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Track List
01) Intro
02) Lost Ones
03) Ex-Factor
04) To Zion
05) Doo Wop (That Thing)
06) Superstar
07) Final Hour
08) When It Hurts So Bad
09) I Used to Love Him
10) Forgive Them Father
11) Every Ghetto, Every City
12) Nothing Even Matters
13) Everything Is Everything
14) The Miseducation of Lauryn Hill
15) Can't Take My Eyes Off of You
16) Tell Him
01) Intro
02) Lost Ones
03) Ex-Factor
04) To Zion
05) Doo Wop (That Thing)
06) Superstar
07) Final Hour
08) When It Hurts So Bad
09) I Used to Love Him
10) Forgive Them Father
11) Every Ghetto, Every City
12) Nothing Even Matters
13) Everything Is Everything
14) The Miseducation of Lauryn Hill
15) Can't Take My Eyes Off of You
16) Tell Him
0:47
5:34
5:27
6:09
5:20
4:57
4:16
5:42
5:40
5:15
5:15
5:51
4:53
4:17
3:42
4:41
Data Complete
80%
Total Rating
80%Total Rating
(1 users)
Back Cover
CD Art
3D Case
3D Thumb
3D Flat
3D Face
3D Spine
First Released
1998
R&B
Gritty
Urban/R&B
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Album
0 copies
Album Description
Available in:
The Miseducation of Lauryn Hill is the debut solo album by American recording artist Lauryn Hill, released on August 25, 1998, by Ruffhouse Records and Columbia Records. Recording sessions for the album took place from late 1997 to June 1998, and were held primarily at Tuff Gong Studios in Jamaica. The album's lyrics deal with Hill's pregnancy at the time, the turmoil in her former group the Fugees, themes of love, and God. A neo soul album, its music incorporates R&B, hip hop, soul, and reggae. The album's title was inspired by the film and autobiographical novel The Education of Sonny Carson, and Carter G. Woodson's The Mis-Education of the Negro.
Upon its release, The Miseducation of Lauryn Hill received rave reviews from music critics and debuted at number one on the Billboard 200 chart, selling 422,624 copies in its first week and eventually being certified eight-times-platinum in the U.S. The album produced three hit singles—"Doo Wop (That Thing)", "Ex-Factor", and "Everything Is Everything"—and was promoted with an international supporting tour by Hill in 1999. At the 41st Grammy Awards, The Miseducation of Lauryn Hill earned her five Grammy Awards, including the award for Album of the Year.
The album's success propelled Hill to superstardom and helped bring hip hop and neo soul to the forefront of popular music. The Miseducation has been ranked in numerous best-album lists by critics.
User Album Review
1998 was, perhaps, the last great year for hip hop: OutKast’s Aquemini; DMX and Big Pun making their debuts; Mos Def and Talib Kweli teaming up for Black Star; and Gang Starr reappearing with Moment of Truth. Then there was Lauryn Hill.
At a time when the music was striking an interesting balance between serving its original audience, evolving its ideals and becoming part of the mainstream on its own terms, The Miseducation of Lauryn Hill vastly raised that particular game. It was a collection so all-embracing it laid down a new set of standards that articulate black pop needed to pay attention to. What put so much musical daylight between Hill the solo artist and Hill the former Fugee – themselves a previous benchmark for mainstream-friendly hip hop – is how she approached the work from a pop perspective, layering it gently on a hip hop soundbed, then garnishing it with splashes of soul, gospel, reggae and funk. Musically the album retains its integrity yet won’t challenge an unfamiliar audience, allowing Hill’s lyrical ideas to be fully appreciated. And it’s in what she talks about that Miseducation becomes the album that won a record five Grammy Awards from 10 nominations.
The album is all about love in its many manifestations: joy (To Zion and Nothing Even Matters); pain (I Used to Love Him); disappointment (Doo Wop and Lost Ones); and optimism (Can’t Take My Eyes Off You). Sometimes it’s intensely personal (Ex-Factor), or takes a wider perspective (Everything Is Everything and Every Ghetto, Every City), or might even be an attack on her former bandmates (Superstar and Forgive Them Father). In every case, though, there’s an astuteness and sensitivity disproving the notion that hip hop audiences have only two speeds – radical or licentious. Hill’s poetry assumes a liberating intelligence among her listeners, to be repaid as they follow her unflinchingly into some of the more intimate aspects of her life.
