The Miseducation Of Lauryn Hill
Lauryn Hill
Ruffhouse / Columbia Records, 1998
REVIEW BY: JB
ORIGINALLY PUBLISHED: 11/04/1998
I feel almost uncomfortable reviewing The Miseducation Of Lauryn Hill because I seem to be theonly person who doesn't "get" it; from TIME magazine to my friendson the hip-hop mailing list I run, everyone is tripping over LaurynHill's new solo album. Whether it's the appeal of her genuineindependence, her unusually strong lyricism or the obvious beautyof her voice, she's managed to top album charts and prompt theusual tired ass "New Queen of Hip-Hop" terminology we critics seemto adore.
Any artist who can rap as good as she can sing is worthattention in urban music (does anyone else find guest rappers doingtheir ten second thing in bridges of songs annoying?). Just a hintof reggae blended with intellect and honesty, plus vocal texturingfrom the '70s (Motown for the '90s) makes for straightforward,no-posturing records. Every R&B and hip-hop artist should beforced to listened to "Superstar" ("Come on baby light my fire /Everything you drop is so tired / Music is supposed to inspire").In fact, the entire album is not an example of the best of urbanmusic; it's a study on what the genre SHOULD be.
Soulful harmonies in "Doo Wop (That Thing)" , "When It Hurts SoBad" and concious rap lyrics in "Final Hour" , "Lost Ones" arequality quality quality. Production is sparse but textured, and itdoesn't distract from Hill's messages. But the classroom interludesin between are irritating and there are maybe one or two tracksthat tend to be tedious such as the duet with D'Angelo, "NothingEven Matters".
Consistent, honest, and well-performed. If you rave over MissyElliot but Mary J. Blige leaves you cold, it'll take time to growon you. If Share My World gets a lot of airplay on your CD player,chances are you'll find more in the album than I did.
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