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#rewindreview: ‘Silent Weapons For Quiet Wars’ 1997

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  The mark that Wu-Tang Clan left on the music industry will probably never be duplicated, in terms of ideas and themes that seemed so opposite of what Hip-Hop was. With that influence there were acts that clearly were trying to duplicate what the crew brought to listener’s ears. It was only fitting that by the time of their second album in 1997, Wu-Tang introduced their immediate family who they felt deserved to be “cuban linx” by proximity. Killarmy was a six M.C. crew with an in house producer. Killa Sin, Beretta 9, Islord, 9th Prince, P.R. Terrorist and ShoGun Assasson provided raps while 4th Disciple made his way on to the Wu-Tang chess board with his production on this album. ‘Silent Weapons for Quiet Wars’ fits the theme of Killarmy’s name and they lean heavy on it throughout this record. The book ‘Behold A Pale Horse’ was somewhat of a bible for many rappers that came up during the 1990’s to which the album name is a quote from the publishing. A lot of “theory” on how the world was operating and who was “in control,” played a huge factor in the content listeners received. Killarmy is a mashup of “strength in numbers” instituted in the Wu-Tang Clan lure, and soldiers ready for the “quiet war” that was being fought for people’s minds. The question is why this album and group never made the splash of their predecessors and it can be because they felt too “familiar.” With the six M.C.’s it was often hard to distinguish who was who but one could also pinpoint their rapping style to someone in the original nine members of Wu-Tang Clan. Also with 17 tracks the album can meander as the group tries to fit in so many bars over production that is trying to separate these songs while keeping the “DNA” of the Wu-Tang sound. For the absolute “Wu-fan” that only wanted to hear the type of music they brought, ‘Silent Weapons For Quiet Wars’ satisfies that urge. The album is not bad for what it is but at the same time it doesn’t create new fans not already down with the Wu-movement. What did you think of the album? Singles include: ‘Camouflage Ninjas,’ ‘Wu-Renegades,’ ‘Swinging Swords,’ ‘Fair, Love & War’ & ‘Wake Up’ 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: Camp Lo ‘Short Eyes’ EP 2001

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  With a solid debut album under their belt and a certified hit, Camp Lo needed to make sure they were able to survive the “new millennium.” In comes a very rare “taste test” of a release in an EP called ‘Short Eyes.’ If one listened to the last remaining college radio shows around this time or knew D.J.’s who were in support of HOP music, a track or two from this release might have been heard like ‘Sunkiss’ or ‘Baby Mother.’ Otherwise you might have needed to be in Japan or perusing online outlets like ‘sandboxautomatic’ to own this EP. Much like the records title the listener is granted a short collection of new music from Camp Lo. The group continues their signature raps that often can seem to need a translator but still keep it as “fly” and stylish as they can be while paying homage to 1970’s black films. Although the film this references is much darker in contrast to the vibes one hears on the release. Camp Lo manages to keep the party groove throughout the twenty minutes of this EP and they seemed to assimilate easy into the “cha cha” sound that came with popular music from about 1999 to 2002. The record is consistent and gives insight into where the group was heading musically but it does not break any ground or has those obvious moments of greatness their debut album has. For the Camp Lo fan they would be satisfied, and even the fly by night listener of HOP music, if they could understand their lyrics. What did you think of the album Singles include: ‘Army’ & ‘Baby Mother’ 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: Ali Shaheed Muhammad ‘Shaheedullah And Stereotypes’ 2004

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  My expectation for a solo album from Ali Shaheed Muhammad, the third member of A Tribe Called Quest, was it would be a compilation record, with a myriad of different artist. Instead the solo debut ‘Shaheedullah And Stereotypes’ is “Ali’s” moment to get on the mic and rap as well as “try” to sing. It’s been twenty years since this album dropped which flew a bit under the radar. After solo albums from Q-Tip and Phife Dawg, and a reunion tour happening with no new “Tribe” record in sight, Ali took to the studio and created a very hefty album with some surprising creatives. I always thought growing up that Ali was the man behind the beats for A Tribe Called Quest but as it turns out the main person was Q-Tip so on ‘Shaheedullah And Stereotypes’ he takes the main floor for production along with Houston T.X.’s own Chris “Daddy” Dave. The two put together an album that initially was a bit of a “head scratcher” but over time this album has aged well and let’s just say with today’s current events, the content seem prophetic. Ali Shaheed Muhammad enlist rappers such as Chip-Fu from the Fu Schnickens and Kay who also has been a veteran staple in the Houston Hip-Hop music scene. This album is not all HOP music and gives Ali a chance to satisfy the short lived Lucy Pearl era with some soul, R&B and dance music. On this release the legendary Stokley Williams of Mint Condition assists along with an up and coming Sy Smith, and Wallace Gary. On paper this album seems to have a lot going on but as it has aged, it also is very clear that these names mentioned were a tight nit group that put this album together and made it feel like a moment for “Tribe’s” third member. For me personally this album was special because of it’s hefty connection to HUEston. With A Tribe Called Quest being one of my favorite groups and arguably the greatest group in HOP music, it was inspiring to see a legend like “Ali” recognize and work with the talent that is often overlooked and underappreciated in this city. What did you think of the album? Singles include: ‘Elevated Orange’ & ‘Banga’ 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: Punk Barbarians ‘Sex, Props & Cream’ 1996

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  In the 1990’s HOP music was at it’s strongest point because it was building on the decade before with rappers and the music discovering it’s potential. Labels were taking chances, media was exposing acts and listeners were hungry for the next new thing. With all of that innovation the genre also witnessed a lot of acts that were “one and done.” This was usually caused by those acts never being that good or the consolidation of media and record labels by 1997. Here we have Punk Barbarians who debuted in 1996 from the Long Island area of New York. They consisted of four rappers Sunny Cheeba, Bam Bam, Doozer and Renegade (a.k.a. Shine On). My initial introduction to them was a song called ‘Bubblin’ which I remembered seeing the video but never got into the song. ‘Blast Off’ I happen to catch one the few times it was played on Rap City and I was loving this track, to which I didn’t realize this was the same group with the ‘Bubblin’ song. Fast forward at least seven years, I find this album to give it a listen and I was blown away by at least the beats. ‘Sex, Props & Cream’ is an album that highlights those elements which seem to drive HOP music at that time and arguably still today. The subtext of this album is “the drama in between” which is what the group claims to deal with on the record. What listeners will hear from the group is a lot of free flowing ideas, mixed with a bit of comedic presence, but not much in substance for content. The music provided by Poisoned Ivy is the highlight and glue that keeps this album afloat. Ironically the ‘Bubblin’ track they released as a single is a different version than what’s on the album, which had they used I might have been in support much earlier. If one is a fan of the swing bass and heavy thump the mid-1990’s provided, they will be or were satisfied by this release. To this day I still don’t understand the meaning of the groups name which just adds to the macabre nature of their “one and done” moment in HOP music. I do however appreciate this album and it’s always a fun listen whenever I return to it. What did you think of the album? Singles include: ‘Blast Off,’ ‘Bubblin’ & ‘Hooptie Car’ 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: Kool Keith ‘Sex Style’ 1997

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  This Bronx M.C. has had one of the most interesting careers in HOP music that he has been in complete control of. From Ultramagnetic M.C.’s to a spaced out horrorcore act as Dr. Octagon, Kool Keith created a lane for an acquired listener, while paving a path for the “alias” within the existing character, music acts already portray. ‘Sex Style’ is the debut solo album for “Kool Keith” and if one is not familiar with the rapper EVERYTHING about this album, from it’s cover art to the content will feel confusing or cheap. How do I know this, because I was that outsider at one point. I would constantly see this album in stores and look past it as around this time the era of “bad cover art” (certain record labels shall remain nameless) was in full effect along with horrible rappers on those albums. Kool Keith’s name I knew of in passing but did not KNOW him like that. At the time a college radio show I listened to was playing tracks like ‘Sly We Fly,’ ‘Lovely Lady’ and ‘Plastic World.’ These songs all seemed strange and I could not wrap my head around their purpose. Ironically around this time is when “Keith” was appearing on different projects and it was almost destined for me to delve into his back catalog up to this point. I finally get around to ‘Sex Style’ and between understanding the Kool Keith brand and hearing those songs I initially heard on college radio, I can appreciate the album for what it is. The record is an “anti-underground Hip-Hop” album that plays (or jokes depending one’s point of view) on the over sexualized corner of HOP music. In the many personas of Kool Keith we get the pimp that controls all the prostitutes of the industry (rappers) and has them doing the wildest acts while also getting songs of comedic filth that goes against the grain of any “truskool” HOP music listener. Kool Keith has always been about disruption and destroying barriers within HOP music while also being one of the most abstract acts in the genre. ‘Sex Style’ creates the sound of Kool Keith and his many personas from the Kut Master Kurt and T.R. Love production but beware when “soundbombing” this album while driving in your car or in your residence. What did you think of the album? Singles include: ‘Don’t Crush It,’ ‘Wanna Be A Star,’ & ‘Plastic 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 HD2 Worldwide @kpft.org/listen (under “kpft in HD2”) Catch past episodes by searching and following @https://linktr.ee/QLEAPRADIO

#rewindreview: Boogie Down Productions ‘Sex & Violence’ 1992

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  Around the age of twenty I began to go back and dig into the Boogie Down Production catalog. I was always a fan of the singles that were released and KRS-One as a rapper but by the year 2000 certain HOP music sounded outdated, or so I thought. Finding the BDP ‘Live Hardcore Worldwide’ release, sparked my motivation to go down the rabbits hole to which I eventually got to ‘Sex & Violence.’ Upon my initial listens back then I didn’t think it held much weight, especially among the previous albums. Like music should do though, ‘Sex & Violence’ appreciated over time. This is due to it’s very raw approach but also the sound was the biggest it had been for a Boogie Down Production album. Pal Joey, Kenny Parker, D-Square, Prince Paul and KRS-One himself, provided music that could compete with a new hardcore era of HOP music in the early 1990’s. More importantly the songs on this album were like a time capsule for anyone who forgot or did not live through 1992. From the conversation of Mike Tyson’s assault case, to the Gulf War, “KRS” pinned some incredible songs with parallels to reality. ‘Drug Dealer,’ posing a question or solution to the ever growing street pharmacist about how to invest in the community if you are going to sell to that community. ‘Questions & Answers’ is one of KRS’ most creatively executed songs as he interviews himself on why his music takes the stance it does. Nas who has been known to look up to ‘Tha Teacha,’ took a page from this album with his track ‘Destroy & Rebuild,’ attacking his rap antagonist as on ‘Sex & Violence’ ‘Build & Destroy’ is KRS-One’s response to X Clan’s criticism about his ideology and being “pro-black.’ enough. The album as I initially stated is one that can not simply be glossed over as I might have done on my first listens. It deserves more credit and to be understood as a real examination of an era. Over the last decade narratives have been made about the song ’13 & Good’ which were not present when this album was released and years after it’s release; causing the song to get lost in context possibly due to a generation who was not there or have an agenda against KRS-One. The track clearly does not promote predatory actions toward minors but instead the issue of adult establishments, at that time allowing for minors to frequent these venues and the consequences that were attached with it. Another form of storytelling from ‘Tha Teacha’ in congruent with tracks like ‘Loves Gonna Getcha.’ With this being the last Boogie Down Productions album and KRS-One’s first solo outing coming the next year, ‘Sex & Violence’ almost gets lost in the overall discography. It is however one of the most conscious rap albums in the genre from the cover artwork to the content. What did you think about the album? Singles include: ’13 & Good,’ ‘Duck Down’ & ‘We In There’ 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: Elzhi ‘Seven Times Down Eight Times Up’ 2020

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  This Detroit rapper is often forgotten when talking about the best M.C.’s from that city. It could be due to his content not being about negativity all these years. It could be to the fact that he actually raps. It could be due to the amount of music he has(n’t) put out over the years. Regardless of the reason, on ‘Seven Times Down Eight Times Up,’ Elzhi gives one of his most consistent musical offerings yet. This album only features two acts in the vocalist Monica Blaire and rapper Fes Roc. All beats are provided by JR Swiftz who gives Elzhi the right production that fits and reminds listeners of the wheelhouse Elzhi comes from, that include producers like Waajeed and Jay Dee a.k.a. J-Dilla. All while not allowing the production to out shine Elzhi which makes for a “good combination” and satisfying listen. Elzhi has been an urban legend throughout the years due to his talent but lack of albums released; even with this record often forgotten due to it being released during the Pandemic. Although he has had critical acclaim for previous “mixtapes” in the past, ‘Seven Times Down Eight Times Up’ is the album release I have expected from the former Slum Village member all these years. What did you think of the album? Listen to QUANTUM LEAP RADIO every Saturday from 4-6p.m. CST & Thursday from 1-3a.m. CST on 90.1 FM KPFT Houston in HD2 Worldwide @kpft.org/listen (under “kpft in HD2”) Catch past episodes by searching and following @https://linktr.ee/QLEAPRADIO

#rewindreview: Sir Menelik a.k.a. Scaramanga ‘Seven Eyes, Seven Horns’ 1998

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  The entity known as Sir Menelik was an understudy of The Great Kool Keith. With that comes the propensity for stream of thought rhyming and multiple personalities when releasing music. ‘Seven Eyes, Seven Horns’ is Sir Menelik’s debut album but under the moniker of “Scaramanga,” a character loosely based on the James Bond villain that owned his own island and “the man with the golden gun.” My interest for this album peaked after numerous features he had with Kool Keith and 12″ inch singles that were released through Rawkus records. Listeners should expect that with “Scaramanga” one will hear the talent of polysyllabic rhyming but if trying to hone in on the meaning of these lyrics, you might be decoding them for years. The title of the album is steeped in the idea of perfect power and perfect vision as God would see it on earth. If one can cut through the abstract lyrics on this album they might be able to hear how Scaramanga describes his vision of lyrical perfection and insight as well. Again a challenge that can only be offered… Sir Menelik was often known to be more “sci-fi” in his content but under “Scaramanga” this album leans into the “streets” and “underworld” aspect one might compare to Raekwon’s ‘Only Built For Cuban Linx’ album or Nas’ “Escobar” era. What makes the album work is the combination of beats provided by Showbiz, Godfather Don, Scholarwise and Scaramanga’s delivery. Tracks like ‘Special EFX,’ ‘Alphabetic Hammer,’ ‘Shallah Magnetic’ and the title track are a reminder of how the independent, underground sound was at it’s best in the late 1990’s. My issue with this album, even still to this day, was more about the sequencing of songs, mainly toward the end of the project. ‘Death Letter’ has the original and remix added and the original’s production doesn’t hold up with the songs surrounding it while the remix might be better but should have been the last track on the album as a “bonus.” With all the time that has past this album gets better simply because of how rare it is and also how unabashed it was in it’s approach. What did you think of the album? Singles include: ‘Special EFX’ & ‘Mind I.C. Mine’ 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: Sach ‘Seven Days To Engineer’ EP 1998

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  During the “file sharing era” I came across many hard to find or never officially released albums. For me that was the purpose of those days, to not simply pilfer off of rapper’s works but to find those gems that might have been lost but now found and digitized, to last forever. The Nonce was a west coast group who in my opinion never got the attention they deserved. Even with a cultural hit song called ‘Mixtapes” and an incredible debut album that song was attached to with ‘World Ultimate,’ Sach & Yusef Afloat were still limited to an “underground” fanbase. This meant if you were not in the general vicinity of the group, one might have missed releases they had. In 1998 Sach put out an EP ‘Seven Days To Engineer’ which by my own account seems to have been a slight “testing of the waters” on how he would a approach a solo release. This EP is about twenty minutes long and has a “demo tape” feel to it as songs don’t sound properly mixed with vocals often not matching the volume level of the music. What is enjoyable about this release is the obscure and often improvisational jazz style of beats that Sach really gets to display here. It would be another 4 years and an unfortunate passing of Yusef Afloat for audiences to get a proper presentation of the sound of Sach but for those who might have got this street tape or took advantage of the “file sharing era,” we were prepared to hear the continuation and genesis of a sound that took seven days to engineer. What did you think of the album? Listen to QUANTUM LEAP RADIO every Saturday from 4-6p.m. CST & Thursday from 1-3a.m. CST on 90.1 FM KPFT Houston in HD2 Worldwide @kpft.org/listen (under “kpft in HD2”) Catch past episodes by searching and following @https://linktr.ee/QLEAPRADIO

