Trey Songz – 11 (2018) | Rap & hip hop

Trey Songz – 11 (2018) | Rap & hip hop

Name: Trey Songz – 11
Genre: R&B | Hip-Hop
Year: 2018
Label: Atlantic
Featuring: Ty Dolla $ign, Tory Lanez
Producers: Hitmaka, Zaytoven & others
Format: mp3 | 320 kbps
Duration: 00:38:08
Size: 87 Mb


[05:10] 01. Drugz
[03:44] 02. Lay Yo Head
[03:39] 03. Solid
[04:14] 04. Closed Mouths
[04:12] 05. Keep It Right There
[03:50] 06. Reflection
[03:50] 07. Who Let U Down
[03:28] 08. Let Me Know
[02:49] 09. Attitude
[03:10] 10. Shootin Shots feat. Ty Dolla $ign & Tory Lanez

Review about Albumm "Trey Songz – 11 (2018)"

Trey Songz’s Surprise Album Shows the R&B Singer’s Dilemma

In an effort to chase streaming and radio success in 2018, mid-career artists embrace rap and often dampen their talents in the process

At midnight on Tuesday, R&B singer Trey Songz released a new double album to celebrate his 34th birthday. There is a whole lot of music here: 10 slow and sweaty numbers with only Songz (titled 11), followed by 10 more slow and sweaty numbers with collaborators ranging from Swae Lee to 2 Chainz to Chris Brown (28). Despite the lengthy combined tracklists, there’s not much variation in tempo or style, and the chugging beats are compressed and melody-averse. It leaves little room for Songz’s vocal histrionics — his trademark swooping singing. You could take him off any record here and replace him with nearly any rapper, and the transition wouldn’t be too jarring.

That’s not uncommon in R&B today, as the genre continues to follow hip-hop, rather than vice versa. Unfortunately, that it isn’t particularly helpful for Songz, who hasn’t had a Top 20 crossover hit since 2010. He fared better in an earlier era, when beats were less somber and there was more of an appetite for singers willing to prove that they were different from rappers, often by showing off their range. That’s when Songz nearly became a star, thanks to gliding, unabashedly pretty singles like “Can’t Help But Wait” and gleeful, sex-drunk Nineties throwbacks like “Neighbors Know My Name,” where he sings an entire silly verse in the tone of someone who just huffed a whole canister of helium.

Songz is not the only aging singer to be pushed aside by changing fashions in R&B. You can hear a similar angst on Ne-Yo’s (age 39) Good Man from this summer, and Usher’s (age 40) A, an October surprise with Atlanta rap stalwart Zaytoven. Like boys who dress up in their fathers’ suits, young singers often want to borrow authority from older ones — think of Drake paying homage to Tank in the late 2000s or Jacquees interpolating Avant on “B.E.D.” But these days, middle-aged R&B singers are trying their damnedest to make songs that they pray will get played on the radio (or, more likely, Spotify) after the newest humdrum single from Tory Lanez.

In their defense, these artists basically don’t have a choice if they want to be commercially successful. Though the prospects for R&B singers in 2018 have improved relative to the grim landscape of five years ago, the genre remains on the defensive. It still lags behind rap in terms of both streaming activity — the biggest hip-hop playlist on Spotify has more than twice as many followers as the biggest R&B playlist — and airwave play: Only four singers are credited as lead artists in a recent Top 25 on the mainstream R&B/hip-hop radio chart.

Every one of those four singers had his or her breakout hit in the last 18 months; pop is still largely a young person’s game. So Songz and co. try to make records as if they were still 22. If they don’t, they’ll be shunted to “Adult R&B,” which has a considerably smaller listenership.

This strategy works occasionally: Tank’s “When We,” released in June of 2017, slowly became the biggest single of his career, earning him his only platinum plaque this year — at age 42! — and a top five mainstream radio hit more than a decade after his last one. That’s a unicorn, though. More often, these records are greeted with a shrug — as in the case of the new releases from Ne-Yo and Usher — or a cringe: See Keith Sweat’s ridiculous trap record “Eenie Meenie Miney Mo.”

Trying to make songs like you’re still 22 seems like an odd defensive strategy for older singers — they are ceding the clout they built up over time. It’s unlikely that Songz can do better at the 2018 sound than, for instance, Jacquees did with “Ocean,” which features one of the year’s prettiest singing moments at the start of the second verse. But it’s surprising that Jacquees, at just 24 years old, is getting the jump on his elders with a song like “London” — this feathery, acoustic number isn’t so far from “Neighbors Know My Name.” That’s a style Songz can dominate, if he chooses to.

