Trey Songz has the voice of a god. I mean, the man can sing. I don't think anyone should even try and refute that very obvious fact. I personally felt that `Ready' was a very solid album. From beginning to end it worked very well.
`Trey Day' is not as fortunate.
I still like this album and have no problems listening to it from start to finish. Even the songs that I'm not that fond of don't get `skipped' by me. I put the album in and let it run its course because Trey has a way with working with his material. He is always engaging, even when his songs are less than rewarding.
Trey, much like Jamie Foxx and Robin Thicke, has one thing on his mind; making love. I don't have a problem with this when the subject is explored with dignity or at least some imagination (I wouldn't say that Thicke is very dignified, but he is far more creative than Foxx, which makes him appear less tacky). Songz managed to make his yearnings palatable on `Ready', delivering swoon worthy tracks that elicited something inside our stomachs that made us gyrate to his every word.
He delivered an album of music to make love to.
Sadly, `Trey Day' delves too far into tacky territory. Instead of giving his words some dignity he stoops to near offensive dialog that ruins the swagger he was born with. Sure, every song on this album `sounds' good, but that doesn't mean they are good songs.
`No Clothes On', `Grub On' and `Store Run' are just kind of ridiculous. I know that some praise Trey for singing about protection, but I found the song almost laughable. I mean, good job by I don't want to listen to you sing about it. `We Should Be' is just too sleepy. He sounds impeccable, but the production is almost too old and just doesn't work for the direction of the album.
I like `Sex For Yo Stereo', even if it is really self indulgent. `Can't Help But Wait' has a nice bounce to it, but it doesn't really pop the way I wanted it to. `Missin You' is a pretty good song despite the obnoxious techno vocals on the chorus.
I just want to say that I like the way that Trey `smooth raps' a lot of this album. He has pipes, but he also has flow and I appreciate that.
Despite the overall `fare' vibe to the album, there are still five tracks that are really, really good.
`Role Play' may be kind of tacky, but it is sung with such conviction, and the beat is slick and sultry. You can't help but `get ideas' when listening to this one. Besides, that opening `question' is just, well...you get the picture. `Long Gone Missin' opens the album, and some have a problem with the themes and some of the lyrics, but I found them authentic and realistic. You love the one your with, but that doesn't mean there aren't times when you want to wring their necks. The beat is infectious and Trey's vocals are on point, both when he's rapping and when he's singing. I love the beat to `Fly Together', and the collaboration with `Jim Jones' is complimentary. They really craft a memorable and likable track. It has swagger. `Last Time' is the best `slowjam' on the album. Trey sounds great, and his flow is stunning here.
But, the best is without doubt `Wonder Woman'. I love the slick beat that accompanies this track, and the flow that Trey possesses as he works his way through this track is just amazing. It may not be the deepest song (I mean, nothing on this album even comes close to his work on `Ready') but it has presence and it is ravenous in tone and texture.
In the end, I recommend this. Sure, I only gave it a C, but I had high expectations and I know he can do better than this. That said; his voice is unmatchable really and deserves your attention.