#rewindreview: Little Brother ‘Separate But Equal’ 2008

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  Initially released in 2006 for D.J. Drama’s ‘Gangsta Grillz’ mixtapes, is another project from the North Carolina team that was holding their ground during the mid 2000’s. After a critically acclaimed debut with ‘The Listening’ and a controversial but beneficial follow up album with ‘The Minstrel Show,’ Little Brother needed to keep their brand alive. They no longer had the hope of assistance with a major label and as a group they did not rely on drug raps are artificial street narratives to appeal to the masses. Having a ‘Gangsta Grillz’ tape was a huge thing for them as it put them in front of a crowd that needed (although they will never admit) the co-sign of a major label and want to hear that “ignorant sh!t” (c)Jay-Z. ‘Separate But Equal’ provides a different sound for “LB” that further closes the gap for an audience not keen on “truskool” HOP music. A good thing for that crowd but maybe not as good for day one fans. Hearing D.J. Drama scream his name through the transitions of these tracks was a personal turn off for me so it was a pleasure when the “Drama free” version was available a couple of years later. This release felt more like an album and I could appreciate the songs more but there was still an air of thinking this is not the best “LB,” in terms off songs one could get from the group. Production was provided by 9th Wonder and Khrysis with tracks from Illmind, D.R., The Kreators and Young Cee. All managed to give this release a more rugged vibe to suit the D.J. Drama crowd. Little Brother fans were familiar with featured acts like L.E.G.A.C.Y., Joe Scudda, Chaundon, Skyzoo, Supastition and Darien Brockington but there were a couple of shocking features like Bun B. and Mos Def. My personal issue with this release is the very apparent content and lyrics which saw Big Pooh being even more aggressive in his approach, which feels more like overcompensating for a certain audience than being authentic. For many who discovered Little Brother due to ‘The Minstrel Show’ or later, will probably appreciate this project more as it doesn’t do much in progressing the creativity Little Brother is known for. What did you think of the album? Listen to QUANTUM LEAP RADIO every Saturday from 4-6p.m. CST & Thursday from 1-3a.m. CST on 90.1 FM KPFT Houston in HD11 Worldwide @kpft.org/listen (under “kpft in HD2”) Catch past episodes by searching and following @https://linktr.ee/QLEAPRADIO

#rewindreview: Big Mon ‘Senses’ EP 2018

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  The other side of Houston T.X.’s Hip-Hop music scene has yet to be truly recognized around the world. The images and sounds that people know the city for are as necessary as the images and sounds that gave cities like Los Angeles an identity. Like Los Angeles who have had a plethora of HOP music acts that did not fit in those narrow borders, as a music scene they have thrived over the years by recognizing and cultivating what made their scene great in totality. Houston is still waiting to not “box out” those who provided a different color of paint to an audience not from the city and one of those acts was a group called K-Otix, who consist of Damien, The ARE and Big Mon. After several releases since 1997, multiple features and even a controversial song that broke through to B.E.T. news, member Big Mon tried his hand at a solo release in 2018. Under the Da King & I Records which was Kay (of The Foundation) and bass player King Mason’s label, ‘Senses’ is blessed with a sound of funk, Jazz and hardcore rap that feels like one jam session. Big Mon takes the opportunity to enhance this fact among listeners, he has always been a premiere M.C. that can take immediate control of ones attention with his commanding voice. From the intro with Dungeon Family’s Big Rube to the last track with the vocal harmonies of PZ, Big Mon along with Kay & King Mason control one’s “senses” with the right frequencies, to add another piece of art to that often neglected sector of #HUEston Hip-Hop music. What did you think of the album? Singles include: ‘Crown/Fear’ 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: Animal Gang ‘Sen City’ EP 2022

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  What is Animal Gang? A collective of M.C.’s with a mission to out rap your favorite or best M.C. at the drop of a dime. If you are a fan of crews like Stronghold or Slaughterhouse, Animal Gang is there to carry on the tradition. Mic Handz, Jamil Honesty, Unreal, Cayoz Da Beast, O*Zee, Don Streat, Dready Krueger and Senica Da Misfit (may he rest in peace), are the Animal Gang with D.J. Grasshoppa. ‘Sen City’ EP is a release from 2022 but a bit rare in it’s existence as one might not find it on any streaming apps, so allow us to give you a slight breakdown of what one would hear. In this twenty-five minute EP, Animal Gang makes it feel longer as from tracks one through six it’s a lot of punchlines and metaphors to process. Don’t expect much in conceptual songs but more the auditory experience of hardcore raps and beats. Production is provided by D.J. Grasshoppa, Neckbrace Productions, Cool FD and Hobgoblin who provide some dark frequencies under the boisterous raps of Animal Gang. This won’t be a project for everyone as the M.C.’s don’t provide much in substance or really distinguishing themselves but for those who just like to hear “bars,” ‘Sen City’ will scratch that itch. What did you think of the album? Listen to QUANTUM LEAP RADIO every Saturday from 4-6p.m. CST & Thursday from 1-3a.m. CST on 90.1 FM KPFT Houston in HD11 Worldwide @kpft.org/listen (under “kpft in HD2”) Catch past episodes by searching and following @https://linktr.ee/QLEAPRADIO

#rewindreview: Mountain Brothers ‘Self: Volume 1’ 1998

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  When I first recognized Mountain Brothers was my second year in college with a track called ‘Galaxies: Next Level.’ I saw the video on Canada’s Much Music television station that was airing here in the states in 1999 (Ohh how I miss that station). When listening to this track I realized I had already heard this group on a couple college radio tapes I had. ‘5 Elements’ was actually my introduction to them but I just never put a name to the voices and then ‘Paperchase’ which was a Summer 1999 FAVORITE of mine was on a tape I had during that time. ‘Self Volume 1’ is actually one of the first albums I purchased over the internet during my stint in college at Mississippi Valley State University. I mention my location specifically because there was irony of being at MVSU and discovering more music than I ever would have realized being in that location. Of course it was more due to my access to the internet but memories are still created from those days. Mountain Brothers were out of Philadelphia P.A. but what made them stand out at the time was these were Asian rappers which was not too common. Chops, Peril-L and Styles Infinite made “the triad golden crew” that rapped and produced this hour long collection of songs that give the listening public a clear view of who the Mountain Brothers are. The trio make it known they can rap but also have conceptual tracks like ‘Day Job,’ ‘Things To Do’ and ‘Oh-Oh-Oh.’ The latter track being a parody of the Miami Bass music that was popular at the time but also it left a stain on this album as instead of it being an interlude of levity, it was a 5 minute song to close out the album. The issue with ‘Self: Volume 1’ is the good moments are extremely good while other moments don’t live up to those very high points on the album. With the record being in my collection all of these years the music grows on you and the lower moments have become more acceptable but this album really could have made a mark if there were more ‘Paperchase’ and ‘Galaxies..’ on it. What did you think of the album? Singles include: ‘Paperchase’ & ‘Galaxies: The Next Level’ 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: 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

#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

#rewindreview: Rapsody ‘Please Don’t Cry’ 2024

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  The latest album from Rapsody can be served as a litmus test for both her, her fans and so-called fans. Since 2019’s ‘Eve’ (one of the best Hip-Hop albums of that year), Rapsody’s name has often been used as a barometer when discussions on the state of women in HOP music is brought up. Now it was time for fans and so-called fans to show up when product is on the street. The challenge for listeners was to go into this album ready to experience life for Marlanna Evans rather than simply jam to songs from Rapsody. ‘Please Don’t Cry’ sounds therapeutic for Rapsody as she utilizes this release to address her conflicts, joys and complexities while also addressing rumors and outside thoughts about her. This is the first time since being a major act that she is without 9th Wonder but is serviced production from the likes of S1, Major Seven, Hit-Boy, Eric G and others, with the majority of production from BLK ODYSSY. Rapsody continues to showcase her talent even as she wax’s poetic about the aforementioned subjects and with the exception of the Lil’ Wayne featured ‘Raw,’ this album does not waste rhymes about how “dope she is.” One of the replay value challenges of this album is that it can feel like an audio book with the interludes and music. The other challenge with this record is possibly the way it is mixed. It feels very flat and even when it comes to “dense albums” such as Common’s ‘Like Water For Chocolate’ or Kendrick Lamar’s ‘To Pimp A Butterfly,’ having a strong mix will often be the determiner on how the public responds to the release over time. ‘Please Don’t Cry’ was a very anticipated record but seems to not have made the same impact one would have expected it to, in a very great year of HOP music in 2024. Essentially this is making a statement which is I’ve given you (the listener) everything and now it’s time to understand who Marlanna is. Rapsody can add another notch to her ever growing catalog of music that listener’s can always depend on as ‘Please Don’t Cry’ was her testimony but bore witness to many who could relate. What did you think of the album? Singles include: ‘Asteroids,’ ‘Stand Tall’ & ‘Back In My Bag’ 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: Cam Gnarly ‘Northend Gnarly’ 2023

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  It can be hard to give new artist a chance these days due to the repetitive nature of music, rhyme styles and content. Ever so often there are individuals who have a subtle understanding of what it takes to stand out, and although their influences might not be one’s cup of tea, the combination of those influences can create a solid artist. Enter Cam Gnarly, a San Bernardino rapper who takes pride in putting his locale on the map metaphorically with the album ‘Northend Gnarly.’ Cam Gnarly provides an audio tour of the feel of California and the youthfulness of a new generation. What keeps that youthful expression unique is not focusing on the negative which is almost a prerequisite to rap in this social media era. The rapper does not preach to ones ears but relies on the exercise of chanting and response to where songs like ‘More To Do’ and ‘That’s’ Life’ help provide a positive frequency for the inner soul. Cam Gnarly is assisted by Asend Beats, Du Noise, Skywalker and others providing production while vocal features are rightly limited to Rae, Gold Ro$e and Geebose. These names might be unfamiliar but get to know them as they all contributed to a feel good release ready for listening in any season of the year. What did you think of the album? Singles include: ‘Space & Opportunity,’ ‘I Don’t Play About You,’ ‘Blessed With Stressed With,’ ‘DINO USA’ & ‘More To Do’ 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: Snoop Dogg ‘Missionary’ 2024

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  The long awaited full album collaboration of Snoop Dogg and Dr. Dre, finally arrives thirty-one years later, in a year when HOP music’s veterans retained dominance. After year’s of speculation and request, the two finally locked in to a studio and provided ‘Missionary’ which is an off color sequel to Snoop Dogg’s debut album ‘Doggystyle.’ Dr. Dre enlist a new crop of production collaborators as well as a few old ones to give this album a sound that does not fall slave to current day standards while not getting lost in nostalgia. Snoop Dogg doesn’t miss a beat rhyming and sounds like he never stopped in his busy celebrity life to neglect the thing that got him that same life. Collaborations may seem like many but only a few share rapping duties on this album that include 50 Cent, Method Man, Eminem and Dr. Dre. Other collaborations are vocalist such as BJ The Chicago Kid, Cocoa Sarai and K.A.A.N. Where ‘Missionary’ gets confusing to the general public is it’s execution from two of not only Hip-Hop but the entertainment industries biggest names. There is an air of “playing it safe” on this album or better still the content and sound pertaining to the life of two megastars. This album is not dark and more upbeat with moments that do not alienate the “fair-weather” HOP music listener or the listener that only pays attention when names like “Snoop,” Eminem or 50 Cent is mentioned. This I believe is where the album gets it’s negative criticism. There will always be a level of expectation for the collaboration of “Snoop & Dre” so when the album enters territory that sounds geared toward a crowd that doesn’t care about Hip-Hop culture, it creates “eye-rolling” moments for actual HOP fans. This doesn’t happen often on ‘Missionary’ in my opinion and I think is unfair to the overall album. After the initial few tracks that establish the magic of Snoop Dogg and Dr. Dre’s return, ‘Missionary’ then ventures to moments with Tom Petty, Jelly Roll and Sting, with ‘Thank You’ in between that, which isn’t a bad song but suffers from basic hook. Although I’m not a fan, 50 Cent’s verse sounds like a garbled mess as he attempts to execute a double-time rhyme delivery while I was impressed that Eminem seemed to not out rap a song for a change. In all ‘Missionary’ is not a bad album but suffers from the success of previous records from Snoop Dogg and Dr. Dre that came before it. Personally I think that it still continues the argument that HOP music is not just a “young man’s sport,” which ironically is part of the evolution of the music to show just that. What did you think of the album? Singles include: ‘Gorgeous,’ ‘Outta Da Blue’ & ‘Fire’ 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: Torae & Marco Polo ‘Midnight Run’ 2023

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  Torae has been a name that if one has been paying attention to HOP music for the last twenty years, has at least heard of in passing. He comes from that class of rappers like Skyzoo, Supastition, Saigon etc., that had no problem showcasing skill but who never quite crossed over to the “major league.” Marco Polo is in a similar situation as he has been making HOP music about the same time but the collaboration of both has seen better results for both. With Marco Polo’s unabashed Hip-Hop beats and Torae’s brazen talent to rap, the two return for their second album since 2009’s ‘Double Barrel’ with ‘Midnight Run.’ On this the listener will need to be able to appreciate the art of rapping and traditional HOP music as a back drop. Within a quick thirty minute span Torae and Marco Polo provide a soundtrack for hardcore Hip-Hop, ripe with lyrics that often metaphorically describe Torae’s passion as a “life sentence” on ‘Life Behind Bars.’ ‘Grey Sheep’ enlist veteran Dres of Black Sheep, to plant a flag for the rap fan and artist who have aged well within Hip-Hop’s lifespan, while ‘Days Of Your Lifetime’ serves as the “blue or red pill” rappers have the responsibility to provide to an audience. ‘Midnight Run’ is a simple album with no room for extra fat but is more for die hard fans. If a crossover audience wants to hear Torae they might have to look to bigger acts as my theory is he is apart of the “ghostwriter” community, and I think we have heard Torae’s pen on some recent veterans album,s but “what happens in fight club stays in fight club.” What did you think of the album? Singles include: ‘The Return’ & ‘Reloaded (intro)’ 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 (under “kpft in HD2”) Catch past episodes by searching and following @https://linktr.ee/QLEAPRADIO

#rewindreview: Killer Mike ‘Michael’ 2023

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  After a decade of rebuilding, rebranding and establishing his presence within HOP music, Killer Mike returned back to the roots of his music with the heavy introspective ‘Michael.’ Since the release of ‘R.A.P. Music’ in 2013 Killer Mike has garnered an audience 180 degrees from the audience he came in with. There is no issue with this but an act like Killer Mike doesn’t seem the type to “forget where he came from.” ‘Michael’ is unapologetically southern in its approach, from the music, to the stories and colloquialism that help the listener understand who is Michael Render. Production is mainly handled by No I.D. with tracks from Cool & Dre, D.J. Paul, longtime Run The Jewels collaborator Little Shalimar and others. Features are plenty but fit the idea and execution of this album that include Ty Dolla $ign, Cee-Lo Green, Mozzy, Future, Currency, El-P, 2 Chainz, a bigfoot on the mic sighting from Andre 3000 and others. Killer Mike showcases his ability to keep audiences interested with his commanding voice and rapping ability while showcasing the dichotomy of his personal life. Tracks like ‘Motherless’, Something For Junkies’ and ‘Shed Tears’ provide the pain and struggle one will hear on this album while ‘Spaceship Views’ and ‘Talk’n That Sh!t!’ allow complete turn up for those complaining in the back. “I add a motherfu..er so you ignant nig..s hear me,” is a Lauryn Hill quote that best describes this album. Killer Mike understands the idea of meeting people where they are and this is why the album works. The music might not sound ideal for the messages one will hear but those tuned into this frequency of music should be able to enjoy the “medicine within the candy.” Killer Mike deserved the accolades and awards for this album as one can tell he put a lot of effort into it. Only those who continue to lose against real music complained when he was recognized for it. What did you think of the album? Singles include: ‘Run,’ ‘Talk’n That Shit!,’ ‘Don’t Let The Devil,’ ‘Motherless,’ ‘Down By Law,’ & ‘Exit 9’ 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 (under “kpft in HD2”) Catch past episodes by searching and following @https://linktr.ee/QLEAPRADIO

