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Trouble Again (Riot) feat. Serj Tankian	2,238		0		play
Filesize: 3.8 MB Length: 250 seconds

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Wyclef Jean's All Star Jam at Carnegie Hall
Released: Dec 7, 2004
Label: N\A

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President
Released: Nov 9, 2004
Label: N\A

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Welcome to Haiti: Creole 101
Released: Oct 5, 2004
Label: N\A

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... Continue[+]

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Stepping aside from the major-label playing field for a moment, the ever-unpredictable {$Wyclef Jean} indulges in his Caribbean heritage on {^Welcome to Haiti: Creole 101}, an essentially noncommercial album released on the down-low by {@Sak Pas� Records} in late 2004. The full-length effort is a whirlwind musical journey through Caribbean music styles, as written and produced by {$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} � 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

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Welcome to Haiti: Creole 101 - BMG CANADA
Released: Aug 3, 2004
Label: N\A

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... Continue[+]

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Stepping aside from the major-label playing field for a moment, the ever-unpredictable {$Wyclef Jean} indulges in his Caribbean heritage on {^Welcome to Haiti: Creole 101}, an essentially noncommercial album released on the down-low by {@Sak Pas� Records} in late 2004. The full-length effort is a whirlwind musical journey through Caribbean music styles, as written and produced by {$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} � 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. [The Canadian edition was released by {@BMG} a few months before {@Koch} released the U.S. edition. The track listings differ slightly, and you might consider this Canadian edition if you're especially interested in this album because it features French versions of three of the album's best songs: {&"Fistibal-Festival,"} {&"La Vie Ghetto,"} and {&"24 Heures � Vivre."} On the other hand, it lacks the remix of {&"President"} featured on the stateside edition.] ~ Jason Birchmeier, All Music Guide

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Take Me as I Am
Released: Feb 17, 2004
Label: N\A

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The Presents the Carnival Featuring the Refugee Allstars - VINYL
Released: Jan 1, 2004
Label: N\A

{^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... Continue[+]

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Party to Damascus
Released: Nov 25, 2003
Label: N\A

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The Preacher's Son - BONUS DVD
Released: Nov 18, 2003
Label: N\A

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... Continue[+]

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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. [The bonus DVD version contains a single disc dedicated to a live session of several of these tracks, as well as bonus footage of {$Wyclef} in the studio] ~ Rob Theakston, All Music Guide

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Party to Damascus Remix
Released: Nov 11, 2003
Label: N\A

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The Preacher's Son
Released: Oct 7, 2003
Label: N\A

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... Continue[+]

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Album Name	Required
Album Cover
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Album Description

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

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Wyclef Jean

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Wyclef Jean Albums, Wyclef Jean Songs