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The Miseducation of Lauryn Hill

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艺人: Lauryn Hill
语种: 英语
唱片公司: Ruffhouse
发行时间: 1998年08月25日
专辑类别: 录音室专辑
专辑风格: 另类说唱 Alternative Hip Hop, 当代节奏布鲁斯 Contemporary R&B, 新灵魂乐 Neo-Soul
The Miseducation of Lauryn Hill

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Lauryn Hill专辑介绍:
Fugees (Refugee Camp)女主音Lauryn Hill的1998年首张个人专辑《The Miseducation Of Lauryn Hill》不但出现在所有杂志的年度最佳专辑推荐名单上并且与专辑中所选出的首支单曲'(Doo Wop)That Thing'双双登上Billboard杂志冠军王座。
 
像所有优秀的黑人音乐一样,因为质朴真诚而动人。这是张个人色彩浓厚的作品,其中涉及的主题从Lauryn个人的感受一直到社会政治议题都有,而在音乐部份的铺陈更显出这位来自纽泽西南橘郡(South Orange)的年轻女生精练且圆熟的大将之风——大胆地直入音乐广场,精准地藉各式音乐元素描绘出最靠近她心底的想法。有时候,她会使用些曲折的幽默手法,有时则很直接,有时她的痛苦和忿怒又缓缓道出,但无论是何种情绪,她绝对不会采取非常激动的手法大声狂吼,她的情绪表现方式已被日常的生活经验洗礼过。
 
至于奇怪的专辑标题,Lauryn建议大家不要太从字面上去断章取义。这位现年23岁,在1998年生子之前曾在哥伦比亚大学就读过一年的歌者解释道:“关于‘失学(Miseducation)’的概念并不完全代表‘失学’,对我而言,那代表的是你在学校之外所学到的东西,在社会所定义的‘正规’与‘义务’之外的地方。我很尊敬正统学院教育,只是我认为在教室之外还有很多事情值得我学习。那是在我们离开理想中的乌托邦、进入成人世界的一个必经历程。”
 
这张专辑在滚石杂志选出的500张历代最强专辑中排名第312位。
 
Though the Fugees had been wildly successful, and Lauryn Hill had been widely recognized as a key to their popularity, few were prepared for her stunning debut. The social heart of the group and its most talented performer, she tailored The Miseducation of Lauryn Hill not as a crossover record but as a collection of overtly personal and political statements; nevertheless, it rocketed to the top of the album charts and made her a superstar. Also, and most importantly, it introduced to the wider pop world an astonishingly broad talent. Hill's verses were intelligent and hardcore, with the talent to rank up there with Method Man. And for the choruses she could move from tough to smooth in a flash, with a vocal prowess that allowed her to be her own chanteuse (à la Mariah Carey). Hill, of Haitian heritage, rhymed in a tough Caribbean patois on the opener, "Lost Ones," wasting little time to excoriate her former bandmates and/or record-label executives for caving in to commercial success. She used a feature for Carlos Santana ("To Zion") to explain how her child comes before her career and found a hit single with "Doo Wop (That Thing)," an intelligent dissection of the sex game that saw it from both angles. "Superstar" took to task musicians with more emphasis on the bottom line than making great music (perhaps another Fugees nod), while her collaborations with a pair of sympathetic R&B superstars (D'Angelo and Mary J. Blige) also paid major dividends. And if her performing talents, vocal range, and songwriting smarts weren't enough, Hill also produced much of the record, ranging from stun-gun hip-hop to smoother R&B with little trouble. Though it certainly didn't sound like a crossover record, The Miseducation of Lauryn Hill affected so many widely varying audiences that it's no surprise the record became a commercial hit as well as a musical epoch-maker.
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