Wyclef Jean

As a member of the Fugees, Haitian-born Brooklyn-raised guitarist Wyclef Jean helped bring a bit of traditional musicality, social awareness, and boho-Caribbean style to hip-hop in the mid-'90s. His solo efforts extend that work far beyond hip-hop: They're showcases for his agile guitar playing and a rhythmic repertoire that includes reggae, calypso, Haitian compass, and other Caribbean styles.
The success of the Fugees' 1996 multiplatinum The Score enabled Jean to launch his solo career in a lavish way: The Carnival, which features cameos from Fugee cohorts Lauryn Hill and Pras, contrasts doleful ballads ("Gone Till November") with uptempo dance rhythms (the title track), and shows that though Jean isn't the most authoritative MC, he understands how to wedge idealistic sermons on equality and justice into tense, propulsive polyrhythmic schemes. Only Jean could transform the Bee Gees' disco hit "Stayin' Alive" into an earnest missive on the challenges of survival.
The Ecleftic, which features cameos from Kenny Rogers (reprising "The Gambler") and WWF icon the Rock, continues along the same path. There are pieces expressing outrage (the most persuasive is the mournful "Diallo," in which Jean presents himself as a modern-day Bob Marley, advocating understanding) and pieces that are mindless party jams (the deceptively melodic "Red Light District") -- all of them notable for taut production, smart guitar textures, and their Fugee-like mix of singing and rapping.
Jean's penchant for lecturing takes over on Masquerade, easily his least satisfying work. Though he continues to recontextualize classic tunes -- two key tracks offer new treatments of Frankie Valli's "Oh, What a Night" and Bob Dylan's "Knockin' on Heav-en's Door" -- Jean is so obsessed with the materialistic, hedonistic bent of current hip-hop that he comes across more as a schoolmarm than a voice of rea-son. The music surrounding his screeds is equally disappointing, as it deemphasizes the global-village sensibility of Jean's previous works in favor of stock, incredibly ordinary hip-hop beats. Jean's work as a producer ensures that he'll never have a shortage of stars around to do cameos. Just one problem: He still needs decent material. The Preacher's Son has a few notable commentaries on the state of hip-hop, and features guest energy from Missy Elliott, Patti LaBelle, and Carlos Santana (among others); in almost every case, their talents are wasted on wandering, too-obvious, begging-for-a-hit refrains. (TOM MOON)

From 2004's The New Rolling Stone Album Guide