The Miseducation of Lauryn Hill
The Miseducation of Lauryn Hill | ||||
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Tuff Gong | ||||
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Length | 77:39 | |||
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Lauryn Hill chronology | ||||
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Singles from The Miseducation of Lauryn Hill | ||||
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The Miseducation of Lauryn Hill is the only solo
After touring with the Fugees, Hill became involved in a romantic relationship with Jamaican entrepreneur
The album debuted at number one on the
The Miseducation of Lauryn Hill was among the most acclaimed albums of 1998, as most critics praised Hill's presentation of a woman's view on life and love, along with her artistic range. At the 41st Annual Grammy Awards, The Miseducation of Lauryn Hill earned ten nominations, winning five awards, making Hill the first woman to receive that many nominations and awards in one night. The album's success propelled Hill to international superstardom, and contributed to bringing hip hop and neo soul to the forefront of popular music. New Ark, however, felt Hill and her record label did not properly credit the group on the album; a lawsuit filed by the group was settled out of court in 2001.
Since its release, the album has been ranked in numerous best-album lists, with a number of critics regarding it as one of the greatest albums of the 1990s, as well as one of the greatest albums of all time. Among its honors are inclusion in
Background
In 1996, Lauryn Hill met Rohan Marley while touring as a member of the Fugees. The two gradually formed a close relationship, and while on tour, Hill became pregnant with his child.[8] The pregnancy and other circumstances in her life inspired her to record a solo album. After contributing to fellow Fugees member Wyclef Jean's 1997 solo record Wyclef Jean Presents The Carnival, Hill took time off from touring and recording due to her pregnancy and cases of writer's block.[9] This pregnancy, however, renewed Hill's creativity, as she recalled in an interview several years later: "When some women are pregnant, their hair and their nails grow, but for me it was my mind and ability to create. I had the desire to write in a capacity that I hadn't done in a while. I don't know if it's a hormonal or emotional thing ... I was very in touch with my feelings at the time." Of the early writing process, Hill said, "Every time I got hurt, every time I was disappointed, every time I learned, I just wrote a song."[10]
While inspired, Hill wrote over thirty songs in her attic studio in
Recording and production
Hill began recording The Miseducation in late 1997 at
In an interview, recording engineer
Music and lyrics
The Miseducation of Lauryn Hill is considered a
Much of Hill's lyrics dealt with motherhood, the Fugees, reminiscence, love, heartbreak, and God.[11] Commenting on the album's gospel content, Hill stated "Gospel music is music inspired by the gospels. In a huge respect, a lot of this music turned out to be just that. During this album, I turned to the Bible and wrote songs that I drew comfort from."[40] Several of the album's songs, such as "Lost Ones", "Superstar", "Ex-Factor" and "Forgive Them Father" were widely speculated as direct attacks at Fugee members Wyclef and Pras.[41][42] "Ex-Factor" was originally intended for a different artist, however, Hill decided to keep it after it was completed, due to its personal content.[43] Although a large portion of the album's love songs would turn out to be bitter from Hill's previous relationship, "Nothing Even Matters",[44] a duet performed by Hill and R&B singer D'Angelo, showcased a brighter, more intimate perspective on the subject. The song was inspired by Hill's relationship with Rohan Marley. Speaking about "Nothing Even Matters"' lyrics, Hill remarked: "I wanted to make a love song, á la Roberta Flack & Donny Hathaway, and give people a humanistic approach to love again without all the physicality and overt sexuality."[45]
"To Zion", among the more introspective tracks on the album, spoke about how Hill's family comes before her career[27] and her decision to have her first child, even though many at the time encouraged her to abort the pregnancy, so as to not conflict with her burgeoning career.[42] In an interview she discussed the song's origin and significance, commenting "Names wouldn't come when I was ready to have him. The only name that came to me was Zion. I was like, 'is Zion too much of a weight to carry?' But this little boy, man. I would say he personally delivered me from my emotional and spiritual drought. He just replenished my newness. When he was born, I felt like I was born again."[46] She further stated: "I wanted it to be a revolutionary song about a spiritual movement, and also about my spiritual change, going from one place to another because of my son."[47]
Throughout The Miseducation of Lauryn Hill, several interludes of a teacher speaking to what is implied to be a classroom of children are played. The "teacher" was played by American poet and politician Ras Baraka speaking to a group of children in the living room of Hill's New Jersey home.[42] Hill requested that Baraka speak to the children about the concept of love, to which he improvised in the lecture.[42] Slant Magazine's Paul Schrodt remarked on the title's reference to Carter G. Woodson's The Mis-Education of the Negro: "[Hill] adopts Woodson's thesis and makes it part of her own artistic process. Like the songs themselves, the intro/outro classroom scenes suggest a larger community working to redefine itself."[28] Along with Woodson's book, the album's title was inspired by the film and autobiographical novel The Education of Sonny Carson.[42]
Marketing and sales
The Miseducation of Lauryn Hill was released on August 25, 1998.
