When a talented lady, who unfortunately has been an also-ran with all her previous releases being nothing more than singles that peak at #30 then suddenly says THIS is the album, one can't help being jaded. What did you do? Sell out and suddenly sing a bunch of stuff manufactured and overproduced enough to make "hits" instead of music with integrity? This reviewer has seen it happen too many times.

Despite the irresistible kick of Ms. Wright's present smash, this album's title cut, a jaunty ditty in the form of a personal ad, all the press just seemed like too much beating over the head. " This music is really me...this album is different," yeah yeah yeah...been there...read that.

But, there are a few reviewers who like nothing better than having their preconceived notions smashed to bits. This album's material and Ms. Wright's dynamite delivery of it is WORTHY of being hyped to heaven. Rarely does someone who isn't also PRIMARILY a songwriter realize an album where EVERY song is a lyric wonderland of cutting, articulate words that look like poetry on the page long before you hear the first note of them actually sung.

The emphasis of PRIMARILY a songwriter isn't meant to ignore the fact that Ms. Wright still wrote or CO-wrote 2 of these amazing songs. These two cuts are "Picket Fences" (" Tell me what's so great about picket fences...Paintin' them is such a mess...and a backyard where kids can play...I'd Probably never get a moment's rest") and an ode to a jaded person getting swept off their feet in the killer "Some Kind of Somethin'" ("It's too soon to say forever, But we're over sayin' never because Love's a definite maybe when we kiss"). This reviewer can't remember the last time that it was required in a review, to do an album justice, to cite lyrics to EVERY song to demonstrate the virtuosity which ALL Of them are constructed and written. The powerhouse second cut, a staggering "I'm bolting" song, "She went out for cigarettes" (He Looked up from his easy chair and just noticed she's not there...She went out for cigarettes and just kept driving on") is at once winsome and full of liberation. "It Was" could have been a routine I-love-you song, but Ms. Wright's direct and wonderful delivery of chestnut lines like "It was real...It was Savage..It was cool as a breeze and warm to the touch," is anything but routine.

"Unknown" is just flat out a work of art. ("I could watch old movies all night long...I say a prayer at 11:11...I talk In my sleep but there's no one to hear me...I sleep with the TV on...I don't want to be unknown.") The irony here of turning the word unknown from meaning "not famous" to meaning literally someone not KNOWING your intimate quirks is simply transcendentally brilliant. This song should be in some sort of modern database when people want an example of how to write a song.

A typical we-fell-out-of love song, "The Love That We Lost," becomes ever so special with lines like "We just left (our love) alone, we tried to find it one day and discovered it was gone." Anyone tired of your exes leaving you because of too much drama? Show them the killer cut "The Fire" with the cut-to-the-bone line "Safe and out of harm... well they can say water is nice...but it's the fire that keeps you warm."

Sick of everyone WITH someone making us single, bitter people MORE bitter just with the force of their annoying togetherness? Check out "Rubbin' It In" with the downright magical lines of "A couple danced over by the jukebox...how could they be so insensitive...They're laughing at me I just know it because they knew I'd blow it...Every movie is a love story ending with a kiss...How did the Cable company get in on this...I swear I pass you on the highway...but it never really is your car. This is going too far...the whole world just keeps rubbin' it in." And when you get to cut #10 and wonder how on earth someone could keep up this pace on a last song, the last song rocks your world. Delivered with a gospel bent that all but brings codependency to its proverbial praying knees, "Why Do I Still Want You" should get a song-of-the-year award for two lines alone: "The Lord is my shepherd...I shall not want...Why do I still want you?"

Even on paper these songs could strike paydirt sung by someone with a tin ear set to a monk's chant. But take these staggering lyrics in EVERY cut, add Ms. Wright's glorious voice, and then add Tony Brown's, Buddy Cannon's and Norro Wilson's appropriate and wonderful productions, and this album is a favorite for Female Country Album of the year. The only person losing out if you don't bolt to get this album is you. Ms. Wright and her talented writers have already won the jackpot. Go get this album and share in the payoff immediately.