Masquerade
Wyclef Jean's third solo offering finds him still trying his darndest to  prove to hip-hoppers and pop audiences alike just how eclectic he can be. And no  one knows exactly why. After all, eclecticism does not necessarily translate to  quality; Jean's disturbingly mediocre collaboration withTom Joneson an  updated version of "What's New, Pussycat?" is a prime example of how an  intriguing idea can go awry. Likewise, his reinterpretations ofBob Dylan's  "Knockin' on Heaven's Door" and theFour Seasonshit "December, 1963 (Oh, What a Night)" demonstrate just how spiritless this  truly gifted emcee/producer can sound. Sure,Masqueradeboasts Wyclef's  broad coverage of black music, flipping styles from reggae to R&B; in a  heartbeat. The R&B; flavored "Two Wrongs," featuring Claudette Ortiz ofCity High, and  the touching ode to his recently deceased father, "Daddy," sound grand. But in  the end, Jean's attempt to masquerade as a hardcore rap artist on the "PJs"--a  tired ode to low-income housing dwellers--reveals that he's been on cruise  control sinceThe Score.  And it's a real shame.--Dalton Higgins