The Score

Intelligent, a little angry, and with effortless cool. Perfection. “So while you fuming, I’m consuming mango juice under Polaris You’re just embarrassed 'cause it's your last tango in Paris And even after all my logic and my theory I add a ‘motherfucker’ so you ignant niggas hear me” Mic drop

This was the first album that was a real struggle for me. Thankfully, there are a few well known tracks on here such as Fu-Gee La and Killing me Softly, but without those I think I'd have turned it off halfway through. I feel like I'd appreciate this more if I could be arsed to listen more closely to lyrics, or maybe if I was in more urban surroundings, but this definitely does not suit autumnal small middle class English town vibes. When I put in the effort to listen to lyrics, I did appreciate them, but I never do pay too much mind to lyrics in general. This is hard to rate as I did enjoy the songs I knew but everything outside of those few songs were a proper struggle.

The only disappointment it shame here is that the Fugees didn’t stay together. Wow, what could have been. Miseducation of Lauryn Hill was great, Carnival was very good… but the Score is next level. Unmatchable. Six stars if I could. The rhymes, the references, I could go on and on.

This album is an absolute phenomenon, a supernova for the group. While I do like some of their solo material that came afterwards, I feel they were stronger together. In fact, when I think about it, I personally tend to prefer hip hop groups like this for the dynamics it provides. I feel like this album is largely a result of their creating a home studio and being given complete artistic control. A case where label trust paid off in dividends. I love the atmosphere they captured and cinematic flow throughout. Always been more of a fan of the east coast sound in general. The Fugees are particularly skilled at layering (often brief) overdubs in just the right places to build a very complex sound that isn't overly dense so as to weigh it down. Lauryn Hill is definitely my favorite female rapper and a big part of what makes this album stand out. Another thing that sets this album apart are the covers/adaptations they incorporated and while some may think that may detract from it as a pure hip hop album in some way, I think it's stronger for it musically. In fact, I think this album's greatest strength may be it's depth and range of emotions.

I should say i liked this for cred but i didn't, it bored the tits off me

Hip-hop is a lot easier to listen to now that each rap album doesn't come with 15 minutes of bizarre skits interspersed throughout the songs. The Chinese restaurant skit brings this album to a full stop. Setting that aside, this is a great album. Filled with classics. The music is diverse and interesting throughout, and each member of the group brings a lot of lyrical strength to the album, though Lauren Hill is the clear leader of the group. This album is dense. Killing Me Softly doesn't come until halfway through the album, as if it was an afterthought among all the other great songs on the album. It's good straight through to the last song 5/5

The Platonic Form of Hip Hop. Lauryn Hill is hands down what elevates this album to a firm 5.

The music on this album is present, but not really a feature. The music takes a back seat which allows our focus to be on the main thing. And the main thing are the words, the verses, the social exposition. Mista Mista is a stark commentary on a person in need of help who is denigrated when asking for assistance. The Beast is another strong account of a system rigged against black Americans. I enjoy Ready Or Not and Zealots, where the sample is spot on. The famous covers on the album, Killing Me Softly With His Song and No Woman No Cry, are well done. I like hearing this album, and I feel like I should like it more. But when it comes down to it, I’m not putting it in my library, and that’s the line I draw between 3 and 4 stars. I’m not quite sure why. I don’t have a very good explanation, which bothers me. My only thought is that there isn’t much variety to the sound amongst the songs. They all kind of blend together aesthetically from a high level. That’s all I got.

I've heard about this album for a while, but this is my virgin listen. Nice grooves but a lot of the tempo and vibe felt the same, except for the covers. Not bad, but didn't do a lot for me.

I didn't listen. But a 1 for being a racist moron.

Incredible album. Like a great piece of classical music, this album was thematic, self-referential, and incorporated previous melodies and lyrics to create a sense that this album is meant to be listed to as a whole, as a piece of music rather than a collection of songs. The flows on this album are some of the best I've ever heard. Lauryn Hill is the clear standout, though Wyclef Jean and Pras Michel are also incredible. It's no wonder why this group is one of the most influential in hip hop.

