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Background and recording

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While a freshman at Columbia High School, Lauryn Hill was approached by Prakazrel "Pras" Michel to form a group. Pras chose Hill because he "felt her vibe" and believed that a group with a female member would present an interesting dynamic. A second female vocalist, Marcy, was added, and the group went by the moniker Tranzlator Crew, as they experimented with rhyming in different languages. Marcy departed the group soon after to concentrate on her college studies; she was replaced by Pras' cousin Wyclef Jean, and the group began performances at local showcases and high schools.[1] In 1993, the group signed a recording contract with Ruffhouse Records and Columbia Records and changed their name to Fugees thereafter.[2] This name, which derives from "refugee", is a derogatory term for Haitian immigrants to the United States who lived in poor socioeconomic conditions.[1] In 1994, they released their debut album Blunted on Reality, which, to the ambivalence of critics, had hardcore hip hop leanings and was heavy influenced by the period's ubiquitous gangsta rap.[2] Despite having little mainstream impact,[2] Blunted on Reality popularized Hill, whose image and distinctive alto voice became the focal point of the group and at the centre of media attention, with some critics urging her to embark on a solo career.[1]

Chris Schwartz, founder of Ruffhouse Records, decided to give the group another chance. In early 1995, he gave them a $ 135,000 advance and granted them complete artistic control for a follow-up album.[3] The group used the money for recording equipment, including a sound booth and mixing board, and set this up Renel Duplessis' basement in East Orange, New Jersey, who was the uncle of Wyclef Jean.[4][5] Known affectionately as the Booga Basement, its "wood-grain acoustic panels" led Jean to draw comparisons to Bob Marley's Tuff Gong studio in Jamaica, elaborating that it is "not chic, but it comes out good quality, because you feel like you're at home". At first Jean rented out the studio to allow friends to record at a rate of $ 25 an hour, eventually beginning sessions with another cousin, Jerry Duplessis, who taught Jean how to use the equipment.[1][4] Recording for the album began in June 1995, and extended into November[6] at what Wyclef described as a "relaxed pace" by stating "It was done calmly, almost unconsciously. There wasn't any pressure - it was like "let's make some music," and it just started forming into something amazing. It sounded like a feel-good hip hop record to us, and it was different than what anyone was doing at the time. It was three kids from an urban background expressing themselves."[7] Production was handled by Jean, Hill and Jerry Duplessis, while Pras took care of the business duties.[8][nb 1] All of the album's tracks except "Fu-Gee-La" were recorded at Booga Basement.[1]

Composition

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The Score was released in a period when most hip hop artists were vying for commercial success in the dominant gansta rap genre. An alternative hip hop album, the Fugees criticized the "gangster mythology" that they viewed as having polluted hip hop and distanced themselves from it by making political, socially-conscious songs.[9][10][11] "The Beast" was written by Jean about police brutality in his local neighbourhood, and the discrimination he faced because he was black.[12]

In regards to The Score's unified themes and production, Hill commented:

It's an audio film. It's like how radio was back in the 1940s. It tells a story, and there are cuts and breaks in the music. It's almost like a hip hop version of Tommy, like what The Who did for rock music."[13]

"drifts effortlessly from up-to-the-moment hardcore to reggae to old-school rap to '70s style easy listening to Haitian-flavored acoustic folk".[1]

Although the hip hop releases of the period were often maligned for incorporating sexism and misogyny, The Score allowed a rare female voice to enter the genre and Hill discusses her emotions and relationships, particularly with men. The lyrical style of all of the members is varied and The Score can be viewed as a collection of battle rhymes. Hill is noted for her "imaginative, witty, moving and visceral" rhymes, intricate wordplay and distinctive flow. One particular technique that critics highlighted was her ability to incorporate several rhymes and pararhymes into a sentence. Jean, however, is known for his story-telling and humorous dialogue, while Pras' strengths are said to lie in "grittier" material.[9]

Release

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Critical reception

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Professional ratings
Review scores
SourceRating
AllMusic[14]
Robert ChristgauA[15]
Entertainment WeeklyA[16]
Los Angeles Times[17]
The New York Times(favorable)[18]
Rolling Stone[11]
Spin9/10[19]
The Source[20]

