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#rewindreview: Kendrick Lamar ‘Section 80’ 2011

Posted on by QUANTUM LEAP RADIO

  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

#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

#rewindreview: Lupe Fiasco ‘Samurai’ 2024

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  Lupe Fiasco has never seemed to be the one to get looped into a box. In fact I personally believe that to his detriment he has had moments where in order for him not to “seem” nostalgic, he has used his music as a contrarian vehicle. One thing can’t be denied and that is his talent for rapping but better still when he is provided certain music he shines emphatically. ‘Samurai’ is a short release that can almost be a possible “EP” but this thirty minute release is one of the most satisfying projects I’ve heard from Lupe Fiasco in his catalog. Lupe will either give you an epic, close to two hour album or a short EP, but the difference in ‘Samurai’ is it feels like a combination of both. Soundtrakk is Lupe’s muse because when these two get in a zone it is grand. The production provided by Soundtrakk is more straightforward HOP music and doesn’t play into current tropes and frequencies. It is a laid back sound but this is ok and makes songs like ‘Palaces’ matter more to listeners as they can truly understand the stages of life and death. ‘No.1 Headband’ is a Spring season banger and although I’m twenty-five years removed from High School, the track takes me back to those days. From start to finish ‘Samurai’ is an audio treat and added more to the incredible year for Hip-Hop veterans who released albums. This one is often overlooked because Lupe Fiasco might not have the same celebrity he had previously but for fans of his album ‘The Cool’ there is no way not to dig ‘Samurai.’ What did you think of the album? Singles include: ‘Samurai,’ ‘Cake,’ ‘No.1 Headband’ & ‘Palaces’ 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: Intelligent Hoodlum a.k.a Tragedy ‘Saga Of A Hoodlum’ 1993

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  Those that know me often hear me say I was not the biggest fan of HOP music between late 1991 thru 1993. I often call this the “shout rap era” where there was a lot of dark baggy clothes with the “east coast stomp” movement and overcompensating cursing in rhymes. Over the years I believe this happened out of necessity for a lot of East Coast acts to counter the very real rugged sound coming from the “gangsta rap” of the West Coast. Some of the “shout rap” album releases made it thru the era but many were suspended in time and often don’t age well. Intelligent Hoodlum was a bit of a young prodigy out of Queensbridge New York, under the guidance of the legendary Marley Marl, who also produced his debut album. The M.C. had the 10 year old me looking at the rapper as an inspiration with songs like ‘Black & Proud’ and ‘Arrest The President.’ I was extremely caught off guard years later when I realized he was Tragedy Khadafi whose content seemed like a complete 180 degrees from who I was introduced to. The reason for my shock was because I missed this album and transitional era of Intelligent Hoodlum. At the time of this release, there was no cable T.V. in my home which would be how I stayed up on HOP music and although I heard the singles Grand Groove (bonus mix) and ‘Street Life (return of the life mix), they sounded in line with what I would expect from the rapper. Years later I would hear this album and understand how Tragedy Khadafi was born. ‘Saga Of A Hoodlum’ is either the effects of pressure from the music industry or who Intelligent Hoodlum was all along. Then of course those two thing could be true at the same time. Knowledge is still born on this album but much of it falls under the “shout rap era” of just sounding extremely dangerous on record with rough beats as the backdrop. The music is not exactly the problem as K-Def and Marley Marl handle the majority of the production. Tracks like ‘At Large’ and ‘Role Model’ are undeniable heaters but then the first single off this album which was in line with the soundtrack to Mario Van Peebles’ movie ‘The Posse’ provides knowledge on the “Black Cowboy,” but doesn’t age well as a song. Features are minimal but there is a very young Havoc verse for posterity purposes. ‘Saga Of A Hoodlum’ is often forgotten when talking about albums from the mid-1990’s and although not perfect it is a very important piece to a rappers journey. What did you think of the album? Singles include: ‘The Posse (shoot em’ up),’ ‘Grand Groove’ & ‘Street Life’ 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: One Be Lo ‘S.O.N.O.G.R.A.M.’ 2005

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  One Be Lo, One half of Binary Star and the “One Man Army” made a statement twenty years ago with ‘S.O.N.O.G.R.A.M.’ The title stands for “Sounds of Nashid Originate Good Rhymes And Music,” a mission One Be Lo whose real name Nahshid Sulaiman, has been on since entering the music game. As a former convicted felon for armed robbery, One Be Lo has always seemed to counter his past mistakes with very stern messages of choosing another route. Utilizing his voice and platform as a way to explain the challenges and causes of why so many black youth are faced with hard choices and minimal options for success. On his second solo album since the disbandment of his former group Binary Star, One Be Lo creates a sort of epic album that never glorifies ignorant activities while still providing a strong sense of street knowledge and guidance. On the song ‘Oggie’ One Be Lo discusses the reality of consequences after a life changing decision versus rappers using that same decision as just fodder for songs. ‘Decepticons’ which was probably the biggest and most impactful track off this album when it was released, is an ear opening track about politics of the mind, street and country as the hook sums up the fact that “some things change, some things stay the same.” The album features production mainly by One Be Lo and Decompoze with Chic Masters and Majestik Legend on a few others. One can walk away from this album knowing that in the spirit of Public Enemy, The Coup or Dead Prez, One Be Lo and many others throughout the history of HOP music have always understood that “Edutainment” is necessary for the minds listening to this art form. That assignment can never be deterred by the likes of propaganda and those who are sent out to start narratives to downplay artist in service of a greater cause. What did you think of the album? Singles include: ‘Rocketship,’ ‘Decepticons’ & ‘Sleepwalking’ 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: D.J. Unknown ‘Prisoners Of Gravity’ 2023

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  The compilation release lives on and so those does the “D.J.” Releases like “D.J. Unknown’s ‘Prisoners Of Gravity’ were a normal thing in the late 1990’s and 2000’s but ironically became less produced in a time when access is much simpler for humans. Maybe due to everyone controlling their exposure through the internet and not needing these compilations for awareness is the reason but the fun of these albums still live on. D.J. Unknown is from Toronto, Canada and one thing about HOP music in other countries is the appreciation for what is often taken for granted in the states. ‘Prisoners Of Gravity’ introduces a lot of underground acts with a few known veterans of the underground like Raz Fresco, Mega Ran, Prem Rock and Phoenix Pagliacci. Production and scratches is strictly handled by D.J. Unknown with fourteen tracks featuring a different act. There are solid tracks on here but the issue with the release is it feels extremely monotonous with a very “grey” tone. One should not expect energy motivation but more sitting back lounging on a raining day. Respect is still given for D.J. Unknown to appreciate the foundational elements of HOP music and provide his version of the 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 90.1 FM KPFT Houston in HD2 Worldwide @kpft.org/listen (under “kpft in HD2”) Catch past episodes by searching and following —-> linktr.ee/QLEAPRADIO

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