Hip hop is not my thing, and maybe this was different for its time, but I absolutely hated this. Not only was the start weird, confusing, couldn't understand what people were saying with just a bunch of talking over each other, but each track felt identical. Not just to every other track, but they all felt like a very bland, boring, "generic" hip hop sounds hundreds of other artists do this exact same way. Maybe they kicked it off, but it just sounds like a shitty SoundCloud rapper's recording from their parents basement

This is the exact definition of the style of hip hop that I love. Laid back, sonically interesting, writing that's both intelligent and funny, expertly crafted.

Chill stuff, classic hip hop, listened while making cat art

Solid, enjoyed more than I thought I would. Bit samey in places.

Pretty unique record this. Manages to be soulful and still have that nineties street feel. I'm a fan of the melodic flows the group use, definitely adds extra colour to tracks. Ms Hill is probably the stand out member. She brings a confident feminine swagger and perspective that I don't think you see often in any album, let alone a hip hop one. There's a world music feel to it too, which definitely add to the NY/big city vibe. Don't think that this makes it into five territory, but it's a top drawer album.

Jeez, what an album. And the timing is perfect. The Fugees are on everyone's radar once again after announcing their return, touring 'The Score' to mark its 25th anniversary. I just watched some clips of them playing Global Citizen Live. They tore the place up! What a performance. Lauryn Hill remains a force of nature. I get goosebumps every time I hear her rap on 'Ready or Not'. Check out her live version of the song at Atlantic City Limits if you want goosebumps of your own. A five star review, right? The only thing that brings 'The Score' down is the skits. Do any hip hop skits really stand the test of time? Maybe a few of Eminem's; Wu-Tang Clan had some funny stuff on their albums. Busta Rhymes' 'Only One Year Left' was prescient and remains as disturbing as when it was released via 'Extinction Level Event' in '98. But across a whole album? Lauryn Hill's 'Mis-education...' is probably the only record where all the skits remain timeless; but that's due to the unwavering sentiment and the connection to the narrative as a whole. You can't say the same for 'The Score' and the skits definitely knock it down a tad from being one of the all-time great albums. Still, what an album. Maybe it's the nostalgia of seeming them playing it together again after 2 and a half decades, but each track has just improved and aged like well-rhymed moonshine. The hits remain classic: 'Fu-gee-La' to 'Ready or Not' and 'Killing Me Softly', of course. ONE TIME. But even the fringe songs bring new life to them. 'The Beast' has manifested from feeling like a slightly sinister and unnerving skit to something hugely topical and ahead of its time. I now appreciate the mastery of using 'Dove' by Cymande for the sample in the song 'The Score' whereas I wouldn't have known the reference back in the day. Even the cover of 'No Woman, No Cry' I can now appreciate, despite all the slightly hammy interjections and lyric changes from Wyclef Jean. Above all, I just love Lauryn Hill. So much talent. I hope 'Mis-education...' made it onto the 1001 list, but if not I can at least get my fix and settle for her brilliance on 'The Score'. TWO TIME. Hey. You can't listen to 'The Score' too many times, let's be honest.

The skits aren't de trop, but the raps can be hard work, and the aesthetic is B-team Wu-Tang.

I struggled through

I actually loved this, didn't think I would. I never would have listened to hip hop on my own! I think I'll be a lot more open to it now. The mask and their cover of no woman no cry are added to my rotation now.

yeah this was pretty great. i'm not a big rap guy but there were several songs on here i already knew before this. the quality of the rapping and the beats/production were great. the skits were kind of corny - we don't have to talk about the restaurant one... but otherwise OK. overall, I really enjoyed my time with this album!