It topped the Billboard 200 for a second consecutive week, during which it sold 265,000 copies;
The Miseducation had sold 2.9 million copies in the United States by December 1998, becoming one of the best-selling albums of that year.[66] It topped the Billboard Top R&B/Hip-Hop Albums year-end chart,[67] making it the first album by a woman to accomplish this feat;[68] and was also the only album by a woman to achieve this until singer SZA topped the chart in 2023 with her album SOS. In Ireland, the album became the first rap album to reach number one on the Irish Albums Chart.[69] In Japan, it sold over one million copies in its first few months, and became one of the few million-certified albums by the Recording Industry Association of Japan.[70]
The album's sales increased after Hill's appearance at the 41st Annual Grammy Awards, as it sold 234,000 more copies in the week of March 3, 1999,[71] and 200,000 copies the following week.[72] 198 days after its release, the album was certified 5× platinum by the RIAA, and is one of the fastest-selling albums to achieve this milestone.[73] By August 1999, it had sold 10 million copies worldwide, including nearly 700,000 in Canada.[74] The album would eventually log a total of 26 weeks in the top ten of the Billboard 200 chart.[75] In April 2002, Columbia said that the album had sold 12 million copies worldwide,[76] and by 2009, its global sales were reported to be 19 million copies.[77]
As of 2015, it is the only rap album by a woman (from July 1995 - July 2005) to spend more than one week at number one; is the longest-running number one album from a woman rapper; and one of the longest-running number one rap albums ever on the Billboard 200 chart, according to XXL.[78] In 2018, it was announced that The Miseducation was the most-streamed album released in 1998, on Spotify.[79] It is one of the 20 most streamed albums from the 1990s in the United Kingdom,[80] along with being one of the most streamed albums from the 70s, 80s and 90s, according to the Official Chart Company.[81]
The album held the record for the longest-charting debut album by a female rapper on the Billboard 200, at 91 weeks, for over 21 years before being surpassed by
Tour
Initially, there was no immediate tour planned due to the album not needing further promotion. Hill was also pregnant again with a child due in September 1998.[88] Her first live performances of the songs were at Saturday Night Live and the Billboard Music Awards.[89] In January 1999, Hill recruited a band and began rehearsals for what would become The Miseducation Tour.[90] Tickets sold out as soon as the tour was announced.[88]
The tour began at Budokan in Tokyo on January 21, 1999. Hill performed there again the following night, and played at two other Tokyo venues in the following week.[88] One week later, she flew to London for her performance at the Brixton Academy on February 8.[88] With 20 US dates total,[91] the American part of the tour, which featured Outkast as the opening act, started on February 18 in Detroit, and ended on April 1 in Hill's hometown of Newark, New Jersey.[91] During the tour, Hill performed three sold-out nights at The Theater at Madison Square Garden.[92] She began the tour's 14-date European leg on May 13, when she performed at the Oslo Spektrum in Norway, closing on June 2 at the Manchester Arena in England.[93] Hill would return to the US, performing 10 shows in July and August, with Busta Rhymes as an opening act.[94] She then returned to Japan, where the tour was completed.[95] Los Angeles Times stated that the tour was "quite possibly the most accomplished tour ever by a hip-hop artist" at the time.[96]
Hill did not want an extensive tour because of obligations to her family and the difficulties she experienced touring with the Fugees in 1996, which she found desensitizing and isolating. According to Hill biographer Chris Nickson in 1999, "there was the possibility of more dates being added ... but it was unlikely that Lauryn would be willing to make the tour more grueling and draining. She'd come to know that there was much more to life than a career."[95]
Critical reception
Review scores | |
---|---|
Source | Rating |
Entertainment Weekly | A[97] |
The Guardian | [98] |
Los Angeles Times | [99] |
Melody Maker | [100] |
Muzik | [101] |
NME | 8/10[39] |
Pitchfork | 8.0/10[29] |
Q | [102] |
