1. Intro-Love To Love Prelude 0:25
2. I Dont Know (Gotta Have You) 3:50
3. Wondering Why (You Dont Talk To Me) 3:49
4. The Light (Piano Mix) 3:12		play
5. Wake Up Baby 3:55
6. Lovely Day 4:16
7. Dear Me And Mrs Industry 3:41
8. Love To Love 3:36		play
9. Running Away 5:24
10. Im Prettier 4:12
11. Comes To Light (Everything) 4:46
12. Holding On 4:53

After a host of successful albums and numerous singles, singer, songwriter, author, and actress Jill Scott jumped from Hidden Beach to Warner Bros to release her stellar Light of the Sun album in June, 2011. While she was recording, her former label initiated a lawsuit claiming that she owed them three albums. The suit was settled quietly, with neither party commenting on the outcome. Apparently, what Hidden Beach received in the deal was the right to issue The Original Jill Scott from the Vault, Vol. 1, released hot on the heels of the number one single from Light of the Sun, "So in Love," which spent eight weeks at number one on Billboard's Urban chart, and the follow-up, "So Gone (What My Mind Says)," with Paul Wall. By and large, From the Vaults recordings usually consist of dead dogs, outtakes, demos, or material regarded as substandard. Not so here. Many of these tracks are finished masters, and virtually everything will delight hardcore Scott fans. The album contains a dozen tracks showcasing Scott in excellent voice, collaborating with many of the producers who helped to establish her name. The material ranges from a piano mix of "The Light" with Dre & Vidal and the slippery meld of neo-soul and hip-hop on "I Don't Know (I Gotta Have You)" produced by Ivan Barias, to a stellar, funky, but reverent cover of Bill Withers' "Lovely Day," produced by Jazzy Jeff, with an excellent string and horn chart just behind the beats. "Wake Up Baby," with Ronald "P-Nutt" Frost, is an old-school soul tune, layered with tasty guitar and steady, laid-back nocturnal beats, and an infectious melody. It's a production demo, but a final mix couldn't have been much different. Another production demo, "Running Away" (with a scratch vocal that becomes a live one), also allows the flow of studio sound to come through, making for a fascinating aural peek of Scott at work. Certainly, The Original Jill Scott from the Vault, Vol. 1 is a fan's collection; that said, it doesn't diminish Scott's reputation or come off as a label rip-off. Instead, it enhances the listener's idea of her perfectionist work ethic. It's not only listenable as an "in process" document, but offers a slew of tracks in various stages that are simply a pleasure to listen to. ---Thom Jurek, AllMusic Review

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01 – Blessed
02 – So In Love
03 – Shame
04 – All Cried Out Redux
05 – Le Boom Vent Suite
06 – So Gone (What My Mind Says)
07 – Hear My Call
08 – Some Other Time
09 – Quick
10 – Making You Wait
11 – Until Then (I Imagine)
12 – Missing You		play
13 – When I Wake Up
14 – Womanifesto		play
15 – Rolling Hills

Jill Scott has been through many changes since 2007's The Real Thing: Words & Sounds, Vol. 3: a divorce, a brief but intense love affair that produced a child, acting roles in Tyler Perry's Why Did I Get Married? and Hounddog, her starring role in HBO's The No. 1 Ladies' Detective Agency, and signing with Warner Bros. The Light of the Sun is a record of the rocky road to empowerment. Scott and Lee Hutson, Jr. are the album's executive producers; they also collaborate in songwriting and arrangements on numerous selections. Opener "Blessed," produced by Dre & Vidal, kicks it off in slippery, hip-hop soul style; a harp, strings, and a fluttering dubwise bassline underscore the shuffling rhythm. Scott expresses spoken and sung gratitude for and about her new baby, career, life, and support system. Poetry and song are woven with elegance in a nocturnal groove. The hit pre-release single "So in Love," produced by Kelvin Wooten, is a modern Philly soul fan's dream, with its lithe, fingerpopping bassline, shimmering drums, and seeming bliss arising between Scott and Anthony Hamilton, who turn in a grand duet performance. "Shame" (featuring Eve & the A Group), is grand, old-school funk with killer backing vocals that range from P-Funk-esque vocal choruses to doo wop with sampled classic ska as Scott raps defiantly with Eve. One of the sleepers on the set is the stunning "La Boom Vent Suite," a sultry number produced by Scott and Hutson. It's a militant, funky soul, kiss-off tune, that declares: "I've been waiting for so long/but somebody else has been sniffing at my dress." "Hear My Call" is literally a prayer for healing; with its elegantly arranged strings, it's as heartfelt and humble as desperate need can be. There is one misstep here: "So Gone (What My Mind Says)" didn't require Paul Wall's tired, generic, boastful rapping to work. That said, the rhythm collision with human beatbox Doug E. Fresh on "All Cried Out Redux," complete with ragtime piano sample, is a novelty number that works. After the album's first third, it's all Scott, and (mostly) all sublime. The sparsely produced "Quick" (produced by Wayne Campbell) records the heartbreak in the brief relationship that produced her son. "Making You Wait" is another self-determination anthem that addresses romance, with spacious Rhodes and synth strings weaving beats together. Scott lays down the spoken word "Womanifesto" that recalls the poetry of her early career, just before the steamy, sexual "Rolling Hills" touches on jazz, blues, and late-'70s soul with effortless ease to close it. On The Light of the Sun, Scott sounds more in control than ever; her spoken and sung phrasing (now a trademark), songwriting, and production instincts are all solid. This is 21st century Philly soul at its best. ---Thom Jurek, AllMusic Review

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