Absolutely incredible. I wouldn't even say there's a single average song on here, let alone a bad one. Has the same characteristic as most hip hop albums where the samples pretty much remain static throughout each song which is a mixed bag for me (I can find it really repetitive), but here I don't mind it. Swapping between vocals, as well as just playing with a bunch of different genres from song to song keeps everything dynamic, but it never loses cohesiveness. The whole thing is over an hour and I didn't even realize it. Can't really think of a negative thing to say about it. It's easily one of the best albums I've ever heard. Fav Songs Ready or Not Fu-Gee-La Family Business Killing Me Softly With His Song The Score Cowboys No Woman, No Cry Not part of the original album but Mista Mista is also really great

Ooo la la la! Classic hip hop album. What's not to love in it? Plus, someone like me, who loves to keep the *score*, is bound give this one a five, isn't he? Inventive rap flows, Lauryn Hill's mellifluous voice, an all-around pristine production, interesting covers, great originals... This record is killing me softly with its songs every time I play it. Number of albums left to review or just listen to: 848 Number of albums from the list I find relevant enough to be mandatory: 83 (including this one) Albums from the list I *might* include in mine later on: 38 Albums from the list I will certainly *not* include in mine (many others are more important): 32

Honest and raw, this album oozes truth.

How have I never listened to this album all the way through. Beats, production, samples, singing, rap, features were truly perfect. They perfected their sound

“The Score” by Fugees (1996) First time listen. Nice grooves, interesting reggae feel, well recorded and mixed. Sampling is not overdone (but really, Enya’s “Boadicea” on “Ready or Not”?). It’s hip hop I could listen to on a long drive. Tasteful reverb. Very good sound. But what stands out on this album is Lauryn Hill’s voice—powerful, throaty, and resonant. I could listen to a lot more of that. Hill’s “Killing Me Softly” is better than Roberta Flack’s. It’s that good. I bought it. Lyrics are full of references that require the listener to pay attention and maybe do some research, which is appealing, but they often lack significance. Or sometimes I wonder if the artists are even aware of the fact that, for instance, the skillfully rapid “la-las” on the chorus of “Fu-Gee-La” came straight off the intro to Billy Stewart’s cover of “Summertime”(1966). But again, to what end? It’s cool, but why? It’s rather like Mozart to a guy who is more into Mahler. I could do with less of the standard 1990s rap lyric boastfulness, but maybe it (or I) will develop. This is very good album. In the history of American recorded music, Fugees are here to stay. I love this country. 4/5

This was EVERYWHERE in 1996, so much that it sounds like wallpaper to me today. One Time. Essentially, Lauryn Hill and a pair of clowns, with variation in quality accordingly. Scrapes 3* from a fond memory of a bus ride along Ladbroke Grove with a gang of local schoolchildren singing "Killing Me Softly" perfectly, harmonies and all. Two Times.

J'avais bien évidemment des a priori au sujet de Lauryn Hill avant de lancer cet album. La presse s'en donne généralement à cœur joie pour critiquer son comportement capricieux. Je lançai toutefois la lecture du projet en question. Mais alors que les pistes défilaient, toujours pas la moindre trace de Lauryn. "Patientez encore un instant, Lauryn Hill devrait arriver d'une minute à l'autre." annonçait régulièrement une voix. Je patientai donc encore un peu. Alors que je vis sur mon écran que l'avant-dernière piste venait de commencer et que la star n'avait toujours pas prononcé le moindre mot, je décidai d'abandonner l'écoute, très énervé et remonté.

Attention Robert, après une période d'eldorado du générateur, voila que tu te remets a nous proposer une longue serie d'albums de qualité insuffisante pour obtenir un 4/5. Nous ne céderons pas à la panique, mais restons néammoins sur nos gardes.

Another album I thought that maybe I would enjoy. And yet, I really, really, didn’t. Seems like the beats were all similar except the covers and Killing Me Softly. The later ALMOST makes me raise this to a 2, but the number of times I wanted to switch to anything else was just too much for me.

Wow, I absolutely hated this one. There are some hip-hop albums on this list that make me think "hm, maybe I don't necessarily dislike hip-hop after all". And then there are ones like this one that just suck so much.

Nooooo

Absolute claptrap

I really dislike this album and have nothing positive to say. sorry

Garbo

Hate everything about it.