Rolling Stone | [38] |
Spin | 9/10[31] |
The Miseducation of Lauryn Hill was met with widespread critical acclaim;[103][104] according to Los Angeles Times journalist Geoff Boucher, it was the most acclaimed album of 1998. Reviewers frequently praised Hill's presentation of a female's view on life and love.[105] Eric Weisbard from Spin called her a "genre-bender" whose confident singing and rapping was balanced by vulnerable themes and sentiment.[31] In The New York Times, Ann Powers found it "miraculous" and "exceptional" for Hill to use "her faith, based more in experience and feeling than in doctrine," as a means of connecting "the sacred to the secular in music that touches the essence of soul."[106] AllMusic's John Bush was impressed by how she produced most of the album, "not as a crossover record, but as a collection of overtly personal and political statements", while demonstrating "performing talents, vocal range, and songwriting smarts".[27] David Browne, writing in Entertainment Weekly, called it "an album of often-astonishing power, strength, and feeling", as well as "one of the rare hip-hop soul albums" to not lose focus with frivolous guest appearances. Browne applauded Hill's artistic vision and credited her for "easily flowing from singing to rapping, evoking the past while forging a future of her own".[97] Dream Hampton of The Village Voice said she seamlessly "travels her realm within any given song",[107] while Chicago Tribune critic Greg Kot deemed the record a "vocal tour de force" with arrangements that "bristle with great ideas".[108] XXL gave the album a perfect "XXL" rating,[109] with the magazine saying that it "not only verifies [Hill] as the most exciting voice of a young, progressive hip-hop nation, it raises the standards for it."[110]
In a less enthusiastic review,
Accolades
At the end of 1998, The Miseducation of Lauryn Hill topped numerous critics polls of the year's best albums,
Publication | Country | Accolade | Year | Rank | ||
---|---|---|---|---|---|---|
About.com
|
United States | 100 Greatest Hip-Hop Albums[123] | 2008 | 43 | ||
Best Rap Albums of 1998[124] | 2008 | 1 | ||||
Associated Press | The 10 Best Albums of the 1990s[citation needed] | 1999 | * | |||
Blender | 500 CDs You Must Own Before You Die[citation needed] | 2003 | * | |||
The 100 Greatest American Albums of All time[citation needed] | 2002 | 75 | ||||
CD Now
|
The 10 (+5) Essential Records of the 90s[citation needed] | 2002 | * | |||
Ego trip
|
Hip Hop's 25 Greatest Albums by Year 1980–98[citation needed] | 1999 | 4 | |||
Hip Hop's 25 Greatest Albums by Year 1980–98[citation needed] | 1999 | 5 | ||||
Entertainment Weekly | The 100 Best Albums from 1983 to 2008[citation needed] | 2008 | 2 | |||
30 essential albums from the last 30 years[125] | 2020 | * | ||||
Gear | The 100 Greatest Albums of the Century[citation needed] | 1999 | 88 | |||
Ink Blot | Best Albums of the 90s[citation needed] | 2000 | 9 | |||
Kitsap Sun | Top 200 Albums of the Last 40 Years[citation needed] | 2005 | 65 | |||
NPR | The 150 Greatest Albums Made By Women[126] | 2017 | 2 | |||
Turning The Tables: The 150 Greatest Albums Made By Women (As Chosen By You)[127] | 2018 | 3 | ||||
Nude as the News | The 100 Most Compelling Albums of the 90s[citation needed] | 1999 | 40 | |||
Pause & Play | 10 Albums of the 90's[citation needed] | 2003 | * | |||
Albums Inducted into a Time Capsule[citation needed] | 2003 | * | ||||
The 90s Top 100 Essential Albums[citation needed] | 1999 | 7 | ||||
Pitchfork | The 150 Best Albums of the 1990s[128] | 2022 | 2 | |||
Robert Dimery | 1001 Albums You Must Hear Before You Die[129] | 2005 | * | |||
Rock and Roll Hall of Fame | 200 Definitive Albums of All Time[130] | 2007 | 55 | |||
Rolling Stone | 50 Essential Female Albums[citation needed] | 2002 | 32 | |||
500 Greatest Albums of All Time[citation needed] | 2020 | 10 | ||||
The Essential Recordings of the 90s[citation needed] | 1999 | * | ||||
100 Best Albums of the Nineties[131] | 2011 | 5 | ||||
The Source
|
The Critics Top 100 Black Music Albums of All Time[132] | 2006 | 10 | |||
Spin | Top 100 (+5) Albums of the Last 20 Years[citation needed] | 2005 | 49 | |||
Top 90 Albums of the 90s[citation needed] | 1999 | 28 | ||||
Tom Moon | 1000 Recordings to Hear Before You Die[citation needed ]
|
2008 | * | |||
VH1 | The 100 Greatest Albums of R 'N' R[citation needed] | 2001 | 37 | |||
