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#rewindreview: Murs & Wiardon ‘Speak N Spell’ EP 2023

Posted on by Quantum Leap Radio

  The rap career for Murs can be best described as idiosyncratic. From being in one of the most underground West Coast rap groups, to carving his own name, then being a pioneer in the Hip-Hop artist to artist collaboration album craze, and even touching a mainstream audience at one point. The journey has been vast for this independent rapper, but with the release of ‘Speak N Spell’ it looked to be the beginning of the end. Murs seemed to be on a mission to drop “EP’s” a few years back. Something that didn’t feel uncommon for the Los Angeles native but on ‘Speak N Spell’ he would proclaim that these releases were all leading up to a farewell from HOP music. Wiardon who is the producer and collaborator for this particular release is from Austin T.X. The meeting between Murs and Wiardon started from a cancelled Murs show in Austin when Wiardon was only twelve years old. The young fan had then reached out to meet Murs back then. Flash forward and Wiardon is now making music to which that happenstance meeting turns into a moment of familiarity, and a job for the up and coming producer. ‘Speak N Spell’ doesn’t sound like the usual production Murs fans have associated with the rapper. Wiardon seems influenced by the likes of The Alchemist and Madlib so expect “boneless beats” for the majority of this release. Still what is provided is Murs giving his signature stories of L.A. with unique execution. Larry June and ICECOLDBISHOP are the only features on this release, that might be the shortest EP ever made as it is only thirteen minutes. A length that should not deter one from listening but instead getting an À la carte before the final meal from Murs is served. 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”) or get the KPFT APP in your playstore!!! Catch past episodes by searching and following @https://linktr.ee/QLEAPRADIO

#rewindreview Flow Factory ‘SP to LP’ EP 2020

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  One thing the Pandemic did was create a sense of urgency or appreciation for music creation, depending on one’s point of view. In #HUEston there was a select few at one point that might not have fit into the “box” the city was known for. I personally only knew of about three acts by the early 2000’s but while being on “the scene” in those days, I became aware of some acts I may have missed. Flow Factory which consist of three M.C.’s Mavrek, Big Ruk and Mynus had been navigating the rap battle circuits in Houston for some years. When combined as a group one could see them out performing at certain spots and hear them as a group or separately, featured on songs throughout the years. The void they lacked was having a release everyone could get to that showcased the trio’s talent. ‘SP to LP’ is that long awaited moment for Flow Factory to enter the proper release space that many of their peers like Example and K-Otix had done years prior. Maybe the reason it took so long was as simply three M.C.’s, there needed to be a guiding force to highlight their talents with a proper audio palette. Enter The Roux who consist of Kay, King Mason and Jermaine Williams. All had plenty of hours making incredible music in their own time, with the likes of Robert Glasper, Chris “Daddy” Dave and more, but now had come together as a collective to help extract the best out of some HUEston talents. Flow Factory was able to be in the list of those talents and this EP benefitted greatly with that. The Roux made sure to keep a ruggedness that Flow Factory radiate but also a lush sound to give this EP some meat. ‘SP to LP’ is meant to give a summary of how the three member group has stood firm all these years being from South Park and La Porte (Houston). The intro provided by Andre King work as a foreword for what the audience can expect for the next twenty-five minutes. ‘Hi Haters’ and ‘Don’t Stop’ is a “roll call” for the return of Flow Factory. Then on ‘A.M. To Da P.M.’ the trio decide to show that their content be about more than battle raps but provide a little slick talk for the ladies. ‘The Technique’ is my favorite track on this album as the production from The Roux and all members of Flow Factory are completely in sync on that track. My one complaint with the release is Mavrek’s vocals sounded a bit off with the exception of ‘A.M. To Da P.M.’ but his lyrics were not to be denied. ‘SP to LP’ has relatable ability to those of us who appreciate M.C.ing and comradery. Ask yourself how many times you’ve sat around talking about rap or reminiscing on childhood memories of forgotten toys. What did you think of the album? Singles include: ‘Hi-Haters’ 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”) or get the KPFT APP in your playstore!!! Catch past episodes by searching and following @https://linktr.ee/QLEAPRADIO

