Wyclef Jean Albums (6)
'Carnival, Vol. 2: Memoirs of an Immigrant'
Release Date 11/6/2007
Tracks 14
Label Sony
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What The Critics Say
Ten years after his 1997 solo debut, The Carnival, former Fugee, "Hips Don't Lie" producer, and globetrotting activist Wyclef Jean presents the sequel, subtitled Memoirs of an Immigrant and meaning it. There's a star-studded guest list, but Carnival, Vol. 2 is composed from Wyclef's personal experience and filled with his commentary on 2007's immigration crisis. He even works his own green-card story into "Selena," a lighthearted love letter to the Mexican American diva that shamelessly quotes her "Bidi Bidi Bum Bum" over a light reggae beat before it morphs into a screaming loud carnival number. Many of the songs here shift genres with fascinating ease, like when the epic "Touch Your Button Carnival Jam" goes from a Black Eyed Peas-styled pop number to an intense soca workout. Then there's "Riot," a duet featuring System of a Down's Serj Tankian and dancehall dread Sizzla that utilizes a tense rock rhythm before exiting on a wet reggae beat. If it all sounds overwhelming, it's held together by Wyclef's well-crafted arrangements, and if Serj and Sizzla sound like an odd combination, try Sizzla and Minister Louis Farrakhan on violin for "Welcome to the East." Chamillionaire gets a Bollywood orchestra as a backing band, T.I.'s track is almost a hippie number, and Paul Simon croons over an R&B beat during "Fast Car," not the Tracy Chapman one but a song just as poignant. While this skillful mixing and matching of the A-list makes quite a first impression, it's the songwriting that sticks as Wyclef has upped his game. The deadbeat dad story "What About the Baby" is a convincing exchange between Wyclef and Mary J. Blige because of all the honesty written into it, and lines like "I got love for Miami all day/But if my Cubans get to stay/Why you turn my Haitians away?" add edge and weight to an album that's otherwise slick and immaculately polished. To make sure the immigration issue is always nearby, Wyclef quietly and at regular intervals references "shelter," "helping hands," and other words of refuge and protection. It's done so masterfully that it makes the couple "I'm gonna grab my guitar!" moments worth ignoring, which are the only times Wyclef's ego seems to be muscling into the mix. Otherwise, Carnival, Vol. 2 strives to give the immigration problem a face, turning those thousands of marchers seen on the news into a thousand personal stories of struggle and hope. It does so while pulsating with life and displaying an unabashed love of music that's rich, daring, and delightful. ~ David Jeffries, All Music Guide
'Welcome to Haiti: Creole 101'
Release Date 10/5/2004
Tracks 17
Label Koch
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What The Critics Say
Stepping aside from the major-label playing field for a moment, the ever-unpredictable Wyclef Jean indulges in his Caribbean heritage on Welcome to Haiti: Creole 101, an essentially noncommercial album released on the down-low by Sak Pasé Records in late 2004. The full-length effort is a whirlwind musical journey through Caribbean music styles, as written and produced by Wyclef and right-hand man Jerry "Wonder" Duplessis. Sure, Wyclef has always shown an affinity for Caribbean music, but he's always fused it with his other affinities, namely hip-hop and pop/rock. Not so here: this a full-fledged Caribbean album that careens from style to style -- within the course of a single song, more often than not! -- showcasing glints of everything from reggaeton to cumbia without ever succumbing on the confines of a single style. It's really an amazing listen, especially if you're at all attracted to Caribbean music. Rarely if ever does the music feel by-the-numbers, and Wyclef maneuvers through his musical tapestry with astonishing ease, even switching from English language to Creole whenever he so feels the need. In fact, you could argue that this is the most natural-sounding Wyclef album to date since nothing is forced (i.e., no forceful fusions of, say, hip-hop and pop à la Wyclef's notorious pop-rap interpolations). Then again, anyone who favors the hip-hop side of Wyclef -- or, more broadly speaking, his commercial side -- is going to find little to grasp onto here. "President" stands out as the album's obvious crossover attempt, and while it's a really great song that is among Wyclef's best and most heartfelt, it's unrepresentative of the remainder of the album, very little of which could ever find its way onto any commercial radio format in America. That's how freewheeling this album is -- it's so freewheeling that Wyclef's major-label affiliate, J Records, let this one pass by. The audience for an album like this is quite small, no doubt: of Wyclef's fan base, only those who enjoy him at his most creative or most Caribbean should consider this release. There are definitely no "Gone Till November"s here. That said, Welcome to Haiti: Creole 101 is nonetheless an amazing album and one that deserves acclaim. It's all the more testament to Wyclef's wayward genius. ~ Jason Birchmeier, All Music Guide
'The Preacher's Son'
Release Date 10/7/2003
Tracks 17
Label J-Records
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What The Critics Say
2003 had so far been a great year for Wyclef. A new label deal with J Records, a greatest-hits compilation, and guest production work for artists kept him at the top of the hip-hop game without actually having to release a solo album. However, Clef decided that these things were simply not enough and had to come out with The Preacher's Son. Easily a redemption for the 2002's marginal Masquerade, Preacher's Son finds Wyclef re-energized right from the opening moments (aside from the extremely out of place introduction by comedian/pitch guy Steve Harvey). Preacher's Son starts off with a one-two punch: the left hook of "Industry" finds Wyclef making a wish list to reverse several of the tragedies and battles hip-hop had endured over the past decade ("Imagine if Biggie and Pac never got shot/Nas and Jay-Z they were still homies/Squash the beef with Ja Rule and 50/Benzino shook hands with Eminem/And on the same record I heard Eve, Foxy and Kim") and the right hook of "Party to Damascus," a bumped-up track featuring Missy Elliott delivering one of her signature raunchy freestyles. Preacher's Son doesn't let up there either thanks to an armada of guest cameos from Patti LaBelle, Redman, Carlos Santana, Scarface, and Monica, just to name a few. And unlike most rap albums, which rely on these guest appearances to carry the weight of the record's impact, these contributions only complement the stellar songwriting, arrangements, and production style that has made Wyclef one of the most in-demand producers of the 2000s and '90s. As with most records, there's a bit of filler that could be trimmed to make a great record into a phenomenal one, but it's easy to forgive when the quality is so high. The Preacher's Son is a welcome return to form and easily one of the biggest highlights of Wyclef's career. ~ Rob Theakston, All Music Guide