#rewindreview: Roc Marciano ‘Marciology’ 2024

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  Roc Marciano has created a lane that has roots in Raekwon’s ‘Only Built 4 Cuban Linx’ album, but takes the most raw parts of that album, mixed with an almost spoken word like tongue from a street pimp. ‘Marciology’ continues the ever growing discography from the New York rapper that gives fans exactly what they expect. Drumless beats provided by “Roc Marci” himself and lyrics equipped with so many one liners and punchlines, it challenges listeners to come back for more repeat plays. This is far from an album that will gain a crossover audience though. At times ‘Marciology’ sounds like an album that doesn’t match the “street energy” that surrounds it. In another era of HOP music this album would have been looked down on by “street cats” but in 2024 ‘Marciology’ can be ‘Art Basel’ in Miami, when the culture is trying to figure out what’s next. For me the downside to this album is that it doesn’t play well as something to drive to, and rarely has cuts that you can play out in a mix due to the drumless nature of the music. This isn’t the goal of Roc Marciano and his true fans understand this which has given the M.C. the space to create this unique lane over the years. What did you think of the album? Singles include: ‘Gold Crossbow,’ ‘LeFlair’ & ‘BeBe’s Kids’ 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 (under “kpft in HD2”) Catch past episodes by searching and following @https://linktr.ee/QLEAPRADIO

#rewindreview: Sach ‘Sach 5th Ave.’ 2004

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  Continuing in the tradition of his former group The Nonce, Sach carried out an abstract composition of words and thoughts that even twenty years later is still being deciphered. ‘Sach 5th Ave.’ is the third release from Sach as a solo artist and was produced entirely by Omid. On this album the listener hears Sach exclusively as there are no features from other rappers, but are witness to a unique listening experience. Sach has always had a simple means to his delivery but on this release he utilizes a more spoken word style which to the untrained ear may seem as though he isn’t rhyming. Instead he uses his lyrics as parables with off-kilter execution to which Omid’s ominous yet often upbeat production compliments well. With all that being said ‘Sach 5th Ave.’ still feels a bit more straightforward than its predecessor ‘Suckas Hate Me’ from 2002. Cool out one time and take in one of the West Coast unsung heroes and veteran staples in that area’s underground scene. What did you think of the album? Singles include: ‘Joy’ 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 (under “kpft in HD2”) Catch past episodes by searching and following @https://linktr.ee/QLEAPRADIO

#rewindreview: Nas ‘Magic 3’ 2023

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  Recently a post online mentioned how Outkast’s ‘Stankonia’ is now twenty-four years old and just twenty-four years prior to it’s release, the drastic change and evolution of the sound of HOP music. Can it really be said that the “music” of Hip-Hop has drastically evolved since the year 2000? It can be seriously argued that it has not but maybe the music evolving was simply the first stage of Hip-Hop’s growth. What has clearly evolved in HOP music in twenty-four years is the veterans that have continued to make the music. Since A Tribe Called Quest 2016 album ‘We Got It From Here…,’ it seems a renaissance or quite possibly an energy drink was put in rappers who had been in the game since the late 1980’s and 1990’s. In 2024 that motivation and energy has continued emphatically but the run of Nas might have been the new “energy drink.” ‘Magic 3′ marks the final album in the Nas and Hit-Boy series which started with the subtle comeback of Nas’ with the album ‘King’s Disease.’ ‘Magic 3’ serves as a send off to this collaboration and finds Nas giving himself flowers but not in an egotistical way but more as an official autobiography at times. Hit-Boy brings Nas back to what we love him for with the production and as a theme to all the ‘Magic…’ albums the one feature on this is Lil’ Wayne on the very hype ‘Never Die.’ Regardless of what many have thought about the last Nas run, what can’t be denied is how he added another stamp to his legacy. This is the second stage of Hip-Hop music’s growth and where unlike sports, you don’t need legs to keep you in shape, just ideas, a voice and a little magic. What did you think of the album? Singles include: ‘Fever,’ ‘I Love This Feeling’ & ‘Sitting With My Thoughts’ 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 (under “kpft in HD2”) Catch past episodes by searching and following @https://linktr.ee/QLEAPRADIO

#rewindreview: Nas ‘Magic 2’ 2023

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  The fifth installment in the Nas & Hit-Boy saga was either overkill for some or a gift. ‘Magic 2’ comes off a stellar run of the ‘King’s Disease’ trilogy but even more a sequel to one of the most surprising and satisfying albums from Nas in years, ‘Magic.’ The question is was there a need for a ‘Magic 2’? The first installment played like an homage to ‘Illmatic’ with just nine tracks, one feature and a simple but effective focus of just beats and rhymes. ‘Magic 2’ plays like an apology for all those who could not accept or understand the nature of ‘Magic.’ From the opening track ‘Abracadabra,’ the Nas fan in me felt nervous that he was regressing back to playing to current and industry standards. ‘Office Hours’ brings back hope and although I initially was skeptical seeing 50 Cent featured on the track listing, I actually enjoyed his verse while many, who are fans of 50 Cent felt disappointed. The verse felt weird as it was very short and kind of reminded me of Saafir’s guest appearance on Casual’s ‘Fear Itself’ album. Almost as if the rapper could give more effort but chooses not, like he’s mere presence on the record is enough so maybe this was the 50 Cent fans’ issue. The majority of the album rides the line of keeping the traditional HOP music fans, and people who want to hear Nas over what the average beats rappers of the last 12 years have produced satisfied. Of course this to me is where the album is unnecessary and leans into the criticism of Nasir Jones over the years. When Nas sticks his landings it is GREAT but when trying to bridge gaps it just sounds like turkey without seasonings. What did you think of the album? Singles include: ‘Motion’ & ‘Black Magic’ 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 (under “kpft in HD2”) Catch past episodes by searching and following @

#rewindreview: Double A.B. & Git Beats ‘Lungs Of Mahalia’ 2024

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  If looking for a HOP album that provides lyrics, concepts and production, look to Double A.B. & Git Beats ‘Lungs Of Mahalia.’ Often times certain M.C.’s can get comfortable in just showing how well they can rap which does not exclude Double A.B., but where he makes this release more than that are the concepts. ‘Lungs Of Mahalia’ will provide just enough street bravado to satisfy those that don’t want too much “left of center” music in their Hip-Hop. It also gives a couple joints to the ladies on the stand out ‘Sashimi’ and ‘Pimps Palace.’ Double A.B. expresses his love for the “greenery” on ‘Recliner’ while taking the time to wax poetic over his view of politics on ‘Justice.’ This is a well rounded album if closely listening and Git Beats provides some production that doesn’t keep the album stagnant while not succumbing to sounding current. That same production is complementary to Double A.B. as it fits his style and doesn’t overtake the listener’s attention to the rhymes. The album is not long and boasts some guest features that fit perfectly such as Prince Po, Eto, A-Plus, Homeboy Sandman, Young Zee and The Musalini on the aforementioned ‘Pimps Palace.’ ‘Lungs Of Mahalia’ is yet another cog in the wheel of the incredible year of 2024 HOP music. What did you think of the album? Singles include: ‘Sashimi,’ ‘On My Way’ & ‘Recliner’ 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 (under “kpft in HD2”) Catch past episodes by searching and following @

#rewindreview: Rockwelz ‘LL2J’ 2023

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  On this release from Bronx, New York rapper Rockwelz, the listener will be transported to that same location with a soundtrack mirroring early 2000’s HOP music. Produced entirely by Nam Nitty with features from John Jigg$, The Bad Seed, M.O.U.F., J Waiters and The Musalini, make ‘LLJ2’ as “New York” as it gets in a modern day that seems to erase what the sound from the great Metropolis established. Rockwelz creates tracks that are not as street to where one can’t groove but don’t expect any “cookie cutter” tracks either. ‘LLJ2’ sounds like a love letter for those who love the Dipset and G-Unit era while giving a nod to L.L. Cool J’s style of hardcore lyricism with songs for the ladies. The latter part Rockwelz and Nam Nitty provide on a few tracks that go from not having enough time for the ladies on ‘Tick Tock’ to appreciating the special ones on ‘Around The Way Girl’ and the ones you can’t trust on ‘G.T.M.O.’ ‘LLJ2’ doesn’t establish itself as something that will be talked about years from now, but if one is looking for a break from standard “drill beats with doubled bass” and would like to return to a sound soon forgotten, press play. What did you think of the album? Singles include: ‘Heavy’ & ‘Tick Tock’ 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 (under “kpft in HD2”) Catch past episodes by searching and following @

#rewindreview: Talib Kweli & Madlib ‘Liberation 2’ 2023

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  The second full project offering from Talib Kweli and the elusive Madlib is a long awaited release considering the cult success of ‘Liberation.’ Kweli has been utilizing Madlib on albums dating back to 2007’s ‘Eardrum’ and a year prior to ‘Liberation 2,’ Madlib was the sole producer on the even more highly anticipated sophomore album from Black Star. ‘Liberation 2’ picks up right after that and continues a pattern of Talib Kweli records that seem to be annual releases from the M.C. Kweli will always delve into a subconscious and social awareness but there are a few new moments of awareness that address his online activity and instigators. Also this time around, Kweli’s progeny make an appearance, with his daughter Diani on ‘Air Quotes’ and son Amani on ‘After These Messages.’ Madlib provides his signature sound of dusty grooves with obscure audio clips as connecting interludes with songs. Even more satisfaction for HOP listeners is the pseudo-return of the Lootpack with Wildchild featured on ‘One For Biz.’ ‘Liberation 2’ is a solid record but does not seem to hold the same strength as the initial ‘Liberation’ album. Madlib’s album making seems to be best for rappers who are bit more simplistic in their rhymes. Madlib’s production is like free jazz and with Kweli’s more straightforward rhyming it often doesn’t seem to fit as well on this release. The first ‘Liberation’ felt more like a spur of the moment creation which is why it worked so well but this album might be a bit too calculated and ironically is why it doesn’t work as well as the first. ‘Liberation 2’ still is effective in providing another argument that age in Hip-Hop is not an “Achilles Heal” as neither Kweli or Madlib sound like they lost a step. What did you think of the album? Singles include: ‘After These Messages,’ ‘Best Year Ever,’ ‘Air Quotes,’ ‘Nat Turner,’ ‘Richies Part Two,’ ‘One For Biz’ & ‘The Right To Love Us’ 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 (under “kpft in HD2”) Catch past episodes by searching and following @

#rewindreview: Configa & Tommy Evans ‘Jolicoeur’ 2024

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  Configa and Tommy Evans are two acts from the United Kingdom who came together for an uplifting of frequencies on ‘Jolicoeur.’ This thirty minute album is tailor made for the summertime as Configa provides production that makes listeners dance while Tommy Evans uses his voice as an instrument with a free flowing style to it. If one is a fan of the Native Tongues then ‘Jolicoeur’ will satisfy the auditory canal as the release’s title is also paying homage to De La Soul’s fallen member Dave a.k.a. Plug 2. This album is “vibes and stuff” so do not expect to hear complex rhyme styles or deep lyrical thought. Tommy Evans makes more of a case for his own life experiences and the joy from that with a fun delivery that almost speaks to the inner child in the listener. There are a few features with mainly vocal artist like Doella, Matthew Allman, VVN and others while expect to hear rhymes from Kyza and Speech from Arrested Development. Run ‘Jolicoeur’ for a spin or two and decide if Configa & Tommy Evans are in their own “Buhloone Mindstate.” What did you think of the album? Singles include: ‘Summertime’ & ‘The Water’ 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 (under “kpft in HD2”) Catch past episodes by searching and following @

#rewindreview: K-Rec, Checkmate & Moka Only ‘Inference And Hearsay’ EP 2024

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  This is a Canadian takeover with Vancouver British Columbia’s Moka Only and Checkmate free flowing over a diverse amount of beats from K-Rec. ‘Inference And Hearsay’ is a fifteen minute EP of showing HOP music ages like fine wine. Moka Only still sounds as fresh as when one first heard him throughout his storied career. K-Rec provides some standout moments with this release like the infectious title track and a sort of “180” moment of the sounds you expect to here from the D.J./producer with ‘Way2Lit.’ I initially thought Checkmate was a newer act, yet I began to realize his name was associated with Canadian Hip-Hop but could not quite put my finger as to where. Then low and behold the track that most Americans became introduced to Canadian rap artist was ‘Northern Touch,’ a posse cut of acts from Canada that got some lengthy rotation on B.E.T.’s ‘Rap City.’ Checkmate was on that track and now this EP comes full circle (no pun). With the length of this release, one will not waste their time, but the initial two tracks are a personal favorite while the last three are a bit darker in tone. K-Rec gives the tracks added flavor with cuts and scratches making ‘Inference And Hearsay’ in “fact” a solid addition to an incredible year of HOP music from it’s veterans. What did you think of the album? Singles include: ‘Love Keep pt.2’ & ‘Inference And Hearsay’ 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 (under “kpft in HD2”) Catch past episodes by searching and following @

#rewindreview: Thonio & D.J. Kefran ‘In My Dreams’ EP 2023

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  QUANTUM LEAP RADIO was new to this duo when we received a promo of ‘In My Dreams’ EP. Thonio, who is from Buffalo, New York and D.J. Kefran from Paris, France provide a short twenty-five minute release compatible to Spring and Summer seasons. On this release Thonio raps about relationships, be it with women, social circles or himself. Rhymes are not too complicated and although this would be an underground release, it fits a more mainstream rap music audience. Thonio’s influences seem to be that of Young Jeezy, Lupe Fiasco etc., while D.J. Kefran provides a more basic music palette that fits the style and content provided by Thonio. ‘In My Dreams’ might not have the appeal to the “super-rap” fan but could garner some spins at the neighborhood backyard barbeque or kickback event. 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 (under “kpft in HD2”) Catch past episodes by searching and following @

#rewindreview: Moka Only ‘In And Of Itself’ 2023

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  The Canadian “Energizer Bunny” never stops even when one thinks he is over rap music. Moka Only has… a lot of albums and it seemed that during and post COVID, the Vancouver BC, M.C. might have slowed down production of music. In 2023 he popped up again with ‘In And Of Itself,’ which for those who have been fans of Moka Only for the past 25 years, got that signature sound and feel that compliments him and listener’s ears. Moka Only always finds that balance between vibes and head nodding sounds that seems to uplift the frequency within one’s self, if not for a moment of euphoria, that never seems to get old. This album’s consistency tracks with what Moka Only does for his projects where there are not many moments you might feel one part of the album is better than the other. Although ‘I Do Rap’ is one of those merry moments Moka Only traps listener’s with snares, drums and subtle sounds, while using his own voice as an instrument to make one rewind the track multiple times. ‘In And Of Itself’ can be added to the pantheon of “Moke’s” albums but it really is a standout release among his latter chapter of projects. 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 (under “kpft in HD2”) Catch past episodes by searching and following @

#rewindreview: Example ‘impulses’ EP 1997

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  When talking about Hip-hop in Houston certain names will always come up by default. Those names are just one side of what the great city has to offer though. For those like myself who grew up in the 1990’s surrounded by a certain sound from the city it was a surprise and proud moment to hear Example when listening to a local college radio show in Houston. ‘Slow Motion’ sounded like anything one would expect to hear on a college radio show back then but the difference was this song mentioning certain places in Houston. In 1997 this was rare to my ears and made me look into who this was. Kay, who went by “Dekay” at the time and D.J. Cipher made for this group Example, that seemed like they were speaking for that part of me that didn’t have a loud enough voice at the time. The music was what I wanted to hear, the content was relatable and for a younger me in my last couple of years in high school, there was a sense of the music not taking itself so serious but still having a positive frequency to it. For almost half a decade I didn’t hear this full release but when I did hear it, realized I actually heard all the tracks just in different spaces. This took nothing away from experiencing the eight track EP and simply made me appreciate the idea of being dedicated to releasing HOP music like this, as a physical medium, in a market not designed for the music provided. This really is a stepping stone for Kay as one can see how his rapping and production abilities have advanced over the years but nothing to look back at and be ashamed of. It’s more likely the reason ‘impulses’ has been re-released in the last couple of years, as for it to not be forgotten and display how a critical part to Houston Hip-Hop has evolved over the years for a particular generation. 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 (under “kpft in HD2”) Catch past episodes by searching and following @

