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#rewindreview: Apollo Brown ‘Sincerely, Detroit’ 2019

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  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

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  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

#rewindreview: Camp Lo ‘Short Eyes’ EP 2001

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  With a solid debut album under their belt and a certified hit, Camp Lo needed to make sure they were able to survive the “new millennium.” In comes a very rare “taste test” of a release in an EP called ‘Short Eyes.’ If one listened to the last remaining college radio shows around this time or knew D.J.’s who were in support of HOP music, a track or two from this release might have been heard like ‘Sunkiss’ or ‘Baby Mother.’ Otherwise you might have needed to be in Japan or perusing online outlets like ‘sandboxautomatic’ to own this EP. Much like the records title the listener is granted a short collection of new music from Camp Lo. The group continues their signature raps that often can seem to need a translator but still keep it as “fly” and stylish as they can be while paying homage to 1970’s black films. Although the film this references is much darker in contrast to the vibes one hears on the release. Camp Lo manages to keep the party groove throughout the twenty minutes of this EP and they seemed to assimilate easy into the “cha cha” sound that came with popular music from about 1999 to 2002. The record is consistent and gives insight into where the group was heading musically but it does not break any ground or has those obvious moments of greatness their debut album has. For the Camp Lo fan they would be satisfied, and even the fly by night listener of HOP music, if they could understand their lyrics. What did you think of the album Singles include: ‘Army’ & ‘Baby Mother’ 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: Ali Shaheed Muhammad ‘Shaheedullah And Stereotypes’ 2004

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  My expectation for a solo album from Ali Shaheed Muhammad, the third member of A Tribe Called Quest, was it would be a compilation record, with a myriad of different artist. Instead the solo debut ‘Shaheedullah And Stereotypes’ is “Ali’s” moment to get on the mic and rap as well as “try” to sing. It’s been twenty years since this album dropped which flew a bit under the radar. After solo albums from Q-Tip and Phife Dawg, and a reunion tour happening with no new “Tribe” record in sight, Ali took to the studio and created a very hefty album with some surprising creatives. I always thought growing up that Ali was the man behind the beats for A Tribe Called Quest but as it turns out the main person was Q-Tip so on ‘Shaheedullah And Stereotypes’ he takes the main floor for production along with Houston T.X.’s own Chris “Daddy” Dave. The two put together an album that initially was a bit of a “head scratcher” but over time this album has aged well and let’s just say with today’s current events, the content seem prophetic. Ali Shaheed Muhammad enlist rappers such as Chip-Fu from the Fu Schnickens and Kay who also has been a veteran staple in the Houston Hip-Hop music scene. This album is not all HOP music and gives Ali a chance to satisfy the short lived Lucy Pearl era with some soul, R&B and dance music. On this release the legendary Stokley Williams of Mint Condition assists along with an up and coming Sy Smith, and Wallace Gary. On paper this album seems to have a lot going on but as it has aged, it also is very clear that these names mentioned were a tight nit group that put this album together and made it feel like a moment for “Tribe’s” third member. For me personally this album was special because of it’s hefty connection to HUEston. With A Tribe Called Quest being one of my favorite groups and arguably the greatest group in HOP music, it was inspiring to see a legend like “Ali” recognize and work with the talent that is often overlooked and underappreciated in this city. What did you think of the album? Singles include: ‘Elevated Orange’ & ‘Banga’ 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: Punk Barbarians ‘Sex, Props & Cream’ 1996

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  In the 1990’s HOP music was at it’s strongest point because it was building on the decade before with rappers and the music discovering it’s potential. Labels were taking chances, media was exposing acts and listeners were hungry for the next new thing. With all of that innovation the genre also witnessed a lot of acts that were “one and done.” This was usually caused by those acts never being that good or the consolidation of media and record labels by 1997. Here we have Punk Barbarians who debuted in 1996 from the Long Island area of New York. They consisted of four rappers Sunny Cheeba, Bam Bam, Doozer and Renegade (a.k.a. Shine On). My initial introduction to them was a song called ‘Bubblin’ which I remembered seeing the video but never got into the song. ‘Blast Off’ I happen to catch one the few times it was played on Rap City and I was loving this track, to which I didn’t realize this was the same group with the ‘Bubblin’ song. Fast forward at least seven years, I find this album to give it a listen and I was blown away by at least the beats. ‘Sex, Props & Cream’ is an album that highlights those elements which seem to drive HOP music at that time and arguably still today. The subtext of this album is “the drama in between” which is what the group claims to deal with on the record. What listeners will hear from the group is a lot of free flowing ideas, mixed with a bit of comedic presence, but not much in substance for content. The music provided by Poisoned Ivy is the highlight and glue that keeps this album afloat. Ironically the ‘Bubblin’ track they released as a single is a different version than what’s on the album, which had they used I might have been in support much earlier. If one is a fan of the swing bass and heavy thump the mid-1990’s provided, they will be or were satisfied by this release. To this day I still don’t understand the meaning of the groups name which just adds to the macabre nature of their “one and done” moment in HOP music. I do however appreciate this album and it’s always a fun listen whenever I return to it. What did you think of the album? Singles include: ‘Blast Off,’ ‘Bubblin’ & ‘Hooptie Car’ 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: Kool Keith ‘Sex Style’ 1997