The Score received acclaim from critics. Robert Christgau described it as "one of the rare hip hop albums to debut high and rise from there", summarising it is "so beautiful and funny its courage could make you weep".[15] James Bernard of Entertainment Weekly wrote that the album demonstrates "acrobatic lyrical technique and restless intelligence. And unlike much East Coast rap, The Score feels warm and intimate—partly because the instruments are live but also because the Fugees sound so relaxed and casual.[16] Jon Pareles writing in the The New York Times viewed The Score as "a vision of ghetto life that's both matter-of-fact and off-the-wall". Like Bernard, he praised the album's casual atmosphere, highlighting this on "Cowboys" and "The Beast".[18] Rolling Stone's Ann Powers felt that it was "sweet in three layers: rhyme, sample and groove". She adds that "the hip-hop threesome cops a grim veneer but escapes gangsta clichés by playing around with the formulas."[11] Cheo Hodari Coker of Los Angeles Times found that their specialism was "matching a gymnastic rhyme flow and rock-solid beats with expert crooning". Coker was particularly impressed by the covers of "Killing Me Softly With His Song" and "No Woman No Cry".[17]

AllMusic writer Steve Huey wrote that The Score "balances intelligence and accessibility with an easy assurance, and ranks as one of the most distinctive hip-hop albums of its era". He gave particular praise to its themes, diverse sampling of genres and its protest songs.[14] Spin believed that the group showcase skills that were only touched upon in their debut, including "Wycelf's instrumental skills and free-flowing reggae-influenced verbals, Hill's vocal dexterity, and the group's ability to deliver politically relevant narratives, good-time vibes, and sheer hip-hop whip-ass without sinking into didactism or formula."[19] Angus Taylor of the British Broadcasting Company called it "the ultimate eclectic post-modernist album—of Chinese food, cognac, Westerns, Kung Fu, sitars and reggae". Although noting "Killing Me Softly With His Song" as the album's most significant song, he believed its stand out track to be "Fugee La".[21]

Legacy

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one of the most influential hip hop albums in history.[22] sold 17 million copies worldwide.[5]

During the 2008 Presidential campaign, President Barack Obama named "Ready or Not" his favorite song.[23]

References

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Notes
  1. ^ As Coleman notes, this assertion was made by Jean at a time when him and Pras were publicly feuding, so it may not be reliable. Coleman adds that the album liner notes list Pras as an executive producer, while Jean and Hill are co-executive producers.[8]
Citations
  1. ^ a b c d e f Foege, Alec (September 5, 1996). "Fugees: Leaders of the New Cool". Rolling Stone.
  2. ^ a b c Bogdanov 2003, p. 182.
  3. ^ Coleman 2009, pp. 213–214.
  4. ^ a b Coleman 2009, p. 214.
  5. ^ a b Cite error: The named reference complex12 was invoked but never defined (see the help page).
  6. ^ Furman & Furman 1999, p. 86.
  7. ^ Coleman 2009, p. 215.
  8. ^ a b Coleman 2009, pp. 214–215.
  9. ^ a b Jones, Lucy (February 11, 2013). "Why 'The Score' Is One Of The Greatest Hip-Hop Albums Ever". NME. Retrieved September 23, 2014.
  10. ^ Cite error: The named reference AllMusic was invoked but never defined (see the help page).
  11. ^ a b c Powers, Ann (March 21, 1996). "The Score". Rolling Stone. Retrieved August 26, 2014.
  12. ^ Coleman 2009, p. 217.
  13. ^ Furman & Furman 1999, p. 78.
  14. ^ a b Huey, Steve. "The Score - Fugees". AllMusic. Retrieved August 27, 2014.
  15. ^ a b Christgau, Robert (April 9, 1996). "Consumer Guide". The Village Voice. Retrieved August 26, 2014.
  16. ^ a b Bernard, James (February 16, 1996). "The Score Review". Entertainment Weekly. Retrieved August 26, 2014.
  17. ^ a b Coker, Cheo Hodari (February 27, 1996). "Album Reviews: Versatile Fugees Wrap Up Some Classics : ** 1/2 FUGEES, "The Score" Columbia". Los Angeles Times. Retrieved August 27, 2014.
  18. ^ a b Pareles, Jon (February 13, 1996). "Critic's Choice/Pop CD's; Prison Makes Rap Tougher". The New York Times. Retrieved August 26, 2014.
  19. ^ a b Hinds, Selwyn Seyfu (March 1996). "The Fugees, The Score (Columbia)". Spin. 11 (12): 113. Retrieved August 27, 2014.
  20. ^ The Source Staff (August 4, 2010). "The Complete List Of 5 Mic Hip-Hop Classics". The Source. Retrieved August 27, 2014.
  21. ^ Taylor, Angus. "Review of Fugees - The Score". British Broadcasting Company. Retrieved August 28, 2014.
  22. ^ Coleman 2009, p. 211.
  23. ^ Harnden, Tony (August 14, 2008). "Top 10 favourite songs of Barack Obama and John McCain". The Telegraph. Retrieved September 10, 2014.
Sources
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