapping style to someone in the original nine members of Wu-Tang Clan. Also with 17 tracks the album can meander as the group tries to fit in so many bars over production that is trying to separate these songs while keeping the “DNA” of the Wu-Tang sound. For the absolute “Wu-fan” that only wanted to hear the type of music they brought, ‘Silent Weapons For Quiet Wars’ satisfies that urge. The album is not bad for what it is but at the same time it doesn’t create new fans not already down with the Wu-movement. What did you think of the album? Singles include: ‘Camouflage Ninjas,’ ‘Wu-Renegades,’ ‘Swinging Swords,’ ‘Fair, Love & War’ & ‘Wake Up’ 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

Jermaine Dupri Drops Club-Ready Single “Turn Around” with T.I., 2 Chainz & Young Dro

Posted on July 5, 2025 by

Jermaine Dupri shared with Digiwaxx that before creating this record, he would reach out to DJs and tastemakers to see what the club was missing – and then he’d go right in the studio and deliver exactly that. That’s why he’s always been ahead of the curve. Now, the GRAMMY®-winning producer, Songwriters Hall of Famer, and true cultural icon is back with another banger. His new single “Turn Around,” featuring Atlanta rap royalty T.I., 2 Chainz, and Young Dro, is out today via on all platforms including the Digiwaxx record pool! Serving as the lead single from his highly anticipated full-length album inspired by the upcoming STARZ docuseries Magic City: An American Fantasy (executive produced by JD and premiering August 15, 2025), “Turn Around” is a full celebration of Atlanta’s influence on music and strip club culture. The bass-heavy, club-ready anthem is unapologetically Southern, encouraging women to smile, let loose, and “turn that thing around.” The high-energy video, debuting June 13, captures ATL’s strip club scene in all its rawness, featuring cameos from Bow Wow, 21 Lil Harold, and other local legends. When we interviewed Jermaine Dupri about his new Magic City project and his latest single “Turn Around,” he shared powerful insight into his creative process. Speaking on the writing and production of the track, he told me, “I believe good music is good music.” He went on to explain how he approaches his work with intention, saying, “I see a void, and when I see a void, I try and fill it at all times.” It’s that mindset that has kept him at the forefront of music for decades, always listening to the culture and giving the people exactly what they didn’t even know they were missing. The full project, dropping August 15 alongside the docuseries, brings together an all-star lineup of Atlanta artists, marking the first time a producer from the city has curated an entire album exclusively featuring Atlanta talent across generations and genres. It’s a historic moment, with JD and So So Def once again pushing the culture forward. Fans can expect an immersive listening experience that captures the essence of Atlanta’s iconic strip clubs while honoring the roots, legends, and lasting impact of Magic City on hip-hop and pop culture. As someone who’s witnessed JD’s passion up close, it’s clear he’s always stayed tapped in with his city – showing up for his own with an unshakable sense of hometown pride. With the summer heating up, “Turn Around” is just the start. Get ready for an Atlanta takeover led by one of its founding architects. It’s an Atlanta Summer.

Category: Digiwaxx Culture