The 1998 record by rapper, singer, artist, legend, Lauryn Hill is the definition of a classic, from the iconic cover to the magnificent 4-track run at the beginning of the record, this is an album that you can imagine means so much to so many people, and the quality and charismatic performance is only just the half of it.
This album starts out with a school bell and the taking of a register in a classroom. Throughout the record there are snippets and skits of a relatable and casual-like teacher educating his students. It's a bit of a movie trope, but maybe it was a bit fresher back then, plus it obviously ties into the album name and the album cover. It's really sweet actually, the teaching is more novel and conversational, rather than what school was actually like for most of the time. They talk about life and concepts such as love, what love means, "how do you know you're in love", but in like a nice way where there's no wrong answers and each perspective is understandable and relatable. I think the skits are a really nice part of the record, it shows Lauryn, who was about 23 years old at the time, was tapping into her adolescence and reminiscing about innocent times. With the album now being around 26 years old, it adds to the nostalgia of it too, Lauryn is feeling nostalgic at times on the record, and then when you listen to it now, you can feel a bit like how you did when you first listened to it. As well, if you're in to Hip Hop, it is more than likely that this was one of the earlier albums you checked out, if not the whole album, the legendary tracks and samples on it.
The album begins with a classic 4-track run, commencing with Lost Ones, the pounding drums and super confident bars make for a very memorable opening verse, which lead to the iconic refrain, "you might win some but you just lost one". The track eventually evolves into the sung hook of the same lyrics, famously sampling Bam Bam by Sister Nancy with the same melody - notably Kanye West did the same thing on Famous in 2016. The following track Ex-Factor is another super influential track in terms of music and pop culture more widely. Without this song we wouldn't have Nice For What by Drake, but also the stack of classic tunes at the top of this album wouldn't be as high. A much smoother, relaxing and soulful track, with verses that are sung and harmonised, and the lyrics are still iconic in their own right. The track is from the POV of someone either at the end or near the end of a toxic but passionate relationship. A huge breakup track, hence the name, and contains a very late 90s, glamourous and dramatic electric guitar solo in the outro to compound the distress and sorrowness to the listener.
The next song has an acoustic Latin flavour to it with Carlos Santana plucking away in the instrumental and then a beat with pounding drums to a fairly relaxed tempo, overall a decent bed of music for another sentimental track, in which Lauryn dedicates to her first child and son, Zion David, who was a matter of months old when this track came out. Whilst the last track contemplated heart-break from a relationship, this one speaks of an unconditional mother-son love, lyrics such as "how beautiful if nothing more, than to wait at Zion's door, I've never been in love like this before".
In the first verse she describes how folk believe a woman pregnant would result in the industry being turned off from her, how it would hinder her career, a familiar story for women across many industries, not just music. However, Lauryn did not head or care for that advice, for her, parenthood had been prophesised, it was her destiny foretold by a higher being, using the words "chosen" for example. It was a biblical moment for her where mortal advice would pale in comparison to the spiritual moment she experienced. The lyrics in the first verse are "I touched my belly overwhelmed, by what I had been chosen to perform, but then an angel came one day, told me to kneel down and pray, for unto me a man-child would be born". With the gospel chanting of the chorus, there's a purity in the tone, message and lyrics of the song, I'm not entirely clued up on what metaphor the pilgrimage to Zion in Jerusalem could be about, perhaps to motherhood and happiness, but no doubt that imagery of the "marching, marching, marching, to zion" outro definitely cranked up the religious parallels. Her life essentially is dedicated to her child now, that is her religion. The following skit has the teacher asking the class if they have ever been in love and what that would look like, to which we get some innocent, idealistic, but ultimately very pure thoughts from the class. Too wet behind the ears at this point in their life to consider love that could come from parenthood.
