Customer Reviews

The Miseducation Of Lauryn Hill

5 star:		(702)
4 star:		(65)
3 star:		(29)
2 star:		(26)
1 star:		(65)

 

 

I don't like hype, and as a rule I'm suspicious of any album that's too widely praised. Nonetheless, The Miseducation of Lauryn Hill proved to be an exception to the unfortunate trend of hyping mediocrity. Her sentiments are refreshing, she's emotional without being sentimental, she's devout without being proselytizing, and perhaps most importantly she writes interesting, ecclectic music with roots in Jazz, Rock, Soul, Gospel, R&B, ad. inf. Quite frankly, I'm completely bemused by the reviews claiming that her beats are predictable or her lyrics are less than insightful. I found the opposite to be true; her mixing and producing were exceptional and her collaborators were well-chosen and well-utilized. I was further confused by two reviews below, one of which claimed that Brandy was superior and another which claimed Celine Dion was. Putting my personal opinions of those performers aside for a moment, I would like to point out that neither Brandy nor Dion write or produce their own songs. They perform the work of other songwriters and musicians and then allow it to be mixed by studio employees. Ms. Hill is not a performer. She's an artist, and I would recommend this album to anyone, regardless of their musical taste.

In the mid-Nineties, The Fugees reigned supreme on the R'n'B scene. With their massive No.1 album "The Score" and a huge multi-million selling UK No.1 in the form of "Killing Me Softly," the talent of Wyclef Jean shone very brightly. Beyond Wyclef's talent, however, there was one other. Another talent that stood head and shoulders above everyone else, a musical and lyrical talent not since the days of artists such Aretha Franklin and Joni Mitchell. It was of course, the raw talent of Lauryn Hill.

Expectations were high for solo material from The Fugees members. The fall of 1998 brought Lauryn Hill's first solo record since her success with The Fugees. It was called "The Miseducation Of Lauryn Hill." The album stormed to No.1 and went 7x Platinum in the US, also topping the charts in many other foreign territories. A few were calling it hype, but the critics were gushing for Miss Hill. Read any review of this album by a professional critic and they are bound to call this album something along the lines of "A ground-breaking classic that totally re-writes the Hip Hop rule book." Lauryn Hill deservedly earnt a record 10 Grammy nominations in 1999, and won five (Album Of The Year, Best New Artist, Best R&B album, Best Female R&B Vocal Performance, Best R&B Song).

The Miseducation Of Lauryn Hill is a classic record, which is up there with albums by artists such as Stevie Wonder and Marvin Gaye as one of the most influential and ground-breaking records in its category. The album is unique in its style - it encompasses many styles and captures many influences from sin, love, depression, street life, fame, wealth, the past, the present and the future. The first song, "Lost Ones," is quick to dispel the stereotypes of Hip Hop culture by taking on a different subject than most other rappers albums. Lauryn sings about the way people change, and how it's not always for the better. The hit single "Ex-Factor" shows a very emotional side of Lauryn. She sings of a lover who she is with, but their relationship is so difficult because of his dependency on her.

"To Zion" speaks a real truth about Lauryn's turbulent past. Martial drums and a beautiful chant towards the end makes this song totally epic. "Doo Wop (That Thing)" is the lead single from the album. Lauryn's rapping is at her best on here. Everything fits together so well - lyrics, beats, arrangement. It's all excellent, and it's extremely thought-provoking. The rather dreary "Superstar" sees Lauryn angrily attack all the rappers who are only concerned with the money, the girls and the bling-bling. It is followed-up by the wonderful "Final Hour." Lauryn's rapping in this song is on top-form, and my favourite part is where she sings, "Now I'm-a get the mozzarella like a Rockerfeller, still be in the church of Lalibela, singing hymns a cappella, whether posed in Maribella, in couture, or collectin' residuals from off The Score." It's amazing. The way she sings it, the tone in her voice, the emotion and the catchiness of it all - it really does touch the depths of your soul.