This in itself is another balancing act: the album is self-possessed without being self-obsessed, and while an enduring vibe is empowerment nothing is immodest. Hill’s songs bring the craft of Joni Mitchell or Carly Simon to the dawn of the 21st century, rooted in a specific genre but delivered with universal empathy that makes it impossible for anybody ignore. Indeed, you can nearly forgive the ultra-cheesey skits between the tracks, in which kids discuss what love means to them.
External Album Reviews
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User Comments
Available in:
The Miseducation of Lauryn Hill is the debut solo album by American recording artist Lauryn Hill, released on August 25, 1998, by Ruffhouse Records and Columbia Records. Recording sessions for the album took place from late 1997 to June 1998, and were held primarily at Tuff Gong Studios in Jamaica. The album's lyrics deal with Hill's pregnancy at the time, the turmoil in her former group the Fugees, themes of love, and God. A neo soul album, its music incorporates R&B, hip hop, soul, and reggae. The album's title was inspired by the film and autobiographical novel The Education of Sonny Carson, and Carter G. Woodson's The Mis-Education of the Negro.
Upon its release, The Miseducation of Lauryn Hill received rave reviews from music critics and debuted at number one on the Billboard 200 chart, selling 422,624 copies in its first week and eventually being certified eight-times-platinum in the U.S. The album produced three hit singles—"Doo Wop (That Thing)", "Ex-Factor", and "Everything Is Everything"—and was promoted with an international supporting tour by Hill in 1999. At the 41st Grammy Awards, The Miseducation of Lauryn Hill earned her five Grammy Awards, including the award for Album of the Year.
The album's success propelled Hill to superstardom and helped bring hip hop and neo soul to the forefront of popular music. The Miseducation has been ranked in numerous best-album lists by critics.
User Album Review
1998 was, perhaps, the last great year for hip hop: OutKast’s Aquemini; DMX and Big Pun making their debuts; Mos Def and Talib Kweli teaming up for Black Star; and Gang Starr reappearing with Moment of Truth. Then there was Lauryn Hill.
At a time when the music was striking an interesting balance between serving its original audience, evolving its ideals and becoming part of the mainstream on its own terms, The Miseducation of Lauryn Hill vastly raised that particular game. It was a collection so all-embracing it laid down a new set of standards that articulate black pop needed to pay attention to. What put so much musical daylight between Hill the solo artist and Hill the former Fugee – themselves a previous benchmark for mainstream-friendly hip hop – is how she approached the work from a pop perspective, layering it gently on a hip hop soundbed, then garnishing it with splashes of soul, gospel, reggae and funk. Musically the album retains its integrity yet won’t challenge an unfamiliar audience, allowing Hill’s lyrical ideas to be fully appreciated. And it’s in what she talks about that Miseducation becomes the album that won a record five Grammy Awards from 10 nominations.
The album is all about love in its many manifestations: joy (To Zion and Nothing Even Matters); pain (I Used to Love Him); disappointment (Doo Wop and Lost Ones); and optimism (Can’t Take My Eyes Off You). Sometimes it’s intensely personal (Ex-Factor), or takes a wider perspective (Everything Is Everything and Every Ghetto, Every City), or might even be an attack on her former bandmates (Superstar and Forgive Them Father). In every case, though, there’s an astuteness and sensitivity disproving the notion that hip hop audiences have only two speeds – radical or licentious. Hill’s poetry assumes a liberating intelligence among her listeners, to be repaid as they follow her unflinchingly into some of the more intimate aspects of her life.
This in itself is another balancing act: the album is self-possessed without being self-obsessed, and while an enduring vibe is empowerment nothing is immodest. Hill’s songs bring the craft of Joni Mitchell or Carly Simon to the dawn of the 21st century, rooted in a specific genre but delivered with universal empathy that makes it impossible for anybody ignore. Indeed, you can nearly forgive the ultra-cheesey skits between the tracks, in which kids discuss what love means to them.
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