Marsha Ambrosius Perfects Fuck Tracks Like She Invented Sex

I will never forget the day I TRULY understood the utility of a good fuck track. The year was 1998, and the love of my life (that week) cheated on me with some whore he met at a frat party that he was too young to be attending in the first place. I called my cousin Jenn who showed up in her powder blue Geo Tracker and drove me from New Jersey to Queens to meet my AOL secret lover (he could’ve been 65, but thankfully I wasn’t Catfished). We got there, and he and I went up to his bedroom at his mother’s house, which was romantically set up with blankets covering the windows and Naughty By Nature sheets on the bottom bunk bed. While he slid his Nike socks off, he put on some mood music: Lauryn Hill’s “Doo Wop (That Thing).”

Why do you care about any of this? Because. Who in their right mind would choose Lauryn Hill’s first and last feminist anthem of self-love when I’m sitting here trying to revenge fuck? I got too overwhelmed by the “Don’t be a hard rock when you really are a gem” sentiment and promptly sat up (smacking my head on the wood panel of the top bunk). Then I bolted out of there, leaving him with a parting gift of blue balls. So you see, if your fuck tracks suck, then that’s the only thing that will be sucking that evening. Marsha Ambrosius, the Queen of the Fuck Track gave us perhaps the greatest step-by-step guide on how she creates her fuck tracks. Her recently released EP FVCK & LOVE is full of them (not to mention her forthcoming full length, Friends & Lovers, out in July), but Ms. Ambrosius has also laced many a rapper’s cut with her sexual innuendos, working with the likes of Game, Nas, Common, Outkast, Kanye West, Fabolous, and the list goes on. She breaks down her sexual strategy below. Now that you know her secrets, what will you do with them? Keep bangin…

THE FUCK TRACK COMMANDMENTS

BE IN THE MOOD
Accompanying that Number One… I am always in the mood. So that’s no issue. You have to be in the mood to create a fuck track. My brain always goes to that place anyway. It’s never an issue.

HAVE A TARGET
It’s more than likely that I have a particular person on my brain that I’m thinking about doing that night, which sparks my approach to how I’m going to create this song. Whether it’s someone I haven’t had sex with yet or it’s a penis I’m missing and longing for once again. That delivers the angle of the song. It could be an “I miss this penis” or it could be “I really want that one.”

SEXUAL TENSION IS KEY
Depending on the producer I’m working with, there has to be a level of sexual tension for me to go in and get out of them what I need be. For example, when we created “69,” there’s a vocal sample that one of the producers uses, Kosine (of Da Internz). It’s almost like a breath… he inhaled my entire body, spat on me, smacked me in the face, and put it in really really deep. And that sparked how I approached that song. So when you listen to it, it feels like that’s what’s happening to your body. So it’s not just a song now. It’s a sexual experience.

AMBIANCE FOR THAT ASS
This is where I start to get real bougie with it. If I’m in the booth, I need them to please turn off all the lights. For some reason, I can’t concentrate with the lights on. The lights come on after when I want to actually see who I’m having sex with to this song. But during the moment, definitely dim the lights. Definitely create some ambiance. So when I’m singing, it feels very much wrapped in sweaty silk bedroom sheets or laying on a beach at midnight getting bit by every mosquito, but you don’t care because you’re having the best sex ever.

BE EXPLICIT WITH YOUR WISHES
“Say Yes” (by Floetry), for example, took two minutes to make. The reason why it took two minutes to make is because I was so sure and so clear that all I wanted to do was have sex with this person, that my pen just wouldn’t lie to me. So when I heard the piece of music that Andre Harris was coming up with — he played the keys — it just felt like those last two moments were the deep thrust of passion that you cannot escape from within that grit. So all you gotta do is, “Grit! Grit!” That’s what I heard in the music. So all you gotta do is say yes, don’t deny what you feel. Let me undress you, babe. I didn’t realize I was being that forward in my approach. Some females are supposed to be submissive, and I’m supposed to have him approach the situation, have him initiate the whole thing. Nope. I want you, and I’m gonna tell you that.

NEW SEX, NEW MATERIAL
“Freakin Me” (Jamie Foxx f. Marsha Ambrosius) was brand new sex. I had never had sex with this person before, and the approach was that a part of me wants a part of you. So that was my cocky way of saying I don’t really want to get to know you. My body wants your body, and that’s it. There were no strings attached. We started flirting with each other, so what are we waiting on? Your lips are already pressed on mine. Don’t tease me; let’s just do it and suffer the consequences tomorrow. If need be. Just have sex with me, and that’s it. So by the time you get to the end of the song, it’s almost like you find this level of passion where for that split second you’re in love. It’s not love though, which is how I think so many situations get misconstrued, because you’re all in your feelings because of some good penis. And I get it. I totally understand, but there are other songs for those moments. “Freakin Me” was one of those moments, so thank you Jamie Foxx for having that level of sexual intensity during the song where people believed that’s what was going on. When that song starts, you know what it’s about to be.

