Emotional CD exposes Jaguar Wright’s ‘Denials, Decisions and Delusions’
Taking the sultry vocal styling of legends such as Ella Fitzgerald and Etta James and complementing it with the fashion sense of Mary J. Blige, Jaguar Wright has found herself featured in Vibe, The Source, Essence and Newsweek and has recently released her debut album, “Denials, Delusions, and Decisions.”
Wright made her debut as a solo artist with a cover of The Roots’ hit “What You Want” from “The Best Man” soundtrack and a track titled “The Lesson Part III” from “The Roots Come Alive.”
Her debut album — produced by notables James Poyser of Erykah Badu’s “Mama’s Gun,” Scott Storch of Dr. Dre, Snoop Dog, Christina Aguilera, and The Roots, and Ahmir “uestlove” Thompson of The Roots — features 12 tracks that tell of Wright’s own life stories from family trials to love affairs.
Opening the CD with “The What If’s,” Wright welcomes her listeners into her world of R&B and storytelling.
A soft opening and quaint lyrics, “Can’t blame it on love/ can’t blame it on her/ she can’t be that smart/ messing with you/ she’s gonna’ get a broken heart/ so what if/ what if/ what if things could change,” are quickly altered into a preview of what the rest of “Denials, Delusions, and Decisions” will cover.
Simple lyrics begin to mention the other woman and Wright’s former lover in terms not suitable for print.
“Same Sh’t Different Day Pt. 1” is a song of the he said/she said saga she refers back to in the closing track, titled “Same Sh’t Different Day Pt. 2.”
“Part 1’s” lyrics of “Season’s come/ People go/ Lovers change/ you don’t know … You’re not you/ She’s not me,” do not, however, forward what “Pt. 2” will bring.
“Part 2” seems to identify more so with a track titled “Ain’t Nobody Playin,’” a song that tells of a friend moving in on Wright’s boyfriend.
A duet with Black Thought, “Ain’t Nobody Playin’,” has a funkier beat than the other tracks on the CD and makes light of derogatory terms.
A story about putting an ex-friend in her place, the lyrics casually include, “But I’m still real ghetto/ B’tch/ and I can still kick your black behind.”
While several songs express Wright’s anger, “I Can’t Wait,” a duet with Bilal, gives an in-depth description of a step by-step account of an explicit love affair.
High notes are hit with what sounds like grunts and moans, and there are undecipherable lyrics that include something about being treated “like a piece of steak.”
“Self-Love” is another track that contains lyrics that are mumbled and hard to understand.
Beginning with over a minute of repetitive moans, the nine-minute song sings of “self-love self-preservation.”
Though the title, the chorus of “Love yourself/ Believe in yourself/ Be true to yourself/ Be yourself/ Do you,” and the encouraging lyrics “Stop being a b’tch/ And love yourself” have their insinuations, the true meaning of the song is hidden beneath the murmured lyrics.
Amidst all the angry, lustful and frustrated songs on “Denials, Delusions, and Decisions,” there are a few songs that hold simpler meaning, like “Country Song,” “Lineage,” and “Stay.”
Sounding more like easy-listening lounge songs, these tracks long for a simpler time, passed family members and decisions made in love.
Wright’s debut album includes a mix of all the emotions she can fit into 12 songs.
Though her music and rough lyrics are often difficult to digest, her songwriting and storytelling capabilities, along with a voice that reflects the soul singers of the past, will be sure to make her debut a success and bring on future recordings.
Whitney Pierce