There are entertainers who sing for their people and then there are singers who speak for their generation. Stevie spoke for hearts and souls; Marvin crooned for his country; Fela sent the rhythm of Africa abroad; Curtis gave the ghetto a voice. Artists come a dime a dozen, but a spokesman for the masses who's been bestowed with a voice from the heavens, once every generation. With Songbook/Atlantic Records R&B blessing Trey Songz, the first generation to come of age in the 21st century has one they can claim as their own.
The anointment of the Petersburgh, Virginia inspiration will be solidified with his second collection, the emotional joyride entitled “TREY DAY.” Spanning a sonic spectrum, the album bathes in waves of chord colors (reminiscent of Jodeci's “DIARY OF A MAD BAND”), with Trey's pen painting so vividly it could pass for a crayon. Much of this lush production comes courtesy of some of the best producers in the business. To note a few: Dre and Vidal, Danjahandz, Jimmy Jam and Terry Lewis, and Troy Taylor, who signed Trey to his Songbook Entertainment imprint in 2003 and produced the lion's share of his 2005 debut, “I GOTTA MAKE IT.”
However, while the score for “TREY DAY” is fittingly grandiose, the source of its strength is its author. Trey Songz's vocals have never been more mint. The innovation and lyricism displayed on his sophomore effort belies his 22 years of age. "I'm just taking my music to another level," he offers with an 'I'm just doing my job' tone. "I'm challenging myself vocally, and as a songwriter and an arranger, I’m trying to become an all-around artist."
The evolution can be witnessed firsthand on the lead single, "Wonder Woman." Over the heart- pumping drum track and brain-twisting futuristic sounds of Timbaland protégé Danjahandz, Trey flexes the scribe within. He opens with a riptide rap verse that could put many an MC to shame, then teams with the album's A&R director, Nokio of Dru Hill fame, to express his need for that special lady. "My Wonder Woman is just a strong woman," says Trey. "The modern day woman is independent, doing her own thing, not depending on a man for anything. So the whole basis is if you're invincible, let me see."
"The boy is a star," praises Nokio of Trey. "Many times he'll go in [the studio], write a record and record himself. He doesn't wait for an engineer or anything. His work ethic is crazy and then there’s the feeling he puts behind his singing… it's just rare to work with an artist that can do it all."
One thing that Trey does better than any young R&B artist today is to create songs that resonate with fans regardless of gender, race, age, or residency. His music soars above categorization. You'll be hard-pressed to find many who can't relate to the gorgeous "Last Time." With production by R&B sure-shot Bryan-Michael Cox, Trey documents the challenges of monogamy and the complexities of infidelity in one final episode with his female on the side. The song is beautiful. It's ugly. It's common. It's special. It's human.
The anointment of the Petersburgh, Virginia inspiration will be solidified with his second collection, the emotional joyride entitled “TREY DAY.” Spanning a sonic spectrum, the album bathes in waves of chord colors (reminiscent of Jodeci's “DIARY OF A MAD BAND”), with Trey's pen painting so vividly it could pass for a crayon. Much of this lush production comes courtesy of some of the best producers in the business. To note a few: Dre and Vidal, Danjahandz, Jimmy Jam and Terry Lewis, and Troy Taylor, who signed Trey to his Songbook Entertainment imprint in 2003 and produced the lion's share of his 2005 debut, “I GOTTA MAKE IT.”
However, while the score for “TREY DAY” is fittingly grandiose, the source of its strength is its author. Trey Songz's vocals have never been more mint. The innovation and lyricism displayed on his sophomore effort belies his 22 years of age. "I'm just taking my music to another level," he offers with an 'I'm just doing my job' tone. "I'm challenging myself vocally, and as a songwriter and an arranger, I’m trying to become an all-around artist."
The evolution can be witnessed firsthand on the lead single, "Wonder Woman." Over the heart- pumping drum track and brain-twisting futuristic sounds of Timbaland protégé Danjahandz, Trey flexes the scribe within. He opens with a riptide rap verse that could put many an MC to shame, then teams with the album's A&R director, Nokio of Dru Hill fame, to express his need for that special lady. "My Wonder Woman is just a strong woman," says Trey. "The modern day woman is independent, doing her own thing, not depending on a man for anything. So the whole basis is if you're invincible, let me see."
"The boy is a star," praises Nokio of Trey. "Many times he'll go in [the studio], write a record and record himself. He doesn't wait for an engineer or anything. His work ethic is crazy and then there’s the feeling he puts behind his singing… it's just rare to work with an artist that can do it all."
One thing that Trey does better than any young R&B artist today is to create songs that resonate with fans regardless of gender, race, age, or residency. His music soars above categorization. You'll be hard-pressed to find many who can't relate to the gorgeous "Last Time." With production by R&B sure-shot Bryan-Michael Cox, Trey documents the challenges of monogamy and the complexities of infidelity in one final episode with his female on the side. The song is beautiful. It's ugly. It's common. It's special. It's human.
Website: http://www.treysongz.com/