"When It Hurts So Bad" is an excellent song about confused love, while "I Used To Love Him" is a fantastic duet with Mary J. Blige in which the two sing about a guy they once loved, but don't anymore. Plain and simple. "Forgive Them Father" is a song about the sinners who use people and then talk them down. A thought-provoking song to those who take people for granted. "Every Ghetto, Every City," is a brilliant and funky R&B song in which Lauryn reminisces about her childhood past, and how she remembers everything. "Nothing Even Matters" is a duet with D'Angelo, and a beautiful ballad. You can just sit back and relax to this wonderful song.

"Everything Is Everything" is definitely an album highlight. Striking beats and wonderful vocals are joined with amazing lyrics with references to the bible, Egyptian past, European culture and much more. It's a very interesting topic on life and how you chose to live it. The album's title track, "The Miseducation Of Lauryn Hill" has a brilliant piano, and Lauryn's vocals are stunning. This song is a complete revelation and a perfect 'official' closing song. Bonus tracks include a cover of "Can't Take My Eyes Off You" and "Tell Him." Both fantastic songs, which should've been included on every version of this superb album.

OVERALL GRADE: 10/10

In between many of the songs on "The Miseducation Of Lauryn Hill," we get to listen to a high school lesson in which Lauryn should be present at, but isn't. They talk mostly about love and people - how to treat them, and the way people live. Lauryn is obviously not present for the lessons, so she offers us her 'Miseducation' through her songs. Her songs are her 'Miseducation,' and she educates the listener on her experiences. When listening to the songs, you realise that Lauryn didn't even need to be present at the lessons - she's done fine on her own, and she is a total genius. If you're looking for a superb R&B album all through, look no further than Lauryn Hill's masterpiece, The Miseducation Of Lauryn Hill.

Usually in any musical group, one person far outshines the other members, sometimes undeservingly, but in the case of Lauryn Hill, this could never be true. She deserved the attention. As the lead singer of the New Jersey-based hip-hop/R&B group The Fugees, you heard Lauryn's beautiful alto voice on hits such as "Fugee-la", "Ready Or Not" and the wildly successful remake of the Roberta Flack classic, "Killing Me Softly With His Song", which basically sold the Fugees' CD it came from, THE SCORE, in 1997 and made it a Grammy contender. There was no doubt in anyone's mind that as good as her groupmates Wyclef and Pras were as rappers, Lauryn was clearly the best of the three, and she didn't really need them because she was REALLY good. While I loved the Fugees as a group, I have to concur that Lauryn is probably the best female MC of all time and it was eventual that she would do something on her own.

When Lauryn decided to do just that and made THE MISEDUCATION OF LAURYN HILL, she was showing the world that she was not just the lead singer or rapper in the Fugees, but a prolific and sensitive songwriter, too. This multiple Grammy-winning CD is well worth the hype. When I brought this CD in August 1998, I knew I would like it, but after listening to it several times over I realized that this was no ordinary CD. It has its bangin' beats for those who are looking for that, but it also has a touchingly tender side to it, which is what mainly attracted me to this CD in the first place. Lauryn displays a side of hip-hop here that we rarely see in that genre: vulnerability and a woman's point of view. Take my two favorite songs, "Ex-Factor" and "To Zion" , which features Carlos Santana and his hyponotic skills on the electric guitar...they both make me want to cry with the raw, honest pain and frustration of loving someone who constantly lets you down, and thinking about the unconditional love you can have for your child. Absolutely bordering on brilliance! Lauryn wrote these songs from her heart and you can tell by the passion she possesses as she sings them. Obviously they hold deep meaning for her, and she successfully transfers those emotions to the listener. And even though I'm not as much into hip-hop like I once was, I loved all of those cuts on it, too. Lauryn has an incredible flow on her hip-hop tracks, her skills rivaling those of the most furious male rappers. Her lyrics are powerful, spiritual, intelligent and thought-provoking...for example, you have GOT to check out songs like "Lost Ones", "Forgive Them, Father", "Superstar" and "Everything Is Everything"!! And she has given REAL R&B new life. This sista has TALENT! Don't sleep on her or this CD. I guarantee, you will love everything on it. Just put it on and prepare to be blown away. I hope Lauryn is around for a long time, putting out superior material like this!!

