The music scene just hasn't been the same since Kingston, Jamaica-born Sean Paul Henriques blazed a firestorm of hit tunes - from "Gimme The Light" to "Get Busy" to "Like Glue" - that went straight from the hardcore dancehall audience to the international market with no remix required. Then came Sean's massive duets, "Baby Boy" (with Beyoncé) and "I'm Still In Love With You" (with Sasha), which kept the flame burning bright and swelled the ranks of believers even more. Carrying on the work of dancehall superstars like Yellowman, Shabba Ranks, Super Cat, and Beenie Man in bringing the infectious sound of the Kingston streets to a wider audience, Sean Paul proved once and for all that authentic Jamaican dancehall reggae could be embraced as popular music on a global scale.

With "THE TRINITY," Sean Paul's set to do that and then some. Working with some of the hottest young producers on the Jamaican dancehall circuit - Steven "Lenky" Marsden, Don Corleone, Renaissance Crew, and Snowcone, to name a few - Sean spent three years completing his third album. And although many of the biggest names in hip-hop wanted to work with him, Sean is proud to say that "it was all done right here in the Third World." Hence "trinity," a spiritual concept that signifies a unity of three in one. It's been said that three is a magic number, and "THE TRINITY" is definitely a blessed piece of work. Sean possesses an almost supernatural ability to create irresistible hooks that can fill up any dance floor.

"THE TRINITY" finds Sean Paul doing what he's always done best. "You done know we got to take care of the ladies," he says," and I'm still giving you those party vibes." But this time out he's also expanding his artistic reach, with a marked growth in terms of composition and production. "'Gimme the Light' had like two verses and a chorus," Sean observes. "Most of these songs have three verses with a bridge part. So there's growth that way, and also in the deepness of some of the tunes. I can still do songs like 'Breakout' and 'Give It Up To Me' and the hype things for the ladies, but on the more serious side now, you got a song like 'I'll Take You There.'

"My first album was much more dancehall than anything else," Sean recalls. "No reggae on it, not even a one drop. The second album, "DUTTY ROCK," did kinda blend those three sounds: It sound like dancehall, it sound like reggae, it sound like hip-hop. Now we come back round to this album here. We got the girls tunes, the one drop tunes, the fast kick-up stuff, and just everything… But basically 'THE TRINITY" is a mixture of those three elements. I'll just stick to that. I ain't gonna try and say, 'Okay, I'm gonna have a total R&B track now, or we need to go reggaetón or whatever. In Jamaica we have the real reggae, the real dancehall, which is the roots of hip-hop. So why not just make it run and keep on doing it?"