JACKBOYS

In 2018, Travis Scott became a bonafide rap superstar, reaching a plateau where the only way to prove how high you’ve reached is to bring other guys up there, too. And so here comes his obligatory label compilation, a signal boost for his signees designed to be a flex in and of itself. Only problem is: He doesn’t have much of a crew. The only people in Scott’s orbit are the three rappers signed to his Cactus Jack imprint: Don Toliver, Luxury Tax 50, and Sheck Wes (in a joint deal with GOOD Music). As roster compilations go, this seven-track sampler spread what few assets it has too thin and hardly makes for a showcase.

JACKBOYS has been pegged as a “debut album” for the titular crew, but that is clearly an overstatement. There are two Don Toliver songs and one Sheck Wes song. There is one Luxury Tax 50 verse. Travis Scott fills out the tracklist with a 50-second instrumental and a remix to his recent hit single, “Highest in the Room,” with Rosalía and Lil Baby. JACKBOYS is a branding opportunity, pure and simple: From the Harmony Korine cover art to the promotional film shot as if A24 produced a Need For Speed sequel, it all seems like empty influencer bait. This is music as part of a merch bundle, about as necessary as a branded fire extinguisher.

With ASTROWORLD, Travis Scott finally earned the maestro mantle he was so eager to bestow upon himself, but that curator’s touch is missing here. Pop Smoke is in his element over AXL’s drill production on “Gatti,” pushing Travis into the margins. The song sounds like diet “Welcome to the Party,” and drill isn’t the kind of subgenre where you’re looking to cut calories. “Out West” finds Young Thug carrying Travis (for the umpteenth time), and in this case Thug is barely even trying. Don Toliver’s “Had Enough” is his song in name only; with Quavo and Offset on hand, it sounds like another Migos demo for the Carters’ album with its blatant “Summer” sample and blank, reference-track vocal takes. The sole JACKBOYS posse cut, “Gang Gang,” is all over the place, squandering WondaGurl production.

If anyone comes off like they didn’t waste their time making this, it’s Don Toliver, who goes full tilt even working in the periphery of other people’s songs. His breakthrough on ASTROWORLD’s “Can’t Say” outlined his promise; his was such a distinct performance among an all-star cast that it left listeners scrambling to identify him on the creditless tracklist. He doesn’t squander any of that goodwill here, coming off as a budding talent even as the album grows more and more forgettable. (He scored his first TikTok hit with “No Idea” late last year.) Toliver is like the T-1000 model of Travis Scott: he uses Auto-Tune to similar effect, but he works in a higher octave range than Scott and is simply a more lifelike upgrade of his prototype. This is best expressed on “What to Do?”, a duet with Scott in which they both try to put the pieces of a drunken night back together. It’s Toliver who sounds like he’s rallying, his voice less like a piece of software and more an instrument of feeling. His singsong verse is one of the few moments on JACKBOYS that isn’t just product.