K-Quick Talks: Opening for Legends, Building Legacy, and Staying Rooted in the DMV
January 5, 2026
Kicking off my first interview is DMV based rapper K-Quick
When R&B fans think of musical families, three names usually come to mind: The Jacksons, The Winans, and DeBarge. For this week’s Second Listen Sunday, I want to give some recognition to Bunny DeBarge and her only solo album, “In Love.”
Following the success of the group’s fourth album, Bunny and her brother El were offered solo deals and decided to leave the group. Released on Motown in 1987, the album hit stores shortly after releases from her siblings El and Chico. Similar to The Jacksons, the remaining brothers went on to join another label.
The album’s lead single, “Save the Best for Me,” was written and produced by Aaron Zigman and Jerry Knight. This catchy pop tune ideally introduced Bunny as a solo artist. The following few songs—“Fine Line,” “So Good for You,” and “Dance All Night”—all share the same upbeat vibe and are centered around having a good time.
Bunny slows it down on the album’s title track, which I’m still surprised wasn’t released as a single. Listening to the song even at age 44, I can imagine many young men in their twenties feeling as if Bunny was singing directly to them. She reunites with her older brother from Switch fame on the midtempo track “Let’s Spend the Night,” which features that signature DeBarge sound. Towards the end of the album, there are some filler tracks, but Bunny’s vocals remain strong throughout.
While I’m not an expert on the ins and outs of the record industry, if I were A&R-ing this project, I would have had Bunny collaborate with others for songwriting and production, bringing in names like Jam & Lewis, Babyface, and Quincy Jones for potential singles.
Though the album may be forgotten by most in 2025, it stands as a testament to the talent of the DeBarge family.
Final Grade: B
“In Love” is available on all streaming platforms.
Kicking off my first interview is DMV based rapper K-Quick
On the morning of February 8, 1977, Tony Kiritsis walked into a mortgage office in Indianapolis convinced the system had finally turned on him. What followed was one of the most unsettling media spectacles of the decade: a 63-hour hostage standoff in which Kiritsis literally wired a sawed-off shotgun to both his victim’s neck and his own chest. It was desperation theater, broadcast live, raw and ugly, and fueled by a man who believed grievance was the same thing as righteousness.
Eric Benét’s holiday album, “It’s Christmas”, finds the four-time Grammy nominee embracing comfort rather than challenge. He delivers a collection that is impeccably sung and tastefully arranged, though it ultimately feels a bit too cautious for an artist of his talent and history.