- reviewed by Marsha Castello

All in all this is a solid debut album; Trey has a lot of talent and a beautiful voice. Yet it is a young voice as he is only 20, but a voice once developed further will trounce all competitors.

However Trey should really stay away from tracks like "Just Wanna Cut, and "In the Middle", the lame lyrics and coarse postulating of which really hinder Trey's flow, and take away from, rather than add to the artist. Such tracks are sub par, as they are not done correctly or to the same standard of "Ur Behind", and instead of dripping with playful testosterone, are saturated with embarrassing and laughable off key moments. Trey also has to work a lot harder at molding and establishing his own identity and sound. more..

- reviewed by Marsha Castello

All in all this is a solid debut album; Trey has a lot of talent and a beautiful voice. Yet it is a young voice as he is only 20, but a voice once developed further will trounce all competitors.

However Trey should really stay away from tracks like "Just Wanna Cut, and "In the Middle", the lame lyrics and coarse postulating of which really hinder Trey's flow, and take away from, rather than add to the artist. Such tracks are sub par, as they are not done correctly or to the same standard of "Ur Behind", and instead of dripping with playful testosterone, are saturated with embarrassing and laughable off key moments. Trey also has to work a lot harder at molding and establishing his own identity and sound.

Early on in the album Trey sounds a lot like Lloyd and then later morphs into a younger sounding R. Kelly. Here Trey is in danger of merging into the shadows of such artists and not standing out from the crowd, which someone with this degree of talent definitely deserves to do. Surefire hits include "Gotta Make It", "Gotta Go," "Hatin' Love", "All the If's", "Coming For You", "Ur Behind", and "From A Woman's Hand" on all of the aforementioned tracks, Trey's vocals are enviously on point.

This artist will have a hit with this album, but if he truly wants to make it, and be around for the long haul, he needs to develop a more original sound and style such as experienced on "Hatin' Love," "Coming For You" and "All The Ifs". If he can do all that, then I'll definitely look forward to the sophomore album.

The Main Course

"Rhythm and Blues" was a phrase first introduced in 1949 by Jerry Wexler who later became a prominent figure with that giant of all record labels, Atlantic records. The term was used to describe the phenomenon of a new black popular music which had emerged in the late 1940's and mid 1950's. Then in the late 1950's when white performers such as Elvis Presley and Bill Haley achieved mass appeal with the same music, white performers and disc jockeys dubbed the phenomenon, "rock and roll." Rhythm and Blues, or R&B as it is affectionately called, has been the single largest influence on popular music worldwide throughout the twentieth century.

Its unmistakable influence can be found in Gospel music, Jazz, world music, rock music, and even country music. True R&B has a distinct style, which separates it from other genres of music. Traditionally it has a four beat metre and utilises a backbeat, which provides a unique accent on each bar on beats two and four, which are traditionally unaccented in other forms of music.

True R&B can evoke sensual emotions from the depth of the soul and make them stir with every slight change in timbre of the singer's voice. R&B never had to be explicit. The emotions were evident from the sheer urgency and fervour with which they were sung. However modern R&B has pimped itself out to appeal to the mass market. It has watered down the emotions and depth and emphasised the sex, to become virtually unrecognisable from its former self.

If R&B were a person they'd be that sinner on the block who's lost his way and needs to get back to the church.

So in steps a New Jack, 20-year-old Trey Songz, AKA "The Prince of Virginia," set to take the game by storm. Trey Songz was born Tremaine Neverson in Petersburg, Virginia, where he grew up with no intensions of becoming an R&B singer. Trey grew up not unlike any other teenage boys going to school, listening to rap music, shooting hoops, and throwing parties. There were no voice or instrument lessons; in fact perhaps the only musical influence forced upon him was the church by his devout Grandmother, who sang in the choir.

Trey was not even a huge fan of R&B, the only music he listened to religiously, was hip-hop. He cites his favorite artists as Jay-Z, Biggie, and Nas. The only R&B artist to register on Trey's coolometer was R. Kelly.

Trey's real passion lay in rapping, and it was only by chance that his friends heard his singing voice, one day and realised that their man could sing. Really sing. They urged him to give up the rapping and pursue singing. So it was with much encouragement from both his mother and friends that Trey entered and won 20 local talent shows.

Despite the massive accolades he received, Trey was still unconvinced and quite blasé about his singing voice.

"By the time I started singing I was about 15. I used to sing and people told me I was talented. I just did that 'cause it was fun," said Trey. "It was cool. Singing wasn't really a reality; it was something I did for cool points."

"I did little talent shows, parties and I used to sing around the house. People told me I was good, but that's what they supposed to tell you. So I was like cool. Once I met my producer, Troy Taylor, it was more of a reality. It was because he hot, he a great producer, he work with all these people, he got plaques on the wall, he got a studio in his basement. When I sang for him that's when I was like, I was going to go full speed with it."

