A New York profile calls his lack of success a product of his "refusal to fully commit to any modern R&B archetype. But by mainstream pop standards, his image doesn't get that message across: He's not cut like Trey Songz, doesn't dance like Chris Brown and isn't as pretty as Usher. In bed, he claims, nobody does it like him (certainly not your man). He's firm in his own desires but ultimately respectful towards the women in his life, numerous as they can be. Nash sells himself as a lover, whether a braggy Casanova or considerate monogamist. The New Yorker's Sasha Frere-Jones might be paying attention, but mass audiences aren't. It seems peculiar that he could write such overwhelmingly popular music for others, but not for himself.
Though last year's Love King was adored by critics, it didn't produce a Top 20 single, and it vastly undersold its predecessor Love vs. Along with partner Christopher "Tricky" Stewart, he's written and produced some of the millennium's most popular songs, like Beyonce's "Single Ladies" and Rihanna's "Umbrella." But he's been unable to find the same success for his own solo career, despite three excellent albums of sweltering, richly textured R&B. But The-Dream isn't some unheard genius languishing in obscurity.
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