Like a pretty-boy Oscar De La Hoya facing off against the thuggish, battle-scarred heavyweights of the reggae world, [Sean Paul] brings a certain make-it-look-easy charm to soundclash culture that is both a blessing and a curse. He seems so at home in the winner's circle that it's sometimes hard to picture him putting in the work to get there, but right from the door he's been grinding overtime. First, to be taken seriously as an educated uptown kid moving within the dancehall sanctums of West Kingston. Next, to get his propers from a label that rated him so little that they hadn't even gotten around to signing him by the time his first LP Stage One made him their highest-selling artist. By the time he voiced his second, he had something to prove to the entire world. That album, 2002's multi-platinum Dutty Rock, is arguably the first true dancehall long-player- a record that is not just a collection of hot 45s but a thought-out composition with highs and lows of mood and tempo as well as frequency.
So when his third LP The Trinity dropped in September, the question was not so much whether the voice and persona could still connect but whether the urgency that has always driven them was still there—with 6 million records sold, what's left to prove?.....Leaning forward to make the famous monotone heard over the air-conditioning hum of a rented van, Sean walks me through the aftermath of million-selling success. “A lotta t'ings 'appen. Times get more hectic for me personally; less time to concentrate on the music t'ings.”