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  This Bronx M.C. has had one of the most interesting careers in HOP music that he has been in complete control of. From Ultramagnetic M.C.’s to a spaced out horrorcore act as Dr. Octagon, Kool Keith created a lane for an acquired listener, while paving a path for the “alias” within the existing character, music acts already portray. ‘Sex Style’ is the debut solo album for “Kool Keith” and if one is not familiar with the rapper EVERYTHING about this album, from it’s cover art to the content will feel confusing or cheap. How do I know this, because I was that outsider at one point. I would constantly see this album in stores and look past it as around this time the era of “bad cover art” (certain record labels shall remain nameless) was in full effect along with horrible rappers on those albums. Kool Keith’s name I knew of in passing but did not KNOW him like that. At the time a college radio show I listened to was playing tracks like ‘Sly We Fly,’ ‘Lovely Lady’ and ‘Plastic World.’ These songs all seemed strange and I could not wrap my head around their purpose. Ironically around this time is when “Keith” was appearing on different projects and it was almost destined for me to delve into his back catalog up to this point. I finally get around to ‘Sex Style’ and between understanding the Kool Keith brand and hearing those songs I initially heard on college radio, I can appreciate the album for what it is. The record is an “anti-underground Hip-Hop” album that plays (or jokes depending one’s point of view) on the over sexualized corner of HOP music. In the many personas of Kool Keith we get the pimp that controls all the prostitutes of the industry (rappers) and has them doing the wildest acts while also getting songs of comedic filth that goes against the grain of any “truskool” HOP music listener. Kool Keith has always been about disruption and destroying barriers within HOP music while also being one of the most abstract acts in the genre. ‘Sex Style’ creates the sound of Kool Keith and his many personas from the Kut Master Kurt and T.R. Love production but beware when “soundbombing” this album while driving in your car or in your residence. What did you think of the album? Singles include: ‘Don’t Crush It,’ ‘Wanna Be A Star,’ & ‘Plastic World’ 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: Boogie Down Productions ‘Sex & Violence’ 1992

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  Around the age of twenty I began to go back and dig into the Boogie Down Production catalog. I was always a fan of the singles that were released and KRS-One as a rapper but by the year 2000 certain HOP music sounded outdated, or so I thought. Finding the BDP ‘Live Hardcore Worldwide’ release, sparked my motivation to go down the rabbits hole to which I eventually got to ‘Sex & Violence.’ Upon my initial listens back then I didn’t think it held much weight, especially among the previous albums. Like music should do though, ‘Sex & Violence’ appreciated over time. This is due to it’s very raw approach but also the sound was the biggest it had been for a Boogie Down Production album. Pal Joey, Kenny Parker, D-Square, Prince Paul and KRS-One himself, provided music that could compete with a new hardcore era of HOP music in the early 1990’s. More importantly the songs on this album were like a time capsule for anyone who forgot or did not live through 1992. From the conversation of Mike Tyson’s assault case, to the Gulf War, “KRS” pinned some incredible songs with parallels to reality. ‘Drug Dealer,’ posing a question or solution to the ever growing street pharmacist about how to invest in the community if you are going to sell to that community. ‘Questions & Answers’ is one of KRS’ most creatively executed songs as he interviews himself on why his music takes the stance it does. Nas who has been known to look up to ‘Tha Teacha,’ took a page from this album with his track ‘Destroy & Rebuild,’ attacking his rap antagonist as on ‘Sex & Violence’ ‘Build & Destroy’ is KRS-One’s response to X Clan’s criticism about his ideology and being “pro-black.’ enough. The album as I initially stated is one that can not simply be glossed over as I might have done on my first listens. It deserves more credit and to be understood as a real examination of an era. Over the last decade narratives have been made about the song ’13 & Good’ which were not present when this album was released and years after it’s release; causing the song to get lost in context possibly due to a generation who was not there or have an agenda against KRS-One. The track clearly does not promote predatory actions toward minors but instead the issue of adult establishments, at that time allowing for minors to frequent these venues and the consequences that were attached with it. Another form of storytelling from ‘Tha Teacha’ in congruent with tracks like ‘Loves Gonna Getcha.’ With this being the last Boogie Down Productions album and KRS-One’s first solo outing coming the next year, ‘Sex & Violence’ almost gets lost in the overall discography. It is however one of the most conscious rap albums in the genre from the cover artwork to the content. What did you think about the album? Singles include: ’13 & Good,’ ‘Duck Down’ & ‘We In There’ 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: Elzhi ‘Seven Times Down Eight Times Up’ 2020