Dont like 90s rap. This album sucks

Not a fan

This is, and I say this with love, such music nerd shit. A rap album that acts as a whirlwind tour through through Black American music from the 50’s onwards, with some Reggae influence thrown in for good measure, which is somehow still utterly convincing as a social document as well. It helps that The Fugees all clearly love and appreciate music as much as their audience does and so the interpolations, samples and yes, even straight covers of Robert Flack and Bob Marley don’t ever come across as biting, but as genuine appreciation for the musical influences they’re building on

Yes, yes, yes.

Fucking amazing.

I used to listen to this a bit when I was 15 so I’m a bit nostalgic with it. I used to think I was hipster listening to it, then I found it’s one of the best selling hip hop albums and one of the most streamed 90s hip hop albums. It’s got some great heavy hitters and a couple songs that sorta just move along but overall it’s a great, dark experience

I LOVE LAURYN HILL!!!!!!!!!!!!!

groundbreaking album in so many ways. Two of the three artists are unapproachable.

This album came out when I was 16. Listening to it sparks deep nostalgia. I can smell my first car and the Case Logic CD case I kept this disc in.

Erykah Badu steals the damn show. Amazing production. One of the most listenable hip hop albums from start to finish.

Adorei descobrir que eles são as vozes de clássicos dos cinemas e eu nem sabia! Muito bom.

Wonderful.

Fantastic. Her voice is so nice, and her rapping is top notch. Plus the other guys add a great flair to it. One of the best blends of rap and r&b I've heard

Really good hip hop album. Im definitely coming back to this. Favs: How many mics, Zealots, The Beast, and Cowboys.

This whole album makes me happy. 6/5

Amazing blend of musical styles and lyrics.

10/10

Favorite Track: Family Business

This is one of the pinnacles of hip hop. The possibly racist depiction of an Asian restaurant owner is unfortunate, but it's overshadowed by the brilliance of the lyrics throughout.

Just a real chill, classic-sounding 90s hip hop album. Most songs were pretty long, but I didn't even really notice. The flow was top notch and the skits were minimal (which is a plus for me personally). Very bumpable.

This album was everything when it came out. Listening now some of the lyrics are silly. Lauren Hill was clearly the star of that trio IMO.

Better than I remembered

Got three tracks in before I realized I was on the radio edit version. Got better after that.

Banging

Classic

An absolute classic album for people of my generation - if you're into this sort of music, and perhaps even if you aren't. It was one of the soundtrack albums of 1996, and beyond. I don't think there is one weak track on it. The vocals complement each other, and the music, perfectly. I listened to it one, then again, for a grand total of "two times"!

The production, the rhymes, the variation in styles between each group member; one of the greatest hip-hop albums I've ever heard. Idk how I went this long without actually giving this a proper listen.

Favourite tracks: how many mics; fugela; killing me softly with his song; ready or not; no woman no cry

This is a one of a kind album. I’m not really into gangster rap, and this is one of those “anti-gangster rap” rap albums that I love.

This is a great album. There's plenty of variety on here and I was vibing along the whole time. The production is on point and Lauryn has so much talent.

The greatest hip-hop album of all time in my opinion. I remember being in middle school listening to this thing on repeat, over and over. Finally got to see the Fugees in concert last year.

I am even willing to overlook the stupid skit featuring racist Cookie Monster

literally seamlessly perfect

What a great hip-hop album. These songs were everywhere when I was a kid and they still hold up to this day. So many great samples are used throughout the album, I especially loved the Dove sample in The Score. Wyclef’s cover of No Woman No Cry is an all time favorite. Excellent production, excellent lyricism, excellent execution.

This was just so good. The vocals, the lyrics, the samples. Excellent.

The Score remains undefeated, almost 30 years later. It's astounding how much the sound of this album, released in 1996, would influence and straight up dictate what the underground rap scene would sound like for the next half of a decade. Wyclef and Pras are great on this album, of course, and act as a perfect compliment to the singular talent at the apex of her powers, Lauryn Hill. Hill is so good on this entire album that it makes you wonder how she's not wildly viewed as one of the greatest artists that has ever been produced (I guess some may think she is, though I'm not sure that enough people know as much about her as you'd hope). The late 90's underground hip-hop sound/vibe is really my favorite genre subcategory, so I'm always going to be drawn to this sort of an album, but this is a total one-of-one record, an All-Timer that should largely be considered one of the handful of albums that everyone should hear.

