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#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

#rewindreview: Alcynoos, Parental & Loop.Holes ‘Rewind’ 2023

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  This album truly touches the HOP audience familiar with instrumental releases from Alcynoos, Parental and Loop.Holes as individuals and as a collective. All three are from overseas with Alcynoos and Parental from France and the Loop.Holes crew from Norway. They team up to deliver a cool out album with a collection of some of the best M.C.’s in the past twenty years. ‘Rewind’ does exactly as it’s title and takes the listener back to a familiar sound of jazzy beats and rapping. ‘Belafonte’ featuring Ill Conscious, Venomous 2000 and Debonair P is the best example of what to expect on this album. ‘Rewind’ not only focuses on rapping and beats but also allows the element of D.J.’ing in HOP music to be focused on too. There is also a “who’s who” of names on this album if you really know your HOP music beneath the surface. Yancy Boys who consist of Jay Dee a.k.a. J-Dilla’s brother Illa J. and Frank Nitt have one of my favorite tracks on here called ‘Stocks Up.’ It’s moody, it’s chill and metaphorically puts life’s ills into a description of the Stock Markets movements. Alcynoos, Parental & Loop.Holes make sure that the audience is engaged on ‘Rewind’ and that the M.C.’s voices are just as an important instrument as the ones they used to craft ‘Rewind.’ 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

Jeezy Maintains Consistency with New Album

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  Jeezy may have dropped the Young from his moniker a few years ago, but has maintained the signature sound and adlibs that broke him into the industry with his latest effort I Might Forgive… but I Don’t Forget. In addition to the familiar adlibs of “haha”‘s and the occasional “let’s get it,” The Snowman has shown a bit of growth in his content. Songs like “Don’t Cheat” which claims real men don’t cheat and “Delusional” in which he raps about surviving the street life to leave it.  Keeping it true to his classic sound on tracks like “I Might Forgive”, “My Name” and “Shine On.”  The beginning of the album is dominated by producer Ricky Polo who does his best Trap or Die impersonations, with trappy leads and deep sub bass, certain to please the slab riders with bass for the system.  The second half is dominated by J.U.S.T.I.C.E League who diversifies the sound a bit with tracks like “If I’m Being Honest,” “Titanic” and “Expectations.” Their use of timely samples, raucous intros and interesting percussion is what changes the tone of the project just enough. The project is 29 tracks deep, which seems a bit lengthy for this era and tends to drag on a little too long. Jeezy raps about his typical content of drug tales and thug type references, while showing maturity talking about real estate, relationships and the responsibilities of a legal businessman.  For the loyal Jeezy fan, this project will more than fill their appetites, however it will do very little to draw in new younger fans. Jeezy has found a formula that works and doesn’t stray very far from it.  Favorite Track – “Shine On” Least favorite track – “Nothing to Prove” Album rating 6/10

#rewindreview: J-Live ‘Reveal The Secret’ EP 2007

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  There was this very underrated and unmistakable hit on D.J. Jazzy Jeff’s ‘The Return Of The Magnificent’ album called ‘Practice.’ This track featured the M.C’s M.C. J-Live and sampled one of Allen Iverson’s most famous media outtakes where he proclaimed that action as something he could do in his sleep. Fans of underground music and sports were extremely receptive to this song but had it actually had the machine behind it, J-Live could have been in another tax bracket with audience ears. Going off the momentum of that track and preparing his next release with BBE records was the ‘Reveal The Secret’ EP. A six track release that featured production from certified “beatsmiths” such as Marco Polo, D.J. Spinna, Oddisee, Mr. Walt (Beatminerz) and of course the aforementioned D.J. Jazzy Jeff. J-Live gets back to the HOP music fans love to hear from him on this release featuring his unique form of storytelling and overall presence on the microphone. By 2007 J-Live understood the effect of putting out EP’s to test the waters and once one is on the last track of ‘Reveal The Secret’ they are yearning for more. Break your neck and sing along to this often forgotten gem from a real M.C.! 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

FOR IMMEDIATE RELEASE: Famous Record Pool Digiwaxx Celebrates 25 Years and Confirms New Digiwaxx Latino Division

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Digiwaxx, the renowned record pool, proudly commemorates its 25th anniversary in the music culture and reveals a significant expansion plan into hyper-focused divisions. The inaugural division to be unveiled is Digiwaxx Latino, which seeks to cater to the immense influence and extensive global presence of the Latino community in the music industry. Heading this exciting endeavor is Brian “Essince” Collins, a distinguished professional with an illustrious career that spans across international markets, particularly in Latin America. A native of Honduras, Essince has played a pivotal role in launching promising artists and collaborating with diverse clients worldwide. As the world joyfully celebrates the 50th anniversary of Hip-hop this year, Digiwaxx takes immense pride in its own remarkable milestone of 25 years in the hip-hop scene. Throughout its journey, Digiwaxx has meticulously curated one of the most esteemed record pools, while wholeheartedly supporting the culture through an array of initiatives. From exclusive events held nationwide to the renowned Digiwaxx calls featuring industry giants as guests, Digiwaxx continues to flourish, propelled by the unwavering support of the hip-hop community and the dedication of its founder, Corey “CL” Llewellyn. The brand’s impeccable reputation precedes it, facilitating connections between artists, DJs, and platforms on a global scale. Corey “CL” Llewellyn expressed his excitement about the addition of Digiwaxx Latino to the Digiwaxx family, emphasizing the desire to create specialized divisions focused on various music genres and cultures. He further praised the choice of Brian “Essince” Collins to spearhead the Digiwaxx Latino division, citing his professionalism and successful track record on both national and international levels. The newly established Digiwaxx Latino division will showcase an array of Latin music playlists, exclusive content, and interviews, providing a platform for Latin artists, industry professionals, and enthusiasts. Essince shared his personal journey with Digiwaxx, recounting how he had been introduced to the platform during his early days in the industry, monitoring Digiwaxx submissions for a New York label. He expressed his delight in being able to leverage this influential platform to highlight the remarkable talent and growth of Latino artists, an aspiration he has held for a significant period. Over the past 25 years, Digiwaxx has been a driving force in promoting and nurturing countless gifted artists. The brand attributes its continued relevance to the unwavering support of numerous DJs, industry professionals, devoted fans, and its own hardworking team. As they celebrate this momentous year, Digiwaxx looks back at those who doubted the longevity of hip-hop, proving them unequivocally wrong. For more information on Digiwaxx and its initiatives, please visit www.digiwaxx.com or contact [email protected] And Follow us on all platforms: @Digiwaxx About Digiwaxx: Digiwaxx is a prestigious record pool that has played a vital role in the music industry for 25 years. With an unwavering commitment to supporting artists and the culture, Digiwaxx continues to thrive, connecting talents with DJs and platforms worldwide.

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