That only accounts for the majority of the album's first half. Each one of the songs is an energy rush, and it can be overbearing to be confronted by the boundlessly enthusiastic voices of a woman who is thrilled to be making music and isn't afraid to sound like it. Mighty Dog Haynes, Kool & the Gang, Curtis Mayfield, Bob James, and Tom Zé are all part of that mix. The all-too-brief intro, the Clutch collaboration "Hate 2 Love U," "Make Me Believe," the Cee-Lo co-production "Take Control," and "Gotta Work" are all restlessly upbeat, dishing out prancing horns (sampled and synthetic), tumbling/crashing drum breaks, zipping organs, and other '60s/'70s soul-funk authenticators. It's almost excessively generous, provided you are able to keep up and absorb a set of songs that, sequentially, is of exceptionally distinct halves. The amicable and possibly temporary split between Amerie and her primary producer, Rich Harrison, might've been a cause for some concern, but this set of songs is altogether more colorful and varied than both All I Have and Touch.
In other territories, where it was released, it was left to rot. You'd think Amerie's path would be without obstacles going forward, but album number three - this one - was left unreleased in the States. A pair of Top Ten albums and Top Ten R&B singles to match.
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