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Track List
01) Red Intro
02) How Many Mics
03) Ready or Not
04) Zealots
05) The Beast
06) Fu-Gee-La
07) Family Business
08) Killing Me Softly
09) The Score
10) The Mask
11) Cowboys
12) No Woman, No Cry
13) Manifest/Outro
14) Fu-Gee-La (Refugee Camp remix)
15) Fu-Gee-La (Sly & Robbie mix)
01) Red Intro
02) How Many Mics
03) Ready or Not
04) Zealots
05) The Beast
06) Fu-Gee-La
07) Family Business
08) Killing Me Softly
09) The Score
10) The Mask
11) Cowboys
12) No Woman, No Cry
13) Manifest/Outro
14) Fu-Gee-La (Refugee Camp remix)
15) Fu-Gee-La (Sly & Robbie mix)
1:52
4:29
3:47
4:21
5:37
4:20
5:44
4:59
4:08
4:50
5:24
4:33
5:16
4:24
5:28
Data Complete
80%
Total Rating
80%Total Rating
(3 users)
Back Cover
CD Art
3D Case
3D Thumb
3D Flat
3D Face
3D Spine
First Released
1996
R&B
Political
Urban/R&B
---
Medium
Album
18,000,000 copies
Album Description
Available in:
The Score – drugi album grupy The Fugees, wydany w roku 1996.
Album nagrano w składzie:
Lauryn Hill - wokale, producent wykonawczy, aranżer;
Wyclef Jean - technik nagrania, producent wykonawczy, mix, inżynier, gitara
W 2003 album został sklasyfikowany na 477. miejscu listy 500 albumów wszech czasów magazynu Rolling Stone.
User Album Review
In 1996 the Fugees, after the limited but respectable sales of their debut Blunted On Reality, released sophomore effort The Score to worldwide acclaim. It wasn’t long before their well-balanced blend of hip hop, pop, roots and R&B established Lauryn Hill, Wyclef Jean and Pras as global stars.
It begins inauspiciously with “Red Intro”, building with the laid-back “How Many Mics”, before bringing out the big pop guns and Lauryn’s mature yet spirited voice for “Ready Or Not”. Although the “Killing Me Softly” cover was, and remains, the record’s biggest hit, the highlight is undoubtedly "Fugee La". Combining awesome Salaam Remi production with exuberant turns by Wyclef and Hill - including her incredible eerie laughter at the midway point – it is the album’s centre.
“Family Business” is classic moody mid-nineties hip hop, “The Mask” utilizes smooth fretless bass and muted trumpet, and “No Woman No Cry” avoids becoming too R&B with the aid of acoustic guitar that can be likened to Ben Harper. The album ends with some interesting but inferior remixes and “Mista Mista” - an unsubtle, sentimental plea to a junkie to kick the habit. “Needle and The Damage Done” it ain’t.
The Fugees wear their influences on their sleeves both musically and lyrically, name-checking Santana and Bob Marley, artists who, like them, took their culture mainstream. At a time when communication and travel were going global, this was the ultimate eclectic post-modernist album - of Chinese food, cognac, Westerns, Kung Fu, sitars and reggae. No wonder it went multi-platinum, leaving its creators with the world at their feet.
Sadly, it was not to last. The group split and whilst Hill struggled with personal issues, Wyclef undertook a frenzy of inappropriate collaborations (Brian Harvey??) leaving this record as their last testament for posterity. Sure, it doesn’t sound quite as innovative as it did then, but blow the dust off, give it a spin and you’ll find plenty to enjoy.
External Album Reviews
None...
User Comments
Available in:
The Score – drugi album grupy The Fugees, wydany w roku 1996.
Album nagrano w składzie:
Lauryn Hill - wokale, producent wykonawczy, aranżer;
Wyclef Jean - technik nagrania, producent wykonawczy, mix, inżynier, gitara
W 2003 album został sklasyfikowany na 477. miejscu listy 500 albumów wszech czasów magazynu Rolling Stone.
User Album Review
In 1996 the Fugees, after the limited but respectable sales of their debut Blunted On Reality, released sophomore effort The Score to worldwide acclaim. It wasn’t long before their well-balanced blend of hip hop, pop, roots and R&B established Lauryn Hill, Wyclef Jean and Pras as global stars.
It begins inauspiciously with “Red Intro”, building with the laid-back “How Many Mics”, before bringing out the big pop guns and Lauryn’s mature yet spirited voice for “Ready Or Not”. Although the “Killing Me Softly” cover was, and remains, the record’s biggest hit, the highlight is undoubtedly "Fugee La". Combining awesome Salaam Remi production with exuberant turns by Wyclef and Hill - including her incredible eerie laughter at the midway point – it is the album’s centre.
“Family Business” is classic moody mid-nineties hip hop, “The Mask” utilizes smooth fretless bass and muted trumpet, and “No Woman No Cry” avoids becoming too R&B with the aid of acoustic guitar that can be likened to Ben Harper. The album ends with some interesting but inferior remixes and “Mista Mista” - an unsubtle, sentimental plea to a junkie to kick the habit. “Needle and The Damage Done” it ain’t.
The Fugees wear their influences on their sleeves both musically and lyrically, name-checking Santana and Bob Marley, artists who, like them, took their culture mainstream. At a time when communication and travel were going global, this was the ultimate eclectic post-modernist album - of Chinese food, cognac, Westerns, Kung Fu, sitars and reggae. No wonder it went multi-platinum, leaving its creators with the world at their feet.
Sadly, it was not to last. The group split and whilst Hill struggled with personal issues, Wyclef undertook a frenzy of inappropriate collaborations (Brian Harvey??) leaving this record as their last testament for posterity. Sure, it doesn’t sound quite as innovative as it did then, but blow the dust off, give it a spin and you’ll find plenty to enjoy.
External Album Reviews
None...
User Comments
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Status
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