Excellent from start to finish

A certified classic

4 bangers and just no weaknesses here.

This album is great. I thought I hadn't heard it but I knew basically every song, and I even recognized a decent amount of the samples! Great rapping, great musicality, great jams all around

Svår att betygsätta neutralt då jag haft en svårt intim relation med den här skivan (den och Coolios Gangsta’s paradise var de första hip hop-skivor jag köpte som 13-åring). Har snurrat hundratals gånger på pojkrummet. Hursomhelst är den förstås inget annat än ett mästerverk under en era då hip hop var som absolut bäst. Att outrot är typ bästa låten på skivan, trots alla andra hits, säger allt.

It does not get much 'cooler', a classic

**In-depth Review of "The Score" by Fugees: Lyrics, Music, Production, Themes, and Influence** --- **Introduction** Released on February 13, 1996, *The Score* by Fugees is a landmark album in hip-hop, blending eclectic musical elements, political and social commentary, and masterful lyricism. It features the trio of Wyclef Jean, Lauryn Hill, and Pras Michel, who collectively crafted one of the most influential albums of the 1990s. From its innovative production to its socio-political themes, the album stands out as a defining work in both the hip-hop and broader music landscape. --- **Lyrics** The lyricism on *The Score* is complex and multi-layered, showcasing each member’s distinct style. Lauryn Hill, with her piercing, soulful delivery, often stands out for her poeticism and depth, while Wyclef Jean and Pras offer contrasting but complementary perspectives. - **Lauryn Hill**: Hill’s lyrical prowess is one of the album’s highlights. Her verses are introspective, often exploring issues of identity, gender, and social justice. In "Ready or Not," Hill seamlessly blends vulnerability with defiance, rapping, “I play my enemies like a game of chess / Where I rest no stress if you don't smoke sess.” Her lyricism is intellectual and emotive, employing metaphors and double entendres that demand close listening. - **Wyclef Jean**: Wyclef’s lyricism is more eccentric and unpredictable, often incorporating a mix of languages and regional dialects, reflecting his Haitian roots. His strength lies in his storytelling ability, as seen in tracks like "Zealots," where he weaves historical and cultural references into his verses. - **Pras Michel**: Although Pras is often regarded as the least technically skilled of the three, his contributions should not be understated. His verses are straightforward but grounded, often providing a solid foundation for the more flamboyant styles of Wyclef and Lauryn. **Themes** One of the most striking aspects of *The Score* is its exploration of a wide range of themes, from racial identity to political corruption and personal struggle. - **Social Commentary**: The Fugees use *The Score* to critique systemic oppression, police brutality, and the struggles of the Black experience in America. Tracks like "The Beast" and "Ready or Not" are steeped in a critique of institutionalized violence and racism. The trio speaks from a place of both personal experience and historical consciousness, highlighting the injustices faced by marginalized communities. - **Refugee Identity**: The Fugees’ name itself is a nod to the immigrant experience, and this theme is woven throughout the album. Wyclef, in particular, brings his Haitian background into the conversation, discussing the broader struggles of displacement and cultural alienation in tracks like "The Score" and "Family Business." The trio doesn’t shy away from addressing their outsider status in both American and global contexts, using their music as a platform to speak on behalf of the voiceless. - **Gender and Empowerment**: Lauryn Hill's presence adds a unique layer of feminist commentary to the album. Hill navigates a male-dominated industry with grace, often delivering some of the most poignant lines about self-empowerment. In songs like "Ready or Not," Hill flips the script on vulnerability, asserting her autonomy and strength amidst chaos. This feminist undercurrent is subtle but significant, as it gives *The Score* an additional dimension of empowerment, especially for women of color. **Music** Musically, *The Score* is a melting pot of influences that range from reggae to jazz, soul, and traditional hip-hop. The album’s sound is rich and textured, blending live instrumentation with sampled beats, creating a dynamic and expansive sonic landscape. - **Reggae and Caribbean Influence**: Tracks like "Fu-Gee-La" and "No Woman, No Cry" are deeply rooted in reggae traditions, paying homage to the Caribbean diaspora. The use of syncopated rhythms, dub-style production, and reggae-inspired melodies gives the album an international flavor that sets it apart from its contemporaries. Wyclef’s Haitian background clearly influences this sound, and the inclusion of Bob Marley's "No Woman, No Cry" as a cover track is both a nod to reggae's cultural impact and a recontextualization of its themes of struggle and resilience. - **Soul and R&B Elements**: Lauryn Hill’s vocals add a soulful, melodic element to the album. Her singing on tracks like "Killing Me Softly with His Song" and "Ready or Not" provides a stark contrast to the hard-hitting verses, offering moments of vulnerability and emotional depth. Hill’s vocal range and control allow her to infuse each track with a sense of authenticity and raw emotion, bridging the gap between hip-hop and R&B. - **Jazz and Live Instrumentation**: Jazz influences are peppered throughout the album, most notably in the horn sections and