#rewindreview: Roc Nation Presents ‘Humble Soles’ 2023

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  The lineage of what started from Jay-Z’s ‘Reasonable Doubt’ is still trying to branch out, regardless of the controversy, member changes and time itself. Roc Nation which has been a management avenue since the break up of Roc-A-Fella Records in the 2000’s, has had some great success but going into the 2020’s there’s a need for “new crop.” In 2023 Emory Jones who has been a long time collaborator and friend with Jay-Z, appeared on The Breakfast Club to talk about a project that would serve as way to introduce the newer acts under the Roc Nation flag. This would be described as a sort of “mixtape” which is hosted by D.J. Clue and in collaboration with Puma sneakers. For listeners that can appreciate or grew up on the sounds of HOP music in the 2000’s this compilation release will be a lot easier to digest, as much of the music is derivative of that time with added basslines and hi-hats to match current sounds. ‘Humble Soles’ vehemently provides exposure to a new crop of rappers not known to the public but have made names for themselves among a younger crowd like Kalen frfr and KenTheMan, while heavily spotlighting Huey V, RJAE and Tyre Hakim. Some familiar names provide grounding for this release like Vic Mensa, Rueben Vincent and Rapsody. I personally appreciated this release providing some insight to newer acts and their sounds but the “voice is an instrument” and many of the new acts on this release don’t possess a unique instrument yet. The music is standard for this time so maybe younger ears might look to this project over the years to come as their ‘Lyricist Lounge.’ or ‘Soundbombing,’ but those releases seem to connect with listeners due to the rarity of voices and ideas not just lyrical ability. If ever there was a time to find out if the new generation can rap, look to ‘Humble Soles’ for a few answers that might get the luxury of longevity in HOP music. What did you think of the album? Singles include: ‘Tale Of 2 Legends,’ ‘Vic Chops,’ ‘Outsiders,’ ‘Cypher,’ ‘Derek Jeter’ & ‘Love Answers All’ 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 (under “kpft in HD2”) Catch past episodes by searching and following @

#rewindreview: Swizz Beatz ‘Hip-Hop Vol.2’ EP 2023

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  My listening experience with Swizz Beatz has been a rollercoaster ride for the last 25 years. Upon first hearing his production in my last years in high school, there would be moments where I liked it but more moments when I did not. It was an odd time because he was the backbone behind the success of D.M.X.’s first two albums and the production outside of the album was what I liked. Eventually Swizz Beatz would be the poster boy for the “fisher price keyboard beats” many criticized in the late 90’s and early 2000’s but by 2009 something about his production changed for me. The music started to feel like there was more “meat on the bones” and had kick to it that not only serviced the “fly by night,” only concerned with hits crowd but a traditional Hip-Hop ear audience as well. Fast forward years later and it’s time for Hip-Hop’s 50th anniversary which leading up to this celebratory year, it was announced by Mass Appeal records that a select few beat makers would be providing short EP releases featuring past and present rappers. D.J. Premier handled Vol.1 while Swizz Beatz took the baton for Vol.2. Swizz Beatz offering starts off pretty strong with an upbeat banger, ‘Runaway’ featuring Nas that would have seemed to been a “hit” if released a decade or so earlier. The Lil’ Wayne featured ‘This Sh*t Right Here,’ could have arguably been received in the same fashion as well. By track three Swizz Beatz reminds the audience he comes from HOP music with ‘Take Em’ Out,’ a hardcore New York banger featuring Jadakiss, Benny The Butcher and Scar Lip and samples the drums of Boogie Down Productions ‘The Bridge Is Over’ and a hook which borrows from Onyx’s ‘Throw Ya Guns.’ Swizz Beatz version of ‘Hip-Hop 50…’ series still has an expectation that as a hitmaker he would connect with the popular, current or younger acts. Those tracks hopefully serviced the crowd it was meant for as I was not made a new fan but it presents part of those “50 years” of Hip-Hop music. With a rare Jay Electronica feature to close out this release I was a bit surprised at what I heard from Swizz Beatz offering to the ‘Hip-Hop 50…’ series. It’s not known whether this idea has been lost and there will be more as initially reported but D.J. Premier and Swizz Beatz have set a good barometer for what fans should expect. What did you think of the album? Singles include: ‘Take Em’ Out’ 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 (under “kpft in HD2”) Catch past episodes by searching and following @

#rewindreview: Slum Village ‘F.U.N.’ 2024

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  Slum Village, a name that has been synonymous with truskool Hip-Hop, musicality and feel good music in Hip-Hop for the last 25 years, continues their mission on ‘F.U.N.’ With so many changes due to members passing over the years, one would think that Slum Village is just a shell of it’s former self at this point. What ‘F.U.N.’ does is establish that the name is bigger than the personnel and that as long as the mission is still the same, the out come will remain or “FUc& ya’ll Ni&&as.” The album features a slew of guest like Cordae, Eric Roberson, The Dramatics and Larry June but it does not sound all over the place. In fact what ‘F.U.N.’ manages to do is treat the guest like they are a symbiosis called Slum Village. Production is mainly handled by Young RJ who has been an official member of “SV” for at least the last decade, along with Karriem Riggins, Co Producer Mason and Abstract Orchestra. They all manage to keep this album cohesive and not stagnant in the music, while keeping the energy and sounds the audience has come to love from ‘Fantastic Vol.2 to the self titled album of 2005 but with a 2024 flavor. The biggest issue with this album is awareness. Slum Village has created a piece of art music that should be heard by not only their core audience but wider. It doesn’t seem to be enough promotion of this album for the caliber of music provided. ‘F.U.N.’ has only been out for a couple of months at the time of this typing and hopefully their will be more promotions before the end of the year. Slum Village has delivered once again and with a the year of 2024 providing some of the best HOP music from our veterans it would be criminal for this release to not be celebrated along with them. 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 (under “kpft in HD2”) Catch past episodes by searching and following @

#rewindreview: Bhramabull ‘Evolution 5’ EP 2024

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  Enter Bhramabull a beat maker, producer from Los Angeles California who QUANTUM LEAP RADIO was introduced to though Digiwaxx’s ‘New Music Wednesday’s.’ His production has a vibe for those cruising down highways but also ready for the ear that loves music from the Griselda camp but with drums for that thumping feeling. To display his production, Bhramabull has a series of EP’s called ‘Evolution…’ On Part 5 of these releases the audience can get a true feeling of Bhramabull’s style along with some current heavy hitters in HOP’s underground. Expect to find verses from Big Twin, Raz Fresco, WateRR and The Musalini who is featured on ‘Fly,’ a song indicative of cruising down said highway mentioned earlier. Bhramabull is building his stock up and one should be ready to see his name featured on future releases from a myriad of artist in the HOP. Check out ‘Evolution 5’ and ponder who you would think he should collaborate with. What did you think of the album? Singles include: ‘Rents Due’ & ‘Dust’ 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 (under “kpft in HD2”) Catch past episodes by searching and following @

#rewindreview: Mitchy Slick & Sir Veterano ‘Everybody Hates Mitch’ 2023

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  If you don’t know who Mitchy Slick is, it’s ok. He’s only been doing this “rap thing” for over twenty years now and among some of the biggest and most impactful names in the industry. I first heard the San Diego M.C. with Strong Arm Steady who also consisted of Krondon, Phil Da Agony and original member Xzibit. Mitchy Slick was clearly West Coast no matter what type of beat was on and it sounded like someone you would literally meet on the streets as opposed to just another “rapper.” In 2023 he linked up with Sir Veterano, a producer from the West Coast as well, who is very versatile in the production he creates. On ‘Everybody Hates Mitch’ it is clearly a West Coast affair with lush kicks and snares from Sir Veterano while Mitchy Slick takes listeners thru some “Dago nights” with narratives of street activities, partying and pimping. This might sound like standard “rap ideas” but the two create an audio atmosphere that puts listeners on the “left coast” of the country and not feeling overwhelmed with content. This is a straight forward album that is clearly not preachy, has catchy songs and a simplicity that keeps it in the same range as predecessor tracks like Kendrick Lamar’s ‘Not Like Us.’ It was one of my favorite albums for 2023 so listen up and understand why ‘Everybody Hates Mitch’ because he is not like the rest of them. What did you think of the album? Singles include: ‘In My El Co,’ ‘Dago Nights,’ & ‘Keep Gettin’ Money’ 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 (under “kpft in HD2”) Catch past episodes by searching and following @

#rewindreview: Black Milk ‘Everybody Good?’ 2023

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  It is crazy to think that Black Milk is a veteran at this point, as he has always had a young spirit since he’s debut album ‘Popular Demand’ in 2007. Before that I first heard him on 2002’s ‘Dirty District’ compilation presented by Slum Village. In 2023 the rapper/producer provided ‘Everybody’s Good?’ which if one was just hearing Black milk for the first time would think he sounds like a new upcoming act. In the past my biggest issue with Black Milk was his obvious influence by Jay Dee a.k.a. J-Dilla on production and even rhyme style. This latest album truly finds Black Milk in his own bag and providing a refresher course on how HOP music can sound innovative and take risk with music. As a concept the album title asks is “everybody good” while tracks like ‘Yeah Really’ examine how often people might seem like everything is good but going through struggles. The genius of this record is how in totality it is a dark album but the music masks that somber tone, giving it a reason to initially be intrigued by the sounds but on repeated listens understanding through the lyrics why the album ask the question. Black Milk really establishes his production strength on ‘Everybody Good’ and keeps the features smart and to a minimum. You will only find Mick Jenkins, Quelle Chris and one of the most talked about lyrics from Phonte on this album on ‘No Wish. As well as vocal harmonizing from Rapheal Saadiq and Brandom Myster. This was my personal favorite album of 2023 and really had me asking what if Black Milk did an album for “…insert whoever’s name here.” ‘Everybody Good?’ is a new beginning for Black Milk in my opinion, that will possibly put him in higher regard for bigger acts in the future as well as recognition. What did you think of the album? Singles include: ‘Yeah Really’ 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 (under “kpft in HD2”) Catch past episodes by searching and following @

#rewindreview: Benny The Butcher ‘Everybody Can’t Go’ 2024

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  Leading up to the latest album from Benny The Butcher was the anticipation of this being his first Def Jam release and only beats by The Alchemist and Hit-Boy. On paper this looks to be a classic in any year where “record labels” matter. The Alchemist has a specific sound and crowd that he pleases while Hit-Boy’s stock has grown exponentially as a premier beatmaker in the last few years among multiple genres of HOP listeners. While ‘Everybody Can’t Go’ is a solid release and doesn’t leave much room for folks to complain about “Benny” being stuck in one sound, it does not create the effect previous albums have had for the rapper. Benny The Butcher keeps the album to the point and straightforward like he is known to do which is an asset for the M.C. On this album he has a bit more features but they do not feel like they invade the record. Snoop Dogg, Stove God Cook$, Lil’ Wayne, Jadakiss and new comers like Babyface Ray and Peezy make appearances. While also leaving slots to Benny The Butcher’s Griselda and Black Soprano Family members Westside Gunn, Rick Hyde, Armani Caesar and Conway The Machine. Benny provides energetic tracks like ‘BRON,’ ‘Back Again’ and ‘How To Rap’ but there seems to be an underlying feel of something holding this release back. It’s probably just me and still living off the effect of his 2020 album ‘Burden Of Proof,’ cause ‘Everybody Can’t Go’ is not a bad album at all, especially if you are just wanting HOP music with no additives or preservatives. It reminds me of albums released in the year 1997 where many were solid releases but lacked a certain energy but at the same time a few of those albums ended up aging much better over time. Hopefully within that time we all “can go” and appreciate the album more. What did you think of the album? Singles include: ‘Big Dog,’ ‘One Foot In,’ ‘BRON’ & ‘Back Again’ 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 (under “kpft in HD2”) Catch past episodes by searching and following @

#rewindreview: Rawkus presents ‘Ego Trip’s The Big Playback’ 2000

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  Leave it up to one the most authentic labels and movements during the turn of the millennium, to curate a compilation of forgotten and underground HOP music from the 1980’s. ‘Ego Trip’s The Big Playback’ served as a soundtrack to Sasha Jenkins’ popular ‘Book Of Rap Lists’ that was published a year before. In that book Hip-Hop music was given a benchmark as to it’s origins and most influential acts and songs up to that point. Where this compilation album works is not only providing some HOP jams but also connecting the origins of names, who by the year 2000 were known but not so known for what they did on wax during the 1980’s. M.C. EZ & Troop’s ‘Get Retarded’ would sound familiar around this time as L.L. Cool J. had released a track called ‘Zoom’ a couple of years before which borrowed from this jam but not only that, M.C. EZ was in fact Craig Mack. Divine Force’s ‘Holy War’ had been slightly resurrected by Ghostface Killah’s ‘Mighty Healthy’ on ‘Supreme Clientele’ earlier that year. Also producer/rappers like Diamond D. and Ski have their earlier groups displayed in The Bizzie Boyz and Ultimate Force. Personally this album was a jewel that only added on to my knowledge at the time seeing as how I was slowly beginning to respect and appreciate HOP music pre-1988. A perfect combination of the popularity of “80’s Hip-Hop” that was being celebrated at the time thru various remakes and other compilation albums and the genuine effect Rawkus records was providing to their audience. The artwork and selection of music on ‘Ego Trip’s The Big Playback’ is one of the last Rawkus releases that displayed the initial and true reason that label was so necessary and a breath of fresh air for a lot of us. Almost like a ‘Lyricist Lounge Vol.0’ in the Rawkus discography. 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 (under “kpft in HD2”) Catch past episodes by searching and following @

#rewindreview: Blackliq & Mopes ‘Change Is A Choice’ 2023

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  ‘Choice Is A Chance’ plays like a personal journal with highs and lows of life as the main theme. The Richmond V.A. rapper Blackliq, teams with beatmaker Mopes on a therapeutic journey with a “bop” to it. Although a short album ‘Choice Is A Chance’ is heavy in recognizing the importance of family foundation, no matter the social circumstances. Blackliq opens up about his own dark times on ‘Therapy’ and also coming to terms with his responsibility to live life. Other moments Blackliq provides very relatable thoughts like we have all had concerning wanting to bring children into this world. On ‘Little Me’ the Richmond V.A. rapper looks at his own childhood and ponders if he could put up with that child and how hard it could be to raise him. He extends his thoughts of growing up with the descriptive track ‘Tooth’ which conveys a story of why his mother would hide her missing one, while only realizing in Blackliq’s adult life it was due to domestic violence. ‘Choice Is A Chance’ is a reflective album that might not be for the summer barbeque get together but a way for one to sit with the record and know that being human is not always so “black and white.” What did you think of the album? Singles include: ‘Strange Famous,’ ‘Therapy’ & ‘Little Me’ 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 (under “kpft in HD2”) Catch past episodes by searching and following @

#rewindreview: Eleven & Jason D ‘Carefully Crafted’ 2022

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The idea of “Hip-Hop is dead” comes from a place of despair, with a bit of warning but many subconsciously are still waiting on mainstream avenues to correct their capitalistic model. That last part being the most hypocritical mindstate, a person who wants to hear the grassroots of HOP music could have. Reason being, there’s always a place to find what you are looking for but one has to not depend on everyone else’s attention span matching theirs to support or give a chance to lesser known acts in rap music. ‘Carefully Crafted’ from the M.C. Eleven and D.J./producer Jason D is a natural callback to the basics of HOP music. For those old enough to remember first hearing Jurassic 5 in the late 1990’s, it was apparent that their mission was to carry on traditional rap music but also was a huge part of the character and identity of the group. Eleven & Jason D do not seem as though this is their “gimmick” as oppose to just the type of music they make. Eleven’s style of rap is reminiscent of the early 1990’s while Jason D’s beats have the DNA of what made D.J. Premier so successful over the years. The two have “crafted” a time capsule that might not impress many younger ears or even older ears who feel this isn’t something they haven’t heard before. It is however more proof that those who came through a time when HOP music felt more authentic, are still able to service listeners who want to at least feel that authenticity for their listening pleasure. 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 (under “kpft in HD2”) Catch past episodes by searching and following @

#rewindreview: B.U.K.A. Entertainment presents ‘Bringing It Home: Volume One’ 2001

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There was a moment when the HOP music compilation was a thing and extremely effective. An album that would introduce or expose a myriad of rappers to new audiences. Soundtracks were a great example of this, in particular ‘High School High, ‘The Show,’ ‘Rhyme & Reason’ and ‘Soul In The Hole’ were mainly HOP music but had more known acts attached to those albums. When ‘Lyricists Lounge Vol.1’ released it set a strong precedent in providing unknown rappers a space to be heard on a smaller label but larger platform. After that release many compilations were provided and were successful in their own right like the ‘Supperappin’ series, ‘Beats & Lyrics’ by D.J. Kool EQ, D.J. Spinna’s ‘Beyond Real’ compilations and more. Needless to say these albums caused mass stimulus to my brain and I was on the lookout for any compilations adjacent to them at the time. With Rawkus records giving me an introduction to D.J. Hi-Tek by way of Black Star and hearing Lone Catalysts on a couple of mixtapes, I became aware of a “Mid-West” movement that could have easily gone unnoticed outside of the region had it not been for those acts. There was another compilation called ‘Mission Control…’ that highlighted those same acts along with a group Mood that took me down the Ohio path, which lead to me discovering ‘Bringing It Home Volume One.’ This album highlights many of the acts who were connected to Lone Catalysts and their label B.U.K.A. which stood for (Brothers United Keeping It Afficial). An extremely independent label that once again gave space for more unknown acts to be heard. On this album a few names were familiar like Verbal Kent and Usef Dinero but even for an “underground Hip-hop head” at the time these were all new acts. The songs that truly stand out on this album really do like the B.J. Bigby heater ‘Surrender,’ K-Mos ‘High Noon,’ Afaliah Afelyone ‘In/Exhale’ and Usef Dinero’s ‘Misc.’ The problem is a majority of the record has tracks from artist that just don’t stand up to the best offerings here, and with nineteen tracks and album art that is not to enthusiastic it doesn’t create the best replay value. As a collector of the independent Hip-Hop music scene at the time it’s not a bad album to own and displays the street and traditional sounding HOP music of that era. 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 @

