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#rewindreview: Encore ‘Self Preservation’ 2000

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  This is a deep cut right here. For those who were listening to the independent movement of the late 1990’s and purchased the fruit of those labors in the early 2000’s, you know that the West Coast was cornering a market. With acts like Dilated Peoples, Lootpack, Jurassic 5, People Under The Stairs and so on, it was getting to a point that if you were looking for “truskool” HOP music at the turn of the millennium, look West. Encore was able to sneak in under this umbrella with a couple of previous 12″ inch singles that were collaborations with Peanut Butter Wolf and Evidence, prior to this album which created an anticipation for it’s release. ‘Self Preservation’ is the debut album from Encore that was produced by Architect and one track by Joey Chavez. What Architect and Encore provided was an album that compliments the two’s addition to the core of HOP music. Encore has a tone and execution of rhymes similar to Rakim while the simple but hardcore production of Architect drives the album home for listeners who appreciate the stylings of D.J. Premier. Features included some names that were buzzing at the time of this release like Dave Dub, Kedar, The Bishop and a couple that had made a name for themselves by then like Pep Love of the Hieroglyphics Crew and Grand The Vis of Homeliss Derelicts. I remember first buying this album on the same day that I purchased Common’s ‘Like Water For Chocolate,’ so unfortunately my focus at the time, simply stated was… elsewhere. Over the years the album has remained solid and although it never had the impact of the albums from names mentioned earlier, it added to an era of consistent and trustworthy HOP music releases that were made to get your ACTUAL money’s worth. What did you think of the album? Singles include: ‘For You,’ ‘Sporadic,’ & ‘Love & Hate (the mellow drama)’ 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 HD11 Worldwide @kpft.org/listen (under “kpft in HD2”) Catch past episodes by searching and following @https://linktr.ee/QLEAPRADIO

#rewindreview: L.M.N.O. & Kev Brown ‘Selective Hearing 2’ 2010

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  Two underground HOP music staples got together to bring a not so subtle collection of songs honoring the great James Brown. L.M.N.O. of the Visionaries and Kev Brown of the Low Budget crew present ‘Selective Hearing 2,’ where the two select to chop up some of the best James Brown quotes and samples for a head nodding adventure. This is thirty-five minutes of pure HOP music that does not leave listener’s feeling overwhelmed from rapping as L.M.N.O. and Kev Brown compliment the vibe and beats on this project like jazz musicians. They are not alone on the mic and incorporate the talents of Mr. Brady, Hassan Mackey, Declaime, Kaimbr, Trek Life, Kenn Starr and Charlie 2na. All voices fitting extremely well among Kev Brown’s beats and the precise scratches by D.J. LD. ‘Selective Hearing 2’ reminds those who appreciate HOP music of why we took to it during those mid to late 1980’s and 1990’s, which was the DNA of James Brown and the soul he provided for black music. “It’s spring again,” so pull this album out for a repeat or dig in for the first time while touching some grass today! What did you think of the album? Singles include: ‘Ya Know’ 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 HD11 Worldwide @kpft.org/listen (under “kpft in HD2”) Catch past episodes by searching and following @https://linktr.ee/QLEAPRADIO

