In this week’s episode of the BBB RADIO podcast, Ricardo reviews the first season of the “Kids in the Hall” revival series, the first season of the HBO sports drama series “Winning Time: The Rise of the Lakers Dynasty”, and we discuss the third season of the FX comedy-drama series “Atlanta”, the third season/volume of the Netflix animated anthology series “Love, Death & Robots”, the critically-acclaimed absurdist comedy-drama “Everything Everywhere All At Once” and the Disney live-action/animated comedy feature “Chip n’ Dale: Rescue Rangers”.
In this week’s episode of the BBB RADIO podcast, we discuss the second season of “Star Trek: Picard”, the series premiere of “Star Trek: Strange New Worlds”, the fifth episode of the Trinidadian superhero web series “Batchack Man: The Peacemakers”, the first season of the Marvel Studios TV series “Moon Knight” and, in a non-spoiler and spoiler review, the highly-anticipated “Doctor Strange in the Multiverse of Madness”.
“The Al Taylor Project” is the newest album from Roosevelt, New York rapper and ManKave Musik founder JusKolMeaL (pronounced “Just Call Me Al” – and if you still find yourself in doubt about the pronunciation, think of the Paul Simon song “You Can Call Me Al”). Dumb joke aside, this album is the follow-up to JusKolMeaL’s 2020 sophomore record “Heavy is the Head”, which highlighted JusKolMeaL’s proficiency in crafting tight, razor-sharp rhyme schemes (take the opening track and single “Jungle” as a pure example), in addition to his willingness to rap over slightly unconventional beats, like “Raise Up” with its clever use of chain gang sound effects and “Rock Me” which incorporated pitch-shifted samples of Freddie Jackson’s “Rock Me Tonight”.
For this new album, JusKolMeaL enlisted the help of a list of producers for instrumental support: 1st Official, Dopeboyzmusik, Adam Beats, All Arounda and Dreamlife. Under his real name Al Taylor, JusKolMeaL handles production on the single “Outside”, a track whose sultry, nocturnal beat fits neatly with his cocky, braggadocious lyrics and catchy-as-hell hook. He also sought out the lyrical talents of crooner LakeithRashad, who comes through with a smooth and similarly catchy-as-hell hook of his own on the ‘radio edit’ version of the single “Boulevard”.
As the title suggests, “The Al Taylor Project” centers mainly on JusKolMeaL himself. With his decades-long presence in East Coast hip hop, he frames himself as this influential figure making his triumphant and much-needed return to the rap game. The opening track “How Many Times” literally sounds like JusKolMeaL’s theme music, with its lavish production from Dopeboyzmusik, appropriately soulful chorus and lyrical reminders to himself and the listener of his mic skills and the benefit they’ll add to the lives of those who truly listen to his words.
On the following track “Live or Die”, the beat of which is the first in a trifecta of instrumentals provided by 1st Official on the album’s first half, JusKolMeaL follows up on his ‘return’ on “How Many Times” and re-asserts his dominance in the rap game. Not only does this track deliver one of the album’s best beats, with its cinematic, gospel-fueled production laced with icy piano keys and choir vocals, but it includes some of JusKolMeaL’s most memorable bars (“The game is mine, my lines defined by divine purpose / Grind so I can shine, life on the line, now I got time nervous / You 5G, you ain’t got bars, it’s hard to find service”).
1st Official also treats us to the delightfully grimy, boom-bap sounds (with what sounds like pedal-supported electric guitar loops) of “Lay ‘em Down”, a perfect match for JusKolMeaL’s dark, menacing rhymes. Afterwards, we get the sonic equivalent of ‘dawn’ after the dark vibe of the previous track with the airy, relaxed “I Know”. The song itself feels like a spiritual successor to “11575”, JusKolMeaL’s tribute to his hometown on “Heavy is the Head”. But here, he examines his motivation to rap and its significance in the place he calls home, resulting in one of the album’s most heartfelt and self-aware tracks.
