In her timbre, her phrasing and the words she writes in that composition book, Scott is someone for whom sex is about physical pleasure-not athletic ability, boundary transgression, novelty or dominance and submission. I don't mean emotional content, either, though I have faith the emotion is there. There's plenty of sex before and after, and the sex has content.
Through almost as many producers as Mary, this album has a single identity, a contour and a groove that suits its well-inhabited breakup concept. At the very least, "real thing" means something for once.
In neither does she fake skinny, and that is as it should be. The front cover has her looking dusky and curvacious, spring coat over medium decolletage on the back she's sitting on the floor all pensive with an open composition book covering her bosom. A-Ī little writing help from her friends ("8 Minutes to Sunrise," "Daydreamin'," "Good Morning Heartache"). Aimed at Scott's kind of guy, that smarts. Anyway, the words per se could carry "Family Reunion," not to mention "My Petition," which accuses a suitor of abrogating her civil liberties like some Bushie. But a distinct voice delivering noticeable verbal content is a setting too-that's why you notice the content. Rarely do the settings distinguish themselves, and once she tries to get her honey's attention deploying a big band when she'd have been better off with more funk lite.
Mary, Macy, etc.), a virtue you assume boring at your developmental peril. ***Ī smart cookie, and emotionally stable to boot (cf. Too classy for me, I figured, but she's nicer, funnier, and sexier than that-and too young for me isn't her fault ("Exclusively," "Love Rain"). Who Is Jill Scott? Words and Sounds Vol.
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