It was the winter of 1999-2000 and my peoples and I were at the semi-weekly "Black Lily" open mic/talent showcase at the Wetlands on Hudson St., deep in the industrial bowels of New York City. There was this short girl (trés petite because I'm only 5' 4"), with blond "jail cornrows" standing next to me. The show, as usual, was hosted by Tracee and Mercedes of the Jazzyfatnastees with many people gracing the stage that night (poets, vocalists, musicians, and everything in between) including a couple who carried the "neo-soul" torch into the new millennium. Jaguar Wright spazzed on the stage (she was so gutter but what a performer and what a voice!). Kindred the Family Soul sang in such beautiful harmonies. Highlights galore. But the most memorable moment came when Tracee introduced a group that consisted of a poet AND a vocalist. That group's name was Floetry. These 2 young ladies took the stage with no musical accompaniment – none. Marsha Ambrosius (Songstress), the short, blond jail-cornrowed redbone who was standing next to me, took the stage and out of her mouth sprang vocal horn arrangements, orchestral melodies plus the lead and background vocals. Her partner, Natalie Stewart (Floacist), delivered real poetry sans the monotonous "notebook on podium" delivery; it rhythmically complimented Marsha's vocals. These 2 women had formed a virtual band using just their voices and vocals. When I got home, I called everyone I knew to tell them about what I had just experienced. It became urban legend among my crew as I eagerly waited for a musical release from this duo for what seemed like an eternity. Two years later, October 1, 2002, Floetic dropped.

Let’s be clear: this is a must have to your collection.

Now, true, the album went gold and can be kopped at any record store or on iTunes. Floetry is not suffering from ignominy. But the album dropped right around the time folks started dismissing neo-soul artists as cookie-cutter products of marketing. Except that’s not what these young ladies were; they were something altogether different and fresh. Floetic earmarked their introduction to the music scene. And although the game didn’t change, they changed the game.

Proudly hailing from the UK, the album starts with the track, “Big Ben”, where you hear Marsha and Natalie introduce their collective style.

Marsha practically raps her poetry. The sound of both voices is perfectly summed up by the title track and first single release, “Floetic”. It's a styling that has yet to be attempted by any others nor overwhelmingly accepted by a broad fan base. “Miss Stress” is a cleverly titled track that touches on how women put themselves in relationships as the mistress. Marsha's vocals are like an angst-ridden plea – she’s crying.  The tracks, “Getting Late” and “Say Yes”, clearly demonstrate that Floetry’s strength is in their song writing. Throughout the album, their lyrics speak to a young woman's journey in life and love – pages that could have been ripped out of someone's journal, eloquently arranged and put to music. Their words emote so well and are so lushly arranged that their songwriting skills are tabbed by heavyweight artists like Jill Scott and Bilal and even Michael Jackson. (Note: Floetry's demo version of “Butterflies” is included on the UK version and I think we all can agree that when we heard MJ’s version of “Butterflies”, it was his most soulful performance since “Human Nature”. MJ mimicked Floetry's version almost note for note, adlib for adlib, probably realizing that no changes were needed.) “Mr. Messed Up” has a dance groove that easily could've rung out in the clubs. Whereas the average DJ, a slave to radio audiences, wasn't hip to it (you couldn’t do the “Uh-Oh” to it and it wasn’t “Get Low” or “Right Thurr”), I can remember a couple of DJs dropping Floetic at some lounges/underground parties leaving everyone with no recourse but to get up and move to it when it came on; it moves you.

Floetry and Floetic were and are "Urban Alternatives" to the booty-shaking, boo-hooing or dance-move-making (“snap ya fingas, do your step!”) urban music culture. In its infant stages in 2002, it is full grown and still thriving in 2007. Floetic is important. Honestly, I can't imagine never hearing this group or this album. I was mesmerized the first time I heard them that night at the Black Lilly. It seemed as though they had perfected something I never heard and I was like, “where did this come from?” Imagine Al Jarreau connecting with Gil Scott Herron… only they’re women… and it’s contemporary, effortless and organic. This is truly real music, from the instrumentation to the vocals to the experimentation and creation of this unique niche in soul music... Enjoy! 

--Lydia Thomas