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#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

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  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

#rewindreview: Denaun Porter ‘Stuff In My Backpack’ EP 2015

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  My audio experience with Denaun Porter has been complicated over the years. The Detroit producer/rapper has been in the game thirty years but my introduction to him was D12. A group that was put on by Eminem in the early 2000’s to which I was never a fan of. To my surprise his name would pop up after D12 as a producer on albums from people I was a fan of. What he provided to those albums was pure HEAT and more of what I would want to hear. Yet when I would hear his production on an Eminem albums, the soul of that music he created elsewhere was not present. In 2015 Denaun released an EP that really showcased the diversity of his music making. ‘Stuff in My Backpack’ is not limited to a major label or one artist outside of Denaun himself, to provide a quick reminder of how he gets down. With features from Royce Da 5’9,” Phonte, Young Roc, Pharoahe Monch and Rapsody, this project is not only satisfying musically but lyrically as well. Denaun also gets on the mic to rap and also display his harmonic side. Lyrically you will not get “superthug” street raps from him but the audience will hear a more comedic side to the producer. A couple of skits provide that side of Denaun as we go on a journey with him to locate “stuff in his backpack.” This EP is a quick consolidation of what Denaun Porter can really do when in focus. As I’ve said before, anytime his name comes up in the credits of an album, I look forward to what he will provide. Acts like Eminem clearly want a different sound from Denaun which has confused me for many years. The stuff in “Mr. Porter’s” backpack is why I like the ‘Infinite’ album from “Slim Shady” and might have liked albums after that had he wanted the evolution of that sound. What did you think of the album? Singles include: ‘Hey’ & ‘Cooking’ 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: Darkside Preme ‘Stuck In 1995’ 2026

Posted on by Quantum Leap Radio

  This release by Darkside Preme is seemingly a love letter to the year of 1995, on face value. One would think it is about the sounds and moments that the year had for HOP music. The importance of a time that birthed a benchmark in where the culture turned. This release however is just as the title states which is a perspective that simply will not leave that specific year. Darkside Preme uses ‘Stuck In 1995’ as a way to either live out a reality that has passed, or act out a movie he wished to star in from that time. The album might start off a bit curmudgeonly with the very catchy ‘This Can’t Be New York.’ A track that poses the obvious question of what happened to the sound and appearance of what outsiders thought of the city that birthed Hip-Hop culture. While ‘One Time For The 90’s’ presents the perfect opportunity for those to claim “old heads” don’t want to acknowledge later era’s in HOP music. This project isn’t just about chastising what things evolved to. Darkside Preme focuses on telling stories that range from trust in the streets, betrayal, and the influence those things can have on even the kid who didn’t grow up in the worst conditions. Fullblast Muzik provides the beats for the entire project and gives Darkside Preme the “New York” sound one might recognize from the 2000’s. Often Fullblast Muzik will insert samples that bring the listener back to Jay-Z’s ‘Reasonable Doubt.’ An album that this release seems heavily influenced by. Although there are twenty tracks, this album is only about forty minutes long. The reason for this is due to the skits on this record; which tries to tell a story of a character, recently released from prison that is catching up on what has been happening in the neighborhood. Depending on how one likes to take in music, these skits can enhance the story of ‘Stuck In 1995’ like Organized Konfusion’s ‘Equinox’ album, or keep the pace of the record sedated. What did you think of the album? Singles include: ‘This Can’t Be New York’ & ‘One Time For The 90’s’ 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: String Theory (Hex One & BBZ Darney) ‘String Theory’ 2014