#rewindreview: Quanstar & Poe Mack ‘Big Boy Barred Up’ 2023

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  Quanstar is a friend of QUANTUM LEAP RADIO and remains so due to the solid music he continues to provide us. On this sonic trip he teams up with producer/M.C. Poe Mack who has worked with the likes of Cesar Comanche and others on the current “underwater” HOP music scene. The two keep ‘Big Boy Barred Up’ simple with only twelve tracks and two features while Poe Mack ensures Quanstar is provided a musical backdrop that can’t be described as “retro.” Quanstar is comfortable in his lane of providing lyricism that doesn’t aim to compete with the youth, instead relating to ears that can appreciate “grown man raps.” ‘Act Like Bosses’ speaks to the new age of “wannabees” who get so inspired by negative aspects of rap music that they begin to believe they are in fact built for those aspects. Something that as of this date of writing can be applied to very well known figures in HOP music. ‘Plugged In’ is also a stand out track, as an examination of the effect social media has on human’s thinking they are so smart we end up falling for anything, even our own lies to one selves. ‘Big Boy Barred Up’ is an excellent introduction to Quanstar and Poe Mack if one has never heard either of their offerings of music. More importantly another example of how HOP music will continue to produce for all those still interested in this ever aging genre. 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 @

#RewindReview: SWURVHITTZ & Budda Early ‘As We Continue On’ EP 2023

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  In the next collaboration with Bronx born and bred D.J. SWURVHITTZ and Budda Early, an appetizer is served for those who never heard of them and a possible holdover for a future release. ‘As We Continue On’ is a follow up to 2021’s ‘Religion’ EP but lacks the grounded effort that record had. This release feels more like an experiment or possible cutting room floor tracks but also is a glimpse into how New York is sounding currently. SWURVHITTZ provides beats that have minor to no sampling but lean heavy into bass and high hat drum kits. Budda Early displays lyrics that are not too deep and will grab the attention of fans of Maino or those still liking the Dipset era. ‘As We Continue On’ is an exercise in the two’s chemistry and working on what could be created next. They also offer an olive branch to that “next chapter” with the track ‘Food For Thought’ which only features J Dillenger, an unknown rapper who had the most profound track on the release. Take about fifteen minutes and dig in to continued vibes of underground HOP music from the place it all started from. 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 @

#rewindreview: Mickey Blue ‘A Long Time Coming’ 2023

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  This is another benefit of QUANTUM LEAP RADIO and the rap music acts we get introduced to. Mickey Blue is a beatmaker who has taken that dynamic first seen on Marley Marl’s ‘In Control Vol.1,’ and procured multiple M.C.’s to rhyme over the producer’s beats. Often this can feel like a compilation album but over the years the idea of some of the best beatmakers in HOP music, getting fan’s favorites to collaborate, has always been like a buffet of one’s favorite foods or a kid in a candy store. On ‘A Long Time Coming’ Mickey Blue has a myriad of rappers, with some more known in today’s under ground like M-Dot, Jay Royale, Spit Gemz and veterans like Copywrite and Ill Bill. Mickey Blue makes a strong case that this will be HOP music to the core with no additives or preservatives as the beats here are straight hardcore HOP music, ripe for anyone still claiming “Hip-Hop is dead” or the genre is “too soft.” Tone Spliff contributes to the subconscious familiarity of what makes rap music Hip-Hop by providing the cuts and scratches on the album. The issue here is the mood doesn’t really change throughout the album with the exception of the single ‘Twenty Ninety Four’ and ‘Don’t Blink.’ It’s definitely not a summertime album and by the second half of the release it starts to feel like a soundtrack for Halloween. Many will have no problem with this and I believe Mickey Blue knows his audience, which is why the album maintains it’s theme. For those needing confirmation that HOP music is still dirty and raw the time has come. What did you think of the album? Singles include: ‘Twenty Ninety Four’ 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 @

#rewindreview: Teflon ‘2 Sides To Every Story’ 2023

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  Teflon, the unofficial third member of M.O.P. took full advantage of the time we all “sat down” during the Pandemic, to plot a comeback. The rapper appeared on many features for M.O.P. and the Gang Starr family in the 1990’s and also put out an album of his own then. ‘2 Sides To Every Story’ is surprisingly solid and that is with all due respect. Teflon always seemed like he was a good “off the bench” player in the nineties but never had that release to show he could hold down an album. This release should not be overlooked for those wanting the simple formula of hard beats and hardcore rhymes. What makes the album so cohesive is D.J. Premier and Jazimoto produce the whole album and do a great job of blending their two styles to make it seem like it was Teflon and one producer. Teflon’s voice also play’s a critical role in why this album is good, as he has always had a unique high pitch tone and a way to play with the ups and downs of his delivery, and in 2023 he did not seem to lose that edge too much. The album also keeps features to a minimum and those bare minimum’s fit right in which is M.O.P., Benny The Butcher and I-Fresh on the hook for ‘Baby.’ The album starts off high energy on ‘Out The Gate’ and keeps that pace throughout the record. ‘Life In The Feds’ is one of the most memorable tracks as Teflon delivers his version Kool G. Raps’ ‘Ryker’s Island,’ that plays more like an audible ‘Scared Straight’ special as opposed to glamorizing the situation. ‘2 Sides To Every Story’ for me falls in line with the numerous veteran acts who in the last 8 years have evolved the idea that HOP music can only be created the best in ones prime. What did you think of the album? Singles include: ‘No Fake Love, ‘ ‘Life In The Feds’ & ‘Contraband’ 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 @

#rewindreview: Showbiz & A.G. ‘Runaway Slave’ 1992

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  Growing up my interest in HOP music came from the benefit of cable television. This didn’t mean that I grew up in a rich home by any means but that cable was cheap enough to have during certain times in those years. A period that was missed for me was late 1992 thru about 1994, so I missed a lot of singles that might have only been shown on Rap City or Yo! MTV Raps. One single that I caught before that cable bill was overdue and it was gone again was ‘Soul Clap’ from Showbiz & A.G. For those alive or paying attention at that time, know that the single was heavy and stayed in rotation. It was the introduction to the duo and left a lasting impression on ears for years to come. This single was also one of my first CD purchases as the ‘Soul Clap/Party Groove’ maxi single I bought used at the original Soundwaves records store here in #HUEston, after returning a ‘Boys II Men’ album I got for Christmas one year. ‘Soul Clap’ and ‘Fat Pockets (remix)’ was the only songs I was familiar with from ‘Runaway Slave’ at the time. It wasn’t until about 2002 when I finally got around to this album and from then it grew on me. 1992 is not one I put in my “favorite years” of HOP music list so when I initially heard this album it sounded “suspended in time” but Showbiz’s beats were crazy and stick to one’s auditory canal like barnacle on boats. A.G.’s rough rhymes mixed with these beats just gave an energy that can’t be denied. ‘Silence The Lambs,’ ’40 Acres And My Props’ and ‘He Say, She Say’ all have this jazzy but dangerous feel to the songs. ‘Runaway Slave’ also provides interludes to each song with members of D.I.T.C. (Diggin’ In The Crates) while also introducing the world to Big L. The album is a time capsule to a world where rap music was more genuine in why it was being created which can be theorized as to why the music holds up after thirty years. Equipment had to be bought, music had to be listened to, time and money had to be scheduled for recording, and M.C.’s had to be ready when these other stars were aligned to make a mark. All this was not done with a click of a button but instead digging in crates to create a unique soul in HOP music. What did you think of the album? Singles include: ‘Soul Clap,’ ‘Fat Pockets’ & ‘Bounce Ta This’ 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 @

#rewindreview: Run The Jewels (Killer Mike & El-P) ‘Run The Jewels’ 2013

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  I could never imagine in 1998 that while listening to Company Flow’s ‘Funcrusher Plus’ and Outkast ‘Aquemini,’ that I would ever hear El-P and Big Boi rapping on the same track. This has been the legacy of Run The Jewels, which is providing the most amalgamated circumstances to all of us who were listening to HOP music prior to the 2000s. For those younger ears or one’s simply not in the know, this collaboration between El-P, Killer Mike and the features they have had is standard practice in a rap music world where that proverbial “line in the sand” is no longer existent. ‘Run The Jewels’ is the second collaboration with El-P and Killer Mike, but the first of what would make them a cultural favorite among younger ears. Unlike Killer Mike’s ‘R.A.P. Music’ album from 2012, El-P was strongly motivated to rap again by Killer Mike, thus creating this rapping duo. This album is to the point and really displays the chemistry “El & Mike” have. The content was a lot more abstract and fun, to which those aspects were really sold by the visual components of the record. The first single ’36’ Chain’ has one of the most laugh out loud moments as “RTJ” re-envision L.L. Cool J’s intro to the ‘I’m Bad’ single. More “inside joke” hilarity is found on the Prince Paul featured ‘Twin Hype Back’ where he reprises his role as “Chess Rockwell” of Handsome Boy Modeling School. ‘Run The Jewels’ for me is the easiest album to digest next to ‘RTJ4′ in the Run The Jewels catalog. El-P handles the majority of the production and keeps that “futuristic b-boy” feel which keeps this album strange in 2013 but over the years it has marinated to feel a little ahead of it’s time. If the run (no pun intended) of the duo is done, within a decade they have stamped their ticket as a solid rap group and boosted the value of Killer Mike, so run these jewels back one more time *no Diddy*. What did you think of the album? Singles include: ’36’ Chain’ & ‘A Christmas F***king Miracle,’ ‘Banana Clipper,’ ‘Run The Jewels’ & ‘Get It’ 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 @

#rewindreview: Run The Jewels (Killer Mike & El-P) ‘Run The Jewels 3’ 2016

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  As a Christmas gift for a world who would now see a clown as the leader of the “free world,” Run The Jewels activated one more release before the end of the 2010’s. ‘Run The Jewels 3’ felt like a much darker album from the previous releases, if one could differentiate the music with expert ears. As collaboration albums go “RTJ” by this point felt more like an actual group than two separate entities getting together for another run. For me it was starting to feel like a burn out as by the time of this release I was still getting familiar with the first two. ‘Run The Jewels 3’ has more of an alternative rock influence which sonically is why I probably don’t find it as my favorite. The message and mission of the group remains which is providing a cynical outlook on society and more important how critical things seem to be in the election year of 2016. El-P and Killer Mike perform effortlessly through rhymes and ideas and are once again joined by Zack De La Rocha while adding a couple of more unexpected guest like Trina and Danny Brown. ‘Run The Jewels 3’ isn’t a bad record but it lacks the ability to convert “hip-hop heads” to the movement of RTJ with it’s overtly left of center/Trap music feel. What did you think of the album? Singles include: ‘Legend Has It’ & ‘Call Ticketron’ Listen to @QUANTUM LEAP RADIO every Saturday from 4-6p.m. CST & Thursday from 3-5a.m. CST @90.1 FM KPFT Houston in HD2 Worldwide @kpft.org/listen (under “kpft in HD2”) Catch past episodes by searching and following @fanlink.tv/QuantumLeapRadio

#rewindreview: Run The Jewels (Killer Mike & El-P) ‘Run The Jewels 2’ 2014

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  In the third collaboration for El-P and Killer Mike the duo find themselves caught in an unexpected cultural phenomenon. With the success of the first ‘Run The Jewels’ album the critical response among new fans and a younger generation looking for more than the average top 40 radio sounds, “RTJ” become the new anti-establishment group of choice. After the Mike Brown killing in St. Louis, there was a sense of reality among “twenty-something year old’s” who grew up thinking racism was in the past and the world was as “black and white” as the villains and heroes in their favorite anime. ‘Run The Jewels 2’ serves as a “truth serum” that does not come off as preachy or mild musically with a rebellious energy. El-P embraces the southern bounce that seemed to connect with more ears from the first “RTJ” record and with the help of Wilder Zoby and Shalimar, intertwine a futuristic rock element that doesn’t allow the listener to fall asleep. ‘Run The Jewels 2’ really focuses in on the dangers of corrupt governing and questioning the leaders put in place to uphold law. Although there are a couple of different moments like the raunchy ‘Love Again (Akinyele back)’ which features Gangsta Boo as all three express the dirty side of wanting that “good ol’ thing back.” Where this album fails or in some ears succeeds is it all sounds like one long song. It can be hard to really distinguish the majority of songs but then again to the “RTJ” fan this is probably the best thing about the album. ‘Run The Jewels 2’ is made for the festivals, where suburban kids can live out their dreams of going wild and crazy while thinking this is “sticking to the man.” What did you think of the album? Singles include: ‘Blockbuster Night Part.1,’ ‘Oh My Darling Don’t Cry,’ ‘Lie, Cheat, Steal,’ ‘Close Your Eyes (And Count To F**k),’ ‘Early,’ ‘Angel Duster’ 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 episode by searching and following @

#rewindreview: Jay Dee a.k.a. J-Dilla ‘Ruff Draft’ EP 2003

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  During the days of Jay Dee’s life, when he was still under utilized by the music industry and the “Dilla changed my life” audience thought “Jay Dee” was a misspelling of Jermaine Dupri, the Detroit native was dropping solo music that barely saw the light of day. ‘Ruff Draft’ was an EP that was originally only released on vinyl after “J-Dilla’s” solo debut ‘Welcome 2 Detroit’ and the shelved MCA Records debut album ‘Pay Jay.’ ‘Ruff Draft’ like it’s namesake was a collection of tracks which sounded like Jay Dee was in practice and still better than most beat makers at the time. “Dilla” has this genius way of making the most calm and vibing tracks feel like a build up of energy that keeps one’s neck and constant motion. ‘Let’s Take It Back’ is a grand example of this as it starts off the release. ‘Make’em NV’ is another banger where Jay Dee utilizes Fame of M.O.P.’s voice to bring this track’s energy over a “ruff” drum loop. It’s been said by Jay Dee’s family members and close friends that he liked to sing and on this release the audience gets to hear a bit of that on the hypnotic track ‘Nothing Like This.’ With ‘Ruff Draft’ falling under the radar in 2003 it was only right that it was re-released in 2007 after the passing of James Dewitt Yancy in 2006. ‘Ruff Draft’ further shows the world what they took for granted as while Jay Dee was alive, his modus oparandi was to constantly create and elevate his music no matter who was listening. What did you think of the album? Singles include: ‘Nothing Like This’ 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 @

#rewindreview: Run The Jewels (Killer Mike & El-P) ‘RTJ4’ 2020

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  Since 2012’s ‘R.A.P. Music’ from Killer Mike, his collaboration with El-P has always been a prime example of the “odd couple” in HOP music. ‘RTJ4’ marks the fifth collaboration album the two have done and for me personally is a favorite out of their Run The Jewels series. What makes this album stand out for me is how it’s a lot easier to separate from the previous Run the Jewels records. ‘RTJ4’ sounds more like a return to Killer Mike’s ‘R.A.P. Music’ where songs within the album sounded more discernible. The album feels more like the HOP music production one will hear from an El-P produced record, with a sort of futuristic “boom bap” sound he has been known for since 2001’s ‘Fantastic Damage.’ El-P had help on the production side with Wilder Zoby and Little Shalimar who provide more live music to the already left of center “trap sound” often displayed by Run The Jewels records. In theme with the odd and unlikely pairing of Killer Mike and El-P, the album features just as unlikely guest that include Pharrell Williams, Gangsta Boo, Zach De La Rocha and Greg Nice. Run The Jewels turn a concoction of musicians into a solid piece of an audible meal, complete with challenges to capitalism, revolutionary lyrics and fighting the system while under the guise of upbeat production in a “hipster” atmosphere. What did you think of the album? Singles include: ‘Ooh LA LA,’ ‘Out Of Sight’ & ‘Walking In The Snow’ 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 @

