Izdavač: Ostalo
Žanr: Fank i Soul, Pop, R&B, Rege, Ska i Dab, Rep i Hip-Hop
Poreklo: Strani izvođač

Original, made in Austria

Knjizica od 16 str.

Odlicno ocuvano

knjizica 5 Cd 5

Studio album by Lauryn Hill
Released August 19, 1998
Recorded September 1997 – June 1998
Studio
Chung King (New York)
Circle House (Miami)
The Hit Factory (New York)
Metropolis (London)
Perfect Pair (East Orange)
Right Track (New York)
RPM (New York)
Sony (New York)
Tuff Gong[a] (Kingston)
Genre
Neo soulR&Bhip-hophip-hop soulreggaeprogressive rap
Length 77:39
Label
RuffhouseColumbia
Producer
Lauryn HillChe PopeVada Nobles
Lauryn Hill chronology
The Miseducation of Lauryn Hill
(1998) MTV Unplugged No. 2.0
(2002)

The Miseducation of Lauryn Hill is the debut solo studio album by American rapper and singer Lauryn Hill. It was released on August 19, 1998, by Ruffhouse Records and Columbia Records. Recorded after the Fugees embarked on a hiatus, the album was almost entirely written and produced by Hill. It is a concept album about educating oneself on love, with lyrical themes encompassing relationship complexities, interpersonal conflicts, motherhood, and faith. Predominantly a neo soul and R&B record, it incorporates genres such as hip-hop, reggae, and soul, and features guest appearances from Carlos Santana, Mary J. Blige, and D`Angelo.

After touring with the Fugees, Hill became involved in a romantic relationship with Jamaican entrepreneur Rohan Marley, and shortly after, became pregnant with their first child. The pregnancy, as well as other circumstances in her life, inspired Hill to create a solo album. Recording sessions for The Miseducation of Lauryn Hill took place from September 1997 to June 1998, initially in New York and New Jersey, before relocating to the Tuff Gong Studios in Kingston, as Hill collaborated with a group of musicians known as New Ark in writing and producing the songs. Gordon `Commissioner Gordon` Williams supervised the project, while Che Pope and James Poyser also contributed to a majority of the tracks. Hill strived to differentiate her musical style from that of the Fugees, and wrote songs discussing the turmoil within the group. As she refrained from following mainstream music trends and sounding overproduced, live instruments were heavily incorporated into the recordings.

The Miseducation of Lauryn Hill was met with universal critical acclaim and became one of the most acclaimed albums of 1998, with most praise directed towards Hill`s presentation of a woman`s view on life and love, and her artistic range. A substantial commercial success, the album debuted atop the US Billboard 200, with first-week sales of 422,000 copies, largest for a female artist at the time. At the 41st Annual Grammy Awards (1999), it won Album of the Year and Best R&B Album, while Hill broke records for most nominations and wins in a single ceremony for a woman. The album produced three singles—`Doo Wop (That Thing)`, which peaked atop the US Billboard Hot 100 and broke numerous chart records; `Ex-Factor`, and `Everything Is Everything`. Hill further promoted the record with multiple televised performances and a sold-out worldwide concert tour; since 2018, she has also embarked on two anniversary world tours.

The success of The Miseducation of Lauryn Hill propelled Hill to global prominence, and contributed to bringing hip-hop and neo soul to the forefront of popular music. New Ark, however, felt Hill and her record labels did not properly credit them for their contributions, and filed a lawsuit, which was settled out of court in 2001. Regardless of the controversy, various critics have exalted the album as one of the best of its era and of all time, due to its tremendous influence on other artists and ubiquitous impact on the music industry; the album was ranked atop Apple Music`s 100 Best Albums. In addition, it has been selected for inclusion at a multitude of cultural institutions, including the Library of Congress, the Smithsonian, and the Grammy Hall of Fame. The album eventually went on to be certified diamond by the Recording Industry Association of America (RIAA), for 10 million units consumed in the US. With over 20 million copies sold worldwide, The Miseducation of Lauryn Hill is among the best-selling albums of all time. Despite its immense success and achievements, it remains Hill`s sole studio album.

