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#rewindreview: Black Moon ‘Rise Of Da Moon’ 2019

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  2019 was a heavy year for HOP music releases with some veterans making comeback albums. Often forgotten is the return of Black Moon who had not released an album as a group since 2002’s ‘Total Eclipse.’ ‘Rise Of Da Moon’ is as “Duck Down crew” as it can get in the later years of rapping. No one is missing as Buckshot, 5 Ft. Accelerator and D.J. Evil Dee present the dynamic first seen on their debut album ‘Enta Da Stage,’ with all music provided by The Beatminerz. ‘Creep Wit Me’ sets the tone of the album as Buckshot offers his low and rough voice while “5 Footer” adds his high pitched energy to a Beatminerz track worthy of those late night sounds fans come to know from the group. The two emcees feed off of each other like this throughout the album and as far as 5 Ft. Accelerator, fans get to feel he’s presence much more on this album. Features are kept to a minimum and only include Smif-N-Wessun, Method Man and Rockness Monsta. This also makes the album much more streamlined but makes it a challenge for Black Moon to keep the listeners attention span for fifty minutes. As a whole the album could have been shortened by a few songs as there isn’t enough diverse content. The majority of the album is either about their return to the music, boisterous claims of street credibility or how nice their skills are on the microphone. As a Black Moon fan one can appreciate these angles but after such a long hiatus it would have served the album to delve into more ideas. The strength of this release is how the music doesn’t divert too far from who Black Moon is. This is beats and rhymes, the attributes that created the rise of Black Moon. What did you think of the album? Singles include: ‘Creep Wit Me’ & ‘Black Moon Rise’ Listen to QUANTUM LEAP RADIO every Saturday from 4-6p.m. CST & Thursday from 3-5a.m. CST on 90.1 FM KPFT Houston in HD2 Worldwide @kpft.org/listen/ & TuneIn app (under “kpft in HD2”) Catch past episodes by searching and following @fanlink.to/QuantumLeapRadio

#rewindreview: Joell Ortiz & Kxxg Crooked ‘Rise & Fall Of Slaughterhouse’ 2022

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  As a full disclaimer, I was never a Slaughterhouse listener. Not that any of the M.C.’s were not talented but during their initial run the music was not what I wanted to hear, on top of the fact original member Joe Budden I was not a fan of. His voice was always annoying to me and anytime his name was coming up outside of music, he was having issues with people I was actually fans of musically. Myself notwithstanding, Slaughterhouse had a solid fanbase and that audience was waiting on a follow up album from the group called ‘Glasshouse.’ Unfortunately for the audience the album never came to fruition due to the group’s label situation at Eminem’s Shady Records and the “retirement” of Joe Budden. Enter this album which provides a bit of closure for the Slaughterhouse fans as it’s title literally points out. Joell Ortiz and Crooked I a.k.a Kxxg Crooked break down the “rise and fall of Slaughterhouse” in a forty-five minute record that for me was surprisingly entertaining. The two had already made an EP called ‘H.A.R.D.’ as they continued to keep the gears from not being rusty but obviously were lacking the likes of their two other Slaughterhouse members. For me the only other person needed for either of Joel and Crooked’s releases was Royce Da 5’9,” who had also been seeing a renewed interest in the albums and music he was releasing. ‘Rise & Fall Of Slaughterhouse’ can be a bit awkward as eighty percent of the album is describing the disappointment Joel and Crooked have with the break up of the group and more specifically their disappointment with Joe Budden. What makes the album work for me is although the theme is obvious the music is more of what I would want to hear from the crew which was provided by The Heatmakerz, D.J. Pain 1, Hesami, D.J. Silk and a touching song ‘Look Mama’ produced by Fong Sai U. ‘Rise & Fall Of Slaughterhouse’ can feel like the the “b-team” crying about not getting as much playtime but this might be due to HOP music never really hearing an album themed with the tragedy due to the demise of a group. Joell Ortiz and Kxxg Crooked make for a solid duo, while Royce Da 5’9″ continues to elevate his solo career; and ironically I am a fan of “media Joe” Budden but still have not been sold on his previous music as of the time of this typing. Don’t take my thoughts about this group as an outsider listening in but see if as a fan one can understand the rise and fall of this “super group.” What did you think of the album? Singles include: ‘Vacancy,’ ‘Backstage,’ ‘Smoke’ & ‘Look Mama’ Listen to QUANTUM LEAP RADIO every Saturday from 4-6p.m. CST & Thursday from 3-5a.m. CST on 90.1 FM KPFT Houston in HD2 Worldwide @kpft.org/listen/ & TuneIn app (under “kpft in HD2”) Catch past episodes by searching and following @fanlink.to/QuantumLeapRadio