#rewindreview: Big Pooh ‘RPM’ 2018

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Since Little Brother’s ‘The Listening’ from 2002, it was always a narrative that Big Pooh was the weaker M.C. out of the group and some that believed he never should have been behind a microphone. These narratives tend to shut people down while others, it only provides fuel to prove those narratives wrong. Over the years “Pooh’s” skill have not only gotten better but if one is really paying attention can hear more confidence in his delivery. On ‘RPM’ Big Pooh delivers a consistent set of HOP tracks that showcase just how comfortable the rapper is in his abilities. Produced entirely by Focus and featuring a few guest like Chaundon, Akilz Amari, C.S. Armstrong, Blakk Soul and Ab Liva. Focus manages not to over produce the record while Big Pooh experiments with some different cadences like on ‘Follow The Leader’ featuring Thurz and ‘Prey/Pray’ featuring Cocoa Sarai. Big Pooh and Focus do an excellent job of making sure songs go in many directions while also keeping the tracks and album shorter as to not lose ears in a drowning of “filler” tracks. ‘RPM’ doesn’t sound like an album where Big Pooh is trying to say to the public “I told you so” but rather “this is just what I do.” 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 @

#rewindreview: EarthGang ‘Royalty’ EP 2018

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    This was my first time giving the Atlanta G.A. duo a chance as their name had been buzzing for a few years leading up to this release. With co-signs from a few respectable veterans in HOP music as well as being apart of J. Cole’s Dreamville crew, the red carpet was laid for EarthGang. ‘Royalty’ is a twenty-five minute sample taste of the duo’s talent’s as rappers but even more importantly showing that even though they are from the land of “trap,” they provide more music than just the same drumkit and basic 808’s. The comparison was made early on that this was the closest to Outkast for a new generation. A description that I can easily understand people would make as a track like ‘Off The Lot’ featuring Mereba, feels like something birthed from Outkast’s third album ‘Aquemini.’ I believe the comparison’s do EarthGang more a disservice due to such big shoes to fill. Most acts post Outkast, that meant for their art to last have always instituted more live music and vibrant sounds. This is where this release truly shines as the music created by EarthGang along with, Like, Childish Major and Jones T provide a sonic atmosphere that leave listeners wanting more but indulging in a bit of nostalgia due to so much “basic” music associated with younger acts. EarthGang is different and I believe once their actual rapping voices are found and strengthened, they can truly create a lasting legacy. 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 @

#rewindreview: Ed O.G. & Da Bulldogs ‘Roxbury 02119’ 1993

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You might often wonder to yourself, who was the rapper that introduced a city to you. Some might say Common for Chicago, The Geto Boys for Houston or Too $hort for Oakland. For me the city of Boston was introduced by Ed O.G. & Da Bulldogs after their smash hit ‘I Gots Ta Have It’ off the debut ‘Life Of A Kid In The Ghetto’ from 1991. A solid album that introduced the crew with some real themes and light hearted tracks. The sophomore release ‘Roxbury 02119’ is a lot more rougher and musically a lot more consistent. Unlike their debut, it’s not a smash hit on ‘Roxbury…’ but as a whole album it jams with limited songs that could be considered “filler.” From the opening track ‘Streets Of The Ghetto,’ Ed O.G. sets the tone of this release for the 1993 ears. ‘Bug-A-Boo’ is in the past and it’s time to feel the streets of Roxbury. This is not to be seen as a complete 180 degree turn from the lessons ‘Life Of A Kid…’ provided as tracks like ‘Love Comes And Goes’ remember those lives taken unexpectedly and ‘Less Than Zero’ touches on the mistrust of Police within inner-ctiy boundaries. Ed O.G. was always a good storyteller when it was time although on this album there is more “streams of thought” lyrics which could possibly be the reason it is often slept on over the years. Beats were provided by Joe Mansfield and Diamond D. to which both producers made such a cohesive record. This was at a time when Diamond D. was in a zone so much so that the beat for ‘Busted’ ended up being the same beat with a slight change in music for Tha Alkaholiks’ track ‘Next Level,’ off their ‘Coast II Coast’ album a couple of years later. Even “The Great Diamond” himself didn’t realize this when QUANTUM LEAP RADIO interviewed him a couple of years ago (https://fanlink.to/QLLEAP311/) This goes back to the mystery of why is ‘Roxbury 02119’ often forgotten and was it just an album that was caught in such a good year of HOP music releases or did the record label simply neglect a hidden gem? What did you think of the album? Singles include: ‘Skinny Dip (got it goin’ on)’ & ‘Love Comes And Goes’ 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: Statik Selektah ‘Round Trip’ 2023

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This was an album that fell a bit under the radar in 2023. Statik Selektah’s ‘Round Trip’ is an assembly of some of the most “truskool” rappers who have earned a name for ACTUAL rapping in the last ten to twelve years. From Joey Bada$$, Rome Street, The Griselda crew, Ab-Soul and Ransom to name a few, “Statik” provides his signature sound to coalesce with these voices meant to carry the torch of HOP music. Although the track listing can look intimidating with twenty songs, this record is only an hour long. Statik Selektah works hard to make sure the album is not monotonous to the listener’s ears by having such a wide variety of rappers involved but also making sure his production provides a wide range of feeling while keeping the overall frequency consistent. ‘Round Trip’ not only provides the more recent collective of wordsmiths but notable veterans as well. Expect to hear the likes of A.Z., members of the Wu-Tang Clan, Bun B., Cormega, M.O.P. and Elzhi. One of the most important veterans on ‘Round Trip’ is Posdnous of De La Soul, as this would mark the first song and feature of the legend after the passing of group member Dave a.k.a. Plug 2. It was only right and with respect that Statik Selektah starts this ‘Round Trip’ off with a dedication to one of HOP music’s most important figures, who we all lost in the year 2023. 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: D.J. Quik & Problem ‘Rosecrans’ EP 2016

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  A small tidbit that was thrown out to the people on behalf of a West Coast legend and up and coming voice. D.J. Quik and Problem put together a solid collection of tracks that drop the listener in the middle of the Los Angeles neighborhood of Rosecrans. Without making the music sound like a throwback to the 1990’s, D.J. Quik and Problem instead showcase the nuisances that keep the region different from anywhere else in the world. Of course in terms of content that music breeds street life and telegraphed uses of words not meant for FCC regulations but a difference here is the rapping talent of Problem. D.J. Quik also gets behind the microphone for brief moments and the release also enlist the talent of some notable West Coast rappers too. Game, Bad Lucc and Wiz Khalifa are a few known acts that grace this EP giving it even more validity. For thirty minutes the audience is transported through the streets of Rosecrans and the mixing and mastering of this release does not sound rushed or cheap. “Quik” and Problem knew they had something and clearly threw the ‘Rosecrans’ EP out there as a taste test or warning as the two dropped a full length album of the same name the next year. 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: Horror City ‘Rose From The Crypt’ EP 2020

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  Superstar MC of Horror City did not allow the pandemic to stop his output of music nor from allowing the “Horror City” name to die. In 2020 he linked with the “remix king” MiLKCRATE, to produce a “headnoding” release ‘Rose Form The Crypt.’ This eight song release allows Superstar MC to get loose over some beats that don’t necessarily coincide with the very dark album cover the EP portrays. MiLKCRATE is known for his very vibrant tracks and they work well with Superstar MC’s voice. In keeping with the theme of “Horror City,” Superstar’s lyrics match the album cover and title with gritty tales and some dark themes. It is a safe release that doesn’t move the needle but also provides about thirty minutes in one’s day to vibe out. Where the release could be better is with Superstar MC, as his delivery of rhymes can seem jumbled and his vocals could have been mixed better, or a couple of takes to make sure words did not seem forced into certain bars. This can often happen to veterans who have been playing the game as long as Horror City but it’s a treat knowing there is still effort to provide “truschool” HOP music to an underserved demographic of listeners. What did you think of the album? Singles include: ‘Vibin’ 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: Kool G. Rap & D.J. Polo ‘Road To The Riches’ 1989

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The debut album from Kool G. Rap & D.J. Polo is often forgotten when talking about the classic albums from the golden age of HOP music. Kool G. Rap has managed to stay relevant for almost 35 years among true HOP music fans and underground M.C.’s. That journey starts with the ‘Road To The Riches’ album. In a way Kool G. Rap was about six years ahead of the “pseudo-mafioso” era that ran HOP music from East to West Coast and all in between. On the only video single and title track for this album, we see “G. Rap” proclaiming street tales of a big time crime boss but at the end there is still repercussions of those actions. That song was clearly one of the later tracks recorded for this album as ‘Road To The Riches’ ironically can sound like “a demo.” The mix in quality of this album matches the time but the music on the majority of the songs are clearly before 1989 and match the mission of what producer Marley Marl has said for years. In an interview with QUANTUM LEAP RADIO in 2017 (https://www.mixcloud.com/QLRadio/quantum-leap-radio-leap-forty-two-wmarley-marl-grandmaster-dee-jun-24-2017/) “Marley” mentions how the early 80’s sounds of HOP music were not good to him and were going to phase out quickly. He in turn decided to use more sample based production for his artist and ‘Road To The Riches’ is an example of his transition in music. Kool G. Rap is the main star on this record and provides a lyrical painting of street knowledge, admiration for automobiles on ‘Cars,’ puppy love relationships and respecting the D.J. “The man with the cuts,” D.J. Polo accentuates the tracks on this album and makes songs like ‘It’s A Demo’ and ‘Poison’ stand the test of time. ‘Road To Riches’ also doesn’t get the credit it deserves for being such a hardcore record that didn’t lean on cursing to get its point across, as there are only two songs that contain vulgar words. An attribute usually awarded to only Rakim & Eric B.’s ‘Paid In Full.’ This was just the reality of rap music in it’s golden years, was to focus on a viable product that could always be one’s claim to fame when determining the acts worth. What did you think of the album? Singles include: ‘It’s A Demo,’ ‘Poison’ & Road To The Riches’ 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: Moka Only ‘Road Life’ 2000

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  Yet another cog in the machine that is Moka Only’s almost one-hundred album discography; ‘Road Life’ is a collection of thoughts and beats from the Vancouver, British Columbia M.C. and producer. This was my second album from Moka Only after buying his album ‘Lime Green’ and one of the first albums I purchased online through the long standing Sandboxautomatic website. What I appreciated the most about ‘Road Life’ was how free it was in terms of “Moke’s” approach. Much like the album cover, the music feels like he is recording this while being nomadic and coming across unique experiences along the way. From this album one can ascertain that Moka Only’s influence are more Native Tongue than Deathrow records, but tracks like ‘Knockin’ Like This’ and ‘Madness’ still project a hint of the hardcore HOP music the M.C. has in him. For those not used to Moka Only, the length of this release might seem intimidating with twenty-five tracks at seventy-three minutes. It should be noted that during the days of purchasing physical albums that length felt like one was getting their money’s worth, especially if the album was consistent with what one wanted to hear. Moka Only has a vast discography and if looking to go down that rabbits hole, ‘Road Life’ is a good start but beware some ears may get caught in the habitat of the “Durable Mammal.” 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: Walkin’ Large ‘Riverside Pictures’ 1995

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The internet has allowed for more acceptance of international HOP music in the last 25 years but before that it was much harder for the same music to be heard or let alone respected. Walkin’ Large was an act from Capetown, South Africa and linked with producer Roe Beardie in Germany to create a bumping album, fresh for the year of 1995. ‘Riverside Pictures’ is the debut album from Walkin’ Large who consist of rapper Ono and D.J. Ara. I first heard this group listening to college radio in 1997 with a track called ‘Listen To This’ featuring Black Thought. Of course I had no real idea of who they were until I purchased a used copy of a compilation album called ‘International Griots.’ The group had two songs on ‘International Griots’ and one featured Jeru the Damaja called ‘When I Flow.’ Upon hearing the broken English accent of Ono, I realized this was the same group from ‘Listen To This’ and it was apparent that the influence of “truskool hip-hop” was with Walkin’ Large. I didn’t get to hear this album until 2017 but what is here is curated for the listener who loved and appreciated the sound of mid-1990’s HOP music. Walkin’ Large will remind you of Digable Planets with a bit more hardcore sound but that is mainly due to Ono’s aggressive delivery at times. D.J. Ara provides the cuts and ‘No Time For Weakness’ is one of the D.J.’s finest moments on this record. ‘Riverside Pictures’ is more about the vibes and atmosphere the music was created in. Lyrically there will not be an impressive amount of quotes but this album feels like a journey to another land in another time. What did you think of the album? Singles include: ‘Reachin’ 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: The Roots ‘Rising Down’ 2008

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  ‘Rising Down’ is the eighth full length album for The Roots who by 2008 had proven that as a collective, a fan base would always be present for anything they do. Their celebrity had grown by hit songs they made, touring they had done and collaborations with everyone from Dave Chappelle to Jay-Z and everyone in between. This album seemed to be something different just from the cover art and as it contrasted to the first single off this record ‘Rising Up.’ The song was very upbeat and fit the true Roots sound while being assisted by the R&B vocals of Chrisette Michelle and continuing a Roots tradition of putting on upcoming rappers who would be bigger stars, with Wale. The album begins with an “eye-catching” audio clip of Black Thought and ?uestlove arguing over the direction of the group at some period during The Roots career. The album title and album art start to make sense but will this be the start of the last album for The Roots? The title track welcomes listeners back to a Roots experience with Mos Def and Styles P., while ‘Get Busy’ goes a bit more hardcore in it’s music approach with Dice Raw and Peedi Peedi a.k.a. Peedi Crack. This project is showing a darker side of The Roots but at this point it is looking upward in terms of songs. The Hip-Hop archive appreciates the ‘@15′ track where fans get to hear the legend Black Thought at the age of fifteen showing why his “10,000 hours” have brought him to the legendary M.C. he is currently; which is then followed by him displaying that on ’75 Bars (Black’s reconstruction).’ This album seemed to be on track as their best since ‘Things Fall Apart’ but then a couple songs bring that “Metacritic” score down a bit. ‘I Will Not Apologize’ and ‘I Can’t Help It’ are not up to par with the music The Roots are known for or can do. These songs started to feel like the album was going in a ‘Phrenology’ direction but the group picks up the “loose ball” and from ‘Singing Man’ until the end of the album, fans get to hear the real Roots. As a bonus to the very personal and dark ideas of this album, it closes out with another audio clip of the group as they are discussing very real matters only for their rental vehicle to be wrecked causing all tension to be quelled by laughter. This is the most ?uestlove way to end a dark album on a light note. What did you think of the album? Singles include: ‘Rising Up’ ‘Get Busy’ & ’75 Bars (Black’s reconstruction)’ 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: 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

Georgia v. YSL Day 3: Was the Jury Pool Tainted?

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On Wednesday, in the YSL RICO case, the jury were accidently shown by a broadcast camera. That stream was shared by multiple sources and the screengrabs and video quickly made it to social media. Judge Glanville ordered all the attorneys into his chambers after being informed of the error, later then instructing the camera men to only continue recording the audio of witness gang detective Mark Belkap. At one point the live channel of the case just sat focused on a single water bottle as witnesses were examined. Some of the net’s biggest blogs shared the video on their social media accounts, which is call for alarm of tainting the jury in some cases. Judge Glanville just confirmed that jurors were accidentally filmed. — Jewel Wicker (@jewelwickershow) November 29, 2023 Detective Belkap went through an extensive explanation of gang life and culture. Showing the jury the often used “gang triangle” to the jury. The Judge was once again angry with the prosecution as the slide show he used was not turned over to the defense days prior. His testimony consisted of trying to explain how he referred to YSL as “Young Slime Life” and not “Young Stoner Life” the clothing line. Belkap also tried to explain that this was a non-traditional gang and show the difference. He was the sole witness for the day. As far as the jury goes, the worry of revealing the jury to the public are many. One of the worries is that a jury member can be trained or targeted with information, or disinformation, that taints their view of the case one way or the other. Another major worry is that the said juror could be doxxed, and personal information and whereabouts could become targeted, therefore tainting them. As one court reporter pointed out, it could lead to alternate jurors being called to replace someone. We will know more in the coming days. Watch the full stream of today’s case below.  

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

Georgia v. Young Slime Life: Did Thug’s Lawyer Reveal the Darker Side of the Music Industry?