STILL SHINING TWENTY YEARS LATER: A TRIBUTE TO J-DILLA

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“The artist’s role is to raise the consciousness of the people. To make them understand life, the world and themselves more completely.” —Amiri Baraka Did Jay Dee a.k.a James Yancy complete this goal? I mean in 2026 one might say that he absolutely did but could that same point of view apply twenty years ago? To an audience that waited for B.E.T.’s ‘106 & Park,’ the nightlife they frequented, or local terrestrial radio to guide their ears, absolutely not. For this is why Jay Dee a.k.a. James Yancy was truly a “genius.” It took reading credits on albums from The Pharcyde, Keith Murray, A Tribe Called Quest, Busta Rhymes and more to continue to see this “Jay Dee” name and think there was maybe a spelling correction. At the time the only “J D” known was Jermaine Dupri, but clearly the ‘So So Def’ figure head was not making these types of beats, but had access to those same acts who were big in the industry. If Not Jermaine Dupri, who is this Jay Dee…? By the end of the 1990’s an “underground jewel,” which has gone on to be a cult classic was released in 2000. This was ‘Fantastic Vol.2 by Slum Village out of Detroit Michigan, and what a way for the audience to now understand who this “Jay Dee” was. Slum Village was beyond the method and audience this group was intended for. Had one major label took a chance with them for this particular album, I can only imagine the course T3, Baatin and Jay Dee would have been on. Here lies the paradox because Jay Dee never seemed to want the spotlight or cared for the accolades. His mission, for those of us who were paying attention at this time seemed to simply provide new ways of making music. Raising that “consciousness” which would influence so many over the years, unintentionally and intentionally, known and unknown. His mark on music was getting too massive to not recognize. This recognition didn’t come from millions of listeners but from those names in the industry like Pharrell Williams, Questlove and Kanye West, who understood that a juggernaut was operating behind the scenes. Well flash forward to third quarter of 2005 when a modest radio show in Houston T.X. called ‘Late Nite Snax,’ reported on a clip of a live show appearance from Jay Dee a.k.a. J-Dilla where he performed on stage in a wheel chair. This was odd by all means because Jay Dee was rarely ever seen so to find out he was dealing with some sort of ailment, but still wanting to perform was heartbreaking but also inspiring. Of course during those years the Hip-Hop audience was not losing figures left and right as we are today, so the thought was that he would power through whatever sickness this was. By December of 2005 “J-Dilla” had credits on a few albums and talk started about a new album from the Detroit native coming in the following year. As a host on ‘Late Nite Snax’ I remember even having talks about “J-Dilla” appearing on the show through a phone interview as we usually received guest. This never happened but we figured in 2006 we would finally have our “Captain Ahab” moment and catch the ‘Moby Dick’ of ‘Late Nite Snax.’ See this radio show had favorites and was never scared to make sure that whoever choose to tune in would hear those favorites while they could live and breath. After leaving work on February tenth of 2006, I received a text from one of Houston’s best M.C.’s, Snap (a.k.a Dirty Red), to which it read “did you hear about Dilla.” Automatically my mind went to his performance in a wheelchair from the year prior and thought the worst, but again in 2006 that feeling is foreign as Hip-Hop acts didn’t die. Upon further text messages and calling others, my worst fear was confirmed. It was surreal because Jay Dee wasn’t running around in the streets and killed by his enviroment. He wasn’t abusing illegal substances (at least to my knowledge). He was simply a young hip-hop act whose trajectory was heading upwards in the most genuine and natural way. Plus he had just dropped the incredible and defining album ‘Donuts’ on his birthday so this had to simply be rumor right, how can he be… gone? ‘Late Nite Snax’ never caught our ‘Moby Dick’ but best believe we did everything we could to speak as loud as we could for Jay Dee a.k.a. J-Dilla at the time. We were able to reach out to friend of the show Drake Phifer from Detroit, who put us in contact with D.J. House Shoes and Roc C., as we got their perspective on the man the myth and the legend. We also took this night out as a collective to just provide two hours of pure “Dilla.” A masterclass and only a slight percentage of his music up to that point. No posthumous remixes or unofficial blends, just a hefty catalog of the foundation laid by James Yancy, to justify why he has had such a legacy twenty years later. Rest in the most HEAVY BEATS James Yancy a.k.a. Jay Dee a.k.a. J-Dilla (Feb. 7, 1974 – Feb. 10, 2006) Take a QUANTUM LEAP back to the LATE NITE SNAX ‘J-Dilla Tribute Show’ February 23, 2006 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”) or get the KPFT APP in your playstore!!! Catch past episodes by searching and following @https://linktr.ee/QLEAPRADIO

#rewindreview: Outkast ‘Southernplayalisticadillacmuzik’ 1994

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  This is the beginning of an era, a movement and a legacy. Outkast seemed to appear among a multitude of southern acts during the mid 1990’s. At this time the sound and interest of HOP music was reaching beyond the East and West Coast. With their first single ‘Player’s Ball,’ I personally remember just hearing it as “background noise” and not paying much attention to it. By the time the second single, which is the title track for the album dropped, the understanding was this group might be a bit more ahead of the race than their current peers. Although that was a merit for them, Outkast still was not the groundbreaking group we know them to be today. It personally took their second album ‘ATLiens’ and a couple of songs replayed from this album on college radio for me to eventually sit down with the record a few years after its release. ‘Crumblin’ Erb’ was the main catalyst for me to listen to ‘Southernplayalisticadillacmuzik.’ Growing up in the south and in particular the area I grew up in, that “audience” I never associated with the vibes ‘Crumblin’ Erb’ present. Needless to say it made me appreciate those first two singles more and as a whole this album was planting a flag for the group and the city of Atlanta. Between ‘Myintrotoletuknow’ and ‘Ain’t No Thang,’ it was clear that Outkast was providing a sound bigger than what I had ever expected from this first album. Organized Noize and Outkast were a symbiotic relationship on this record favorable to your arm and hand. Providing Outkast with music that fit their personalities and experiences, while also being a bridge to sounds the audience were married to from the East and West Coast, made this album a perfect fit for the diversity and fresh sounds HOP music birthed during 1994. Outkast do a great job of not preaching to listeners but relaying point of views that can be true learning lessons like on ‘Call Of Da Wild’ and Git Up, Git Out,’ which ironically are the introductions to the public of Goodie Mob. There is another side to the South that they display which is “Southern soul music” which they do unapologetically on ‘Funky Ride.’ In 1994 this seemed like a huge risk in the eyes of record executives, as having R&B songs on a Hip-Hop album was not yet common. It worked as well as moments like ‘Hootie Hoo’ which begins like it will be one of the more weaker tracks, until about a minute and a half in and Organized Noize start to build on the track with live instruments that gives the song a whole new life by the end of it. ‘Southernplayalisticadillacmuzik’ is this hidden seed that a person like myself could not actualize at the time. Outkast was building their presence and setting a blueprint for how they would create and evolve later. The intro to ‘D.E.E.P.’ literally is the “alley op” to what would become their “benchmark release” ‘ATLiens.’ What did you think of the album? Singles include: ‘Player’s Ball,’ ‘Southernplayalisticadillacmuzik’ & ‘Git Up, Git Out’ 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”) or get the KPFT APP in your playstore!!! Catch past episodes by searching and following @https://linktr.ee/QLEAPRADIO

#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

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