#rewindreview: Kendrick Lamar ‘Section 80’ 2011

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  At the end of the 2000’s and beginning of the 2010’s, my filter for new acts in HOP music was fully active. Not many if any new acts was I giving a chance. This was mainly due to the overkill of acts that were springing up from the internet. It all felt too easy and a lot of it did not feel genuine but more like folks wanting to have “rap” on their resume when someone asks those individuals about themselves. Hip-Hop music at that time was like SXSW once it became corporate and everyone was just handing out CD’s on 6th street but didn’t even know how to perform on stage. Like a lot of those individuals I either turned them down or took an album and never listened. In 2011 a group I managed, H.I.S.D. was on the same ‘Beats, Arts + Lyrics’ show as Kendrick Lamar who headlined that show. Because of the co-sign of EQuality from H.I.S.D. (The HUE) I finally gave “K. Dot” a chance but needless to say this was only year before he would skyrocket as a HOP music force, and many at that event left by the time his set started. ‘Section 80’ was the album he was performing at the time and I stayed for a bit but was unfamiliar with the music so I couldn’t relate. Flash forward about a year later and I sat with ‘Section 80’ to see if I could understand the accolades he was receiving. From the first listen I was impressed with the production, although at the time the first half of the album I felt was not necessarily geared toward my ears but more toward the target generation he was in. Essentially the album felt like a better sounding effort of those CD’s that would be handed out at SXSW. Where this album has grown with me over the years is the projects after it giving me a better understanding of how ahead of his time and mature Kendrick Lamar was when ‘Section 80’ released. If ‘A.D.H.D’ is a summary of the youth and ignorance of his generation, ‘HiiiPower,’ ‘Kush & Corinthians’ are that medicine on this album that speaks to my generation. Kendrick Lamar was “bridging the gap” through teaching, giving his own life perspective and rapping at a high level. Day one fans often herald this as his best offering and I would never challenge their perspective because like Nas’ ‘Illmatic,’ sometimes you simply had “to be there” to understand. ‘Section 80’ is another example as to why I often compare “Kendrick’s” run to Outkast, as from their debut albums, the next and so on and so forth would sound so much different from the last. This will often cause discourse among listeners initially but when the dust settles and we all listen back, the greatness of the art is rarely ever challenged when looking at the landscape the art was created in. What did you think of the album? Singles include: ‘HiiiPower,’ ‘Tammy’s Song,’ ‘A.D.H.D.,’ & ‘Rigamortis’ 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 HD11 Worldwide @kpft.org/listen (under “kpft in HD2”) Catch past episodes by searching and following @https://linktr.ee/QLEAPRADIO

#rewindreview: All Natural ‘Second Nature’ 2001

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  One would not know it by the album cover but All Natural’s sophomore album ‘Second Nature’ is one of the rawest and realest HOP albums to come from the early 2000’s era. The Chicago duo consisting of Capital D. and Tone B. Nimble made sure that their second offering lived or at least tried to honor, what fans expected of them since their debut album in 1998. From the out set of the album ‘The Stick Up,’ listeners understand that the calming nature of the album cover is as mild as this journey will be. Capital D. upholds that “truskool” style of rhyme he has with a voice Rakim listeners would relate to. More importantly “Cap D.” uses his voice to not only show his talent but a beacon for providing truth to rhyme. ‘Uncle Sam’ featuring Slug is a point of view take on America and given current events can easily be applied to 2025. Same can be said for ‘Future Is Now’ as Capital D. prophesizes the importance of not waiting until the worst has happened to activate and mobilize. Other tracks like ‘Mr. Sexy’ go back to the days where the “line was drawn in the sand” between mainstream and underground while ‘Queens Get The Money’ adapts that popular Mobb Deep quote to talk about the women who deserve the spoils of men. Production is all in house, which is the Family Tree who on this album was G(R)iot, Memo, His-Panik, All Natural themselves and J. Rawls who produced one of the most banging tracks on this album, ‘The Renaissance’ featuring Lone Catalysts. New listeners will not hear this album and think that it was a monumental benchmark in HOP music but for me it is one of my favorite albums to listen to, due to how simple the approach is. My issue with the album over the years has been how it was mixed. Certain songs like ‘Ill Advisory,’ ‘Queens Get The Money’ and ‘The Renaissance’ sound great but the majority of the tracks have always sounded like there was an “amateur” engineer on the mix. Again this is balanced by how fresh and raw the songs are on ‘Second Nature.’ What did you think of the album? Singles include: ‘Stellar,’ ‘Elements Of Style’ & ‘Queens Get The Money’ 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: K. Sparks ‘Seasons Theme’ 2016