What The Critics Say
Wyclef Jean prides himself on having a vision, which he does. Few of his peers are as determined to appeal to as broad an audience as a possible, dabbling in everything from ragga to sugary pop, tying it all together as a self-conscious "big statement." His ambition has been clear since The Score, if not the Fugees' debut, and with each of his post-Fugees solo projects, he's worked with the same basic template -- a lot of pop, a lot of hip-hop, reggae, and worldbeat touches, lots of social consciousness, a little does of party anthems, all produced with enough gloss and melody to reach a wide audience, yet with enough NPR sensibility to bring in the serious-minded progressives, no matter their age. If anything, he perhaps tipped a little bit too close to the pop last time around, letting Kenny Rogers in for a new version of "The Gambler," so the first part of his third album, Masquerade, feels like a bit of an overcorrection, as he toughens up the beats, brings in the hard(er) rappers, and aims to the street. Then, after the point has been made, it settles into a Marley-esque reggae groove, before easing into pop for a while, then winding up back in Marley territory with "War No More." Throughout it all, Jean's musical skill is impressive and most of this long, 20-track album is quite pleasurable, but his skills as a recordmaker waver on occasion. The primary problem is that Wyclef wants to be everything to all people, so he'll hit too hard on the hip-hop, then back way up and invite Tom Jones into the studio for a new, not very good, version of "What's New, Pussycat," while rewriting Frankie Valli ("Oh What a Night") and Dylan ("Knocking on Heaven's Door," which now contains shoutouts "to Biggie Smalls and 2Pac...to my people in the twin towers") with equal abandon. He pushes too hard on sermonizing, no matter if it's pompous pleas to the ghettos or heartfelt laments (a spoken tribute to his recently passed father, "War No More," a "Redemption Song"-styled protest song with the unforgettable line, "this looks like a scene from the movie Star Wars"), which offsets the lighter tracks. Instead of sounding generous and openhearted, it's a bit muddled and confusing, especially when taken all at once -- but when isolated in parts, or heard in passing, it's an enjoyable record. ~ Stephen Thomas Erlewine, All Music Guide
'The Ecleftic: 2 Sides II a Book'
Release Date 1/1/2000
Tracks 19
Label Columbia
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What The Critics Say
Wyclef Jean serves up another slice of his music and remixing creativity with The Ecleftic: 2 Sides II a Book. Loaded with pop culture commentary and often directly naming social names, The Ecleftic is sure to stir up some emotions from not only the famous, but from the general public as well. The purest example is "Diallo," named after the man who was shot 41 times by patrolling night officers when he reached for his wallet, not a gun as the police had thought. With this, Wyclef shows his refugee camp roots, acting as a 21st century Bob Marley. As much as it is loaded with serious urban observations, Wyclef also serves up a good party and even some love songs. In the beginning, The Ecleftic is loaded with classic and catchy samples, such as the song about his undying love for a stripper paying her way through college entitled "Red Light District." Though older listeners will probably cringe at the thought of Kenny Rogers singing of turntables, this move is no surprise from a man who introduced the Bee Gees to the hip-hop generation with the sample of "Staying Alive" on his album The Carnival. On Ecleftic, Wyclef comes full-fisted with commentary on the police system, urban ills, and stereotypes. Though some are merited, after the first dozen they lose their impact and are swallowed by catchy beats. Overall, another commentary and playfully meticulous production by Wyclef, who has struggled to separate himself from the Fugees. It is clear, with a good retrospective listen, how much Wyclef's production style was a large part of the praised trio. With The Ecleftic: 2 Sides II a Book, Wyclef takes another strong step toward solidifying his own identity. ~ Diana Potts, All Music Guide
'Presents the Carnival Featuring the Refugee Allstars'
Release Date 1/1/1997
Tracks 25
Label Columbia/Ruffhouse
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What The Critics Say
The Score was one of those rare hip-hop albums that came out of nowhere and rewrote the rules. In the aftermath of its success, many pundits predicted that rap would move away from gangsta and toward a richer, more varied existence. Given such heady praise, perhaps it was reasonable that Wyclef Jean, the guitarist and male rapper for the Fugees, decided to follow The Score with a solo project. However, Presents the Carnival comes across like Jean presenting his case that he is the true genius in the Fugees. And he's partially right. He has the ambition and drive common to many great artists, but he lacks the skills to fulfill his vision. Of course, the very fact that he has an original vision makes Jean one of the more compelling figures of late-'90s hip-hop. Not content to rely solely on hip-hop, Jean adds all manners of influences to his music. You can hear reggae, soul, disco, Caribbean rhythms, worldbeat, and opera scattered throughout The Carnival, giving the record the riotous atmosphere of its title. Even so, Jean occasionally tries too hard, forcing disparate genres to mix and spending more time on production than songwriting. But even with all its faults, The Carnival delivers great thrills when operating at full strength, demonstrating that Jean is at least half a genius. ~ Leo Stanley, All Music Guide