Speaking of home, JusKolMeaL delivers a coming-of-age story of sorts on the next track “Like Dat”, produced by Adam Beats. While I can’t tell if the goofy-sounding, British TV show sample that opens the track is real or manufactured for the album (there’s a laughably cartoonish “Madvillainy” / “Every Hero Needs a Villain” vibe about it), it ultimately works as an effective segue into a true album highlight! Over a DOPE AF beat complete with haunting vocal chops, a golden age hip-hop-inspired drumbeat and a NASTY bassline, JusKolMeaL spits these aggressive bars about how his life experiences – even the wild shit he got into on his own or with his friends – helped shape him into the individual he is today. The song’s hook is wickedly clever, particularly with its ‘pot calling the kettle black’ undertone: “Don’t be mad cuz we get it like that / Be mad because we did it like that!” Another highlight is the aforementioned “Boulevard (radio edit)”, whose warm, breezy instrumental from Dreamlife will grab your attention the second you hear its opening acoustic guitar strums. Along with LakeithRashad, JusKolMeaL sounds great over this beat as he raps about living day to day, motivated by money and staying true to himself, whilst remaining aware of how easy it is to lose it all to the streets.
The album’s second half commences on a smooth note with the abovementioned “Outside” and the quiet storm-esque “Things We Do”, the latter of which finds JusKolMeaL spitting game to a potential love interest and SINGING on the hook as well. And while the hook itself is pretty decent, its cadence always reminds me of the late, great Nate Dogg (think of his legendary work on Warren G’s “Regulate”) every time I hear it. We then get the grown-and-sexy single “Suppose to Be” where, over an irresistibly laid-back instrumental provided by Dopeboyzmusik, he assures his significant other that she made the right choice by staying with and maintaining a healthy relationship with him. And over Adam Beats’ trap-flavored instrumentation of “Chase Mine”, he drops some words of wisdom and warning to watch out for those who’re willing to forcibly take what you’ve earned while on the same path to financial stability you’re currently on.
But the album’s major highlight comes in the form of the penultimate track “2 Seconds”, which may go down as one of the most outrageous songs about fathers ever recorded! What could’ve easily been a parody song centered on overprotective dads is actually a straight-forward, no-bullshit encouragement to ‘goon dads’ or ‘dad goons’ (whichever term you prefer) to shield their daughters from young men with bad intentions – even if it means resorting to violence. All Arounda’s beat literally SLAPS all around, and the auto-tuned hook is a pure stroke of genius! It may sound over-the-top upon first listen, but there is a genuine and resonant concern presented through JusKolMeaL’s grimy bars over the well-being of young women in a morally complex world. Expect this to be a go-to Father’s Day rap song in the near-future!
On the album closer “Winner Takes All”, 1st Official comes through with a disenchanted, bluesy instrumental, which JusKolMeaL puts to good use as he raps about the fleeting nature of love and success. As we get older and the world around us changes, is it worth it to constantly seek admiration from others for your talents and deeds? In addition, is the attaining of success (however you perceive it) more important than the ways in which it’s done and sacrifices made in the process? As stated on the sung hook, JusKolMeaL has “seen them come and go” and “seen them walk the road alone”. And though he gives advice to those who may be on their way to that lonely path or already on it, it’s clear that Al Taylor – the man whose viewpoint we followed throughout the course of this ‘project’ – is on that road as well, leaving the question open as to whether his impact in the world of hip hop will be acknowledged and remembered in the long run.
As a whole, “The Al Taylor Project” is a solid record. The production is consistent from top to bottom, the subject matter is varied and relevant and JusKolMeaL’s pen game is sharper than it’s ever been. Whether you’ve been a fan of Al’s music for years, or a newbie to his work like I am, this project is definitely worth checking out!
“Cruisin Through Infinity” is the newest album from California rapper TAO SHU and a follow-up to his 2020 record “Escape the Grind”. And right out the gate, TAO shows off his rather impressive singing capabilities on the hook for the opening track “Ain’t Trippin’”, one of a considerable amount of songs on this album given the visual treatment.