To finish the legendary 4-track run, certainly the most famous and popular of the songs, Doo Wop (That Thing) comes in. The track starts with instantly recognisable keys and some woozy vocals introducing the track before the beat drops into a full soul-boom bap crossover with horns, trumpets and other brass instruments that make for a catchy and flavourful piece of music. The first verse Lauryn dedicates to women and their self-worth, particularly within the realms of sex and being sexually accessible to men. With some religious parallels again, referencing "talking out your neck saying you're a Christian, a Muslim sleeping with the jinn, now that was the sin that did Jezebel in". Lauryn isn't too proud where she can't admit to making what she sees as mistakes and devaluing herself in the past - "Lauryn is only human, don't think I haven't been through the same predicament". I think the verse is female empowerment within the area of sexual autonomy of your own body and also how you look too. The perspective is also from a black woman as well so the last lyric sort of takes aim at racist societal beauty standards, those standards being white European ones that can leave black women and people of colour alienated, "it's silly when girls sell their souls because it's in, look at where you be in, hair weaves like Europeans".
The second verse addresses men instead of women, essentially calling out men for being rambunctious, arrogant and brash, as well as not having their priorities straight, "more concerned with his rims and his Timbs than his women". As well as criticising men for vanity and a lack of maturity, there's also an element of Lauryn seeing through the menacing façade that some men can give off, "the pretty-face men claiming that they did a bid men". In terms of how the two verses link, I think Lauryn is saying to women, you're devaluating yourself and for what, these idiots who are just fake materialistic bums. And her message to the men is also like, treat women more respectfully and get your life sorted out.
The next song Superstar really doubles-down on the RnB elements of the album with plenty of singing and a sentiment of tired frustration of not achieving maybe what she wants for herself and her peers via her musical talent - "music is supposed to inspire, so how come we ain't getting no higher". The beat drop and rapped verse at the end is a nice and needed change of texture for the song, again repeating some of those same frustrations with more religious imagery, "they'll hail you then nail you no matter who you are, they'll make you now then take you down". Final Hour has one of the dopest and rawest beats with super live drums and a flute that paints a picture of a sort of medieval Middle Eastern backdrop, but then the saxophone and Lauryn's tempo and attitude bring you back to the 90's. Lauryn flows her ass-off with slick rhymes and a punchy chorus. Her flow in the 3rd verse is particularly ill when she says "now I'ma get the the mozzarella like a rockafeller, still be in the church of Lalibela singing hyms acappella".
When It Hurts So Bad is a whoozy lovesick track of someone who was deeply in love but with someone who doesn't feel the same way. It's a nice lowkey RnB jam, with a chilled out, well put together instrumental with a sombre bassline to match the disappointing and bereft mood. The second track has a much more positive vibe but the lyrics are still bitter-sweet - potentially linked to the relationship before, now no longer in the midst of heartache Lauryn has reached a moment of being over the relationship to some extent, "I used to love him, but now I don't" is the chorus. In this song it feels like she has re-found her pride, with the lyric in verse 3, "father you saved me and you showed me that life, was much more than being some foolish man's wife". Self-worth has come full-circle from Doo Wop earlier, even identifying herself as a "treasure" she sees as something her man has lost. This is another RnB track with a funky bassline that dominates the beat and slower-tempo drums.
Forgive Them Father is a sudden subject shift, but you still get Lauryn speaking from a place of damaged experience and providing advice, this time essentially to watch out for those with "false motives", those who may appear to be friendly or "pretend to be brothers" who would actually pay you harm for their own selfish gains, "they say all the right things to gain their position, then use your kindness as their ammunition, to shoot you down in the name of ambition". Sonically, this song is catchier than the previous, with a sticky and melodic hook, but also we get a rapped verse that comes at the perfect time in the run time considering it'd been a while without one. Lauryn sounds cool and confident as hell and has some slick bars that take a more abstract view of the subject matter with metaphors and parallels that leave you wanting to decipher, I liked the opening bar "why every Indian wanna be the chief, feed a man until he full and he still want beef" - similar essence of the sung lyrics before that people's ambition can corrupt them and result in them turning on those that may have even helped them. I think the verse is the highlight of a very well made track, just the bars say what she wants to say with a bit more creativity and thought process. In terms of the subject matter again though, ultimately, Lauryn expresses forgiveness and mercy herself towards these people that have wronged her. The track opens with the opening line of the 'Lord's Prayer' appropriately summing up the inspiration and sentiment. Overall, cool track with a nice dancehall and reggae influence.