#rewindreview: Nems ‘Rise Of The Silverback’ 2023

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  The hustle that Nems has been on spans about twenty years from features with D12, to the battle rap scene but where the New York rapper hit his stride was his online videos. The videos find Nems going up to random people on the street and joking on who they look like while ending the joke with “don’t ever disrespect me.” It looks like the most New York attitude one could receive in that city but Nems has a way of making the joke work. Never to be lost in the fake world of social media, Nems is actually a very down to Earth person who still believes that rapping is the mission. ‘Rise Of The Silverback’ is just the release to not only remind people he isn’t just an online personality but that he will (by his own words) slap the sh!t out you, proverbially on record of course… This is a HOP album that truly takes listeners back to a time of the sound of New York rap while still not sounding like it comes from the 1980’s or 1990’s. Scram Jones produces the album and provided Nems with a diverse number of beats to ensure the music isn’t monotonous. There are a couple of moments that get “nervous” for one not wanting to hear current music in their HOP listening like on ‘Demon’ and ‘Blickey, but the good thing about ‘Rise Of The Silverback’ is it keeps focus for a solid thirty-five minute runtime. Nems clearly comes from the school of “hardcore hip-hop” and one might notice his aesthetic is similar to an early Fat Joe. He reminds me more of the Non-Phixion section of the HOP where ‘non-blacks” create music that represent their environment but still have an identity that doesn’t stray into making a caricature of Hip-Hop culture. “Hide your kids ya’ll..,” because Nems curses on this album like it’s the year 1993 which creates a subtle nostalgia to the record that also comes with features from Sheek Louch, Fat Joe, Gunplay, Ghostface Killah, Tish Hyman and Peedi Crack. With only thirteen tracks you would think these featured talents overshadow Nems but instead the “Fuc& Your Life” rapper’s presence is never forgotten. In time Nems will evolve his content more and that is present on the track ‘Keep On’ where we find the most introspective rhymes from Nems running down his hustle to get from “A to B.” ‘Rise Of The Silverback’ might not be for everyone but it does break a stereotype that battle rappers can’t create a solid rap record. What did you think of the album? Singles include: ‘Don’t Ever Disrespect Me,’ ‘Drip,’ ‘Blicky,’ & ‘Keep On’ Listen to QUANTUM LEAP RADIO every Saturday from 4-6p.m. CST & Thursday from 3-5a.m. CST on 90.1 FM KPFT Houston in HD2 Worldwide @kpft.org/listen/ & TuneIn app (under “kpft in HD2”) Catch past episodes by searching and following @fanlink.to/QuantumLeapRadio

#rewindreview: Boogiemonsters ‘Riders Of The Storm: The Underwater Album’ 1994

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  When we were buying physical recordings of albums there would often be those purchases that were not perfect but they might be one of your favorite albums to listen to. This was ‘Riders Of The Storm’ for me. In the summer of 1994 I discovered The Boogiemonsters during one of the many moments I tried to position the antenna on my T.V. to pick up the fabled Video Juke Box. This was a platform that required viewers to dial in a request for music videos. Although I never made any request it provided me with exposure to many new acts at the time. ‘Recognized Thresholds Of Negative Stress’ was not only a mouth full of a title for a song but also had a very annoying or captivating hook. In 1994 the whole song was different and these voices were fresh with ideas and energy. The album would present more of the same but over the years I have come to the realization that there was a common theme behind the songs. Recently there was an article asking was this a “Christian Rap album?” Something that never dawned on me as I was always taken by the music but did catch the meaning behind songs like ‘Mark Of The Beast’ and the almost gospel like vibe of the title track. As HOP music went back then, there was going to be positive and inspiring lyrics with certain groups so I always took their mentioning of certain religious references as just a part of their music. Boogiemonsters had a good thing going with this record because rarely did it ever get boring but maybe the pace would slow down on ‘Muzic Appreciation…’ and ‘Salt Water Taffy…’ but would pick right up with a track like ‘Honeydips In Gotham;’ which was relatable to young men searching for the opposite sex during those days. The song that has to be the most talked about, and at the time odd but impactful is ‘Old Man Jacob’s Well.’ This was a song about child abduction and although I was fourteen at the time it creeped me out and reminded me of the days when television movies like ‘Adam’ warned children to stay away from strangers. The unique thing about the song was it comes from the perspective of the abductor and how his motivation was not malice but as natural as a predator in the wild. The Jimi Hendrix-esque guitar rifts in the music drove the track home and really leaves an imprint on the listener but this also why ‘Riders Of The Storm’ is such a cultural hit for those that know. What did you think of the album? Singles include: ‘Recognized Thresholds Of Negative Stress,’ ‘Honeydips In Gotham’ & ‘Strange’ Listen to QUANTUM LEAP RADIO every Saturday from 4-6p.m. CST & Thursday from 3-5a.m. CST on 90.1 FM KPFT Houston in HD2 Worldwide @kpft.org/listen/ & TuneIn app (under “kpft in HD2”) Catch past episodes by searching and following @fanlink.to/QuantumLeapRadio