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  In the first years of QUANTUM LEAP RADIO, we were introduced to many new M.C.’s, that due to how loud the internet was by 2016, the “underground rapper” title held even less weight than ever. It was too easy to make music and even if it wasn’t easy the amount of acts to discover was overwhelming to the public. The advantage QUANTUM LEAP RADIO has is a benefit to the listener because we can be the conduit to filter these many acts that dwell in this newer age of the underground. K. Sparks sent his music to us at some point in 2016 and it was a satisfactory submission. The New York rapper upholds the attributes one would suspect is synonymous with that area but by 2016 I personally was thinking he was from the mid-west or a region not always associated with having a Hip-Hop scene. K. Sparks can rhyme without question. Has an active and engaging delivery, speaks on issues, intentional with his lyrics and chooses production that keeps heads nodding. All those things seem to be fleeting for New York rappers in this era. ‘Seasons Theme’ gives K. Sparks a means to plant the flag back in that corner of HOP music, if not for a moment. The album is a full record as it is close to an hour and K. Sparks handles all the rhymes with no features. Production remains consistent as Es-K, Moe Productions and Kurser take care of the release. K. Sparks guides listeners through all four seasons and the good and bad that can come with each one. A stand out track ‘#TRENDY’ is made during one of the last moments humanity had to listen, when so many warnings about the effects of social engineering were being actualized a decade ago. ‘Him vs Her’ is a soundtrack to the ever growing misunderstandings of men and women and the struggle to find common ground. Where ‘Seasons Change’ could have been better is K. Sparks himself. He raps a lot and at times the songs can be a bit long and one might lose their focus because he can be very bar heavy. That being said, if this is the weakest link it is a strong link to have and gives this album foundation and purpose. What did you think of the album? Singles include: ‘Black Caesar’ & ‘#TRENDY’ 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 HD11 Worldwide @kpft.org/listen (under “kpft in HD2”) Catch past episodes by searching and following @https://linktr.ee/QLEAPRADIO

Harlemite and Hip-Hop Veteran G Dep Performs New Album “Lessons Never Losses,” at I9ine Bistro in the South Bronx

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(Photos by @Rawnyc) On Friday, February 28th, Harlem-born hip-hop artist and veteran G Dep performed his new album, Lessons Never Losses, at I9ine Bistro in the South Bronx. This marks G Dep’s first album since being released from prison, where he served 14 years of a 15-year sentence for a robbery that tragically resulted in the death of John Henkel who was shot in chest in 1993. G Dep, whose real name is Trevell Coleman, turned himself in for the crime in 2010, seeking to clear his conscience. In 2024, he was granted clemency by New York State Governor Kathy Hochul, allowing him to return to society and his music career earlier than expected. The listening party for Lessons Never Losses was a celebratory event, attended by a mix of influencers, family, friends, and longtime supporters. G Dep, also known as “The Deputy,” performed the entire album live, showcasing his resilience and growth as an artist and individual. The album’s intro, “Exodus,” sets the tone for the project, focusing on overcoming obstacles and embracing a brighter future. This theme of redemption and personal evolution resonates throughout the album. Some standout tracks include: “How Can I”: A soulful track that samples Lisa Fischer’s 1991 classic “How Can I Ease the Pain,” G Dep reimagines the song to convey how he provides comfort despite his own sorrow and struggles. “That’s the Old Me”: A reflective and catchy tune where G Dep sings on the hook, emphasizing his personal growth and transformation. “Highly Motivated”: A track that highlights his faith and determination, produced by G Dep himself. “Put That on a Shirt” : A creative and entrepreneurial anthem where he shares his hard-earned wisdom and lessons through merchandise-inspired lyrics. The album’s production is cohesive featuring contributions from various producers. Despite being incarcerated for over a decade, G Dep’s cadence, and delivery remain sharp. The event was a triumph, with attendees getting an exclusive first listen to the album before its official release on all major streaming platforms on March 4th. G Dep’s gratitude and faith were palpable as he raised a glass of champagne to celebrate the occasion, embodying the lessons he’s learned through his losses. As he often says, “Praise the Creator,” a testament to his spiritual journey and newfound freedom. Lessons Never Losses is another special delivery for G Dep.      G Dep performing music off his album Lessons Never Losses.  ( Photos by @Rawnyc).  