This album strikes a very personal cord with me. I listened to this album everday after I purcahsed it back in 1998. Lauryn Hill shared her pearls of wisdom in the "Miseducation of Lauryn Hill." I like the classroom premise between each track. And the songs are totally befitting to one another. All of them have to deal with the love, the joys, and the pains of romantic relationships and none of them cross the other out. She kept her focus in the delivery of this album which gives the listener a smooth ride from track to track. I must say Lauryn Hill's album taught me a lot of things about love and it helped ease the pain and frustration, that I was going through at the time. She showed me that somebody else has gone through what I'm going through, someone else has experienced this, and I am not alone. I also have to say I like Lauryn Hills style, she's beautiful . I'm not at all like her; she's very urban, (I'm suburban) she's really natural and ethnic, (I'm a "pretty girl" who loves pretty things and make-up). I like the fact that she just kept it real she related a very important message to the masses yet she did not change her style she's hip-hop so she kept it hip-hop. I also liked her spiritual messages and references to God and Christianity. A lot of artist that are similiar in sound or genere as Laryn Hill make references to gods and you don't know what god they are talking about, or on the other side their are some that mention God in albums where they should be too ashamed to because of all of the explicit lyrics. They come across as spiritual yet, weird. But Lauryn did the exact opposite. In this album Lauryn exposed her spiritual side and her natural side which is being human.

I've wanted to write a review of this CD for a long time but i decided to read some other reviews first and think about it.

My conclusion is that 'The Miseducation of Lauryn Hill' is a classic, it's a brilliant album. Reading the other reviews i noticed that most people either love the album or really don't know what the hype is all about. Don't believe the hype, don't believe the critics, don't mind all the grammy awards...but listen! And please take your time because it took me some time to really understand Lauryn and love the album like i do now. I didn't know what the critics thought of this album when i bought it, not a single friend adviced me to buy it and i never saw the grammy awards or any other award show. It's really hard to describe what this album means to me because it's really personal. 'The miseducation of Lauryn Hill' can make me sing, it can make me cry, it can make me feel better when i'm down, it can make me jump around when i'm happy. It's real, Lauryn Hill is real and she sings about real things. Lauryn is very smart: she asked Carlos Santana to do some guitar work, she invited D'Angelo to sing with her on a very soulful song and she made a great r&b record with Mary J Blige. Yes, she could have done another Killing me softly, she could have recorded some easy-listening songs...but she didn't! The miseducation is a really deep album and my favorite album of all time.

PS: Please don't believe the Lauryn being a racist rumor. Check any statement she has ever made about it. When you listen to her music, you KNOW that she's not a racist at all.

Yes, The Miseducation of Lauryn Hill is the best hip hop album of all time! I am aware that the production of the album incorporates R&B, reggae, and other musical genres that many believe remove this album from the hip hop category, but let me pose this question: isn't real hip hop just that? Didn't hip hop emerge as the musical genre and cultural lifestyle that appropriated former ones to create a new one? This is forward thinking hip hop, hip hop immune from the "copycat" disease that many hip hop artists perform after the success of a given formula. Gone are the exaggerated rhymes of self-grandeur, and instead we are given a thoughtful commentary on life. Finally somebody was able to capture the trials and tribulations of being not only a woman in this society, but also a human being struggling with external and internal problems. Beautiful, profound, honest, innovative are just some words that best describe this masterpiece. Listening to this album is like taking part on a much needed journey. I strongly hold that this album rejuvenated, if not saved, hip hop at a time when it was trying to recuperate from the Tupac and Biggie deaths. This is the second CD that I ever bought--back in 1998--and each time I listen to it I find something new and connect to it on a different level. An album that you listen to in its entirety, you will not be disappointed. For great lyrics and flow listen to "Lost Ones" while "Ex Factor" is the best song.

Let's remember that this was the first hip hop album to win a Grammy for Album of the Year!

Lauryn Hill is not a racist. When the fugees won their first grammy, Lauryn explained on stage that the false rumor was first started by a caller on the Howard Stern show. She cried and apologized for the misunderstanding by saying, "I make music for everyone."

For years Lauryn Hill was known as L-Boogie. A dominating and beautiful female rapper whose lyrics were considered as complex as those of rap's elite Tupac, Nas, Rakim, and Guru. Her voice had all the grit, passion, and street sensibility of the most hardcore male rapper, yet she still manager to be beautiful. And L-Boogie could sing too, she could really hold on tune.