Admittedly, TAO wears the influence of Drake on his sleeves, particularly in his hooks, some of his rhyme schemes and ear for chilled-out, spacey production. But I’d make the argument that he subconsciously uses the Drake “template” to create his own distinct brand of sharply-written raps, sticky hooks and appropriately moody choices of instrumentation. And unlike the 6-God himself, TAO’s material on this record strays far from the intensely personal examinations of the music biz, failed relationships and toxic masculinity present throughout a majority of Drake’s work.
Instead, what we get on “Cruisin Through Infinity” is a 18-track collection of heartfelt, emotionally resonant songs designed to motivate, inspire, vibe out and relate to. TAO continually frames himself as an underdog with big dreams: an everyman who constantly reminds himself to be grateful for the blessings bestowed upon him, despite the many obstacles on the path towards his goal to leave a positive impact on the world through his music.
Take the aforementioned “Ain’t Trippin’”, which features some breezy, Sunday afternoon cruising-type production. TAO delivers this genuinely optimistic hook centered on not “worrying about a thing” despite the “end being near” and the stress he must endure in the meantime. He also drops some jewels (not the last time he does that, mind you) throughout this track, like on the first verse where he spits “One thing’s for certain, gotta unify now / The Most High’s descending on you and I now”.
There’s also the title track, where he encourages listeners to enjoy their respective path through life despite its many downs and ups. The music is pleasant to the ears with its sunny, guitar-driven, radio-friendly production, and the track’s chorus is one of the most relatable on this project (“I don’t know if imma be here tomorrow / Will anyone remember me? Everything is energy / And we cruisin’ through infinity/ How could anything go wrong when all of this is meant to be?”). The “Yeah’s” incorporated into the rhyme scheme are noticeably Drake-inspired, but thankfully, they don’t distract from the song’s heartening vibe and strong messages.
TAO’s acceptance of his own imperfections and flaws acts as a recurring theme on this album. Over the laid-back, chilly instrumentation of the following track “Slidin’”, he apologizes to loved ones for his emotional distance away from them and hasty behavior towards them whenever they try to get close – both of which he attributes to the harsh realities he continually faces. And on the single “Something Epic”, TAO assures his loved ones over a downtempo beat provided by beatmaker DillyGotItBumpin that he’ll continue to move forward through the hurt and pain life has inflicted upon him. While I did appreciate the “2 minutes and 22 seconds can change your life forever” bar (a reference to the EXACT runtime of this track), I do wish the song didn’t fade out so quickly near the end of the chorus section. Even if that moment is meant to emphasize on that specific line, the chorus itself could’ve been allowed to breathe a little bit more before the song ended.
The best of these ‘imperfection’ tracks appears at the end of the album with “Retrospect”, a soul-baring look at TAO’s uncertainty in the direction of his life and career. His raw honesty shines throughout this track, especially on the hook where he ponders on the age-old question “Was my life worth it in the end?” TAO even closes the track and album off on a hauntingly somber note when he sings “It’s way too easy to take what you have for granted/ And everything’s better when you’re looking back at it”.
Along with the occasional reaching-out to fans, friends and well-wishers, TAO gets introspective on a few cuts on this album. There’s the single and album highlight “Pajamas” which, despite its title and smooth, nocturnal production, is the furthest thing from a bedroom jam. The track itself plays out like we’re hearing the inner contemplation of TAO either before he goes to sleep or when he wakes up. He drops a number of standout bars like “Anticipating better days / Why I keep messing with the music if it never pays” and “My generation’s woke, but we’re still in our pajamas / My generation’s broke, but we’re fathers and baby mommas”. His “Smooth sailing, that’s a broken promise / Sounds like something John Smith said to Pocahontas” bars did have me thinking long after the track ended – which is a good thing!