improvisational feel of the arrangements. The production often features live instrumentation, creating a warm, organic sound that complements the album's more electronic elements. This blend of live and sampled elements contributes to *The Score*'s timeless appeal. **Production** The production on *The Score* is handled primarily by Wyclef Jean and Jerry Duplessis, with contributions from the likes of Salaam Remi and Diamond D. The sound of the album is both gritty and polished, balancing lo-fi aesthetic choices with lush, layered instrumentation. - **Sampling**: One of the most prominent features of the album's production is its extensive use of sampling. The Fugees cleverly integrate samples from genres as varied as soul, jazz, and reggae. For example, *The Delfonics’* "Ready or Not Here I Come" is sampled for the chorus of "Ready or Not," while Roberta Flack’s "Killing Me Softly with His Song" is reimagined into a hip-hop anthem. These samples are not used gratuitously; instead, they are woven into the fabric of the music in a way that adds layers of meaning and nostalgia to the tracks. - **Innovation in Sound**: The album was ahead of its time in its approach to blending genres and sounds. The production fuses boom-bap beats with lush orchestrations, reggae rhythms, and jazz inflections, creating a soundscape that is eclectic but cohesive. Wyclef's guitar work and the use of live instruments give the album an organic quality that was rare in mid-90s hip-hop. Songs like "Zealots" and "The Mask" showcase a mix of minor key melodies, melancholic strings, and haunting samples, giving the album a dark, cinematic atmosphere. - **Polished vs. Raw**: One of the strengths of the production is its ability to oscillate between polished and raw aesthetics. Some tracks, like "Killing Me Softly," have a smoother, more refined sound, while others, such as "How Many Mics," maintain a gritty, unpolished feel that harkens back to hip-hop's underground roots. This juxtaposition adds texture and depth to the album, making it accessible to both mainstream audiences and hardcore hip-hop purists. **Influence and Legacy** *The Score* is undeniably one of the most influential hip-hop albums of the 1990s, and its legacy continues to resonate today. The album catapulted the Fugees into superstardom, with Lauryn Hill, in particular, going on to become one of the most respected and celebrated artists of her generation. - **Impact on Hip-Hop**: The album helped redefine the possibilities of what hip-hop could be. By blending multiple genres and emphasizing lyrical depth, the Fugees expanded the scope of the genre. *The Score* also set a precedent for politically conscious rap, influencing artists like Kendrick Lamar, J. Cole, and even Kanye West in their fusion of social commentary and artistic experimentation. - **Commercial Success**: *The Score* was both a critical and commercial success, selling over 22 million copies worldwide. It demonstrated that hip-hop could achieve mass appeal without sacrificing artistic integrity. The crossover success of tracks like "Killing Me Softly" and "Ready or Not" helped to bridge the gap between mainstream and underground audiences, making the album a cultural touchstone of the era. - **Lauryn Hill’s Legacy**: While *The Score* marked the end of the Fugees as a group, it served as the launchpad for Lauryn Hill’s solo career. Her 1998 album, *The Miseducation of Lauryn Hill*, is widely regarded as one of the greatest albums of all time, and its roots can be traced back to her work on *The Score*. Hill’s fusion of rap, soul, and reggae, coupled with her deeply personal lyricism, continues to influence artists across genres. **Pros and Cons of *The Score*** **Pros:** 1. **Genre Fusion**: *The Score* effortlessly blends genres like hip-hop, reggae, soul, and jazz, creating a unique, eclectic sound that appeals to a wide audience. 2. **Lyrical Depth**: The album features sharp, insightful lyricism, with each member bringing their own distinct voice to the table. Lauryn Hill’s poetic verses, in particular, elevate the album’s content. 3. **Production**: The use of live instrumentation and innovative sampling techniques makes the album sonically rich and layered. 4. **Cultural Relevance**: The album's exploration of race, identity, and social justice gives it a lasting cultural impact. 5. **Timeless Appeal**: More than two decades later, *The Score* still sounds fresh, thanks to its masterful production and genre-blurring approach. **Cons:** 1. **Pras’ Contribution**: While Pras is solid, his lyrical delivery and skill pale in comparison to Hill and Wyclef, leading to moments where his verses feel underwhelming. 2. **Inconsistent Pacing**: Some tracks, while excellent individually, disrupt the flow of the album, making it feel slightly uneven in parts. 3. **Over-reliance on Covers**: While "Killing Me Softly" is a standout track, the reliance on covers or heavy sampling can feel somewhat less original in comparison to the album’s original compositions. --- **Conclusion** *The Score* by Fugees is a masterclass in musical innovation, lyrical depth, and cultural commentary. It successfully blends various genres to create a sound that remains relevant decades after its release. While not without its minor flaws, the album’s strengths far outweigh its weaknesses, solidifying its place as one of the greatest hip-hop albums of all time. Its influence on future generations of artists, especially in its fusion of genres and its commitment to social justice, ensures that *The Score* will continue to be celebrated as a pivotal moment in music history.