Background and development
`When some women are pregnant, their hair and their nails grow, but for me it was my mind and ability to create. I had the desire to write in a capacity that I hadn`t done in a while. I don`t know if it`s a hormonal or emotional thing ... I was very in touch with my feelings at the time.`

—Hill reflecting on her pregnancy reinvigorating her creativity.[4]
In 1996, Lauryn Hill met Rohan Marley, son of Bob Marley, while touring as a member of the Fugees, in support of their widely successful second studio album The Score. Hill and Marley gradually formed a close relationship, and during the tour, Hill became pregnant with his child.[5] After contributing to fellow Fugees member Wyclef Jean`s solo debut Wyclef Jean Presents The Carnival (1997), Hill refrained from touring and recording due to her pregnancy and cases of writer`s block.[6][7] However, circumstances in her life stimulated her to record a solo album, having already expressed the desire to do so and depart from the Fugees. She credited her pregnancy for rejuvenating her songwriting; according to her then-manager Jayson Jackson, the songwriting was prompted by Wendy Williams revealing Hill`s pregnancy on her radio show and the intense media scrutiny over the identity of the child`s father, as Hill had never publicized her relationship with Marley prior to the pregnancy.[8]

Of the early writing process, Hill said: `Every time I got hurt, every time I was disappointed, every time I learned, I just wrote a song.`[9] While inspired, Hill wrote over 30 songs in her attic studio in South Orange, New Jersey.[7] Many of these songs drew upon the turbulence in the Fugees, as well as past love experiences.[10] In the summer of 1997, as Hill was due to give birth to her first child, she was requested to write a song for gospel musician CeCe Winans.[7] Several months later, she went to Detroit to work with soul singer Aretha Franklin, writing and producing her single `A Rose Is Still a Rose`. Franklin would later have Hill direct the song`s music video.[11] Shortly after this, Hill did writing work for Whitney Houston.[12] Having written songs for artists in gospel, hip-hop, and R&B, she drew on these influences and experiences to record The Miseducation of Lauryn Hill.[1
Notes
The interludes `Love`, `How Many of You Have Ever`, `Intelligent Women`, `Love Is Confusion`, `What Do You Think` (part one), and `What Do You Think` (part two) appear after `Lost Ones`, `To Zion`, `Doo Wop (That Thing)`, `When It Hurts So Bad`, `Forgive Them Father`, and `Every Ghetto, Every City`, respectively, as hidden tracks.
On Japanese pressings, the interludes are listed as individual tracks; the Japanese limited edition further includes a remix of `Ex-Factor` as the 23rd track.[80]
Some digital editions exclude `Can`t Take My Eyes Off You` and `Tell Him`,[349] while others include them as individual tracks.[350]
Sample credits
Songwriters of sampled recordings were uncredited in the original liner notes,[1] but were later credited on digital editions.[350]
`Lost Ones` contains replayed elements from `Bam Bam` by Toots and the Maytals, written by Frederick Hibbert.
`Ex-Factor` contains replayed elements from `Can It Be All So Simple` by Wu-Tang Clan.
`To Zion` contains elements from `And the Feeling`s Good` by José Feliciano, written by Charles Fox and Norman Gimbel.
`Superstar` contains elements from `Light My Fire` by the Doors, written by Jim Morrison, Robby Krieger, John Densmore, and Ray Manzarek.
`Forgive Them Father` is an interpretation of `Concrete Jungle` by Bob Marley and the Wailers, written by Bob Marley.
`Every Ghetto, Every City` contains replayed elements from `Tony Poem` by David Axelrod, and `Jack Your Body` by Steve `Silk` Hurley.
Personnel
Credits are adapted from the liner notes of The Miseducation of Lauryn Hill.[1]