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  This Detroit rapper is often forgotten when talking about the best M.C.’s from that city. It could be due to his content not being about negativity all these years. It could be to the fact that he actually raps. It could be due to the amount of music he has(n’t) put out over the years. Regardless of the reason, on ‘Seven Times Down Eight Times Up,’ Elzhi gives one of his most consistent musical offerings yet. This album only features two acts in the vocalist Monica Blaire and rapper Fes Roc. All beats are provided by JR Swiftz who gives Elzhi the right production that fits and reminds listeners of the wheelhouse Elzhi comes from, that include producers like Waajeed and Jay Dee a.k.a. J-Dilla. All while not allowing the production to out shine Elzhi which makes for a “good combination” and satisfying listen. Elzhi has been an urban legend throughout the years due to his talent but lack of albums released; even with this record often forgotten due to it being released during the Pandemic. Although he has had critical acclaim for previous “mixtapes” in the past, ‘Seven Times Down Eight Times Up’ is the album release I have expected from the former Slum Village member all these years. 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”) Catch past episodes by searching and following @https://linktr.ee/QLEAPRADIO

#rewindreview: Sir Menelik a.k.a. Scaramanga ‘Seven Eyes, Seven Horns’ 1998

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  The entity known as Sir Menelik was an understudy of The Great Kool Keith. With that comes the propensity for stream of thought rhyming and multiple personalities when releasing music. ‘Seven Eyes, Seven Horns’ is Sir Menelik’s debut album but under the moniker of “Scaramanga,” a character loosely based on the James Bond villain that owned his own island and “the man with the golden gun.” My interest for this album peaked after numerous features he had with Kool Keith and 12″ inch singles that were released through Rawkus records. Listeners should expect that with “Scaramanga” one will hear the talent of polysyllabic rhyming but if trying to hone in on the meaning of these lyrics, you might be decoding them for years. The title of the album is steeped in the idea of perfect power and perfect vision as God would see it on earth. If one can cut through the abstract lyrics on this album they might be able to hear how Scaramanga describes his vision of lyrical perfection and insight as well. Again a challenge that can only be offered… Sir Menelik was often known to be more “sci-fi” in his content but under “Scaramanga” this album leans into the “streets” and “underworld” aspect one might compare to Raekwon’s ‘Only Built For Cuban Linx’ album or Nas’ “Escobar” era. What makes the album work is the combination of beats provided by Showbiz, Godfather Don, Scholarwise and Scaramanga’s delivery. Tracks like ‘Special EFX,’ ‘Alphabetic Hammer,’ ‘Shallah Magnetic’ and the title track are a reminder of how the independent, underground sound was at it’s best in the late 1990’s. My issue with this album, even still to this day, was more about the sequencing of songs, mainly toward the end of the project. ‘Death Letter’ has the original and remix added and the original’s production doesn’t hold up with the songs surrounding it while the remix might be better but should have been the last track on the album as a “bonus.” With all the time that has past this album gets better simply because of how rare it is and also how unabashed it was in it’s approach. What did you think of the album? Singles include: ‘Special EFX’ & ‘Mind I.C. Mine’ 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: Sach ‘Seven Days To Engineer’ EP 1998

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  During the “file sharing era” I came across many hard to find or never officially released albums. For me that was the purpose of those days, to not simply pilfer off of rapper’s works but to find those gems that might have been lost but now found and digitized, to last forever. The Nonce was a west coast group who in my opinion never got the attention they deserved. Even with a cultural hit song called ‘Mixtapes” and an incredible debut album that song was attached to with ‘World Ultimate,’ Sach & Yusef Afloat were still limited to an “underground” fanbase. This meant if you were not in the general vicinity of the group, one might have missed releases they had. In 1998 Sach put out an EP ‘Seven Days To Engineer’ which by my own account seems to have been a slight “testing of the waters” on how he would a approach a solo release. This EP is about twenty minutes long and has a “demo tape” feel to it as songs don’t sound properly mixed with vocals often not matching the volume level of the music. What is enjoyable about this release is the obscure and often improvisational jazz style of beats that Sach really gets to display here. It would be another 4 years and an unfortunate passing of Yusef Afloat for audiences to get a proper presentation of the sound of Sach but for those who might have got this street tape or took advantage of the “file sharing era,” we were prepared to hear the continuation and genesis of a sound that took seven days to engineer. 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”) Catch past episodes by searching and following @https://linktr.ee/QLEAPRADIO

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