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Whenever Trey Songz decides to hang up the mic, he will go down as one of the most successful singers of his era. I feel like for my generation, he broke down barriers, ushering in a style of R&B music that meshed pretty well with trendy hip hop. At the age of 34, I still think he has a couple of good years left in him, and with the release of “11/28,” a double-disc/star-studded project, it seems music execs and his peers think so, too.



Though Trey Songz has mastered making explosive club hits, you have to appreciate his ability to create soulful music, too; one of my favorite on this project is “Drugz.” On it, Trey pretty much gets on his knees, pleading to have this bad ass chick’s body from dusk to dawn. I love how Trigga Trey gets lost in the emotional instrumental he was served with, practically sounding like he’s getting stabbed, dragged and stoned while he’s singing. S**t, If her body is that good, we may need to use it as a trading piece for international relations.

Trigga Trey gets back to his despicable ways on “How Dat Sound.”

There was once a time Trey Songz dropped a new club hit every year. Unfortunately, these last couple of years, he hasn’t been as lucky. However, things may have changed today, because with “How Dat Sound,” the Virginia-born singer was able to gift us with this brash/unapologetic/raunchy/high-octane banger that I can certainly see blowing up. Not only does it feature this explosive hook and instrumental, but Trey and featured guests Yo Gotti and 2 Chainz were also able to let loose on their respective verses, giving us something just as reckless as it is catchy. I personally like reckless and catchy for all three of these guys.

There are a couple of reasons I enjoy “Body High:” For one, it’s lawless, featuring no real structure, and secondly, it straddles the line between rap and R&B masterfully. Aside from that, I really enjoy the instrumental’s dark tone, as it does a good job of provoking both Trey Songz and featured guest Swae Lee to go through the motions on their respective contributions. At times, both artists’ high-pitched singing might have you cringing, but when you are talking about being in love like these two dudes are, it comes out ugly sometimes.

Everyone knew that “28” was going to be the album that had all the hits, and from the moment you press play on it, that belief is put into fruition. “Spark” is energetic, has a great bop to it, and boasts this charming vibe that Trey used to excel utilizing back in the day.

Don’t you love how both Trey Songz and featured guest Jacquees use this hop scotch-like flow to talk about how fine their women are on this song? It makes the act of courting feel like some jump rope s**t.

“Shootin’ Shots” is one of the better R&B records you will hear this year. Trigga Trey calls on Tory Lanez, Ty Dolla $ign and HitMaka for assistance on it, and together, they gift us with this smooth/melodic banger that has each of them wooing our women with their money and sex appeal. Interestingly enough, everyone keeps the same energy as the other on their respective verses, making for a very cohesive effort.

Do you realize that R&B n***as should never catch L’s when it comes to getting women?


esus, 20 tracks of Trey Songz is a damn lot! Then again, he never lets up in passion when he makes music, so 11/28 won’t quite feel like work listening to it. Additionally, the album is split down the middle when it comes to soulful and hip hop music, which means Trey never allows you to get comfortable with a particular sound (Especially if you listen to both on shuffle).

Interestingly enough, 11/28 had a s**tload of features (Especially “28”), despite the fact that I feel like Trey is one of the few artists that has a high success rate making music by his lonesome. Then again, I’ve noticed a trend of R&B artists linking up with major players in the rap game to gain clout. Anyway, I enjoyed contributions from the R&B cats like Jacquees, Tory Lanez, Ty Dolla $ign and Swae Lee, as they brought a different type of passion to their respective songs. On the other end, I could’ve done without OT Genasis, Shy Glizzy and Rich The Kid.

You know what’s funny? I was listening to Trey Songz first album (Gotta Make It) the other day, and I was amazed at how much his sound has evolved. In the beginning, he was making old school soul music, sounding like a 75 year old man in a 21 year old’s body. As time went on, his music has matured, and so has his subject-matters, swagger and voice. He no longer seems tamed or held back, meaning he has slowly become one of those veteran acts that was fortunate enough to go on a journey before settling on a specific sound. In my opinion, 11/28 is a culmination of that journey, as it literally features every single style Songz has been good at throughout the years. Some sounds may excite you, some may frustrate you, and some may have you reminiscing to your college days when you were still trying to figure out relationships (Assuming you are my age). If you are just learning about Trey, you will enjoy this album for its melodies, unapologetic approaches to sex and love, and its many exhilarating club bangers. All in all, Trey put on a show on 11/28, making it impossible to hate.


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