#rewindreview: Chill Rob G. ‘Ride The Rhythm’ 1990

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  The name Chill Rob G. should be a familiar name if one has been a hip-hop head for years pre-internet. One of his biggest moments was the song ‘The Power’ which was one of the biggest pop hits in 1990 only it was from a group called SNAP but it was Chill Rob G.’s song…. and well you’ll have to due some studying on that. Throughout the years I have always heard tracks on this album but it wasn’t until last month that I finally got around to hearing ‘Ride The Rhythm’ in full. With the untimely death of Mark The 45 King, I was reminded to finally hear this album produced entirely by the now deceased legend. ‘Ride The Rhythm’ was released on Wild Pitch records which was kind of like an early Rawkus records in that the releases were never about “fluff” and true to an emerging HOP sound and demographic at the time. Chill Rob G. had the quintessential voice and style of HOP for this era which included battle rhymes, story-telling and conscious raps to open the ideas and minds of young listeners. ‘Court Is Now In Session’ is the track I most knew him for which takes personal accountability, the legal system and police brutality to task. ‘Bad Dreams’ finds the “future shock” rapper going through one’s P.T.S.D. scenarios of urban living while sleeping. Although Chill Rob G. can keep it very serious over these up-tempo beats by Mark The 45 King he provides plenty of moments of showing his reason for being a top prospect on the mic for that era. The title track of this album is probably my favorite and is one of the few tracks I’ve heard over the years. ‘Ride The Rhythm’ is infectious and ‘Hard Times’ by Baby Huey is sampled perfectly by Mark The 45 King, providing a blueprint to how the sample would be utilized by other artist later on. ‘Ride The Rhythm’ as an album is not perfect but does have it’s place in the pantheon of the HOP’s second generation and influence on where the music would go. Rest in beats to the architect of this albums music D.J. Mark The 45 King. What did you think of the album? Singles include: ‘Dope Rhymes,’ ‘Court Is Now In Session,’ ‘The Power’ & ‘Let Me Show You’   Listen to QUANTUM LEAP RADIO every Saturday from 4-6p.m. CST & Thursday from 3-5a.m. CST on 90.1 FM KPFT Houston in HD2 Worldwide @kpft.org/listen/ & TuneIn app (under “kpft in HD2”) Catch past episodes by searching and following @fanlink.to/QuantumLeapRadio