Vibe | 150 Albums That Define the Vibe Era[citation needed] | 2007 | * | |||
51 Albums representing a Generation, a Sound and a Movement[citation needed] | 2004 | * | ||||
BBC Radio | United Kingdom | Stuart Maconie's Critical List[citation needed] | 1999 | 17 | ||
Channel 4 | The 100 Greatest Albums[citation needed] | 2005 | * | |||
Elvis Costello | 500 Albums You Need[citation needed] | 2000 | * | |||
Gary Mulholland | 261 Greatest Albums Since Punk and Disco[citation needed] | 2006 | * | |||
The Guardian | 1000 Albums to Hear Before You Die[citation needed] | 2007 | * | |||
Hip-Hop Connection
|
The 100 Greatest Rap Albums 1995–2005[citation needed] | 2005 | 39 | |||
Metro Times | Top 10 Albums of the 90s[citation needed] | 1999 | 8 | |||
Mojo | The 100 Greatest Albums of Our Lifetime 1993–2006[citation needed] | 2006 | 67 | |||
The Mojo Collection[citation needed] | 2007 | * | ||||
The New Nation
|
Top 100 Albums by Black Artists[citation needed] | 2003 | 10 | |||
Q | 90 Albums of the 90s[citation needed] | 1999 | * | |||
The Ultimate Music Collection[citation needed] | 2005 | 41 | ||||
Top 100 Albums Ever[133] | 2003 | 20 | ||||
The Rough Guide
|
Soul: 100 Essential CDs[citation needed] | 2000 | * | |||
Aftenposten | Norway | Top 50 Albums of All Time[citation needed] | 1999 | 48 | ||
Eggen & Kartvedt | The Guide to the 100 Important Rock Albums[citation needed] | 1999 | * | |||
Helsingin Sanomat | Finland | 50th Anniversary of Rock[citation needed] | 2004 | 2 | ||
Musik Express
|
Germany | The 50 Best Albums of the 90s[citation needed] | 2005 | 23 | ||
Wiener | Austria | The 100 Best Albums of the 20th Century[citation needed] | 1999 | 100 | ||
Fnac | France | The 1000 Best Albums of All Time[citation needed] | 2008 | 420 | ||
Rock & Folk | The Best Albums from 1963 to 1999[citation needed] | 1999 | * | |||
Dance de Lux | Spain | The 25 Best Hip-Hop Records[citation needed] | 2001 | 12 | ||
Rock de Lux | The 150 Best Albums from the 90s[citation needed] | 2000 | 132 | |||
Juice
|
Australia | The 100 (+34) Greatest Albums of the 90s[citation needed] | 1999 | 55 | ||
Babylon | Greece | The 50 Best Albums of the 1990s[citation needed] | 1999 | 45 | ||
Pure Pop | Mexico | The 50 Best Albums of the 90s[citation needed] | 2000 | 40 | ||
The Sun | Canada | The Best Albums from 1971 to 2000[citation needed] | 2001 | * | ||
(*) designates lists that are unordered. |
Lawsuit
Though The Miseducation of Lauryn Hill was largely a collaborative work between Hill and a group of musicians known as New Ark (Vada Nobles, Rasheem Pugh, Tejumold Newton, and Johari Newton), there was "label pressure to do the Prince thing," wherein all tracks would be credited as "written and produced by" the artist with little outside help.[19][42] While recording the album, Hill was against the idea of creating documentation defining each musician's role.[19]
In 1998, New Ark filed a 50-page lawsuit against Hill, her management and her record label, stating that Hill "used their songs and production skills, but failed to properly credit them for the work."[134] The musicians claimed to be the primary songwriters on two tracks, and major contributors on several others, though Gordon Williams, the album's mixer and engineer, described the project as a "powerfully personal effort by Hill ... It was definitely her vision."[105] Audio engineer Tony Prendatt, who also worked on the album, defended Hill, with a statement saying "Lauryn's genius is her own".[135] In response to the lawsuit, Hill claimed that New Ark took advantage of her success.[136] New Ark requested partial writing credits and monetary reimbursement.[137] The suit was eventually settled out of court in February 2001 for a reported $5 million.[42][138]
Impact
Influence on contemporaries
Several artists have cited the album as an inspiration for their musical work including Omar Apollo,[139] H.E.R.,[140] Ella Mai,[141] Rachel Platten,[142] and Macy Gray.[143][144] Furthermore, Ella Mai,[145] Rihanna,[146] Dan Smith of Bastille[147][144] and Adele[148] have all called The Miseducation of Lauryn Hill their personal favorite album. American entertainer Donald Glover stated that it's his most-listened to album,[149] while Zendaya,[150] along with rappers J. Cole[151] and Kendrick Lamar[152] have cited it as their favorite album by a female artist.