The path to success was not easy; Troy Taylor did not just put Trey in a studio and let him sing. No, like the Karate Kid, Trey had to learn the basics, and lay the foundations for a singer with longevity. Like Mr Miagi, Troy Taylor focused on teaching Trey the history of his craft so that he could develop a true appreciation and real understanding of it; something that is missing from many R&B pretenders today.

Trey's blossoming talent did not go unnoticed and ultimately led to a record deal with Atlantic Records, the metaphorical father of a luscious R&B and soul history, including Ray Charles, Aretha Franklin and Otis Redding to name a few. This backdrop provided a rich creative tapestry and enormous opportunity in which Trey could develop and hone his own sound, all within the one year deadline set out in the ultimatum by his mother.

Ahmet Ertegun, the founding Chairman of Atlantic Records, said of Trey. "I believe that Trey Songz is among the most promising R&B artists we have had on Atlantic since we started the company nearly sixty years ago. I believe that Trey is poised to be the heir of our great R&B legacy. He has the voice, the songs, the intelligence and the charisma of a true star."

Word of the new heir to the R&B throne has spread like wild fire. And while putting his own debut album together, "I Gotta Make It," Trey was also in high demand to work on other high profile projects. So far he has written and co-produced for label mate Kevin Lyttle's self titled debut, provided "About the Game" for the "Coach Carter" soundtrack, featured on "Ain't A Thug" from Trick Daddy's latest installment, "Thug Matrimony," and provides backing vocals to Gerald Levert's "What Happened to the Lovin'" track.

Trey also co-wrote and appears on a couple of tracks for Juvenile's newest album, and has collaborated with Lil' Kim, Trina and Snoop Dogg on their latest projects.

Yet young Trey, does not stop there, he really takes the title of his debut album to heart, and unlike R&B artists but following in the tradition of Hip-Hop artist Trey has also released a variety of mix tapes for the street under his alternative moniker, "Prince of Virginia."

The mixtapes have more of a street flavor, and have produced underground hits such as "You Can Get It", featuring Southern rapper T.I., "Dreams Freestyle", (Treys version of The Game's "Dreams") and "Ghetto People" (Trey's own interpretation of R.Kelly's "Happy People") providing something for the hip-hop heads, enabling Trey to satisfy both genres simultaneously. Trey affectionately states, "There's so much on my mind that I can't say on a regular R&B record, so mixtapes are a great outlet to sing about some wild, crazy stuff."

So with this debut "I Gotta Make It" will the new heir of R& B make it to the throne? Let's find out:

The album starts of with a mystical and inspiring intro from Aretha Franklin, no less, reaffirming Trey's Talents and the fact that he has all the tools to make it, all he has to do, in fact all anyone has to do is believe in themselves.

Gotta Make It Featuring Twista:
This song is about a young person going against the grain of working the 9-5 grind and chasing his dream. He's willing to throw caution to the wind and try and realize his dream so he can provide his girl with the type of lifestyle he feels she deserves, but is only willing to do it if he has her full support, from which he draws his strength and motivation. It's a feel good, summer jam that all can relate to, Trey's vocals are smooth yet urgent over a light a breezy bumping beat, a great way to kick start the album, but there's even better to come.

Cheat On You:
This song depicts a man at the end of his tether, caught up in a one-sided relationship lacking that 50-50 balance. He feels his girlfriend is mistreating him to the point where he is tempted to cheat and when Trey croons, "Ladies I know you feel me on this one" I feel he's saying that he knows ladies have been in his position, but don't get it twisted, because, fella's have feelings too, and if a guy is really pushed far enough, he may do something that you'll both regret.

He's appealing to and issuing a bleak warning to all the ladies out there that have been mistreating their man, and taking him for granted. This is easily one of my favourite tracks on the album, because not only does it flip the script and expose the vulnerability felt by many men, but the words, vocals, production and beat all flow so effortlessly. This track definitely gets a rewind. My only criticism is that Trey begins to sound a lot like Lloyd on this track and "Gotta Go", and I'm curious to find out what the real Trey Songz sounds like.

Gotta Go:
In this song Trey is torn between spending some real down home loving-quality time, with his girlfriend and the call of the street. Ultimately he is swaying towards the street and going out to do what he feels he's got to do, but promises his love, that he'll be back real soon. I love this track and can't help thinking it's the flip side of another brand new R&B artist, Teairra Mari's "Get Up On Ya Gangsta".

Ooo:
Is a club banger and has no pretensions of being anything more, and is describing a vibe more then a situation. The vibe felt when a guy walks into a club, synonymous with walking into a sweet shop ( candy store ) and sees nothing but fly ladies all around him. This track is a little immature for my liking, and that immaturity seems to be contagious as it spreads from the lyrics, all over Trey's vocals. This track, although passable because of the up-tempo vibe, lacks lustre and depth in terms of lyrics, beats and vocals.

