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#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

Stephanie Mills Shines at Digiwaxx New Music Wednesdays Live

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Stephanie Mills’ infectious energy and new music captivated fans at Digiwaxx New Music Wednesdays Live, kicking off her highly anticipated tour. Watch Mills’ Digiwaxx New Music Wednesdays Live interview after the recap! A Night of Joy and Music Stephanie Mills, the unmatched queen of R&B and Broadway, left an indelible mark at the recent Digiwaxx New Music Wednesdays Live event. The evening started with a heartfelt greeting from Mills, who radiated warmth and joy despite her busy schedule. As she took the virtual stage, her vibrant personality and soulful voice uplifted everyone tuning in. Mills captivated the audience with her contagious smile and engaging conversation as she shared valuable insights about her upcoming projects. In particular, she highlighted the highly anticipated “The Queens: 4 Legends, 1 Stage” tour. The tour kicks off in Las Vegas on May 9th, featuring musical legends like Patti LaBelle, Gladys Knight, and Chaka Khan. Mills, the youngest performer in the lineup, expressed gratitude for the honor of sharing the stage with these iconic artists. Fans can expect an unforgettable experience filled with remarkable performances. Reflecting on a Legendary Career The night revisited Mills’ career, highlighting her early days singing at Cornerstone Baptist Church in Brooklyn. She recalled her role as Dorothy in The Wiz and described her return to theater with Hadestown as a homecoming.”It was like going home,” she said, reminiscing on the welcoming atmosphere and support from fans. During her conversation, Mills gave recognition to the late Frankie Beverly, reflecting on their performances together. “He could do no wrong and sold out everywhere he went,” Stephanie Mills noted. This tribute blended seamlessly with her excitement for the upcoming tour, emphasizing her dedication to honoring musical legacy while continuing to innovate. Bridging Generations of Artists As the conversation progressed, Mills emphasized the importance of longevity in her career. “Believing in yourself, not listening to the noise, and staying focused” has been paramount, she stated. Reflecting on the current music landscape, she observed, “I don’t think young artists today have the same grounding as we did.” This candid admission sparked discussions about the realities faced by emerging artists in a rapidly changing industry. Mills humorously mentioned that the one item she can’t leave home without on tour is her son, highlighting her joy in balancing career and motherhood. She offered valuable advice for working mothers, stressing the importance of connection and love as Mother’s Day approaches. Furthermore, her insights highlight the significance of nurturing relationships, which can enhance both personal and family well-being. In addition, she encourages mothers to foster a supportive environment that strengthens these bonds; consequently, this creates a positive impact on their children’s lives. Moreover, it is essential to recognize that these relationships not only benefit families but also contribute to overall community health. Therefore, taking the time to build and maintain these connections can lead to profound and lasting effects on future generations. New Music and Collaborations The highlight of the evening was Mills’ introduction of her new single, a reimagined version of “Ain’t No Mountain High Enough,” produced by Antoine Qua Richardson. The infectious energy of her new track demonstrates her adeptness at blending classic R&B with modern sounds. Mills expressed excitement about joining “the new wave of dance music,” honoring her roots while connecting with new generations. Artists praised her unmatched voice and inspiring presence at the event.”I grew up with your music,” one fan shared, a testament to Mills’ enduring influence across generations. She engaged warmly with the audience, returning love and gratitude as they shared personal stories. The Future Looks Bright As Digiwaxx New Music Wednesdays Live wrapped up, Mills inspired attendees with hope and excitement for the future. The event set the stage for her tour, “The Queens: 4 Legends, 1 Stage,” promising a performance filled with love and nostalgia. With multiple dates lined up across the country, Mills is set to bring her energy to fans old and new. The evening stood as a reminder of Mills’ rich legacy and bright future in music. As she prepares to hit the road, her profound impact continues to inspire, excite, and unite audiences around the world. Fans eagerly await her performances, excited to celebrate not just the music but the queen herself. In a world craving authenticity, Stephanie Mills shines as a symbol of resilience and artistry. Her new chapter promises an extraordinary display of talent that transcends genres and highlights her versatility and passion. Fans can eagerly anticipate a compelling narrative that weaves her experiences into her artistic evolution, creating an unforgettable experience. This transformation enhances her performances and deepens the connection with her audience, showcasing her enduring impact on the industry. Ultimately, her journey emphasizes the remarkable influence she has made. For more updates, check out Digiwaxx and follow Stephanie Mills on Instagram @iamstephaniemills.

#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

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