Producer Savan Kotecha told Vulture that he and Ariana Grande listened to The Miseducation of Lauryn Hill album during the recording of Grande's fourth studio album Sweetener. Kotecha stated that the chord changes in Grande's song "No Tears Left to Cry" was modeled after the album.[153] Beyoncé cited Hill as one of her primary inspirations for her fourth album 4.[154] The Miseducation also inspired the albums Daytona by Pusha T,[155] The College Dropout by Kanye West,[156] and Immunity by Clairo.[157]
Talent manager Nick Shymansky, shared with
Music industry
Following the success of The Miseducation of Lauryn Hill, Hill rose to international superstardom and established herself as a pioneering woman in hip-hop,
Radio personality Ed Lover argued that The Miseducation of Lauryn Hill offered a different perspective from other woman in hip-hop, who generally rapped about sex or being "rugged" and "rough" at the time of its release. "Women tuned into her like she was a Ms. Luther King" according to American rapper Redman, while further adding that the album "made women cocky" and empowered them.[170] Journalist Danyel Smith stated that it "dragged rap back to the land of the living after the twin drive-by murders of Tupac Shakur (1996) and Notorious B.I.G. (1997)".[171]
In a February 8, 1999, Time cover-story, Hill was credited for helping fully assimilate hip-hop into mainstream music, and became the first hip-hop artist to ever appear on the magazine's front cover.[172][173] Later that month, Hill broke numerous records at the 41st Annual Grammy Awards.[174] Among the awards she received that night was Album of the Year, which has often been recognized as the most prestigious award in American music,[175][176] and marked the first time a hip-hop artist won the award. According to music executive Clive Davis, the win helped the Grammy Awards become more accepting of rap and hip hop music. Former senior music editor for Amazon, Pete Hilgendorf stated it marked the start of when "the progression of R&B moving into hip-hop became evident".[177]
The Rough Guide to Rock (2003) hailed the album as the "ultimate cross-over album of the
Along with Brown Sugar by D'Angelo, Erykah Badu's Baduizm, and Maxwell's Urban Hang Suite by Maxwell,[185][186] The Miseducation of Lauryn Hill is considered to be one of the most important and definitive releases in the history of neo soul music.[187] According to Ebony magazine, it brought the neo soul genre to the forefront of popular music,[188] and became the genre's most critically acclaimed and popular album.[36] The Encyclopedia of African American Music (2010), noted that "some tracks are based more in hip hop soul than neo soul, but the record is filled with live musicians and layered harmonies, and therefore it is a trendsetting record that connects modern hip hop, R&B, and classic soul music together, creating groundwork for what followed it in the neo soul genre."[36] In conversation with the Los Angeles Times about the success of the 1999 album Black Diamond by Angie Stone, editor Emil Wilbekin of Vibe stated "I think [1998's] The Miseducation of Lauryn Hill changed the way a lot of R&B artists are presenting their music," and added "With Lauryn and Erykah Badu and D'Angelo and Maxwell, there's been a return to live instruments, real singing and real love stories. I think Angie Stone is an outgrowth of that."[189]
Tributes and anniversary projects
Marvel Comics released a series of variant comic book covers inspired by influential contemporary rap albums, which included a reimagined Miseducation themed Ms. Marvel comic cover.[190] San Francisco Bay Area music collective UnderCover Presents, formed by Yerba Buena Center for the Arts, released a Miseducation tribute album entitled UnderCover Presents: A Tribute to The Miseducation of Lauryn Hill (2017).[191]
On The Miseducation's fifteenth anniversary in 2013, American rapper Nas reviewed the album for XXL, hailing it as a model for artists of all genres to follow. He also called it "a timeless record, pure music", and said it "represents the time period—a serious moment in Black music, when young artists were taking charge and breaking through doors."[192]
In 2018, Hill launched a North American tour to commemorate the album's 20th anniversary.
