Marsha Ambrosius Lives Through “Late Nights & Early Mornings” (Album Review)

2002 was a pretty good year for urban music…Don’t you agree? Ja Rule and Ashanti showed you why they would’ve made a perfect couple with "Always On Time", but her Foolish ass decided to roll with Terrence Howard, who just ended up cheating on her anyway. Mr. Cheeks released "Lights, Camera, Action", which was probably the reason why black people thought it was alright to start making sextapes, and Missy Elliott introduced the world to her protégé Tweet, who flat out revealed that she was a lonely broad who liked to fondle herself behind closed doors. It was also the first time we were introduced to Marsha Ambrosius. Staking her claim in the group Floerty, back in 2002, two talented women from the UK gave R&B and Neo-Soul aficionados hits like “Floetic”, “Say Yes” and “Getting Late”. But let’s be real. None of those songs would have probably impacted radio if it weren’t for Marsha’s impressive vocals.

Whether you agree with me or not, she made all those records stand out. She was the one who had the “it” factor, star quality, a certain je ne sais quoi in the dynamic duo. But of course, like all females who are not overly sexual on a record, who do not wear pounds of make-up, have a fat ass or wear sizes 0-6, end up getting lost in the crowd. After their debut album, Floetry’s buzz fizzled and the Common assisted “Superstar” wasn’t enough to keep the momentum going. Though the duo split after their third and final album, that didn’t stop Marsha from doing her thing. Shortly after, she landed a solo career thanks to Dr. Dre and began lending her vocals to artists like Styles P, Nas and Busta Rhymes. But it wasn’t until she collaborated on Wale’s “Diary” in 2009 that made fans realize that she was destined to be something greater than she had ever imagined.

After a handful of classic records, a few collaborations, three mixtapes two record deals, and four different release dates, fans will finally be able to hear her debut album as she intended. The thirteen-track opus titled "Late Nights & Early Mornings" is slated to hit shelves on March 1, 2011. It’s pretty evident why the album was taking so long to be delivered to us -- It takes time to craft such a dope R&B record from top to bottom. Crammed with infectious ballads, it features a handful of baby-makers that will definitely be on repeat. In the beginning, listeners are introduced to a sensual side of the artist that we may not be accustomed to. Pouring her heart out on what appears to be a heartfelt love letter, Marsha starts the record off with "Anticipation", which clearly sets the tone, prepping listeners for what's to come.

On records like “With You” an outspoken Marsha taps into her feminine side letting her inner thoughts and deepest desires shine on a smooth, easy listening, adult contemporary type of beat. This right here is Neo-Soul music at it’s best -- It’s as if this record was a continuation of “Say Yes”. Digging further into the narrative, we learn quite a few things about the talented singer/songwriter. She makes it loud and clear on “Late Nights & Early Mornings” that not only can she hold a high note; she has a serious appetite for love and an immense amount of endurance in bed. If this record were a movie scene, it would probably involve her envisioning herself in a hot and steamy love encounter while at work. Boasting in falsetto “I want to be your late night, early morning…When I get you home, gonna give you good love…. shivers down my spine, when I think about the freaky things I got in mind”, not only will you need an endless supply of condoms, but you might need to invest in a five-hour energy drink (or two).

Lasting less than three and a half minutes, Marsha quickly loses interest, shifting gears on the album’s lead single as she specifically states “I Hope She Cheats On You” (With A Basketball Player). Though she claims that she may sound bitter, I imagine that she’s feeling resentment more than anything else. As with every woman who is scorned, human nature allows them take out their past frustrations on their present lovers. And tracks like the extremely emotional “Lose Myself”, written by Lauren Hill, offers a riveting tale of Marsha finding forgiveness after enduring serious heartache. Professing “there’s something awkward about the selflessness it takes to give love and the good that it makes you, true love can never really forsake you, but it took me a little while just for me to see”. The nearly five-minute experience highlights Lauren’s elaborate songwriting skills, perfectly executed by Marsha’s aggressive vocals, the chemistry that these two have together on this collaboration is un-deniable. Heavily Influenced by the likes of Prince (among others), I find it slightly unfortunate that the two have never done a duet together – especially on a song like “Your Hands”. Again, Marsha displays her creativity on “Sour Times” where she personifies a bottle of her favorite top shelf, wailing “take a shot now ‘cause nobody loves me…. it’s true. Not like you do”, its with out doubt that Marsha has mastered the art of conceptual and cinematic story-telling.

Delivering solid concepts throughout like “Far Away”, the songstress uses the string-infused track titled “Tears” to pull herself together as she relies the strength of her soulful vocals while begging her former lover for another chance. If there’s one thing I’ve noticed while listening to this album is that Marsha has had her share when dealing with relationships. Not only that, but her aggressive approach to composing music is un-parallel to that of any other female artist I’ve heard since Lauren Hill. However, if Marsha wants to be taken seriously, I’d suggest she continue penning songs like the aforementioned or else fans might as well label this as another mixtape.