But it’s not all personal struggles being presented to us on this record. There’s a few tracks which delve specifically into one’s perception of reality and occasional escape from it, like “Fantasy World” and “Beautiful World”. The former delivers this deceptively bright pop-rap instrumental which TAO uses to address his mental escape from the town that “teared him apart” (i.e. California) and into a literal fantasy world where the illusion of success in the rap game, perpetually sold by record labels to the music-consuming public, is a reality. “Beautiful World”, which treats us to some slightly upbeat and bouncy production from Chris Falcone, finds TAO rapping about how the world can force us to seek happiness and contentment through demeaning, self-destructive ways, whether it’s working a job you despise or addictions to drugs and alcohol. On the second verse, TAO makes mention of his grandfather’s passing due to alcohol addiction, and how he swore that he’ll never follow that path – for his daughters’ sake.
On “Sleepwalkin’”, one of my favorite tracks on the album, TAO and guest rapper Herm One spit over this dark, ominous beat which incorporates two memorable vocal snippets from the 1988 cult classic “They Live”. Here, they rap about their self-awareness of the lies, propaganda and hypocrisy spoon-fed to the sleepwalking masses by the government, media and press. Herm’s “Don’t be a casualty on Battlefield Earth” bar is yet another lyrical moment that had me thinking long after that track ended.
On the subject of guest rappers, we get a small but highly satisfying helping of collaborative tracks on this project. There’s the single “Everything Gon Work Out”, which not only features one of the album’s most uplifting hooks (“Even with the weight of the world on my shoulder / Think that everything’s gon work out in the end”) but also some stellar verses from TAO and fellow emcees Fre33sol and Donny Arcade. And by the way, POINTS for Donny’s “Silver surfer, it was frozen” line which, if you’re a fan of “The Incredibles”, should be a simple-enough reference to pick up.
“Can’t Relate”, featuring ZackThaMack and produced by Lwiliamsbeats, is a deeply personal moment on the record as TAO expresses his distrust for former friends who turned their back on him in the past and suddenly reappear in his life for some sort of support. ZackThaMack SNAPS on his verse, with an aggressive, fiery vocal delivery that works remarkably well as a contrast to the disenchanted tone TAO utilizes in his verse. The single “Long Time” makes for an unexpected change of pace as this is the sole track on the album WITHOUT a TAO verse! Though he provides a brilliantly captivating chorus centered on the disappointment he feels from blown opportunities, he offers the spotlight to rappers Ty Pretty and Intalek who CRUSH their respective verses with insightful, intelligent bars.
But the best collaborative track, appearing on the album’s final leg as well, is easily “Destiny”. Over some irresistibly soulful and jazzy production, TAO teams up with rapper Fokie Dope to deliver verbal doses of reality with regards to the chasing of our dreams. TAO’s opening lines on the second verse beautifully sums up his thoughts on the matter: “Thought that I could be a millionaire by now / Focused on just following these dreams / But I didn’t realize that all this blood, sweat and tears / Could probably fill up an aquarium, I’m swimming in delirium”. Fokie comes through with an excellent first verse, rapping about his harsh upbringing in the streets and how he became the opportunistic individual he is today (Points for his “Uncharted, but I’m trying to see Drake’s fortune” bar, by the way).
As a whole, I really enjoyed the cruise “Cruisin Through Infinity” took me on for its roughly 55-minute runtime. Yes, there’s a lot of tracks packed into this record, but in each one, there’s something significant and sensible to latch onto. TAO SHU came through with quality verses and hooks, and proves that he’s just as talented of a singer as he is a rapper. In addition, the guest features are solid and the production is consistent throughout the album’s duration. In short, if you’re looking for some self and life-affirmation in your rap music, by all means, give “Cruisin Through Infinity” a listen!
OVERALL RATING: 8 out of 10
Now available on Spotify, Apple Music, iTunes, Deezer, Amazon Music, Audiomack and Tidal
For the 50th (YES, FIDDY-ETH!!!) episode of the BBB RADIO podcast, Matthew and Ricardo, along with special guests Tracy Hutchings and Danial Lum Young celebrate 20 web-swinging, wall-crawling years of Sam Raimi’s “Spider-Man” and the 10th anniversary of the landmark superhero film from Marvel Studios – “The Avengers”.
BBB RADIO 