In celebration of the album's 20th anniversary, Billboard interviewed 16 artists who have been inspired by the album, which included Jazmine Sullivan, Maggie Rogers, Rapsody, Normani, Chloe Bailey, Lizzo, Andra Day, Saweetie, Ella Mai, Teyana Taylor, Anne-Marie and more.[196] The album was also the subject of author and journalist Joan Morgan's 2018 book She Begat This: 20 Years of 'The Miseducation of Lauryn Hill'.[197][198] That same year, Spotify presented the Dear Ms. Hill art installation in Brooklyn, New York which saw fans, including H.E.R. and Kelly Rowland, submit letters about The Miseducation of Lauryn Hill, and then used those letters to turn them into paper art.[199] Further, the Spotify podcast Dissect launched their first ever mini series, which examined the album and its impact.[200] Hill also collaborated with Woolrich to design Miseducation inspired pieces for their 'American Soul Since 1830' collection, and starred in the accompanying campaign.[201][202]
Legacy
Rankings and honors
The album was the first in the history of XXL to receive a perfect "XXL" rating.[109] The Rock and Roll Hall of Fame placed it on their list of 200 Definitive Albums (2007).[203] In 2014, The Miseducation of Lauryn Hill was deemed "culturally, historically, or aesthetically significant" by the Library of Congress and selected for inclusion in the National Recording Registry;[204] making it the first female rap recording to enter the National Recording Registry.[205] In 2017, Harvard University selected it as one of the first batch of hip hop albums to preserved in the Loeb Music Library.[206] That same year, the album was ranked in second place on the NPR list of '150 Greatest Albums Made by Women';[207] and nearly tied with Blue by Joni Mitchell for the number one position, according to the publication.[208] In 2024, The Recording Academy inducted The Miseducation of Lauryn Hill into the Grammy Hall of Fame.[209] Additionally, the album has also collected by the Smithsonian National Museum of African American history.[210]
While ranking it 314th on their
After being asked "What is the best Hip-Hop album of all-time?", the OpenAI created product called ChatGPT, that utilizes artificial intelligence listed The Miseducation of Lauryn Hill along with four other albums as its response, according to Rock the Bells.[218]
Reappraisal
Review scores | |
---|---|
Source | Rating |
Tom Hull – on the Web | B+[224] |
XXL | 5/5[192] |
According to Billboard, The Miseducation of Lauryn Hill "taught a generation about the power of baring your soul through song".[167] The album touched upon themes of love, heartbreak, and pregnancy, which added a newfound emotional element to hip-hop. Paving the way for artists like Kid Cudi and Kanye West to showcase vulnerability in their music, according to author Kathy Iandoli.[225] Jay-Z stated that with the album, Hill "made something that's going to stand the test of time."[226] Neo soul singer Maxwell named it his favorite album of the 1990s and praised it for its combination of "incredible songwriting and hip-hop".[227]
Chris Mench of Complex, wrote that the album "set a new standard for rap women, and even for rap in general", while adding that "its influence extends far beyond the genre walls of hip-hop. It's hard to imagine the rise of conscious artists like Lupe Fiasco or Kendrick Lamar without her, but it's equally as hard to picture widespread success for minimalist, soulful singers like Adele, Amy Winehouse, and even FKA twigs without Lauryn paving the way."[228] Kyle Anderson of MTV, wrote that the album "essentially gave birth to the genre now known as neo soul, which means you can trace the lineage of Alicia Keys, Erykah Badu, Jill Scott and dozens of others back to Hill's masterpiece."[229] Writing for Highsnobiety, Journalist David Opie declared that The Miseducation of Lauryn Hill has educated "pretty much everyone who's recorded music since" as well as "inspiring both newer artists and hip-hop stalwarts alike."[230]