Kicks ass no skips. Powerful in ways, other bands can only dream to be.

Excellent.

When the Fugees broke out, it seemed to come out of nowhere (though, in truth, they had been working behind the scenes for years), and the overwhelming success of The Score caught everyone by surprise—including, I suspect, the three members themselves. As a result, the album radiates bold energy and youthful confidence. At the time of its release, Wyclef was 26, Pras 23, and Lauryn Hill just 20. This enthusiasm translates into an album that feels both raw and assured. The trio doesn’t just showcase their lyrical abilities; they tackle deeper issues like systemic racism, police brutality, and social inequality—topics not always front and center in 90s hip-hop. Lauryn Hill’s ability to switch effortlessly between soulful singing and incisive rapping is particularly striking, while Wyclef’s genre-blending production pushed the boundaries of what hip-hop could sound like. The Score is packed with memorable hooks and instantly quotable lines. Covering two iconic tracks—“Killing Me Softly with His Song” and “No Woman, No Cry”—was a risky move, but the Fugees infused both with their distinct style, making them feel fresh and personal. However, the album’s real strength lies in the consistency of its original tracks, a rarity at a time when listeners couldn’t preview songs before buying the full CD. Tracks like “Ready or Not”, "Fu-Gee-La" and “How Many Mics” not only became 90s hip-hop staples but also highlighted the group’s tight lyrical interplay. With the benefit of hindsight, we now know this would be the Fugees' final release. While the individual members went on to varying degrees of solo success, it’s hard not to wonder what more they could have achieved together. Did I own this release? Yes Does this release belong on the list: Yes Would this release make my own list: Yes Will I be listening to it again: Yes

One of the best albums yet -

Spoiler: Yes. While \"The Score\" is in this here family's vinyl collection and I obviously know the album, I had not listened to it in, seriously, ages and expected to just merely 𝘭𝘪𝘬𝘦 it, now and today, like 4 star like it but ultimately be somewhat bored. But nah. This is ace. Varied, cool, effortless, with a superb flow throughout its runtime. What a stunning contrast to yesterday's 50 Cent. Just great. Happy to have had this today.

