When an artist achieves multi-platinum sales one would assume that a record label would learn to trust his or her artistic judgment — especially when the number is 13 million albums worldwide. Unfortunately, in this fickle world of music, where attention is fixed on first week sales and Billboard formulas supersede reason, Craig David has consistently found himself battling to uphold his artistic integrity and secure an audience in the American market.

Although the US has historically turned a cold shoulder to British R&B acts, over the past decade, Craig David's music has consistently traveled across "the Pond" and landed him critical acclaim and commercial success. Since his 2000 debut, David has garnered four MOBOs, three Ivor Novello Awards, and two MTV Europe Awards.

In spite of Craig David's numerous accolades, his musical exploits are often understated and go unacknowledged, even though his accomplishments surpass those of his British contemporaries and a host of American superstars. Thus, when all things are considered, there's no denying that David was "born to do it."

On November 24, 2008, Warner Music Group and Shire Records will release a compilation of Craig David's greatest hits. For most artists, a collection of this sort would mark the end of a career and the completion of musical journey. For David, however, the set serves as a grand celebration of career that has weathered several trans-Atlantic storms and a musical passion that transcends continental boundaries.

Upon review of Trust Me, Craig David managed to squeeze some time out of his busy schedule and settle down for an interview with Clayton Perry— reflecting on David Bowie, international influences, and 2008's "British Invasion."

Trust Me is the fourth album in your catalog, but your third one, The Story Goes..., wasn't released in the US. What's the backstory with that release?

It was just one of those things. At the time, I was on Atlantic and they weren't really sure about releasing it to America. They felt that there was good stuff on the album, but there wasn't a clear single that could be used to push the album to American audiences. Whereas I felt very strongly that wasn't the case. It was one of those things that you can't fight sometimes – an uphill battle. "Why don't we put you in the studio with this person and that person and write a few more songs that are little bit more for the American market?"

At the same time, there's me standing there saying, "Well, I'm not going to do that. Why am I going to try to make songs for one audience, when I feel that the record I have created has just enough material for the American audience as it has for European audience or anywhere else for that matter?" For me, it was the principle of the matter. I felt confident with my music. As an artist, you have to stick with that, because there are other people who really don't see the same vision.