Aftermath
The Miseducation of Lauryn Hill remains Hill's only studio album. After its success, the singer shunned her celebrity status and pursued a private life while raising six children, but both personal and professional difficulties followed. As
Track listing
All tracks are written by Lauryn Hill, except where noted. All tracks are produced by Hill. "Lost Ones" and "To Zion" were co-produced by Che Pope, and "Lost Ones" was additionally produced by Vada Nobles.[234]
No. | Title | Writer(s) | Length |
---|---|---|---|
1. | "Intro" | 0:47 | |
2. | "Lost Ones" | 5:33 | |
3. | "Ex-Factor" | 5:26 | |
4. | "To Zion" (featuring Carlos Santana) | 6:08 | |
5. | "Doo Wop (That Thing)" | 5:19 | |
6. | "Superstar" |
| 4:56 |
7. | "Final Hour" | 4:15 | |
8. | "When It Hurts So Bad" | 5:42 | |
9. | "I Used to Love Him" (featuring Mary J. Blige) | 5:39 | |
10. | "Forgive Them Father" | 5:15 | |
11. | "Every Ghetto, Every City" | 5:14 | |
12. | "Nothing Even Matters" (featuring D'Angelo) | 5:49 | |
13. | "Everything Is Everything" |
| 4:58 |
14. | "The Miseducation of Lauryn Hill" |
| 4:17 |
15. | "Can't Take My Eyes Off You" (hidden track) | 3:41 | |
16. | "Tell Him" (hidden track) | 4:38 | |
Total length: | 77:37 |
Personnel
Credits are adapted from the album's liner notes.[234]
Musicians
- Al Anderson – guitar (track: 12)
- Tom Barney – bass (tracks: 11–13)
- Bud Beadle – alto/tenor saxophone, flute (track: 7)
- Robert Browne – guitar (track: 2)
- Rudy Byrd – percussion (tracks: 3, 6, 8)
- Che "Guevara" Pope – drum programming (tracks: 5, 6, 8–10, 12, 13)
- Jared Crawford – live drums (track: 4)
- D'Angelo – Rhodes piano (track: 12)
- DJ Supreme – DJ (track: 5)
- Francis Dunnery – guitar (tracks: 11, 12)
- Paul Fakhourie – bass (track: 3)
- Dean Frasier – saxophone (tracks: 5, 10)
- Loris Holland – keys (tracks: 12, 14); clavinet (track: 11)
- Quartet Indigo – strings (tracks: 5, 13, 14)
- Julian Marley – guitar (track: 10)
- Chris Meredith – bass (tracks: 8, 10, 12)
- Johari Newton – guitar (tracks: 2, 3, 8)
- Tejumold Newton – piano (track: 3)
- Vada Nobles – drum programming (tracks: 2, 3, 5, 6, 8, 10, 13)
- Arun Pandian – guitar (track 16 – Tell Him)
- Grace Paradise – harp (tracks: 4, 6, 8)
- James Poyser – bass (tracks: 2, 4, 9); keys (tracks: 3, 5, 6, 12)
- Everol Ray – trumpet (tracks: 5,10)
- Kevin Robinson – trumpet, flugelhorn (track: 7)
- Ronald "Nambo" Robinson – trombone (tracks: 5, 10)
- Matthew Rubano – bass (tracks: 9, 13)
- Carlos Santana – guitar (track: 4)
- Earl Chinna Smith– guitar (tracks: 2,10)
- Andrew Smith – guitar (track: 7)
- Squiddly Ranks – live drums (track: 8)
- John R. Stephens – piano (track: 13)
- Elizabeth Valletti – harp (track: 7)
- Fayyaz Virti – trombone (track: 7)
- Joe Wilson – piano (track: 14)
- Stuart Zender – bass (track: 7)
Production
- Errol Brown – assistant recording engineer (tracks: 2, 10)
- Che "Guevara" Pope – co-producer (tracks: 2, 4), producer[235]
- Lauryn Hill – producer, executive producer (tracks: 1–16)
- Matt Howe – recorder (track: 7)
- Storm Jefferson – recorder (tracks: 8, 9, 11, 12); mix engineer (track: 8); assistant mix engineer (tracks: 2, 9)
- Ken Johnson – recorder (track: 9); assistant recording engineer (track: 4)
- Vada Nobles – co-producer (track: 2), producer[235]
- Tony Prendatt – recorder (tracks: 6, 7, 9, 12–14); engineer (track: 14)
- Warren Riker – recorder (tracks: 4, 5, 8, 12); mix engineer (tracks: 2, 9)
- Jamie Seigel – assistant mix engineer (track: 4)
- Greg Thompson – assistant mix engineer (track: 3)
- Neil Tucker – assistant recording engineer (track: 7)
- Chip Verspyck – assistant recording engineer (tracks: 3, 7)