All The Ifs:
This is one of the best tracks on the album and depicts the aftermath and raw emotion felt when love is lost, and all you can do is wonder what if I did things this way or that, would things have been better. Maybe if I were that instead of this you'd still be here with me. This is a poignant street ballad, which I feel all would be able to identify. Treys earnest vocals ache with emotion here, and you can't helped but be moved by verses such as …

"It's still ringing in my ear/You screamin' out of here
And I can see it like it just went down/You walking out of there
I still see 'em on your face baby/So many tears
And I remember feeling like im bout to explode/I gotta get out of here

[Hook]
It's like my sun won't shine/It's like my ride don't roll
It's like the only one thing I love/Dont love me no more…"

I had this track on continuous repeat at one stage, such is the high calibre of this track.

Ur Behind:
Another raw club banger which makes no apologies for talking about nothing deeper or sexier than a thick girl's behind. I actually loved this track, despite its superficial and somewhat sexist lyrics. This track is down right sexy, the beats are so tight that I can see everyone on the dance floor with this one, and "like a hand in a glove", Trey's vocals compliment the track perfectly.

From A Woman's Hand:
Explores the topic of boys being raised by their mothers in an absence of a father, and poises the age old question of how can these boys turn into real strong, morally adept and ethically astute men in the absence of a positive male role model.

Trey's earnest and emotionally wrought vocals are above perfection on this track, he sounds like no other artist except himself on this one, and I would have liked to have seen, this high standard of vocal range throughout the album, alas this is not the case.

This track deals with a tough and highly sensitive topic. The problem is that the lyrics are so clichéd that they are agonisingly patronising. Although Trey's vocals are above par, the lyrics were not enough to handle such an emotional topic with the sensitivity it deserves, and I'm afraid that is where the track falls short.

Kinda Lovin :
Is a bland and easily forgettable ballad and can be described as nothing more than non-descript filler. I'll have to have another listen to tell you what it's about.

Comin for You:
Has a touch of Motown flavour with a young, fresh and modern twist and tells the tale of a young black man just trying earnestly to drive over to his girls house, and all the different obstacles, distractions and trials and tribulations he encounters on the way, which serve only to delay him further yet make his resolution stronger. This is a powerful ballad, and pure electricity surges through Trey's vocal range, displaying a vocal capacity so much more mature than his 20 years. I'm hanging on every word as he croons…

"Now the po's done pulled me over/But I swear girl I was sober
See they said I fit descriptions/Of a man that killed a witness
Ooo baby this aint fair/'Cause I was almost there
So just keep holdin' on /Sleet, hail or snow
I want you to know

[Chorus]
Im comin' for you/Get that love ready
Hold steady /My lady"

Just Wanna Cut Prelude:
Is a silky prelude to a sub standard song, complete with a teasingly beautiful piano skit, and smooth utterances of love, which is rudely interrupted by the next track, which is crass. It just serves to interrupt the flow of this otherwise, very smooth album.

Just Wanna Cut:
The lyrics on this track are weak, and just too coarse and instead of blending with treys young, sweet and smooth vocals only cause disharmony and disjuncture. It talks about a guy wanting to skip all the romance and intellectual conversation and just get down to having sex with the object of his desire.

I say object because that is exactly how the girl is being portrayed in this song. I feel Trey was right, when he himself said that there are certain things that cannot be said on an R&B album, unless it's done right. Otherwise, like this track, it just comes of sounding crass, corny and down right off key. Here Trey adorns his alter ego, "The Prince of Virginia," and tries to make that transition from "gangster to gentleman," which he so much admires from R.Kelly, but he is just unable to pull it off and the switch is a very awkward one.

In The Middle:
Like a car crash, tragedy occurs when lyrics descend into

"If I could be, anywhere in the world I would be
inside your skirt in you gurl between your knees
everyday of my life, my life, my life
I just want, to make your body really want to get it on
We could turn the bed into a stage and then perform"

This track is only mildly better than "Just Wanna Cut," and meanders around similar subject matter. Together these tracks really let the album down.

Make Love Tonight:
The theme of Make Love Tonight is self-explanatory and is an unmistakeable nod to R. Kelly. Here Trey loses his identity once again and just morphs into a younger, less vocally experienced R.Kelly. Although it's a decent track, the effect leaves you feeling that this is nothing original, and that you've heard it all before. The track is also dripping with so much smulch that once again verges on corny.

Hatin Love:
This track details the searing pain experienced when love goes wrong. This is a top class joint and one of the gems on this album. Here we are treated once again to the full range and capacity of Trey's vocals powered by undiluted, recognisable and believable emotion. If ecstasy had a song, this would be its sound track.

Gotta Go Reprise:
This is simply Trey vocalising his thank you's over the "Gotta Go" beat, it's sweet, and passable, but Trey's voice sounds a little annoying on this cut as he grunts and "uh's" and it is definitely time to hit the skip button at this point.

Gotta Make It Remix Featuring Aretha Franklin & Juvenile:
Is a slowed down version of the original, with rapper Juvenile contributing a verse and Aretha harmonising in the background. It's a tight remix and adds just that little something extra to the original, bringing the album full circle.

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