#rewindreview: Polyrhythm Addicts ‘Rhyme Related’ EP 1999

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  The day I purchased this release in the summer of 1999 I also purchased Lootpack’s ‘Soundpieces: Da Antidote’ so needless to say my ears were beyond satisfied. Polyrhythm Addicts was a collaboration similar to Black Star, where individual M.C.’s teamed up to create a supergroup. Apani B. Fly Emcee, Mr. Complex & Shabaam Sahdeeq made for the core rappers while beats were all provided by D.J. Spinna. For me none of these names could do no wrong going into this EP. ALL OF THEM had shaped my HOP perspective by 1999 with independent 12″ singles, features and songs that never left me unsatisfied. The collaboration of all four was icing on a cake that audiences unfortunately would never get to taste again. Polyrhythm Addicts was yet another example of how dynamics in groups from the yesteryears of HOP music were critical to why those were the best of times. Shabaam Sahdeeq was the marksmen shooter with his lyrics, while Apani provided the voice and delivery that was so perfect for the texture of this release and Mr. Complex’s abstract style of rhyming makes the group “not your ordinary.” Add on D.J. Spinna who by the late 1990’s was in a zone unmatched with his production. From beginning to end ‘Rhyme Related’ never let’s up. ‘Take Me Home’ which has one of the few features on this album with Pharoahe Monch reminds me of the summer season this EP came out in. The previously released ‘Not Your Ordinary’ fits perfectly after that with D.J. Spinna’s signature sound. Songs like ‘Should Have Known Better’ and ‘Nervous Breakdown’ capture the synergy of the M.C.’s like an updated Funky Four Plus One. It is ‘Big Phat Boom’ that hits the soul though. With dreamy production from D.J. Spinna and a vocal sample from Q-Tip proclaiming the name of the group “Polyrhythm Addicts…,” Apani solidified her rankings with me as an M.C. on this track. If ever there is a question as to why she is one of my favorite women rappers, her lead off on ‘Big Phat Boom’ is a small sample to why. I could go on about this EP but it’s downfall is that it was only an “EP” not an album. The impact this release could have made as an album with a few more songs is a ‘What If…’ moment for me and although a full album from the group released eight years later, it was missing a key element in Apani B. Fly. This is still one of my favorite listens and much like a rare diamond, I try to appreciate ‘Rhyme Related’ as such. What did you think of the album? Singles include: ‘Not Your Ordinary’ & ‘Motion 2000’   Listen to QUANTUM LEAP RADIO every Saturday from 4-6p.m. CST & Thursday from 3-5a.m. CST on 90.1 FM KPFT Houston in HD2 Worldwide @kpft.org/listen/ & TuneIn app (under “kpft in HD2”) Catch past episodes by searching and following @fanlink.to/QuantumLeapRadio

Album Review: Blockbusta – Is Busta Rhyme’s Latest Effort a Classic?

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When Busta Rhymes dropped Extinction Level Event 2 in 2020, he hadn’t dropped an album in 11 years. He doesn’t make fans wait long as he drops Blockbusta just three years later. The Long Island legend really mastered the ceremony with this release, as he delivers a thoughtfully laid out project with all the best aspects of his style. This project really embodies that title, as Busta brings us perhaps his most cohesive project if not the most refined version of him.  One of the most debated topics in hip-hop, particularly about rappers is, do they have a classic album? Busta is one of those golden-age artists this is debated about. Now his last project E.L.E.2 certainly satisfied the hip-hop enthusiasts with boom-bap heavy tracks and vintage feel but, it left some area to be gained with mainstream stay. This latest release feels like it could be the answer to all those questions and possibly his most solid project ever.  The show starts fast, no long skit or drawn out intro Busta gets straight to it 15 seconds into “The Statement,” and it feels like he hears the chatter too. Rapping double-time like he’s late to a meeting, Busta reminds those hating who he is. The track is a great intro and sets the bar for the project. “Remind ‘Em” featuring Quavo keeps the pace high, and fits well as a second track. Of course Busta switches cadences and has some signature ad-lib breakdowns, while the track feels big and regal, definitely a bop for the ride.  You know Busta always is going to hold down New York, as BIA stops through on “Beach Ball,” but the project really turns up with Young Thug’s appearance on “OK.” Cool and Dre heavy synth-trappy production slides hard with the two MCs on the forth track.  The vibes continue on with the unique voice of  LA’s Blxst over a western feeling guitar-riff on “Could It Be You.” The stripped production of the track highlights the best of the calculated rhymes of Busta as he spits, “Give you the semi, question if you gonna keep it tucked?/When I’m in my struggle/ I question if you gonna keep me up.” The track feels like a Tarintino flick with Young Bleu playing the twist, adding a smooth flavor to the second verse.  Still no skits. No skips. “Luxury Life” is a playful song and memorable hook as Busta Does his best Four Tops delivery of an interpolation of “Ain’t No Woman.” It serves two useful purposes, reaching a younger audience with the assistance of Coi Leray, and satisfies the Hip-hop purest monster with the production at this point of the album, a win-win. T-pain and DaBaby assist on “Big Everything” relying on a resampled version of UGK’s “So Throwed.” If you can get past the first 30 seconds of DaBaby or enjoy him, this song really slaps, especially in the low bass category.  This is where the project really turns up, Burna Boy really brings the vibes up with “Roboshotta” as Busta embodies one of the best versions of himself in his rudeboy flow. “Tings” really gives DJs a afro-beat infused club joint that works so well. “The Return of Mansa Musa” showcases Busta on a golden throne of percussion, Swizz Beats cooks up with MJ interpolation that falls into a rhythmic genre blending treat. Still No Skips. JNR CHOI stops by to assist “Stand Up” with the unique use of Coolio’s “Gangsta’s Paradise” chopped into a Soca-esch dance blend, which is pleasantly received. The most experimental song so far. Busta is like a gracious host showing us his house, as he welcomes Shenseea and Chris Brown next for a smooth ride on “Open Wide.” Then goes into braggadocios classic Busta with “Hold Up.” The beat is playful and memorable. “Hive”‘s melodic piano hypnotizes as Busta drops back into rudeboy mode with Giggs, switching the energy and “Homage” featuring Kodak Black brings us back to the streets amping up the energy. Still no skips! Morray soothes and croones with the auto-tune assisted “Legend,” while Slide goes into a Mystikal sample before a piano driven instrumental send off. A strange but cool juxtaposition of tracks.  “Legacy” delivers so well as a segway into a smoother vibe and the guest deliver memorable spots, as Busta drops into his cool low baritone voice.  The final track features Big Tigger, bringing everyone back to “The Basement,” as he interviews Busta Bus about the state of the game, but does at time come off as campy during his parts. The choir backed track, is a nostalgic flashback at the legacy of the MC and his answer to all the questions about his place in hip-hop. It’s hard to place the classic label on things as they drop, but purely on first listen, there are no skips on this project. Hip-hop purists might have a more critical view of this project, as the project sounds very commercially strong, but again, you want boom bap Busta, go listen to E.L.E.2. Rating 9/10 Favorite Song: Roboshotta – This thing just go. Least Liked Song – Big Everything – DaBaby just kind of sounds like he does … on everything.   

