Sean Paul Albums (4)
What The Critics Say
Sean Paul's last album, Trinity, was a letdown for anyone who fell in love with the infectious and bubbly sound of Paul's hugely popular 2002 album, Dutty Rock. He seemed to be distancing himself from the pop fans he had won (and attempting to gain back some hardcore dancehall fans he may have lost) by releasing a cold, hard record built on swagger, boasts, and in-your-face, aggressive beats. Released in 2009, Imperial Blaze is a return to the lightness and fun of Dutty Rock, making for a far more enjoyable listen. There is still plenty of swagger here, but there's less drive to be hard and more focus on having a good time. Cycling through good-natured dancehall-meets-hip-hop jams like "Lace It" and "She Wanna Be Down," lilting and romantic tracks like "Now That I've Got Your Love" and "Daddy's Home," and a batch of songs that sound like perfect floor-fillers at a late-summer dance party ("Press It Up," "Don't Tease Me," "Evening Ride"), there is precious little of the posturing and false bravado that sank Trinity. Paul sounds like he is fully embracing his softer, totally pop side and it works very well for him. Another reason for the album's success has to be Paul relying on one main producer. Stephen "Di Genius" McGregor runs the show on most of the record and he has a light touch, keeping the beats lively and driving, but letting the melodies come through clearly. He adds plenty of modern tricks to the mix but never adds them just for novelty's sake -- every bleep, blip, looped vocal, and synth blast fits within the framework of the song. The people who buy Imperial Blaze will be purchasing a record that is very good, and more importantly, a great deal of fun from beginning to end. ~ Tim Sendra, All Music Guide
What The Critics Say
Sean Paul's Dutty Rock is an infectious record, bursting with hooks and filled with energy; it is a surprise U.S. hit. Paul's mix of dancehall and modern R&B and hip-hop is lightweight and easy to dance to. It slows down near the end as some filler creeps in, but at its best, Dutty Rock is almost revolutionary. Paul utilizes big-name producers like Sly & Robbie, Steely & Clevie, Jeremy Harding, and the ubiquitous Neptunes, whose sexy "Bubble" is one of the highlights of the record. The best track, the stuttering, can't-get-it-out-of-your-head catchy "Get Busy," is produced by Steven "Lenky" Marsden and features his staggeringly popular diwali rhythm and a great vocal by Paul. Other tracks, like the hit single "Gimme the Light," and the "Louie Louie"-influenced "Like Glue," are almost as good. Paul has a good ear for melody and his flat, distinctive voice is perfect for his sing-jay style (sing-jay being a blend of DJ and singing). Paul also ropes in Busta Rhymes for an amped-up remix of "Gimme the Light," and Rahzel of the Roots to provide rapping and silly noises on "Top of the Game." This is such a good record that even the skits are pretty good. "Police Skit" may even provide a few chuckles. Sean Paul's blend of dancehall and hip-hop brings out the best of each genre, and Dutty Rock should be booming out of your Jeep if you are a fan of either. [Dutty Rock was reissued in September of 2003 with the addition of "Baby Boy," an excellent track from Beyoncé's Dangerously in Love record that features Sean Paul, and the subtraction of the humorous but inessential skits, and one of the original album's weakest tracks, "It's On." This reshuffling makes an already strong album even stronger.] ~ Tim Sendra, All Music Guide
What The Critics Say
This extra long CD showcases popular dancehall "riddims" overlaid with DJ Sean Paul's rather pedestrian "toasting." Since he possesses neither an unusual voice nor outstanding skill, this CD can become rather tiresome after awhile, especially after one too many skits on a 25-track album. Still, there are some enjoyable tunes here, namely the hit single, "Infiltrate," which burned up dancehalls with its pumping beat, and "Hot Gal Today," a duet with ultra-hot DJ Mr. Vegas, which displays an interesting blend of Sean Paul's hard voice with Vegas' smoother vocals. "Faded," a take on Shania Twain's "Looks Like We Made It," also illustrates clever treatment. ~ Rosalind Cummings-Yeates, All Music Guide