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  The deep underground of HOP music had it’s best years in the mid to late 1990’s. As the new millennium began, that underground scene was bittersweet because there was more exposure to acts that didn’t have huge media exposure, but it was also hard to keep up with the emerging scene. By the end of the 2000’s, the term “underground hip-hop” did not mean the same as it once did and due to the internet audiences just broke off into “tribes.” The deep underground scene remains to this day, and during the 2010’s some names entered that category who had a good buzz within the culture of underground HOP listeners. Epidemic was a two rapper group I was put on to during the last decade. consisting of Hex One and Tek-nition. They represented Florida which only showed how far along the “underground Hip-Hop” scene expanded. Ironically I was put on to them when they dropped their last album ‘4 Dimensions On A Paper’ in 2016. This release was enough to have me interested in the crew which lead me to Hex One’s collaboration with beatmaker BBZ Darney. ‘String Theory’ is the name of the album and group with Hex One and BBZ Darney. This 12 track, forty minute album is HOP music that reminds me of the early 2000’s in terms of its execution. One M.C. with one producer, and a few features from their close crew that the public are then put on to. Hex One has a style of rapping that is syllable heavy while BBZ Darney’s beats compliment Hex’s style with a nice balance of mellow with slightly dark textures for the more serious content on the album. Where this album could have been better is making sure that songs sound more distinguished. At times Hex One’s style can seem like it is one dimensional, so if listening for the first time one might think they heard a song twice from the vibe created. The listening of this album is not a failure as it is often “edutainment” with songs like ‘Used To Be,’ ‘Realities’ and others. String Theory might operate from a small cog in HOP music’s atmosphere but that has a relation to the ears that want to hear the fundamentals to what makes this music last. What did you think of the album? Singles include: ‘Currents,’ ‘Reminisce’ & ‘Art Of Rap’ 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: E.P.M.D. ‘Strictly Business’ 1988

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  It’s the debut album from the legendary duo from Long Island, New York, who carved their own lane with hard hitting beats and their signature “slow flow” delivery. E.P.M.D. which stands for Erick and Parrish Making Dollars, was seemingly a perfect combination for a time in HOP music where not only the aesthetics were changing but the music as well. Comparatively to a Run D.M.C., Erick and Parrish were more stripped down with less resources for distributing music but this also made them a bit more relatable. ‘Strictly Business’ is an album that not only sets a standard for the group but allowed for some of the most memorable quotes and songs in HOP music. From the b-boy anthem of ‘It’s My Thing,’ the infectious ‘You’re A Customer,’ and the inception of what would become a theme on their later albums ‘Jane.’ Even turning comedic actor Steve Martin into a dance; E.P.M.D. marked their territory for what was at the time an “underground audience” but the music would soon reach a worldwide fever pitch. My earliest memory of the group were the videos for ‘You Gots To Chill’ and ‘Strictly Business.’ At the time my only method of hearing HOP music was through video shows so seeing the dancers in ‘You Gots To Chill’ was an overstimulating factor in me wanting to dance just like them. To this day I still quote the passive aggressive introduction of the “M.C. Sherriff, the best in town” from the ‘Strictly Business’ video. However I did not get around to hearing this album in full until 2007. Ironically enough (and I promise not planned) I finally bought this album the day Little Brother’s ‘Get Back’ released. That album’s cover art paying homage to E.P.M.D.’s debut. E.P.M.D. would have a bit of a roller-coaster ride in their careers as a group and solo acts. At current date they are still a group and tour, but best believe when performing songs from an album almost 40 years old, the crowd, whether new or old still have the same exhilaration. What did you think of the album? Singles include: ‘It’s My Thing,’ ‘You Gots to Chill,’ ‘Strictly Business’ & ‘I’m Housin’ 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: Organized Konfusion ‘Stress: The Extinction Agenda’ 1994