Every Ghetto, Every City one of my favourites from the tracklist is a funky and groovey happy-go-lucky track mainly centred around Lauryn Hill reminiscing to her childhood and of easier times. The music she listened to as a child, the games and trends of the times and just how the street "nurtured" her into who she is today. It's a fun track and lovely insight into her days growing up in New Jersey. The highlight of the track is easily the refrain that comes after a couple of the choruses where she says "you know it's hot, don't forget what you got, looking back, looking back, looking back.". The lyrics of this track are sung with a smile on her face, a smile of appreciation and gratitude for her childhood experiences. The theme of the song also links to the youthful feel of the album in its skits and is one of those times where she's feeling nostalgic.
Nothing Even Matters is another lowkey slow jam featuring D'Angelo, with Lauryn and D'Angelo trading verses where they express how their love above anything else, is the only thing that matters. This track doesn't do it too much for me, the earlier love songs tug on my heartstrings way more, but this one is super soppy and a bit sickly in some of its execution, mainly the constant repetition of the line itself "nothing even matters". Maybe this is a song for another time.
Everything is Everything is a more aggressive track and the consistent and slightly confrontational piano licks sound like something you could image The Streets rapping over or sampling. Lauryn's verse is full of nice wordplay and references to historical and powerful figures, usually women, Lauryn comes across as a well-read individual that's been inspired to some degree by characters like Cleopatra, I'm not a historian so many of the names and messages go over my head but it's still cool to hear it included in a rap verse and be put together to make the names and the references rhyme so smoothly. It's hard to know whether this knowledge is something she picked up in school or perhaps in her own time, either way it's been part of her "miseducation", and it has made her who she is today.
The title track is a comparatively shorter number but packs a punch with a strong vocal performance from Lauryn. The song is an emotional ballad about Lauryn recognising the strength within her, realising her destiny and having the reassurance God is on her side - I think the track does capture the essence of the album and almost puts a little bow on top of the record.
Really not a fan of Can't Take My Eyes Off of You, it just reminds me of that "I love you Wednesday" Sheffield Wednesday chant so yeah can't stand it ahah. Also, I understand that it is a bonus track but would rather not have a cover on here at all.
The final song, Tell Him is another bonus tune and another slow ballad with soothing backing vocals and a really simple but strong chorus. It's a love song with messages of love, but the recipient is more vague, and the positive affirmations mixed with the urges to be better morally, stronger and pure, give the song a religious feel to it and the recipient could be in fact God or Jesus Christ. Lauryn is looking for growth in her person, acknowledging sins of the past but manifesting a positive and righteous future.
And that is the album folks. It's a long record so you spend a lot of time with Lauryn, getting a feel for her personality and outlook. What I have taken from the album is actually one of real positivity. At times she can be quite cynical and tongue-in-cheek but for the most part she bears her emotions in full and won't mince her words when it comes to expressing herself. She's pretty creative in her style, her metaphors are well thought out but still pretty accessible. Her singing and rapping abilities are spot on, if anything I just wish there was more rapping on this album. That first 4 track run is iconic and there's so many gems throughout the tracklist later on too. Wonderful beat selection and a pretty versatile album that I would suggest can be played in multiple scenarios. I'll just round this off by saying, I had a great time delving in to these tracks and hope you enjoyed the read. What's your favourite song from The Miseducation of Lauryn Hill, and what would you give it out of 10, for me...
Star Track - Final Hour
9/10
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