Sunday, May 13, 2012

‘Trinity’ features danceable beat but lack of innovation

By on October 12, 2005

In 2002, Sean Paul gave dancehall reggae a club-friendly sheen with his multi-platinum album “Dutty Rock.”

He attempts to re-create the magic in his recent release, “The Trinity,” but falls short.

In this album Paul strays from hip-hop infused beats and stays true to his Jamaican dancehall roots. Unfortunately, he doesn’t do anything groundbreaking with it.

The beats are clearly infectious and could pull anyone to the dance floor, but the CD takes on a monotonous feel half-way through the 18-track album.

THE TRINITY
Sean Paul “The Trinity”
Grade: B
Verdict: Enough hot tracks to satisfy previous Sean Paul fans.

Paul tries to hold his own on “The Trinity” and limits the number of cameos to four guest spots.

Club-friendly “Connection” is a highlight, but only because Nina Sky’s crooning is a refreshing alternative to Paul’s monotonous jargon.

Another enjoyable collaboration is with newcomer Tami Chynn, whose soothing voice mixes perfectly with Paul’s seductive lyrics in “All On Me.”

Songs like “Breakout” and “Head to Toe” recycle tightly wound rhythms and cliched lyrics about hitting on beautiful women.

However, Paul does get serious on “Never Gonna Be The Same” where he slows it down and soulfully reflects on dealing with loss.

Despite the album’s many downsides, it does contain enough hot, up-tempo tracks to make listeners forget all about its imperfections.

The lead single “We Be Burnin’,” a string-and-guitar-sampling party jam, is heating up the charts and clubs thanks to its sly, catchy chorus.

Tracks like “Eye Deh A Mi Knee” and “Temperature,” featured on a lot of mix tapes this past summer, are the perfect songs to excite any partygoer.

You probably won’t understand a single word of the lyrics unless you’re from

the Caribbean. Therefore, Paul conveniently includes lyrics in the CD jacket insert so his legions of international fans can actually follow his flow.

While the album’s blazing beats and catchy hooks are engaging, it never quite reaches “Dutty Rock’s” irresistible appeal.

But the recent success of Rihanna’s “Pon de Replay,” which borrows from Sean Paul’s sound, is continuing evidence that dancehall is here to stay. It’s just that Paul is no longer its leading exporter.