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  The second album from the Queens New York duo, Organized Konfusion has been considered a classic over the years and with good reason. It was Pharoahe Monch and Prince Po establishing their rightful footing in rap music. Having released their debut album three years prior, it did not seem to make the impact that ‘Stress: The Extinction Agenda’ made. For on this album the group seemed to be hitting on all cylinders and did with limited resources. I was first introduced to Organized Konfusion in the summer of 1994 through the Video Jukebox. A program that ran videos all day everyday, but the caveat was the playlist was controlled by how many people called in to pay and request the videos shown. In rotation at one point was the first and only single from this album ‘Stress.’ What made the video and song unique was how chaotic it felt. The hook for the song is like a build up to something cataclysmic while the video expressed this same feeling by how it edits the two M.C.’s on the streets of New York, to hiking in borrowed snow in the woods. For me this was all new and a bump in evolution of rap music back then. The album continues this theme while not going too far off the deep end. ‘Stress…’ is produced mainly by Organized Konfusion and Buckwild, with Rockwilder closing the album with the emotion felt ‘Maintain.’ O.C. and Q-Tip show up on ‘Let’s Organize,’ which gives the listener a full on experience of Organized Konfusion. Pharoahe Monch and Prince Po utilize their voices as distinct instruments while providing some vivid moments in storytelling and rhyming abilities. ‘Why’ is that moment every man has to face concerning trusting the opposite sex while ‘Black Sunday’ gives a dark origin of the two coming together to “organize” and create the brand audiences know today. ‘Stray Bullet’ is the track that truly shines the light on the talent of the duo as they take the listener on a journey of a single bullet, and the consequences it creates within inner city neighborhoods. This album is a jewel that has aged extremely well over the years. My biggest issue has always been the stretch from ‘Black Sunday’ to ‘Bring it On.’ It’s the only moment in the album where there is a bit of a lull; and ‘Drop Bombs’ and ‘Bring It On’ are tracks that feel “suspended in time.” There is also a remix to ‘Bring it On’ that I wish could have been the original on this album. Nevertheless Organized Konfusion created a piece of art that is solidified among HOP music listeners. A timeless album cover created by “Matt Doo” who also created Company Flow’s ‘Funcrusher Plus’ cover art, classic moments that are embedded in listener’s ears, and music that sparks universal familiarity when played. All this while having simply one single for the release. What did you think of the album? Singles include: ‘Stress’ 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: KRS-One ‘Streel Light: First Edition’ 2019

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  The solo projects for KRS-One officially start in 1993 with ‘Return Of The Boom Bap;’ considered to be a classic and one of the best albums in KRS’ discography. It was KRS’ third solo album ‘I Got Next,’ which would be the start of the downside of his albums but ironically it went Gold. For the majority of the 2000’s KRS’ albums were not very appealing. Persistence has been the attribute that the legendary M.C. has been able to survive and maintain his celebrity. 2007’s ‘Hip-Hop Lives’ produced by Marley Marl, gave KRS-One another stipe on his catalog. It also was a time for fans of “Tha Teacha” to realize we might get a good one every five albums. By 2019 KRS had put out 15 albums since 1993. 2017 he was able to break through the internet with a bit of a buzz about an album called ‘The World is MIND.’ The album might not have lived up to the bit of chatter that it created and unfortunately that harmed ‘Street Light: First Edition’ in my opinion. ‘Street Light…’ is a twelve track project that really gets to the point and does not have much filler tracks. It features vocalist such as his wife GSimone, M.A.D. Mike and Jade Hendricks. Production is handled by Mlody, D.J. B. Original, Ollie, D.J. Static, KPrymeTheJäger and Enrico Wolf, who are all virtually unknown. However Jesse West and Mad Lion provide a couple of beats giving this album music that mainly fits KRS’ rhyming style. “Tha Teacha” is going to beat you over the head with maintaining the integrity of Hip-Hop culture but a track like ‘Invader (2019 version) stand out with it’s very descriptive tale of the consequence of colonization. ‘GOD’ is another track that is unique on this album as the spirituality of KRS is brought forth, but more importantly his rhyming pattern on the song just shows KRS’ strives to never get rusty on the mic. ‘Street Light: First Edition’ deserves more credit but unfortunately it proceeds some less than stellar releases. The album cover is not appealing and as I have stated many times, the title of albums can harm releases if it feels like there is some sort of “part 1” to it. I feel if this album had been a comeback record after not hearing from KRS-One in about a decade, it would have been better received. 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: Royce 5’9″ ‘Street Hop’ 2009

