It’s the closest Taraji’s gotten to music stardom since “It’s Hard Out Here for a Pimp”…
[Video][Website]
[4.11]
Anthony Easton: The video does give me hope for an all African American remake of Written on the Wind with Taraji P. Henson. The song reminds me that the R&B slow jam in the Kelly style is much more difficult than it looks.
[4]
Matt Cibula: This is a poorly written song that thinks it is a well written song. Sorry, but there is not really a compelling argument here; if he’s really such a pain to live with, and all he has to say is “I make you smile,” she’s already gone — and godspeed to her. (Taraji, call me. You know the number.) The points here are for his pretty good voice (2) and for that Coke commercial back in the day (2), which I still remember fondly.
[4]
John Seroff: Did you know that Tyrese has FIVE albums? I haven’t taken the time to listen to all of them (or actually any of them) but is it safe to guess they mostly all contain songs in the general form and fashion of “Stay”? High-sheen produced, reliably middle-of-the charts placed, low-key vibed, colloquial baby-makers too amiable to nitpick and too undistinguished to really get excited about?
[5]
Alfred Soto: Good to know that nice boys like Freddie Jackson can claim heirs in the 2010s. He even gets a sonic upgrade — mandolin and finger snaps! But for all his affinities for bourgeois pieties, Jackson boasted a finer grain than Tyrese, whose pleading sounds like the kid abandoned in the playground by his momma; and while Jackson owned crackerjack assembly-line R&B, Tyrese must apply sincerity like it’s caulking on this tune’s falling tiles.
[4]
Brad Shoup: A brief dive into contemporary Southern soul may’ve made me more receptive to Tyrese’s presentation. He’s nodding a little more to neo-soul, but the chorus in particular brings that decades-old caress. I guess that’s where most of my love lies, as the verses feel like showrooms for the 2012 Tyrese.
[6]
Zach Lyon: When it comes to comeback attempts on the pop charts, especially after the artist has spent this much time apart from them, the song isn’t really allowed to be more than a vague, noncommittal mess of cliches built on a classic theme. And that’s probably a strategically intelligent move; “Stay” exists to remind us that Tyrese exists and that he has a lovely voice. Worthless lyrics, but I can’t stop coming back to it for the gorgeous guitar — lifted from that Paul Simon song about how much he loves his daughter — for the gorgeous backup vocals accompanying him in the chorus, for the gorgeous, er, fingersnap presets.
[7]
Michaela Drapes: Wait, he went through all that begging just to turn it into a last-minute proposal? Ladies, I don’t really think I need to say this, but… do NOT fall for this shit. Thank you.
[0]
Jonathan Bogart: The best part is when, after all that begging and pleading for her to stay, he promises he’ll — move heaven and earth? lay down his life? a hundred other romantic clichés? no, he’ll go out of his way. How much more considerate can a man be expected to get?
[3]
Alex Ostroff: The opening salvo of “I’m sorry that you had to deal with me” feels melodically very Kellz, and the production is spare enough to give Tyrese’s voice the space it needs to (beautifully) make his case. Begging your lover not to leave you requires a certain amount of investment, though. “I need you in my world” is uttered without a touch of need, let alone the desperation or regret that R. or Maxwell bring to similar numbers.
[4]