When her group the Fugees first came out with Blunted on Reality, they bombed big time and were treated as a joke group. It seems like they switched the sophomore jinx up, experiencing that on their first album, so that when the sophomore album hit, it hit big. They sold more than 17 million copies won several Grammy's and were superstars. Lauryn really demonstrated how beautiful her voice was on the hit remake of Roberto Flack's Killing Me Softly. BUT NOTHING from the Score could have prepared the music community for the Miseducation of Lauryn Hill.

Instantly it became a classic, with four hit singles, Can't Take My Eyes Off you, Doo Wop (That Thing), Ex-Factor, and Lost One propelling it forward. It's eclectic blend of sounds and styles was genius, but it was that voice, that nearly immaculate voice that propeled Lauryn into the ranks of the great.

The album opens with an intro that shows Lauryn cutting class. When the teacher calls her name, she's no there to say present. This incidicates that what she's about to tell you, are things she couldn't learn in a world of academia alone. These are life lessons.

Next is Lost Ones, usually considered an album opening slice at her bandmate Wyclef Jean, who was usually considered the genius of their group Fugees. She opens with "It's funny how money change the situation, miscommunication leads to complication" Significantly a host of male voice (the Marley Boys, she's married to one of Bob Marley's sons) open this track by repeating her Fugees' name L-Boogie, and you can't help but feel they're saying to indicate her indenpendance. When the Fugees reunited at Dave Chappelle's block party in 2004, she even performed this song: Wyclef sat in a chair strumming his guitar to it, rolling his eyes while Lauryn and Pras walked around him in circles as if directing it to him, perhaps a confirmation that it was intended as a swipe at Wyclef. It's a great political and spiritual message that accompanies this song.

Next is one of the most passionate songs you'll ever encounter. Ex-Factor. Usually famous singers like Mariah Carey or Whitney Houston would start off quiet and then build to a grand crescendo. Lauryn starts off on a grand crescendo and builds to a tidal wave. This song's lyrics are so simple and yet so emotional that they alone can move you, but when coupled with her soulful voice, so thick with emotion that it drips honey coated tears, and sunwashed memories, one can't help by cry along with her, "Who do I have to be to get some reciprocity, see no one loves you more than, and no one ever will".

Next is an ode to her son Zion, named after him. She displays her full three to four octave voice range, and her dynamics going from soft and low to voluminous and loud towards the end of the song. And directly at the end she hits a note so high, you didn't know she had it in her. The martial drums and grand production only serve to highlight her song of how a young mother at the height of fame chose love, even if it might cost her her career. Subsequent events bore witness to the fact that it cost her nothing at all.

Doo Wop (That Thing) is the biggest hit of the album, and not suprisingly one can see why. The backing music is catchy to the point it is infectious, and her lyrics deliver awareness of social issues but still enough street credibility to avoid being preachy, she's just sharing. The chorus is catchy and displays her sweet voice.

The next song Superstar is a call-out to bad rappers and musicians who hands down suck at making music. Her lazy delivery and demeanor on this song is purposeful, as she says, "Music is supposed to inspire, how come we ain't getting no higher".

Final Hour is a display of Lauryn's unique vocabulary and wordplay at it's best. Hands down she's on top of her game, mixing words together in the third verse that you don't expect possible: I'mma get the mozzarella, like a Rockafella, still be in the church of Lalibella, singing hymns a capella, whether posed in Arabela in Couture, or collecting residuals from off the score, I'm making sure I with the 144 (in reference to the 144,000 who will be allowed into heaven), I been here before this ain't a battle this is war". Deep

When It Hurts So Bad is an emotional love-lost song to rival Ex-Factor for emotion and vocal delivery, but it still comes short of Ex-Factor's intensity.

I Used to Love Him is a duet with singer Mary J. Blige about redemption after a lost love

Forgive Them Father is a beautiful song with an absolutely gorgrous vocal delivery. But like Lauryn's hardcore style, she makes it a little rough around the edges by giving it a Jamican reggae feel, a Jamaican speech introduction from Shelly Thunder. In addition, in the credits Lauryn reveals that the music is actually a modern interpretation of Concrete Jungle by her father in-law Bob Marley, and if you listen you'll see that the beat is similar and the music is practically a direct copy except for some subtle changes to make hers unique. A great song here with political and spirtual messages.

