^ a b c Macpherson, Alex (August 16, 2012).^shipments figures based on certification alone *sales figures based on certification alone Scott 'Yarmov' Yarmovsky – production coordinationĬharts Weekly charts Chart (2012).Trey Songz – executive producer, primary artist, vocals.Troy Taylor – additional production, bass, executive producer, keyboards, percussion, piano, producer.Jerren 'J-Kits' Spruill – additional production, producer.Matt Prime – guitar, keyboards, producer, programming.Dwayne Nesmith – keyboards, producer, programming.Rico Love – background vocals, producer, vocals.Benny Blanco – engineer, instrumentation, producer, programming.Nick Bilardello – art direction, design.Ĭredits for Chapter V adapted from Allmusic. The snaking rhythms are just as remarkable as the hypnotic synthesizer textures.' Sarah Godfrey of The Washington Post complimented Songz' 'signature blend of soft-core imagery and sweet nothings' and wrote that the album 'highlights Songz’s unique role in R&B: He bridges the gap between sexless boy bands and unromantic raunchy singers, between young guys who sing shallow songs about strip clubs and old guys who sing heavy songs about their divorces.' Jon Caramanica of The New York Times dubbed it 'one of his most consistently strong albums' in spite of the potential 'conundrum' of drawing on R. Allmusic's Andy Kellman commended Songz for 'singing about what can do for - rather than to' his female subjects and stated, 'Those who tire of the coarse metaphors, disrobing scenes, and 'panty wetter' talk can get lost in the sleek, layered work of Troy Taylor and his associates. At Metacritic, which assigns a normalized rating out of 100 to reviews from mainstream critics, the album received an average score of 68, based on eight reviews. The snaking rhythms are just as remarkable as the hypnotic synthesizer textures.Chapter V received generally positive reviews from contemporary music critics. Those who tire of the coarse metaphors, disrobing scenes, and "panty wetter" talk can get lost in the sleek, layered work of Troy Taylor and his associates. That's one advantage Trey has over the majority of his peers, as heard in "Forever Yours": "I hope she tell me what she want, just so I can do whatever she says." Just as significant, the contemporaries who might call him soft for such a line probably aren't clever enough to come up with something as slyly tough as "And no, it ain't my crib, but I'm comin' home/Daddy's little girl, I'm-a treat you like you're grown." "Playin' Hard" and "Fumble," introspective and self-critical, are two of the album's most resonant songs and provide more depth, even though the sentiments are probably fleeting. Even fewer under-30 R&B vocalists bother to temper boasts of bedroom aptitude by singing about what they can do for - rather than to - their women. Not many artists can achieve the same level of success with such contrasting material. It joined the album's first single, "Heart Attack" - a bleepy/weepy ballad delivered with relatable and convincing conviction. Trey can deflect the criticism by pointing at its commercial success before Chapter V was released, the song was in the Top Ten of Billboard's Hot R&B/Hip-Hop chart. Forty seconds in, Trey proclaims "I only came for the bitches and the drinks," repeats the phrase over 20 times, and follows "Baby, get your glass up" with - guess what - "Baby, get your ass up." It's the pop-R&B equivalent of Gangstalicious' "I Got Shot" (which was a pointed spoof). The singer has never been too proud to release shamelessly crude club music, and "2 Reasons" manages to outdo earlier hits "Say Aah" and "Bottoms Up" to the point of being parody-proof. Not all of the developments on Trey Songz' fifth album are positive.
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