Al Anderson – guitar (track 12)
Marc Baptiste – back cover photography, spine sheet photography
Tom Barney – bass (tracks 1 and 11–13, and interludes)
Bud Beadle – alto saxophone (tracks 1 and 7, and interludes), flute (tracks 1 and 7, and interludes), tenor saxophone (tracks 1 and 7, and interludes)
Mary J. Blige – vocals (track 9)
Errol Brown – engineering assistance (tracks 2 and 10)
Robert Browne – guitar (track 2)
Rudy Byrd – percussion (tracks 3, 6, and 8)
Kenny Bobien – backing vocals (track 4)
Chinah – backing vocals (track 9)
Jared Crawford – live drums (track 4)
D`Angelo – Rhodes piano (track 12), vocals (track 12)
DJ Supreme – DJ elements (track 5)
Don E – Hammond B-3 (track 1 and interludes), Rhodes piano (track 1 and interludes), piano (track 1 and interludes), Wurlitzer (track 1 and interludes)
Francis Dunnery – guitar (tracks 1, 11, and 12, and interludes)
Paul Fakhourie – bass (track 3)
Veronica Fletcher – hair
Tameka Foster – styling
Dean Frasier – saxophone (tracks 5 and 10)
Jenni Fujita – backing vocals (track 5)
Anita Gibson – make-up
Debra Ginyard – styling
Erwin Gorostiza – art direction
Lauryn Hill – arrangement (all tracks), art direction, executive production, guitar (track 6), vocals (tracks 2–16), production (all tracks), songwriting (tracks 1–14 and 16)
Loris Holland – clarinet (track 11), electric piano (track 12), Hammond B-3 (tracks 1 and 12, and interludes), organ (track 14), Rhodes piano (tracks 1, 12, and 14, and interludes), piano (track 1 and interludes), Wurlitzer (tracks 1 and 12, and interludes)
Matt Howe – recording (tracks 1 and 7, and interludes)
Indigo Quartet – strings (tracks 5, 13, and 14)
Derek Khan – styling
Devon Kirkpatrick – digital editing
Storm Jefferson – recording (tracks 8, 9, 11, and 12), mixing engineering assistance (tracks 2, 8, and 9)
Eric Johnson – photography
Fundisha Johnson – backing vocals (track 5)
Sabrina Johnston – backing vocals (track 4)
Ken Johnson – recording (track 9), recording engineering assistance (track 4)
Julian Marley – guitar (track 10)
Jenifer McNeil – backing vocals (track 9)
Chris Meredith – bass (tracks 8, 10, and 12)
Johari Newton – guitar (tracks 2, 3, and 8), lyrical songwriting (tracks 6 and 13)
Tejumold Newton – musical songwriting (track 14), piano (track 3)
Vada Nobles – additional production (track 2), drum programming (tracks 2, 3, 5, 6, 8, 10, and 13)
Grace Paradise – harp (tracks 4, 6, and 8)
Che `Guevara` Pope – drum programming (tracks 5, 6, 8–10, 12, and 13), production (tracks 2 and 4)
Herb Powers, Jr. – mastering (all tracks)
James Poyser – celeste (track 5), electric piano (track 5), harpsichord (track 6), Moog bass (tracks 6 and 9), musical songwriting (track 6), organ (track 3), piano (track 5), Rhodes piano (tracks 3, 5, and 12), synth bass (tracks 2 and 4), Wurlitzer (tracks 3, 5, and 6)
Tony Prendatt – engineering (track 14), recording (tracks 1, 6, 7, 9, and 12–14, and interludes)
Rasheem Pugh – backing vocals (track 5)
Lenesha Randolph – backing vocals (tracks 4, 5, 9, and 13)
Squiddly Ranks – live drums (track 8)
Everol Ray – trumpet (tracks 5 and 10)
Warren Riker – recording (tracks 4, 5, 8, and 12), mixing engineering (tracks 2 and 9)
Ramon Rivera – backing vocals (track 9)
Earl Robinson – backing vocals (track 4)
Kevin Robinson – trumpet (tracks 1 and 7, and interludes), flugelhorn (tracks 1 and 7, and interludes)
Ronald `Nambo` Robinson – trombone (tracks 5 and 10)
Matthew Rubano – bass (tracks 9 and 13)
Carlos Santana – guitar (track 4)
Jamie Seigel – mixing engineering assistance (track 4)
Andrea Simmons – backing vocals (tracks 4 and 9)
Earl Chinna Smith – guitar (tracks 2 and 10)
Andrew Smith – guitar (tracks 1 and 7, and interludes)
John R. Stephens – piano (track 13)
Eddie Stockley – backing vocals (track 4)
Greg Thompson – mixing engineering assistance (track 3)
Shelley Thunder – vocals (track 10)
Neil Tucker – recording engineering assistance (tracks 1 and 7, and interludes)
Elizabeth Valletti – harp (tracks 1 and 7, and interludes)
Chip Verspyck – recording engineering assistance (tracks 1, 3, and 7, and interludes)
Brian Vibberts – recording engineering assistance (tracks 6, 10, and 12)
Fayyaz Virji – trombone (tracks 1 and 7, and interludes)
Ahmed Wallace – backing vocals (tracks 9 and 13)
Tara Watkins – backing vocals (track 9)
Gordon `Commissioner Gordon` Williams – engineering (tracks 9 and 14), mixing (tracks 1, 2, 4–6, 8, 10, 11, 13, and 14, and interludes), project supervision, recording (tracks 2–6 and 8–12)
Suzette Williams – A&R
Joe Wilson – piano (track 14)
Rachel Wilson – backing vocals (track 9)
Johnny Wyndrx – recording (track 4)
Chuck Young – backing vocals (track 3)
Stuart Zender – bass (tracks 1 and 7, and interludes)