#rewindreview: Kidz In The Hall ‘School Was My Hustle’ 2006

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  In the mid-2000’s, Rawkus records staged a comeback after a hiatus that came on the back of albums that tried to compete with mainstream releases and did not hit the mark, as well as a hostile takeover (or shutdown) that was reminiscent of the show ‘Succession.’ This comeback would include acts like The Procussions, Hezekiah and our subject of the day Kidz In The Hall. The idea for Rawkus seemed to bring back the idea of the “underground act” that was a hidden gem, but the attributes that made Rawkus a Hip-Hop stable were long gone by 2006. The internet washed away those moments that included late night mixshows, the joy of discovering new music at record stores and the initial decline of the “mom & pops” record store. Kidz In The Hall would look to be the flagship for this new Rawkus renaissance, and with their most popular track ‘Wheelz Fall Off (06′ Til)’ gaining some traction due to it’s homage of Souls Of Mischief ’93 Til…’ track, one would think the mission was on good course. The Chicago duo which consist of Naledge and Double O who were a rapper and beatmaker team. The dynamics were simple and given the success of Kanye West and Lupe Fiasco, their personas as the “nerd kids” respected by the streets looked to carry on what was coming out of Chicago for those ears wanting “truskool” HOP music. For me the Kidz In The Hall just didn’t seem to figure out where they stood within HOP music. Granted their personas are pretty much what every rapper that started from the internet in the mid to late 2000’s were built off of and maybe that is why I could never really get past this album. ‘School Was My Hustle’ is a solid project that gives the group a chance to take listeners on a journey through the perspective of “kids” not ten toes deep in street activity while not being stepped on by the street cats. Naledge has a flow that is smooth and relatable to the listener that is not ready to hear Company Flow or Quasimoto while Double O’s beats are a hairline away from meeting the quota’s of Roc-A-Fella rappers. This is music to “ride” to but can also be an acquired taste of one feels Kidz In The Hall doesn’t necessarily bring anything new to table especially with the Rawkus name attached to it. What did you think of the album? Singles include: ‘Wheelz Fall Off (06′ Til)’ 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 HD11 Worldwide @kpft.org/listen (under “kpft in HD2”) Catch past episodes by searching and following @https://linktr.ee/QLEAPRADIO

#rewindreview: DcQ ‘Save The Children’ EP 2013

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  DcQ might not be known to many but for those ears that listened to Rawkus records in the late 1990’s, his voice will bring you back to a certain era. DcQ was apart of Medina Green who’s ’12 inch single ‘Crosstown Beef’ was an underground classic for those vinyl collecting D.J.’s and listeners of mixshow radio. Also he was one third of UTD (Urban Thermo Dynamics) who consisted of Ces and DcQ’s blood brother Yasiin Bey a.k.a. Mos Def. In 2013 I found this EP somehow as it was a “free release.” I was a bit off put by the cover art as it felt uninspiring, and that a person with the resume I just described would have more effort put into the presentation of anything he would release. What I would hear is about twenty minutes of that nostalgic feel I remember from Median Green but with more emphasis on a message of cultural awareness for black youth. Produced entirely by Ayotallah who was working heavy with the likes of Mos Def, Busta Rhymes and others during the early 2000’s, and Shawneci Ice-Cold, gave this EP the sound needed for DcQ to continue the vibes he was known for. Features include Sadat X, Joell Ortiz, Kash Ru, Jah Born and fellow Medina Green members Mos Def and Ali Shine. The album cover notwithstanding, this is a solid release and a rare find as it was released during the digital age but no where is the full project available online and no known physical copies. Stick with QUANTUM LEAP RADIO because we got it for you! What did you think of the album? Singles include: ‘Save The Children’ 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 HD11 Worldwide @kpft.org/listen (under “kpft in HD2”) Catch past episodes by searching and following @https://linktr.ee/QLEAPRADIO