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It’s been over a year since Fulton County, Georgia District Attorney indicted the rapper, Jeffery Williams and his YSL crew for RICO charges in May of 2022 and Monday set the stage for opening statements delivered by the State vs “YSL.” But on Tuesday, Thug’s Lawyer Brian Steel’s opening included strong statements about the music business. Namely how they music industry creates and maintains beefs and personas for marketing purposes.  “You will learn that this is part of being involved in hip hop and rap. There’s all these battles going across social media. It generates interest, much like the NFL has rivalries with the Saints and Falcons,” said Steel. The trial has started off to much controversy Monday as well with Chief Deputy District Attorney Adriane Love. Ironically, Love went the poetic route. She was quoting “The Jungle Book” and attempting to show a parallels of sorts using the “Wolfpack” mentality as fodder. Which ended up being a long soliloquy boasting confidence of the evidence. And there we’re objections. Aside from being accused of showing jurors evidence that was excluded by Judge Ural Glanville, the defense was given more ammo to contest. Love was objected by Steel mid-sentence, for attempting to ‘shift the burden of proof.’ Some have said this will be grounds for appeal should the State still convict the rapper in the long run, as the objection was sustained and further explained by Judge Glanville. Watch the clip below to see the full exchange. The defense also brought up the common distrust of the police and specifically to how “Jeffery” as Steel refers to him, witnessed multiple accounts of police misconduct. Specifically how his family had been mistreated by the police on several occasions. Stating his father was harassed by the police routinely, detailing how his older brother “Beanie” was shot in the chest and his mother handcuffed as they watched him lose his life. Watch more below. Prosecutors were able to get a motion for mistrial dismissed and we’re granted the right to use his lyrics as evidence in the trial. Attorney’s for the other three defendants also gave opening arguments in the hours long court spectacle. Here’s how FOX News Coverage from Atlanta covered the second day’s activities. This case holds an important place in hip-hop, as not only are his lyrics being used but the very culture is on full display, leaving the greater discussion at a crossroads. Do label’s and the industry as a whole generate rap beefs to sell records? Are there street consequences for the marketing approach of the music? This case should keep these topics on fans minds as we watch closely. Watch Meghann Cuniff aka Meghann the Reporter discuss the case live as a guest below.

#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

Combo Says “JADAKISS IS GREATEST OF ALL-TIME”

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In this clip of Reemo interviewing; Andrew “Combo” Salop on his platform; Reemo Meerak: The C.U.T.S. They’re getting into the discussion of Hip-Hop artists, and whom are they’re favorites. Then, he states his claim that “Jadakiss is the Best Rapper, Jay-Z makes the Best Albums, and Drake makes the best songs” All in all, you must see the full 5 min clip below, and the full episode this week of Reemo Meerak: The C.U.T.S. on all streaming platforms!!!!! Checkout the Clip Here: GUEST: ANDREW “COMBO” SALOP IG: https://www.instagram.com/onetwocombo… HOST – Reem’o Meerak: www.instagram.com/reemomeerak_ www.twitter.com/reemomeerak_ Productions Company/Brand: https://www.instagram.com/reemomeerak… WEBSITE: ReemoMeerak.Com For Guest Appearance, or Questions: [email protected] ALSO, Check Out My Merch: https://reemomeerakbrand.myshopify.com/ JUUUUUUU’Already Know it’s HANDSSSSSSS OVA THE EYESSSSSS, It’s Tha 2 UPPPPPP?!!!!! #ReemoApproved      

ESSENCE DELIVERS HUGE OUT IN ATL, Honoring Women WHO ARE CHANGING THE CULTURE!!!!!

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As the 4th Quarter is soon wrapping up, Essence Magazine threw a huge celebration in honor of the women who are captivating the culture with the event called; ESSENCE Girls United Disruptor Summit 2023 Atlanta, GA was the home to celebrate all aspects of the Black experience focused on Zillenials and shine a line on those in their “Era of Disruption” who are working to break the mold. Rechelle Dennis (Girls United Co-Founder & Lead) kicked off the festivities by welcoming attendees to the summit before passing the mic to host Rachel Jackson, who introduced the impressive lineup of talent including a panel discussion between sister-duo Jordyn and Jodie Woods, where they outlined what it means to work together while taking their business to new heights, a live taping with the season 5 cast of ‘If Not for My Girls’ with BIA, Muni Long and Pretty Vee and a session on all things fashion and creativity with fashion designers Aleali May and Torianna Breaux. The event also featured popular stage appearances from internet sensation Aliyah’s Interlude, comedian Yung BBQ, and celebrity music engineer Brandra Ringo and offered dynamic programming moments like ‘Disrupt or Be Disrupted’ with Essence Ventures President & CEO Caroline Wanga and ‘On Strike’ by McDonald’s with Kenyatta Victoria, Marley Dias, J. Simmone, and Kamarie Brown.  The event attracted a number of celebrities and influencers interested in getting a look at the summit firsthand, including: TM Twins Taneeyah & Meniyah, Digital Creators & Influencers Karma Bridges, Executive Producer of Netflix’s Karma’s World Phreshy, Influencer, Celebrity Publicist Tatiyana Blood, Celebrity Talent Manager DJ Tootz, Twin DJ Duo, Social Media Influencers Kayla Rivera, Latinx & Entertainment Blogger, Content Creator Throughout the day, guests took advantage of interactive elements including speed mentorship sessions, a tooth gem station, a photo activation presented by Coca-Cola®  Zero Sugar, airbrush tattoos and so much more. They were also able to shop and support a mix of Black-owned businesses at the Soko Marketplace. To close out the day, Mariah The Scientist took to the stage and performed top hits including fan favorite, “Spread Thin.”   Juuuuuuuuu’already know the #SocialDw33b ON THE CHECK-in with the latest news, interviews, and more for the CULTURE!!!! It’s HANDSSSSSS OVA THE EYESSSS, it’s tha 2 UPPPP!!!!!, it’s #ReemoApproved  Follow Me On Social Media: www.instagram.com/reemomeerak_ www.twitter.com/reemomeerak_ WEBSITE: ⁠ReemoMeerak.com⁠ Merch Store: https://reemomeerakbrand.myshopify.com/ For Guest Appearance, or Questions: [email protected]   

#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

Filmmaker, Writer, and Director; Vega Montanez Hits a “Homerun” with Movie Premiere over the Weekend?!!!

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Over the past weekend, I attend to a movie premiere like no other for an independent film, and I must say was highly impressed. The energy was amazing, and just overall you felt the love from the team to the cast members. There’s nothing like a proper rollout that goes well. Especially in the film and entertainment industry. “The Burden Of Nine Lives” definitely was one for the ages in the independent film circuit!!! Review: The film overall gave me a feel of Jason Bourne meets “Fresh” where the character “Jimmy Diaz” (Steven Staine Fernandez) finds himself in a very challenging position in the drug game world, and has to make precise and aggressive decisions along the way. Then there’s the semi-satire connection with the detectives throughout the movie played by Pete Maddocks and Andersson Tejeda who do their all to finally get to the resolution of it all. Alysha Wright (Actress/Producer) played a key and substantial role as a Doctor who the detectives were giving a hard time, but still held her ground.   Definitely the acting on the film was solid, and believable.  Also, the tone of the film will have you wondering “WTF” has Jimmy done? The action in the film was unique and dope. Check Out the Interview with Director; Vega Montanez       Follow Me On Social Media: www.instagram.com/reemomeerak_ www.twitter.com/reemomeerak_ WEBSITE: ⁠ReemoMeerak.com⁠ Merch Store: https://reemomeerakbrand.myshopify.com/ For Guest Appearance, or Questions: [email protected]   

Tierra Whack Sets herself away from the pack with “CYPHER”

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Most definitely with 2023 closing out, we all in ENTERTAINMENT and MUSIC industries respectfully want to go out with a BANG in the 4th Quarter of the year. From New Album Releases, Songs, TV Shows, or what have you….the CLOSEOUT is the main key. Especially when it comes to a FILM. Now entering; Tierra Whack a Highly Talented, and for sure will be MEGASTAR Hip Hop Artist, Singer, and Songwriter out of Philadelphia, PA who’s been tearing up the music scene with her eclectic sound, words play mastering tone, and of all things a CREATOR’S Creative!!!! Teams up with Andscape with the debut of “CYPHER” (Which drops on November 24th via HULU). Reemo got the opportunity to pull-up to the screening at the BAM Harvey Theater in Downtown Brooklyn, and then afterwards enjoyed the AFTER PARTY at Public Records. I feel her fanbase will be delighted of the creativity expanded on the film, as well as a better understanding of the Talented Entertainer. RECAP VIDEO: Follow me on Social Media: @reemomeerak_  For Booking Interviews, or Questions: [email protected] Merch Store: https://reemomeerakbrand.myshopify.com/ “It’s Hands OVA THE EYESSSSSSSS, IT’S THA 2 up!!!!” #ReemoApproved  

#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

“Pacman” Jones brings “The OUTLET” TO N.Y.C.

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Adam “Pacman” Jones; former NFL Player, successful Cannabis Owner, and currently music recoring artist had his latest project dropped this 4th Quarter called “The Outlet”. He had his listening party at The Cult Of Individuality in Chelsea area of NYC, as well as was in rare rock superstar form, and gave the crowd an exciting, entertaining, and well hyped performance, and youuuuuuu know The Social dW33B WAS IN THE BUILDING Once again!!!! REEMO then gets the chance to chop’it up wih the man of the hour. Check the clip below, leave a comment, and let me know what the VIBE is?!!!! Follow me on Social Media: @reemomeerak_  For Booking Interviews, or Questions: [email protected] Merch Store: https://reemomeerakbrand.myshopify.com/ “It’s Hands OVA THE EYESSSSSSSS, IT’S THA 2 up!!!!” #ReemoApproved

#rewindreview: Ol’ Dirty Bastard ‘Return To The 36 Chambers’ (1995)

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  The reign of Wu-Tang Clan is comparable to lightning in a bottle. No matter how many may want to try and duplicate or say that it has happened outside of them, it simply has not. Rapping talent aside, the personalities involved in the original nine we might have took for granted while living in it but this was a unique moment. After “The Clan” dropped their debut album, solo acts began to drop as well. Method Man would come out of the gate first with ‘Tical’ but in that same year Ol’ Dirty Bastard’s first single ‘Brooklyn Zoo’ menaced the streets. I was introduced to the song by the video and the look of the visuals and song itself were a perfect combination. This highlighted the personality of “ODB” and set the tone for what to expect on his album. ‘Return Of To The 36 Chambers’ is so raw in it’s approach that I believe had “Ol’ Dirty..” not been associated with Wu-Tang Clan, this album would not be remembered or even released. This might sound like a wild take but the album is everywhere and by the standards set with HOP albums during this time it broke all the rules. The intro is almost 5 minutes of no song while actual songs almost sound like interludes or as though they were off “the cutting room floor.” Ol’ Dirty Bastard is not the most lyrical and songs are mainly just freestyles which unlike the urban myths created for his Brooklyn contemporaries, Notorious B.I.G. and Jay-Z, I believe “Dirt Dawg” couldn’t have had these raps written down. The reason the album works is because it has such memorable moments and outrageous quotes. R.Z.A. knew what worked for Ol’ Dirty Bastard and the best way to display his personality was to allow him the freedom to be so “anti..” that it became a new standard. The single ‘Shimmy Shimmy Ya’ dropped after the album was released and the video made one hear the song on the album with different ears. ODB might have been the rawest and most unfocused of The Clan but he was definitely the most dynamic one at that time. What did you think of the album? Singles include: ‘Brooklyn Zoo’ & ‘Shimmy Shimmy Ya’ 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: The Micranots ‘Return Of The Travellahs’ (1996)

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  The 2000’s decade saw a lot of independent releases as full albums and not just 12 inch vinyl singles. The ability to create a distribute whole albums was much easier than it was in the previous decade. This caused many artist like J-Live, Nas, Juggaknots to name a few, to release previous works that were never available on Compact Disc format. The Micranots who were a two man group out of Minneapolis M.N. made a mark with their ‘Obelisk Movements’ album from the year 2000, so it was simple mathematics for them to capitalize on the fans they had gathered from that release and provide those fans with what they might have missed. ‘Return Of The Travellahs’ was the debut album from The Micranots but this was only available on cassette tape so if you were not a day one fan of the group or possibly in the studio with them creating this, it was more than likely missed. Re-released on CD in the year 2003, listeners got to hear the progression in the groups creativity as compared to later releases. The songs seem to be recorded between at least 1994 through 1996. I Self Divine who is the M.C. of the group drops a few gems on these songs but for the most part it is a “freestyle” of ideas and rhymes. Kool Akiem Allah provides the beats which carry the classic sound of the mid-1990’s, taking the listeners on a journey of that time in HOP music. This album is really for collectors and true fans of The Micranots. It might not serve to create new listeners as one would have to understand the challenges it took to put out music in a pre-easy accessible, internet world. For those that need something to bop your head to on a fall Saturday, this one’s for you. 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

United Masters GETS THE POWER PLAYERS FOR 5th installment of SELECT-CON!!!

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Reemo was on a media hot streak, and wrapping up he attends; United Masters’ SELECT-CON. A panel series conference that brings together industry experts, artists, creatives, and brands to share insights with the independent creative community. The conference includes: Fireside chats, Panels, Workshops, Upfronts, Performances. Also, they had an after party with selected independent music artist across the world who are hitting the charts, and making noise in the indy scene. Hosted By T.T. Torrez (HOT 97FM), Ivy Rivera, Dometi, Panelists: Earn Your Leisure, Davido, Love Renaissance Records, Tokischa, and Steve Stoute                                                                                                                                

Digiwaxx Media Correspondent Reemo Meerak Covers “Jack of All Trades” Event Honoring Bartenders in Brooklyn

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Brooklyn, New York – On Monday, October 16, 2023, the Margot restaurant, bar, and event space hosted an extraordinary gathering of mixology talents and cocktail enthusiasts. The “Jack of All Trades” event, presented by the renowned Jack Daniel’s and Punch brands, celebrated the artistry of bartending and paid tribute to the exceptional skills of bartenders Kat Foster and Marc Rodriguez. Digiwaxx Media correspondent Reemo Meerak was there to capture all the highlights and bring you the inside scoop on this memorable event. Bartending is an art that demands creativity, precision, and an unyielding passion for crafting libations. The Jack Daniel’s X Punch “Jack of All Trades” event was the perfect occasion to recognize these talents. The event opened its doors to an eager crowd of cocktail aficionados, industry professionals, and Brooklyn locals, who were excited to celebrate the exceptional talents of the evening’s guest bartenders, Kat Foster and Marc Rodriguez. Both of these award-winning mixologists have made significant contributions to the craft, earning their place at the forefront of the bartending world. Throughout the evening, attendees were treated to a delightful array of deliciously paired food and finely crafted cocktails. In addition to the food and cocktails, the “Jack of All Trades” event featured insightful discussions and presentations by industry leaders, bartenders, mixologists, and cocktail enthusiasts. Guest had the opportunity to gain valuable knowledge and inspiration from standout figures in the bartending world. The sharing of insights, techniques, and innovative ideas played a pivotal role in the bartending community and ensuring that the craft continues to evolve. Kat Foster, an innovator in the cocktail scene, showcased her impeccable mixology skills by preparing a selection of signature drinks, each a masterpiece in its own right. Her craft was a true testament to the art of bartending, leaving attendees in awe of her talents. Marc Rodriguez, a Brooklyn native, brought his unique blend of flavors and techniques to the event, proving that the borough continues to be a breeding ground for mixology greatness. The crowd applauded both Kat and Marc for their incredible work and dedication to their craft. As the event came to a close, the atmosphere was filled with a sense of camaraderie and appreciation for the craft of bartending. Attendees left with a renewed passion for mixology and a greater understanding of the dedication and artistry that go into every drink prepared by a skilled bartender. Digiwaxx Media correspondent Reemo was on the scene, capturing the essence of the “Jack of All Trades” event. Reemo’s coverage will provide a glimpse into the world of bartending and the dedication of individuals like Kat Foster and Marc Rodriguez who continue to elevate the craft to new heights. Cheers to the bartenders and the brands that make it all possible!