BE ASSERTIVE
A track that comes to mind is “With You.” I’m on my way to your house. I don’t know who’s over there, and I don’t care if you have another chick. Right now, I don’t care about all of these feelings and emotions. I just wanna be with you, and whatever that takes is what I’m willing to do. Initially, it really was just a physical connection, but now all I ever do is think about this person—whether it’s the sex, whether it’s the conversations. Now it’s everything. Now we’ve crossed a whole entire line of what we’re about to do. So on the hook where I’m [sings moans], it could be the sex or let’s get on this private jet and bolt to Paris real quick. It was anything I wanted to do with that person, because they were that amazing, and the sex was that amazing that we had to take it there.

“JUST FUCK ME ON THE SONG”
In order for me to create that spark, musically there has to be a sexual connection between the music and my approach to it being a fuck record. When you listen to the music, that kind of speaks to where you approach it with your pen. Like sometimes it can be way too deep and way too emotional, and now it has nothing to do with sex. Now you’re all in your feelings because the chords are very melancholy, and there’s no seduction there. It’s all feelings. I encourage any producer I’m working with to just fuck me on the song. And whatever that means is whatever the music comes up with.

INHIBITIONS STAY AT THE DOOR
“So Good” lyrically from beginning to end is everything that initiates great sex. Not good sex—great sex. From verse one, “I can tell by looking at you, that thing is good.” That’s anything you could be into. I leave it open for your imagination, and to play with it however you will. Some people are into some real kinky shit. You just never know. Like, looking on the surface, you’re like “They’re probably a square.” Nah. They’re into some real shit. So I didn’t want to go all the way graphic and give people’s secrets away, but on my approach I was like, hmmm, I could tell by looking at him that I know what he’s working with. And if he’s not, then I can teach him, because I’m that sexually attracted to him that I want him now. So by the time you get to the middle of the song, you’re pulling on my hair, you’re right between my legs, you’re kissing on my neck, I’m scratching on your back, I say “Baby go’head. Go hard.” Do you. Have your way with me at this point, because I’ve already got you to the point where my body’s gonna explode, so you may as well just explode with me.

KNOW THE DIFFERENCE BETWEEN A FUCK TRACK AND A MAKING LOVE TRACK
It really starts with the music. With making love tracks, the music has a level of sincerity to it, and how melodically it plays out for me. That example for me would be “Your Hands.” It’s a making love track; it’s definitely not a fuck track. It’s the one you have submitted to, the one you have admitted your feelings for and basically given your heart away. I’m putting my heart in your hands, just don’t break me. I know how I feel for him. We lay in this bed, and when we come together it’s real. It’s not contrived or fickle like, “We just left the club and we’re about to do it. I’m gonna wake up like where are my shoes and what’s your name again?” There’s a difference.

HAVE YOUR OWN FAVORITE FUCK TRACK
I have too many. “Come Live With Me Angel” by Marvin Gaye (above), that’s a great one actually. Me’Shell Ndegeocello’s “Fool Of Me” is a great song to have sex to. “Feel All My Love Inside” by Marvin Gaye too is another one that’s crazy. “Make Sure You’re Sure” by Stevie Wonder, “Crazy You” by Prince. Prince’s whole Purple Rain album can be an incredible experience. “Sensuality Parts 1 & 2” by the Isley Brothers, woo! I remember them.

There’s another one by Prince on the 3121 album, a song called “The Dance.” Oh. My. God. I’m talking head blown off type of sex. I wrote the saddest song ever made after I experienced this type of sex. It was the type of sex that you run to the restroom. I had my cellphone on me because I called my mother right after the sex. I was convinced I was having a stroke. It’s the funniest shit ever. It’s not a secret. My real homies will tell you. This is why I create the music that I do: because things like this happen to me. I thought I was having a stroke. [My mother] was like, “Calm down, you just had yourself the realest orgasm you’ve had in your life.” I was like, “No. I can’t move.” I had a “Call Your Mother” orgasm. Was “The Dance” playing? Maybe not, actually. There might’ve been a TV on or background noise. But I heard music. I’ll tell you that.

Marsha’s second solo LP, Friends & Lovers will be released on 7.15 via RCA Records.

Kathy Iandoli has left a trail of blue balls in her day. Follow her testicular destruction on Twitter – @kath3000.