Glasses Malone Dares Cancel Culture with Cancel Deeez Nutz

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There was a time and era where West coast ruled the airwaves, where you would hear Dr.Dre, Ice Cube or Snoop oozing out of speakers everywhere and wonky synth leads over G-Funk hooks were the standard. Glasses Malone latest project Cancel Deeez Nutz provides that feeling again and also transports listeners to L.A. with a cohesive backdrop of well produced music.  The name of the project perfectly personifies the content, as Glasses forces us in the old school through LA hoods in 2023. Kicking the door with the title track “Cancel Deeez Nutz,” which sets the bar for what some will deem offensive material in the era of cancel culture. Glasses dares them with memorable assistance by the L.A. Giantz who raps “I believe Kathleen is still a man/ RKelly Music turned up I’m still a fan,” over staccato string stabs. The rapper delivers with an authentic proud middle finger to the cancel culture on certain topics with songs like “Kanye Should Have Married (That Bitch),” and “Sum VI Bitchez.” Malone gives listeners a little bit of everything with lyrical hip-hop driven joints like “21’ Stimy Flow” and “Tha Loc,” while taking listeners on a California journey with songs like“ My Nyk Cortez,” and “Palm Trees and Roses.” The most notable of these, the ode to one of his favorite hood food spots with “Jim Dandy’s.” The song opens with a pimpish interpolation of Cameo’s “Candy,” as Glasses flips a classic Snoop line while telling us about the treacherous route just to get there. The second verse delivers a play by play scenario of the game of life or death for some chicken, but the song delivers shiny and glistening like a delicious chicken wing; undeniable. The real treats of this project are “Us” and “Tale of Whitney’s Plug.” The foremost song is introduced with a clip from Cedric the Entertainer from the movie Be Cool, before diving into a classic Westcoast beat, featuring Joey Westside. This track is a flag of Black pride and celebration of the Black influence. Delivering with deep striking passion, over fly production that maintains the Westcoast cool vibe at the same time.  The latter is an interesting journey, not only sonically but the bars as well. The cranky voice of Samuel L. Jackson’s character Stephen from DJango Unchained quickly enters, before cutting into a surprisingly cut sample. Glasses paints the scene purposefully and methodically, while laying out the dope game in story form over another banger by producer E.P. Who noticeably does an impeccable job of creating a cohesive and consistent high-level of production throughout the project.  The project delivers well for the seasoned MC, even the outro track “Walk Off” slaps, with assistance from Kokane. Glasses gives proper salutes and tributes to Battlecat, Dsmoke, and other collaborators over a thumping jawn.  Although the project is thorough and consistent, it is also polarizing. This is not something you play for everyone, but Glasses draws his line in the sand with no apologies. Those who rock with it are provided with endless C-Walking material and funky slaps.  Favorite Song: “Tale of Whitney’s Plug” Least Favorite Song – Undecided, there’s not really an un-listenable song.  Rating 8.0/10