- Brian Vibberts – assistant engineer (tracks: 6, 10, 12)
- Gordon "Commissioner Gordon" Williams – recorder (tracks: 2 – 6, 8 -12); engineer (tracks: 9, 14); mixer (tracks: 2, 4 – 6, 8, 10, 11, 13, 14)
- Johny Wyndrx – recorder (track: 4)
Vocalists
- Lauryn Hill – vocals (tracks: 2–16)
- Mary J. Blige – vocals (track: 9)
- D'angelo– vocals (track: 12)
- Shelley Thunder – vocals (track: 10)
- Kenny Bobien – backing vocals (track: 4)
- Chinah – backing vocals (track: 9)
- Jenni Fujita – backing vocals (track: 5)
- Fundisha Johnson – backing vocals (track: 5)
- Sabrina Johnston – backing vocals (track: 4)
- Jenifer McNeil – backing vocals (track: 9)
- Rasheem Pugh – backing vocals (track: 5)
- Lenesha Randolph – backing vocals (tracks: 4, 5, 9, 13)
- Ramon Rivera – backing vocals (track: 9)
- Earl Robinson – backing vocals (track: 4)
- Andrea Simmons – backing vocals (tracks: 4,9)
- Eddie Stockley – backing vocals (track: 4)
- Ahmed Wallace – backing vocals (tracks: 9,13)
- Tara Watkins – backing vocals (track: 9)
- Rachel Wilson – backing vocals (track: 9)
- Chuck Young – backing vocals (track: 3)
Charts
Weekly charts
|
Year-end charts
Decade-end charts
|
Certifications
Region | Certification | Certified units/sales |
---|---|---|
Australia (ARIA)[291] | 2× Platinum | 140,000‡ |
Austria (IFPI Austria)[292] | Gold | 25,000* |
Belgium (BEA)[293] | Platinum | 50,000* |
Canada (Music Canada)[294] | 7× Platinum | 700,000^ |
France ( SNEP)[295]
|
Platinum | 300,000* |
Italy (FIMI)[296] | Gold | 25,000‡ |
Japan (RIAJ)[297] | Million | 1,000,000^ |
Netherlands (NVPI)[298] | Platinum | 100,000^ |
New Zealand (RMNZ)[299] | 3× Platinum | 45,000^ |
Norway (IFPI Norway)[300] | Platinum | 50,000* |
Spain (PROMUSICAE)[301] | Gold | 50,000^ |
Sweden (GLF)[302] | Platinum | 80,000^ |
Switzerland (IFPI Switzerland)[303] | Platinum | 50,000^ |
United Kingdom (BPI)[304] | 4× Platinum | 1,200,000‡ |
United States (RIAA)[83] | Diamond | 10,000,000‡ |
Summaries | ||
Europe (IFPI)[305] | 2× Platinum | 2,000,000* |
* Sales figures based on certification alone. |
See also
- Billboard Year-End
- List of Billboard 200 number-one albums of 1998
- List of number-one R&B albums of 1998 (U.S.)
- List of number-one R&B albums of 1999 (U.S.)
- List of best-selling albums in the United States
References
Footnotes
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...the label will ship the album's first official single, 'Doo Wop (That Thing),' to R&B outlets Aug. 10...
- ^ "ADDvance Notice". Radio & Records. December 11, 1998. p. 69.
{{cite web}}
: Missing or empty|url=
(help) - ^ "ADDvance Notice". Radio & Records. April 30, 1999. p. 56.
{{cite web}}
: Missing or empty|url=
(help) - ^ Billboard. December 5, 1998.
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- ^ Furman & Furman 1999, p. 112.
- ^ Furman & Furman 1999, p. 102; Nickson 1999, p. 132.
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- ^ a b c Nickson 1999, p. 132.
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- ^ Nickson 1999, p. 133.
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Bibliography
- ISBN 0-7432-0169-8.
- Furman, Leah; Furman, Elina (1999). Heart of Soul. Ballantine Books. ISBN 0-345-43588-5.
- Havranek, Carrie (2009). Women Icons of Popular Music: The Rebels, Rockers, and Renegades, Volume 1. Greenwood Press. ISBN 978-0-313-34084-0.
- Nickson, Chris (1999). Lauryn Hill: She's Got That Thing. St. Martin's Paperbacks. ISBN 0-312-97210-5.
- Price, Emmett G. III; Kernodle, Tammy L.; Maxile, Horace Jr., eds. (2010). Encyclopedia of African American Music, Volume 3. ABC-CLIO. ISBN 978-0-313-34199-1.
Further reading
- Laura Checkoway, "Inside The Miseducation of Lauryn Hill", Rolling Stone, August 26, 2008.
External links
- The Miseducation of Lauryn Hill at Discogs (list of releases)