#rewindreview: R.Z.A. & D.J. Scratch ‘Saturday Afternoon Kung Fu Theater’ EP 2022

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  At the tail end of the world being “inside” due to COVID 19, legends of HOP music R.Z.A. and D.J. Scratch dropped an EP many were not aware of. The pandemic caused a lot veterans to get back to making music and test their fortitude among ears that might not have heard from them in a while or never heard of them at all. R.Z.A.’s success over the years has been highly underrated as he is clearly known as the architect for Wu-Tang Clan but people often forget his stamina to find work that includes acting and scoring music for such classic films as ‘Kill Bill.’ All of this while still staying true to his inner self and still having the passion to do music. R.Z.A. is often overlooked because he is not in his prime in terms of production, and I think he knows this himself. It was only right but extremely surprising for R.Z.A. to link with producer D.J. Scratch, who has worked with Busta Rhymes, E.P.M.D. and a collage of others throughout his almost 40 year career. Scratch provided all the production on ‘Saturday Afternoon Kung Fu Theater’ which left R.Z.A. to focus on his thoughts and off-kilter delivery of those lyrics. R.Z.A. crafts this release as a battle between ‘The Abbot’ and ‘Bobby Digital,’ two personas the Wu-Tang Clan veteran has adopted over the years. A concept that one has to really hone in on this EP as R.Z.A. has always been an “acquired taste” among listeners, and in his more elder years his style might not translate to many in these current times. ‘Saturday Afternoon Kung Fu Theater’ is more of an appetizer as oppose to a full meal with it only being an EP of seven songs. A release for those Hip-Hop heads still wanting to hear that unapologetic Wu-Tang theme. What did you think of the album? Singles include: ‘Saturday Afternoon Kung Fu Theater’ & ‘Fate Of The 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 HD11 Worldwide @kpft.org/listen (under “kpft in HD2”) Catch past episodes by searching and following @https://linktr.ee/QLEAPRADIO

The God Emcee Rakim Starts Financial Technology Company Notes

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The God Emcee Rakim has started a new financial technology company powered by Artificial intelligence, called “Notes.” Known for his lyrical mastery and showmanship in his performances, Rakim is now using his celebrity to give back to creatives who may not have the resources to fund their projects. The fintech company aims to provide funding and financial literacy for creatives so they can make and sustain their work.  The press release  from  company  states, “This innovative financial technology and AI-powered platform merges ‘music, money, and knowledge’ to address the unique challenges faced by independent urban music artists and creators, redefining access to capital to fund their creative projects, while providing financial literacy, and entrepreneurial and music business education to build sustainable careers. ” “Notes is designed to empower these creatives with financial independence while retaining control over their careers in an industry often marked by exploitation.” The Notes company provides membership-focused access, connections to loan and credit providers for access to capital, AI-powered financial literacy and entrepreneurial education content, and an exclusive “Ask RA” feature, an AI voice assistant and agent in the iconic voice of RAKIM purpose-built for independent urban music artists and creators. “Independent urban music artists and creators often struggle to gain financial stability despite their market impact,” RAKIM says. “With Notes, we’re building a community- and lifestyle-driven platform that combines cultural connection, technology, and empowerment to give them the tools they need to thrive.” The platform is poised to expand its offerings, introducing business banking and debit cards, P2P payment services, cryptocurrency solutions, and other features to drive deeper engagement and long-term user value. Independent urban music artists and creators can join the waitlist to be notified when Notes is available for early access at www.notestechnology.com.

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