#rewindreview: Wildchild ‘Secondary Protocol’ 2003

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  In “the year of the Mad,” often referred to as 2003 by many underground HOP heads, we got a slew of Madlib produced or adjacent albums. Wildchild who is one third of the Lootpack along with Madlib and D.J. Romes, tried to satisfy the urge fans were left with, after the debut album from the group ‘Soundpieces: The Antidote.’ Initially it took myself a while to get into this album as The Lootpack record made such an impact but also it was coming to terms that Madlib himself was changing his production style. When you add those two things up, my expectation of what beats I wanted to hear Wildchild over in 2003 felt disappointing. Time passes though and over the years this album has grown on me tremendously. It is more uptempo and a “teaser trailer” for the sound from the West Coast’s most underrated artist and albums that would follow. Wildchild was blessed to know the “Jackson Brothers” which is Oh No and Madlib. A whole album strictly produced by those two are like acquiring Willy Wonka’s golden ticket during the mid to late 2000’s. Wildchild utilize the two to craft a fun yet “edutainment” filled record. There are moments of rapping for the sake of it but a few teachable moments like ‘Kiana’ which is an ode to his daughter and the importance of father’s in the home. The only visual single the ‘Wonder Years’ aims to tell the listener to appreciate and not take for granted the good times we have. ‘Secondary Protocol’ really tries to break the stereotype at the time, that underground hip-hop music was not for partying and always serious and this might have been my original disconnect. Wildchild really created an album that if in a different multi-verse where the music industry uplifted actual music rather than relationships, ‘Secondary Protocol’ would have had tracks in radio and music video rotation. Instead it is still an album for those of us who are fans and for others to discover. What did you think of the album? Singles include: ‘Wonder Years’ & ‘Knicknack 2002’ Listen to QUANTUM LEAP RADIO every Saturday from 4-6p.m. CST & Thursday from 3-5a.m. CST on 90.1 FM KPFT Houston in HD2 Worldwide @kpft.org/listen/ & TuneIn app (under “kpft in HD2”) Catch past episodes by searching and following @fanlink.to/QuantumLeapRadio

#rewindreview: ChronILLogical ‘Rhyme And Reason’ 2020

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  The recent pandemic might have been the worst and most odd thing many of us have or will experience in our lifetime but it made a space for creatives to sit down and focus. A lot of music came out from people we haven’t heard from in a while. Enter the M.C., producer duo ChronILLogical from #HUEston consisting of Stress and D.J. Gonz. This EP is almost twenty minutes of grassroots HOP with command able rhymes from Stress and tough headnod beats from D.J. Gonz. I’ve known Stress for about twenty years on the Houston hip-hop scene and one thing I can say is in the “2020’s” his voice and skill have not rusted. Always a true M.C. and on ‘Rhyme And Reason’ he continues to display it with vivid lyrics of dedication to rapping, staying focused on goals and awareness of fake individuals. D.J. Gonz creates a couple of jazzy but hardcore beats that have a flare to how it was mixed, thus making Stress’ voice and beats blend perfectly. You can find Stress keeping his skills sharp with the Certain.Ones crew but if one wants to focus on him as an M.C. stay in ChronILLogical order here. What did you think of the album? Listen to QUANTUM LEAP RADIO every Saturday from 4-6p.m. CST & Thursday from 3-5a.m. CST on 90.1 FM KPFT Houston in HD2 Worldwide @kpft.org/listen/ & TuneIn app (under “kpft in HD2”) Catch past episodes by searching and following @fanlink.to/QuantumLeapRadio

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