#rewindreview: Pete Rock ‘Return Of The SP1200’ (2019)

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  It’s 2019 and why not get a collection of past beats made on an SP1200 from the legendary Pete Rock. After starting the trend of putting out instrumental HOP albums on 2001’s ‘Petestrumentals,’ “PR” knows there is an audience that wants to hear that classic sound from him. On ‘Return Of The SP1200’ the audience will recognize a few familiar tunes of the past that were used, never officially came out, or have recently been resurrected. The Meccalicious heater ‘How You Feel’ is the beat for ‘Hope You World Don’t Stop,’ while we get the instrumental for the Pete Rock & C.L. Smooth’s ‘Death Becomes You’ off the ‘Menace II Society’ soundtrack. There is also a deep cut, ‘Street Dreams’ which is actually an unreleased Pete Rock remix for Nas’ ‘Street Dreams’ remix, Pete rock only played on a ‘Future Flavas’ show. While the track ‘Kool Jazz’ has been recently used by Paul Wall & Termanology on their track called ‘Recognize My Car.’ The usage of melodic samples and filtered basslines as loops are attributes that have captivated Pete Rock fans for years. This is classic Pete Rock beats and if you are fan of one of the greatest moments in his career, which was the mid to late 1990’s, one will be pleased and taken down a trip of days past. ‘Return Of The SP1200’ is not only a return previous production but a return of a feeling. 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

“So So Def Presents A 30th Anniversary Tribute Performance At The 2023 BET Hip-Hop Awards”

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Jermaine Dupri and So So Def marked a significant milestone, celebrating the label’s 30th anniversary with an unforgettable medley of their greatest hits at the 2023 BET Hip-Hop Awards. So So Def, founded in 1993, emerged as one of the most prominent record labels of its era, not just in the south. Initially propelled by Dupri’s success with the multi-platinum rap duo Kris Kross, the label went on to produce legendary acts such as Xscape, Jagged Edge, Bow Wow, and the first female soloist in rap to achieve Platinum status, Da Brat. Continuing its legacy into the 2000s, So So Def expanded its roster to include artists like the soulful crooner Anthony Hamilton and Atlanta-based rap groups like Bone Crusher, YoungBloodz, Dem Franchise Boyz, and many more. The performance began with Jermaine Dupri paying tribute to Kris Kross and their 1992 hit “Jump.” Wearing a backwards Atlanta Braves jersey as a nod to the iconic duo, Dupri took the audience on a nostalgic journey back to the birth of the So So Def era. He shared, “Back in 1991, I was sitting in my room, and I wrote this song,” before performing the opening verse and chorus. Ludacris then joined Dupri on stage for their 2002 anthem, “Welcome 2 Atlanta,” both donning Atlanta sports jerseys that electrified the audience. last year when Jermaine Dupri sat down with complex, he revealed that he was the youngest producer at that time to have a number one record and even was listed in the Guinness World Records. The set continued with Lil Jon taking the stage and thrilling the crowd with YoungBloodz’s 2003 track, “Damn!” followed by his own hit, “Snap Yo Fingers.” Bone Crusher brought his thunderous party starter, “Neva Scared,” to the performance, and Nelly made a surprise appearance, teaming up with JD for their 2005 chart-topping hit, “Grillz.” Throughout the performance, dancers dressed in Atlanta Braves jerseys and So So Def shirts added to the festive atmosphere as Dupri and his collaborators delved into their treasure trove of anthems. Dupri himself performed his breakout hit, “Money Ain’t a Thang,” and the mood shifted to a more intimate setting when Tyrese and Chingy joined him for “Pullin Me Back.” Dupri, 50 years old, proudly declared, “I write the songs that the whole world sings,” highlighting his extensive catalog and enduring career and how the songs he wrote still make us move to this day. The So So Def reunion wouldn’t be complete without the presence of Bow Wow and Da Brat, both of whom joined Dupri and Dem Franchize Boyz for a spirited rendition of the “I Think They Like Me” remix, concluding the performance on a joyous and nostalgic note. Babyface once told Jermaine Dupri that in order to make history, he would have to make magic in the studio consistently after the success of Kris Kross, needless to say 30 years later we are still dancing and celebrating all of So So Def’s hit records. “Jermaine Dupri Celebrates 30 years of so so def with star-studded Medley at 2023 BET Hip Hop Awards”. www.billboard.com. October 10, 2023. October 11, 2023. “Hip Hop Awards 2023: so so Def’s 30th Anniversary Performance Was a Trip Down Memory Lane”. www.bet.com. October 10, 2023. October 11, 2023.

#rewindreview: Lord Finesse ‘Return Of The Funky Man’ (1992)

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  The second album from the ‘Funky Man’ Lord Finesse was literally a return to what he had already given on his debut album ‘Funky Technician’ with D.J. Mike Smooth. By 1992 HOP music was becoming even more popular and with that comes a change in sound and content. The weird thing about that year was with the success of West Coast “gangsta rap,” rappers outside those borders had to shift and sound more edgy to compete. On ‘Return Of The Funky Man’ Lord Finesse seems caught in this quagmire which prevents this record from having the flare his previous album had by just being in the moment and having fun. This album at times felt like Finesse was trying to overcompensate for the change of hardcore content in HOP music. ‘Return Of the Funky Man’ is still a solid release but it also leans too much on what made the previous album work with certain songs sounding like a carbon copy of tracks off ‘Funky Technician.’ Production is handled by the D.I.T.C. crew which include Showbiz, Diamond D. and Lord Finesse himself, with some outside production from D.J. Aladdin and some early production work from Shafiq Husayn on ‘Save That Ish.’ Lord Finesse is really trying to make a statement with this album of being an elite M.C. The majority of the tracks are more competitive rap content but also the “underestimated” narrative most people can relate to whether it be in relationships or career success. It might not be Lord Finesse’s best album but the record opened the door for M.C.’s like Percee P., Shel Rumble, Harry-O and the up and coming D.I.T.C. member A.G. Lord Finesse clearly learned from this album and “trimmed the fat” for ‘The Awakening’ that would be released a few years later. Would did you think of the album? Singles include: ‘Return Of The Funky Man’ & ‘Party Over Here’ 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

Is Drake Ushering In A New Era With The Release Of His Eighth Studio Album, Titled “For All the Dogs”?

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After months of eager anticipation from his fans, prolific Canadian artist Drake has officially dropped his eighth studio album, titled “For All the Dogs.” Previously, the acclaimed rapper had teased his social media followers with the promise of a release last month, only to face an unexpected delay, the reasons for which remained undisclosed. However, on Friday, October 6, the album finally graced streaming platforms. Drake, whose real name is Aubrey Graham, excitedly shared the news with his dedicated fan base through an Instagram post, featuring a striking picture of himself. “FOR ALL THE DOGS IS YOURS NOW,” he captioned his post, accompanied by a spotted dog emoji. Spanning an impressive 23 tracks, Drake’s latest album boasts a runtime of one hour and 24 minutes, solidifying its position as one of his lengthiest releases to date. This year, Drake has made guest appearances on songs by fellow rappers like J Hus, Central Cee, Young Thug, and Travis Scott. In his illustrious career, Drake has achieved a total of 12 Billboard No. 1 albums. Among these, two stand out from last year: “Honestly, Nevermind,” which delved into dance music and dropped in June, and “Her Loss,” a rap-centric project featuring 21 Savage, released in November. The question remains on whether it’s time for Drake to take a break, or will he be ushering in a new era with this album? In a recent candid interview, Drake has made it clear that his health is now his top priority. During an episode of the show “Table for One” on SiriusXM’s Sound 42, Drake announced that he will be taking a break from music to address health concerns that have been troubling him. Drake opened up about the “craziest problems” he’s been experiencing with his stomach, which have prompted him to make the decision to go on hiatus for what he estimates could be “maybe a year.” In a recent statement Drake said “I probably won’t make music for a little bit. I’m gonna be honest,” he confessed on the show. “I got some other things I need to do for some other people that I made promises to, but I probably won’t make music for a little bit. I’m gonna be real with you. I need to focus on my health first and foremost and I’ll talk about that soon enough.” Drake is undoubtedly deserving of a well-earned respite. In a span of less than two decades, he has shattered numerous longstanding records on Billboard’s charts, and he shows no signs of slowing down. At present, he holds the record for the Hottest 100 hits among all artists, boasting an impressive 299 entries on the chart, which includes an astounding dozen No. 1 hits and an unprecedented 70 top 10 placements. Additionally, he has achieved the remarkable feat of charting 12 No. 1 albums, and it appears that he’s on the brink of adding yet another to his already impressive list of accomplishments. “Drake releases new album For All the Dogs: Tracklist, features and everything we know”. www.independent.co.uk/us. October 6, 2023.October 6, 2023. Drake is taking a break from music: “I’ve been having the craziest problems for years with my stomach”. www.avclub.com. October 6, 2023. October 6, 2023

Outkast’s ‘Speakerboxxx/The Love Below’ Achieves The Title Of The Best-Selling Hip-Hop Album In History

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OutKast’s 2003 album “Speakerboxxx/The Love Below” has become the best-selling rap album of all time, surpassing 13x platinum with over 13 million units sold. This achievement places the classic hip-hop album, known for hits like “Hey Ya!” and “The Way You Move,” in the top position ahead of Eminem’s “The Eminem Show.” The album was originally a double album, with one solo disc from Big Boi and another from André 3000, marking a significant moment in their hip-hop career. Big Boi celebrated this milestone on Instagram, emphasizing Outkast’s enduring impact. The album was a massive success, with songs like “The Way You Move” and “Hey Ya!” reaching No. 1 on the Billboard Hot 100. Outkast won three Grammy Awards, including Album of the Year, with “Speakerboxxx/The Love Below.” Lauryn Hill’s “Miseducation” is the only other hip-hop album to have won that award. “Speakerboxxx/The Love Below” is one of only seven hip-hop albums to be certified diamond, signifying sales of 10 million units or more. Other diamond-certified albums include 2Pac’s “All Eyez On Me” and “Greatest Hits,” The Notorious B.I.G.’s “Life After Death,” and Eminem’s “The Marshall Mathers LP.” Lauryn Hill’s “The Miseducation of Lauryn Hill,” Beastie Boys’ “License to Ill,” and Eminem’s “Curtain Call: The Hits” have each sold 10 million units. Now what’s cooler than being cool? Ice Cold and best-selling of all time, obviously! “Outkast claim title of having best-selling rap album of all time“. www.11alive.com. October 3, 2023. October 4, 2023.

#REWINDREVIEW: KRS-One ‘Return Of The Boom Bap’ (1993)

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  This is how you know time must be moving faster these days because at the time of the release of this album, KRS-One was considered “old school.” This was thirty years ago almost to the date that ‘Return Of The Boom Bap’ blessed our ears. It is the debut album for KRS-One as a solo act and although all he did was drop the “Boogie Down Productions” moniker, this album felt like we had never heard this from him. KRS was in a zone on this record and it truly felt like he was in his “second childhood.” ‘Return Of The Boom Bap’ never lets up in terms of song interest and personally over the years the few songs I thought were the weakest initially, have grown to be my favorite tracks. There is a magic to what “The Teacha” has been able to do all these years and as simple as it may be to say he is one of the greatest it’s harder to pinpoint that said magic. KRS is one of the greatest orators in this hip-hop culture and he has been able to activate that trait on all of his releases, even the latter ones that might not have been received well. KRS knows that the ultimate battleground is the live stage so when songs like ‘Uh Oh’ are made it’s not just an album cut but crafted for the audience to be fully immersed in during a live show. This is why ‘Return Of The Boom Bap’ is not only a classic in KRS-One’s catalog but HOP music in general. The whole album could be performed live by itself. From ‘Outta Here’ to the uncontrolled energy of ‘I Can’t Wake Up,’ to the unexpected hit still heard in movies and shows today, ‘Sound Of Da Police,’ KRS amassed a selection of tracks that provide the perfect mix of “Edutainment.” Still available to serve you on the mic with ‘Mad Crew,’ the importance of black women on ‘Brown Skin Woman,’ questioning the religion handed to slaves on ‘Higher Level’ is The Teacha in his most prestigious moment on this release. To make this album more tight nit is the production of D.J. Premier, Showbiz, Kid Capri and KRS himself. A combination of names that in 1993 had no choice but to succeed. If it isn’t obvious by now I’ll say that this is one of my favorite albums, even before I started calling KRS-One the greatest. What did you think of the album? Singles include: ‘Outta Here,’ ‘Sound Of Da Police’ & ‘Return Of The Boom Bap’ 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: T-Love ‘Return Of The B-Girl’ EP (1998)

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  The West Coast B-Girl, T-Love touched down with a quick but heavy debut in ‘Return Of The B-Girl.’ My introduction to her was on D.J. Rhettmatic’s (Beat Junkies) ‘World Famous Beat Junkies Vol.2’ mixtape. The track ‘I’m Comin’ was this sort of spooky mix of raw HOP music with a ladies voice that was mixed and cut to perfection in which D.J. Rhettmatic is a professional at. Still it wasn’t until about a year later that I would hear a couple of other songs from T-Love during the beginning of internet streaming radio in 1999. Those cuts were ‘L.A. To Brooklyn’ featuring Siah & Yeshua Da PoED and the title track of this EP featuring Kool Keith, who at that time I was becoming a huge fan of due to his left of center rhyming and content. T-Love uses this twenty minutes of HOP music to showcase a “no fear” style of rhyming with a voice that commanded respect. Rapping alongside the aforementioned M.C.’s is a task and on ‘Wanna-Beez’ featuring Chali 2na (Jurassic 5) the two’s back and forth on the track makes one realize how as listeners we took for granted the effect of collaborations in a studio verses being emailed in. The record is produced by This Kid Name Miles (yes that’s his name) who provided T-Love with some awesome beats that although are well within the lines of “truskool” HOP music, do not sound the same or get stagnant. My biggest issue with this release as that it was only an EP. This is appreciated these days as so many releases leave listeners fatigued while a record like ‘Return Of The B-Girl’ made you wait with bated breath, only adding value to the project and one’s listening experience. What did you think of the album? Singles include: ‘I’m Comin’ 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: Big K.R.I.T. ‘Return Of 4eva’ (2011)

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  For me Big K.R.I.T. was apart of that list or upcoming rappers that wiggled their way out of the internet in the latter part of the 2000’s. At this time that scenario turned me off to many acts because it was yet another wave of oversaturation that obviously got much worse since then. It might have been the video single for ‘Dreamin’ that made me finally give K.R.I.T. a listen. This track was not what I expected from younger acts at the time and definitely not what I expected to hear from someone from the state I was born in. What I got with ‘Return Of 4eva’ was not only a treat but glimpse into what the future could behold. At this time I am recognizing the likes of Kendrick Lamar and Joey Bada$$ and finally feeling like I can support younger acts. The common denominator with those three was that around this time they were putting out undeniable material. ‘Return Of 4eva’ is a sonic BOOM and Big K.R.I.T.’s influences are all over this album but only he mixes those influences to create his own original meal. It did not take the Meridian, M.S. rapper to get to his 40’s to talk about real life situations that the common man can relate to. From the ‘Highs & Lows’ of life, the feeling of soundbombing while riding in your car in The South to releasing stress brought on by reality. Big K.R.I.T. planted his flag with this album and although it is a full record with twenty-one songs you often forget the length when heat after heat is constantly playing. One of the most amazing attributes of this album is it’s completely produced by Big K.R.I.T. and is not feature heavy. Fellow Mississippian David Banner makes an appearance while Chamillionaire takes time from tech investments and Joi lends her Atlantic vocals adding to the southern feel of this record. Big K.R.I.T.’s longtime collaborator Big Sant joins him on ‘Made Alot’ which channels U.G.K. but the D.N.A. of Goodie M.O.B. is present and welcome on the most enlightening track ‘Another Naive Individual Glorifying Greed & Encouraging Racism.’ One can understand the acronym this song represents and for me only stamped my approval of K.R.I.T. much like when Cee-Lo broke down the meaning of Goodie M.O.B. on ‘Fighting.’ This album deserves more praise when talking about those early 2010 releases that were more than just place holders on peoples minds and ears for about a week. Big K.R.I.T. is a case study on how knowing what came before you can birth the best of what you have coming. What did you think of the album? Singles include: ‘Dreamin’ & ‘The Vent’ 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: Skyzoo & Pete Rock ‘Retropolitan’ (2019)

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  The year of 2019 saw a number of incredible album releases in the HOP. One of those that is often underrated is the Skyzoo and Pete Rock ‘Retropolitan,’ whose music fit the album title completely. Skyzoo has been hustling his way through the backstage of this music industry with rhymes, for just about twenty years while Pete Rock… Well what is even left to be said about his legacy within HOP music. ‘Retropolitan’ works by not leaning on the tired “lyrics” narrative of “back in the day” but instead tries to put the listener in the experience of a past gon era, not only in the HOP but New York specifically. Skyzoo provides clever tales of fashion, street politics and pride of this fictional “Retropolitan” city. Pete Rock is more in his dusty sample bag, similar to Watch The Throne’s ‘Otis’ but with way more energy in the production. Features are limited to only a few tracks that include Raheem DeVaughn, Styles P. and a rare posse cut with the Griselda camp and Elzhi. ‘Retropolitan’ achieves it’s mission of respecting and continuing the essence of “East Coast rap” with no apologies. Something that is often needed as those characteristics seem to be shamed into oblivion these days. What did you think of the album? Singles include: ‘It’s All Good’ 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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