Every Ghetto, Every City is a feel good song of nostaligia and days of old, reveling in her childhood years.

Nothing Even Matters is a professio of a love so strong that nothing else matters. A duet with D'Angelo, it reveals their two voices melding together perfectly.

Everything is Everything is a positively charged song with a great message, an absolute infectious party groove, and a dedicated vocal delivery from Lauryn. Current star John Legend provided the piano on this track.

The title track actually completes the album, and you'll see why. Gorgeous piano arpeggios, tremolos, trills, and crescendi (plural for crescendo, yes I'm a musician :-) ) fill out this track complete with strings and a background sound effect that replicates the crackling sound of an old LP giving this record a very nostalgic 60's Sam Cooke Change is Gonna Come, or Bob Dylan Blowing in the Wind feel. Lauryn's vocal delivery here is spectacular here and emotional, giving us a glimpse of things to come from her second album Unplugged: the way she fills out this track with nothing but her voice and a piano is prophetic of the material she will bring 3 years later with the prophetic and revolutionary album, Unplugged 2.0.

The two hidden tracks are Can't Take My Eyes of You, a remake and a beautiful one, and finally Tell Him, a remix of the Sweetest Thing, with the same beat, just made a lil better, new words, new melody, but the same guitar and mellow feel as the Sweetest Thing. One could suffice to say Tell Him is a modern interpretation of the Sweetest Thing.

I've said enough, I believe. Get the album. This is music at it's peak form. It doesn't get any better than this, and it never will. At least I don't think so :-)

-Terrence

Lauryn Hill's solo debut is not only the best album ever produced from the rhythm & blues/rap genre from this decade, but it also establishes the benchmark by which all future R&B/rap albums must be measured. With its soothing grooves and subtle hooks, The Miseducation of Lauryn Hill allows you to both feel the music and move to it. Comparable to the album's first-rate production are its thoughtful lyrics. Never before has an R&B album matched its polish with genuine, bonafide substance and you get that through the subjects that Hill sings about. From the touching tribute to her son in "To Zion" to the pain of unrequited love in "When It Hurts So Bad", Hill matches the beauty in her song with the power of her lyrics. Hill can get downright playful too in her nostalgic trip, "Every Ghetto, Every City" and can hip-hop with the best of them in "Lost Ones". But the most powerful song of the album by far is "Final Hour", a song about redemption and spirituality. Hill reaches true lyric eloquence in "Final Hour". And by the way, Lauryn Hill's voice is tremendous. The sublime grooves and great words mean nothing without the voice to add emotion and feeling to them and Hill's voice does so by leaps and bounds. Hill's voice has the control that Mariah Carey wishes she had, the range that Carey thinks she has, and a tenderness that rivals Whitney Houston. Lauryn Hill's impressive solo debut will be Album of the Year, hands down.

Over the years, I have grown a contemptuous attitude towards the Grammys for the unspeakbaly dumb choices they often make when giving awards. But they hit the bullseye in 1999 when Lauryn Hill made a near clean sweep for her debut "The Miseducation of Lauryn Hill." One third of the Fugees, Hill displayed her ample gifts on this modern classic of an album as producer, songwriter, singer, and rapper. Weaving hip hop, soul, and Marley-inspired vibes, "The Miseducation of Lauryn Hill" is excellent from start to finish and never falters. It's hard to resist the catchy swing of "Doo Wop," her funkified makeover of the classic "Can't Take My Eyes Off You," and the chemistry between Hill and D'Angelo on "Nothing Even Matters." But Hill, I think, is most convincing when she sings her way through a broken heart, as evidenced on "Ex-Factor," "I Used to Love Him," and my personal favorite "When it Hurts So Bad." There are some records that pretty much escape consciousness when the music is over. But not "The Miseducation of Lauryn Hill." Like a dwelling spirit, it haunts you after each listen until it stays imprinted in memory, the way great records often do.