The Year 2G has been, so far, a year that has been more hip-hype than hip-hop.  Cash Money, old school artists selling out, uninspired violent white rap, what hope is there for the mainstream rap scene? After proving himself with The Carnival, Wyclef Jean has returned, portraying himself on the album as a dark-winged angel, and representing himself lyrically as the creative Anti-Pimp.  What does this mean for the listener? Well, there's no remix-a-bility, only a couple real party tracks, and about as much pimpin' as a geek at the school prom, so I guess it's a commercial failure.  It's attitudes like mine that Wyclef is hoping to sway, and he succeeds in it purely because of his unique energy and style.

   In Ecleftic, Wyclef takes on everyone from Cash Money, to wanna-be gangstas, to his "good friend" Canibus.  Now this in itself isn't an original concept, but Wyclef's cutting-edge creativity, blending guitars, divas, fresh beats, wrestlers, a Pink Floyd cover (!), and Kenny Rogers (!!), is sure to leave a lasting message, at least for those "artsy" hip-hop fans (you know, the ones who only buy underground and De La Soul records).  Wyclef has talent and heart, and he's not afraid to use either.

   Wyclef is an incredibly talented lyricist ("This probably the hardest verse I ever had to recite / I'm in the studio with a gun to my neck as I write / Dunno how they got here but I feel like a Haitian Frank Sinatra, in his young years" is just a sample from "Pullin' Me In"); he crafts poignant melodramatics ("911"), love stories about strippers ("Perfect Gentlemen"), an old-fashioned diss ("However You Want It", with lines like "Predicted platinum / That's why when you ship gold / You only sold aluminum"), "tributes" to the new breed of "gangsta" ("Hollyhood to Hollywood", "Pullin' Me In"), and a tribute to Amadou Diallo drawing from the roots both share (although it could do without a reenactment of the incident).

   Now's the part where you, the reader, wonders if all this diversity could possibly be a good thing.  It's great... definitely the best mainstream hip-hop I've heard this year (but then, I never was that much for spendin' g's...).  Wyclef's proud of both his cultural and musical heritage, and blends both beautifully in his songs.  Wyclef's gotten better at the guitar (although I'll admit I never listened to all of Carnival), and although his choices of guest stars may seem odd at first, "Kenny Rogers - Pharoahe Monch Dub Plate" is pretty damn catchy, as is "It Doesn't Matter", so all works out in the end (is the world so distorted now I need to defend Earth, Wind & Fire?).  And, the defining moment at the end of the album... as Wyclef says in the song "Wish You Were Here" isn't just another cover song, hastily thrown together to sell albums; it's actually quite good, probably because it's not a spot-on cover, but rather a reflection on some of Wyclef's first years in America.  

    Unfortunately, as the Anti-Pimp, Wyclef isn't pushing as many records as he should... the comedic skit and the accompanying first track are, unfortunately, reality-based.  Is Wyclef destined to become just another critic's darling? Can we count him out yet? Of course not... like the man says, his mistress is a guitar, his best men his dub-plates, and our common enemies the commercial slaves who never lived out any of their claims.  And that's what does matter.