The structure of each Black Taj song may be most comparable to Jimi Hendrix or Stevie Ray Vaughan, in that guitar is featured prominently, while the rhythm section accentuates the sound with fills and buildups, when not hanging in the pocket. Vocals, many times, seem to be more of an afterthought, beginning at least a minute into the average song, and disappearing often during the last minute. This does not mean the vocals are wasteful or ineffective, but when listening to this album, you will never mistake them for pop. "Back to the Bridges", the first track, is a 7-minute anthem that takes this structure to its limits beautifully. The first three minutes are instrumental, and the music is so phenomenal, vocals would just be distracting. I could imagine standing in the middle of a blue-collar bar during this song, and witnessing middle-aged men rocking out the air band version of this song all around me. Those not talented enough would be pumping rock hand signals over their heads. It's just too bad reality would probably have a bunch of inhibitive college listeners studying and dissecting this incredible band, while standing incredibly still.

Considering the talent and originality of Black Taj, the possibility of a dud on this debut album, or any future album, is impossible. The most memorable songs, though, once the disc has stopped playing are "Cinema Style" and "Clover". For "Cinema Style", the initial hook is provided by the guitar, which is playing a variation on a scale. Unlike the usual practice, vocals appear early and last throughout, including a noticeable chorus, which begs the question, "When your life's a film, playing in your mind, do you fast forward?" "Clover" displays the incredible talent of Steve Popson as a bassist. The straight power chords during the verse, allow him to shed his normal modesty as a player, and show his chops.