At the risk of sounding like a “broken record,” I just have to say: Once again Jill Detroit and her producer, Bill Bentley, have created an album that not only “steps up to the plate” when it comes to songwriting but they outdo themselves with arrangements and performances that continue to delight and surprise Jill’s fans. I don’t know how they do it but this partnership manages to up its game with every new release. This is Jill’s 24th album and it demonstrates the musical virtuosity and creativity of this musical pair. Once again, Bill Bentley provides the perfect musical embrace to complement and support Jill’s imaginative songs. Many of the songs on this particular album are relationship-oriented, from proclamations of eternal love to laments about doomed love affairs. The album begins with the catchy upbeat “Step Up to the Plate” that showcases Jill’s “raspier” side. The song channels a “Fleetwood Mac” feel as the Jill-ettes provide outstanding background vocals and the lyrics convey a message that can be interpreted in multiple ways. Jill has clearly demonstrated over-and-over again the ability to channel emotion through her music, lyrics, and performances but she takes this talent to a whole new level with “Cry.” The title alone is intriguing but that’s just the beginning of a musical adventure unlike any I have experienced. Jill’s achingly honest lyrics are encased in a gorgeous melody that showcases Jill’s amazing range and control. Next up is “Manifest Destiny,” which is (again) unlike any Jill Detroit song I’ve ever heard (how many times have I said that?). While utilizing a quintessential American phrase, I could envision this song being performed by a Celtic tribe. The Jill-ettes provide unique background vocals that are simply perfect for this arrangement. Well done, Mr. Bentley! I was not prepared for a song like “Creepy Flattery” to emerge from this multi-talented and multi-genred artist but that is what makes the anticipation of a new Jill Detroit release so suspenseful. Jill and her producer enter into new territory with this delightful, quirky spin on an encounter that results in a re-assessment of one’s solitary lifestyle. I can easily envision this song being included in one of the future Detroit-Phillips musicals. “‘Cause I Do,” like so many Jill Detroit creations, seems like it is a classic song I should know. The melody seems so familiar because it perfectly fits the sentiment and lyrics. Who hasn’t had second thoughts about a break-up? The pace picks up with “Gonna Take A Little Time,” a song that helps Jill’s fans understand where the “Detroit” in her name comes from. This song could easily have been part of Motown’s legacy. Bill Bentley’s arrangement, together with support from the Jill-ettes, makes this song a stand-out among all the other stand-outs on this album. The mood shifts with “Closing the Door,” a dark bluesy breakup song in which Jill’s heartache is apparent in her voice which is complemented and supported by Bill Bentley’s arrangement and instrumental performances. The mood shifts once again as Jill delivers “I Come Runnin’,” a song that defies you to resist dancing along. Again, I feel I should know this song because it seems so familiar. Well, now I do! “The Rose in My Garden” is one of the most beautiful tributes I have ever heard. Jill wrote it to commemorate her daughter, Rose, who passed away several years ago, and any parent who has lost a child will relate to the pathos and unimaginable grief as well as the beloved memories the song and the performance evoke. The final song on this outstanding album is “A Heartache Waiting to Happen,” and, at the risk of repeating myself, I feel I should know this song. It has a classic folk-rock vibe that evokes the Eagles but with some surprising and amazing vocals. This is what I mean when I say this duo continues to delight and surprise Jill’s fans with innovative and extraordinary songs and arrangements. While Jill certainly has a recognizable style, I simply cannot categorize it because of the versatility of her songs and crossover of the genres. That is why she is, in my estimation, a one-of-a-kind singer/songwriter.