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  First hearing him on the track ‘Bad Meets Evil’ with Eminem during the days when Eminem sounded hungry, had me ready to hear more from Royce Da 5’9.” When the DJ Premier produced ‘Boom’ started showing up on mixtapes and college radio I figured the Detroit M.C. was on his way to being the next up. Then the video for ‘Boom’ dropped and things got a little nervous… 1999 into the 2000’s was a critical time for HOP music. The “invisible line in the sand” was starting to get a lot more blurry and those acts you could always depend on had to make a choice in the direction of their careers. Some stayed the path while others rolled the dice to gain a larger audience in a shorter amount of time. It seemed with the video for ‘Boom,’ and the slightly amended version of the song attached to it, Royce Da 5’9″ rolled those dice. I became uninterested in “Royce” for the majority of the 2000’s. There was no denying his talent and skill but many have talent and skill, although that is rarely translated to albums, which for me is the true litmus test. Whether Royce Da 5’9″ started to feel this reaction in the ether, or times just got better musically in the 2000’s, by the end of that decade “Royce” seem to get something right. I saw the single ‘Shake This’ on a video show and was impressed by a couple of things. For one Royce Da 5’9″ linking up with D.J. Premier again, and D.J. Premier providing beats that were not sounding so “Preemo” post Gang Starr’s ‘Moment Of Truth.’ Both seemed to be in a zone on this track that had me looking at “Royce” again. Although when ‘Street Hop’ dropped I was hesitant to listen, because nineteen tracks after almost a decade of not really being into songs he created, might be a “herculean effort.” I listened and was proud that the M.C. had delivered an album of growth and more importantly a project that makes one want to return for multiple listens. ‘Street Hop’ gives room for “Royce” to maneuver between displaying his very gifted rhyme abilities, telling stories, and experimenting with different styles. ‘Dinner Time’ featuring Busta Rhymes and ‘Mine In Thiz’ featuring Denaun Porter, specifically stand out as Royce switches styles while still maintaining his incredible wordplay. His ability to tell stories being in the category of a “battle rapper” is another reason he has maintained a career over the years too. The final act of ‘Street Hop’ is where he puts those storytelling abilities to proper use on tracks like ‘On The Run’ and ‘Murder’ that serve as companion tracks. The most descriptive track on this album is ‘Part Of Me,’ which I personally have not been as stunned by a song since Boogiemonsters ‘Old Man Jacob’s Well.’ A story about a guy meeting two women and in the end regretting what he wished for. ‘Street Hop’ is a massive undertaking in making an independent record label album. With production from Nottz, Streetrunners, Emile, Denaun Porter and others, while featuring Busta Rhymes, Phonte, Melanie Rutherford, Trick Trick and Royce’s group Slaughterhouse, respect has to be given to the effort Royce provided. ‘Street Hop’ gave me a reason to start checking for Royce Da 5’9″ again and since it’s release Royce has made many good projects. Sometimes the formula to success just takes slightly longer than expected. What did you think of the album? Singles include: ‘Shake This’ & ‘Part Of Me’ 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: Black Thought ‘Streams Of Thought Vol.3: Cane & Able’ 2020

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  Just when you thought (no pun intended) that it was over, Black Thought returned to his ‘Streams Of Thought…’ series for a third installment. By now the audience realized that each release would be Black Thought teaming with one producer, and this time it was Sean C. Veteran producer, former affiliate with The Hitmen production team of Bad Boy records, and one half of Sean C. & LV, would turn the third and maybe final ‘Streams Of Thought…’ into a large sounding record. One thing that each volume had done was set a stage but the next one would seem bigger musically than the last. Sean C provided a sound for Black Thought that grants an opportunity for crossover audiences to connect with. However this doesn’t mean that ‘Streams Of Thought Vol.3’ abandons what Black Thought has built in this series and throughout his career. This album has the elements that gave The Roots a larger audience by the early 2000’s. It is more acoustic driven, upbeat, and darker at times. Features were something that the listeners had not heard since the first ‘Streams Of Thought…’ and Black Thought enlist the rapping skills of ScHoolboy Q, Ohshun, Pusha T. and Killer Mike. This helps ‘Streams Of Thought Vol.3’ feel more like an album as opposed to an EP or series. What was becoming apparent was that Black Thought was getting very comfortable creating these releases and almost making the audience forget to look for a new Roots album. ‘Streams Of Thought Vol.3’ was released during the first COVID which inadvertently caused listeners to sit with music, as there was nothing else to do. Black Thought delivered what again could have simply been a brand new solo album as this collaboration with Sean C. stood out slightly more than the first two volumes. The Philadelphia M.C. has also stated that it’s not over and a volume four is on the way. It will be interesting to see how the next volume separates itself from the previous three, but I’m personally ready for a new Roots record. What did you think of the album? Singles include: ‘Thought vs. Everybody’ 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

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