This album came out a year or two before I started finding and listening to my own music and for whatever reason I never listened to this one cover to cover beyond the singles. I grew up knowing Wyclef and Lauren Hill more as solo artists. I don’t know hip hop well enough, but love 90s stuff and thought this was super fun. Love the Beast and the Score.

One of the greatest hip hop albums ever

Another all-time classic.

There are songs I love that sample this album and I had no idea

Открыл для себя эту крутую группу, слышал пару треков, но не знал что это они.

I cannot overstate how absolutely fantastic this album is. I haven’t listened in many, many years, but holy shit. Not only does it hold up, it is definitively on the Mount Rushmore of hip hop albums. The beats, the lyrics, the wordplay, the interplay between the MCs - It’s all flawless. I often complain that we don’t have half stars in this, and for good reason. Even some of the other 5 star albums I’ve rated don’t hold up to this masterpiece.

A fantastic album. Like Fleetwood Mac, the Fugees were a power group that delivered lyrically with amazing arrangements, but burned bright for only one album. One of the best albums of the 90’s. 5/5!

feels like the first time I’ve ever listened to this album! Everything seems so relevant and fresh, will need to put this in the rotation!

01) Red Intro - 8,0 02) How Many Mics - 8,5 03) Ready Or Not - 10,0 04) Zealots - 9,0 05) The Beast - 8,5 06) Fu-Gee-La - 10,0 07) Family Business - 8,5 08) Killing Me Softly With His Song - 10,0 09) The Score - 8,5 10) The Mask - 9,0 11) Cowboys - 8,5 12) No Woman, No Cry - 10,0 13) Manifest/Outro - 9,0 TOTAL: 9,04 (90/100) Current ranking: 26/265 Fugees were the first to show me that hip hop can be fun, have a melody and that I can actually like it. The singles from this album are all five stars, the rest is also not bad. Lauryn Hill has a beautiful voice, and her rap skills are second to none. Wyclef and Pras are also masters of their craft. This is definitely one of those albums that are ground breaking in their own genre.

5 star album! Groovy beats, catchy tunes, with fantastic production. I recently heard Lauren Hill from Miseducation, liked her here better than that one. Favorite track: Ready or not other picks: how many mics, killing me softly, fu gee la, cowboys, no women no cry

This album cover is one I’ve seen countless times since the ‘90s and early 2000s. Surprisingly, I never listened to it back then. During the early to mid 2000s, I was deeply immersed in hip hop, but this album somehow slipped through the cracks. It’s a shame because this is exactly the style and sound I would have gone crazy for. Their lyrics are incredibly smooth and catchy, and their vocal delivery is top-notch. The production is stellar, featuring darker atmospheric synths that add depth and dimension, coupled with excellent sampling. This album is a gem that I’m glad I finally discovered. Better late than never!

Really different than what I normally listen to. I feel like part of what makes it so special is that it has a clear narrative aim and manages to do exactly what it's trying to do. I feel like I need more than a day to sit with it and have a fully developed opinion, but definitely a super sharp and thoughtful album.

Easy 5 here. Great music, great lyricism and storytelling, great vocals. It was fun to hear so many familiar sounds as well — both from the songs this album is sampling and the songs that sample this album.

"ready or not", "killing me softly with his song", "no woman, no cry", "cowboys" e "mista mista". Essas são as faixas que mais gostei, as transições de uma música para outra são incríveis.

I really enjoyed this record. All three have a good flow, and together it works great. Hill especially is both a great singer and great rapper. It's got a laid back cool that I really like. However, there's SO MANY fecal puns. And they all take me out of the groove, because they don't fit at all. It's by far my biggest problem with the album.

This was soooo good. Every song is a banger wow