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4.4 out of 5 stars
4.4 out of 5 stars
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on 5 August 2002
How many of you here danced to "Killing Me Softly" at your school leavers disco back in y6? Come on, be honest... One of the most successful crossover albums of all time, "The Score" put the Fugees on the map in a big, 10 million-plus-selling way. Conversely, it ruined them. Curious for the story behind the pop? Read on...
The year is 1995. After their first album "Blunted On Reality" (1994) caught the ear of rap's underground cogniscenti, the Fugees, then entitled "The Tranzlator Crew" looked for greater commercial success. All but abandonning the fiercely, ferociously energetic sound of "Blunted" for a softer feel, the Fugees pulled off the hardest trick in the book: they kept the respect of the faithful and conquered the charts simultaneously, leaving as their legacy the best East-Coast hip-hop album of the 1990's.
The most celebrated traits of "Blunted" were also its weakest. An album relying on hectic, fast paced beats with occasional bouts of soul and rapid-fire rhymes meant that in many a way, it was too clever. All three members had interesting commentary to make, mostly based on political situations both within and without the New York community, and were given a unique perspective by the Haitian heritage of Pras and Wyclef. However, unless one were a NY native, or listened excessively to the album, much of it sped by. The style was so advanced as to be abstruse, even for dedicated rap-heads. The album was, and is still, nonetheless a fantastic voyage of a CD, but one which was in the end, unsatisfying.
The internal machinations of the Fugees story have yet to be layed candidly bare in the same manner as the dealings of Death Row have been, and thus reasons behind the radical change that hit with "The Score" just over eighteen months after "Blunted" are still unclear. To say that the Fugees switched horses would be an exaggeration. Instead, they simply slowed the break-neck pace of the one they were already riding. Seemingly gaining five years in age by the recording of "The Score", largely complete by spring '96, the new Fugees, no longer the "Tranzlator Crew" but "The Refugee Camp" came with a wholly different sound, one that smacked of youthful wisdom, premature maturity, inside distance, and other such possible oxymorons.
"The Score" bore several fundamental changes. Whilst maintaining the clever commentary on ghetto life, the 'Hatian' content of the album was cut, taking away at a stroke many of the racial issues that the group had. Instead they concentrated on the wider rap community and its problems under the broader banner of 'Black', such as is exemplified on "Zealots". Essentially a call to a freer rap society more accepting of idiosyncracies the group so obviously possessed, tracks and odd lines put across the obvious Fugees' ideals: artistic liberalism ("Zealots"), peace and candour in the treatment of the black populace ("The Beast"), and a call to end black-on-black violence ("Family Business").
Many other groups of the time were trying to put out this message, but few suceeded with the style of the 'Gees. It is clear when listening to the album that what one hears are some very intelligent MCs, able to record both convincing street talk (listen to the incredibly comic "Chinese Take Out" scene at the end of "The Beast") and quote figures such as Nostradamus in clever analogies ("My life is filled with less hope than the prophecies of Nostradamus", "Family Business"). Meanwhile "Fu-gee-la" has the decidedly West-Indian lilt that characterised them on "Blunted", both in musical style and the heavily assonant rhymes, especially those delivered by Lauryn.
It was these songs that kept the rap fans happy; but to conquer the commercial market the Fugees employed the secret power of the cover. Out of their three major smashes off the back of the album, two were covers. "Ready or Not" was a marvellously menacing, laid back track that summed up everything the Fugees were about - relaxed, in control, playing enemies "like a game of chess". The other two were bigger and covered: "No Woman, No Cry" and "Killing Me Softly". Although many use this to diss the group now that they are unable to reply as a whole, the fact that they did admirable covers that did not have the purists up in arms is a real tribute. It also proved that the group, especially Lauryn, were not ghetto-flashes-in-the-rap-pan, and could, indeed would, move out and up. "Killing Me Softly" sold millions worldwide, and still receives commendable airplay today. "No Woman, No Cry" opened up a musically profitable association with the Marley family, and broadened the group's horizon.
The Fugees couldn't handle the huge success that "The Score" brought. Whilst the split was neither public nor especially acrimonious, it quickly became clear that another Fugees album was not immediately on the cards. They handled it in the way the album had illucidated: cool, laid back, keeping business private, but it was nontheless a sad event when three solo albums came out in '98. The eclectic talents of the spiritual, observant MCs and musicians would never come together again. This mix of the philosophical and the street that chracterised "The Score" would fail to work for any individually. Lauryn's work on "The Miseducation..." was amazing, but how infinitely better it would have been with Clef's clever rhymes that so evocatively vivified and vituperated the street life of modern New York. However, the legacy they have left is a timeless classic offering universal wisdom in amazingly fluid language ("Cowboys" is underecognised for its universal truth to all human societies: everyone really does want "to be a cowboy."), and we must be content with that.
by Brian Melican
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on 4 June 2003
Pure class. This album will always stand up there with the greats. The rhymes of lauryn flow smoothly across raw beats. Stand out track without a doubt has to be the no woman no cry cover, it is really phenomenal, can't knock a legend like marley but it is better than the original. Minor fault may be the amount of fu gee la tracks. But this is still truly a masterpiece.
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Listening to The Score after all these years was so refreshing, the mellow B lines, the rhythm, the Rapping, ambience and samples - it just all made me nod my head and listen to it over and over again on my 5 hour journey to Barmouth from London.
Ok, some of the tracks are naff, but the good ones more than make up for it.
Brilliant classic Hip Hop and Timeless.

4 stars as some tracks are seriously bad
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on 24 June 2001
The voice of Lauren Hill is just incredible, no one can state otherwise. Her beautiful chords and harmonies aswell as the mellow singing from the Fugees makes all the tracks superbly catchy. It's a must if you love RnB, soul or hiphop! With so many amazing songs that have been so popular, includind dowop and killing me softly you can't resist! Well I couldn't!
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on 2 May 2014
I love this album since It reminds me of my childhood. get it as I like nearly every track onit and its great value for money, timeless music!
Packaged beautifully too, rest assured it will arrive in tip top condition. Many thanks Amazon.
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on 28 June 2011
For many years I've been meaning to get this album and have no idea why I didn't sooner!

It's back from an era when hip hop still had meaning and soul, and it's all the better for it. I would imagine most of the people here will have been lured in by the best known and popular singles from the album - and popular for good reason! But if you like those, chances are you will equally enjoy the rest of the album, as it follows much the same vein, though with perhaps less mainstream appeal.

Wyclef Jean, Pras Michel and Lauryn Hill perfectly compliment one another, and to this day I don't personally think I've heard a female rap artist who's style I like more than Lauryn Hill. It's so refreshing to hear a female voice in a mostly male dominated genre, especially these days when all you seem to hear about in rap songs are 'bitches', which continually makes me despair at how much of the genre seemed to degenerate so quickly. And it perfectly off-sets the easily recognisable tones of Wyclef and Pras Michel.

So there we are. If you've heard any of the songs and liked them, I would strongly suggest you give the album a try, and if you haven't, well what are you waiting for? You've got a whole new genre to open up to!
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on 22 May 2000
The Fugees "The Score" sounds as good heard today as 3 years ago. A truely classic album, containing some of the most beautiful covers of the 90s and some seriously dope beats, this is a must have for any hip hop fan wishing to hear the culmination of three great individual talents.
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on 18 November 1999
This is a top rap/hip hop album with a thumping Bassline and a reggae influence. A worthy entry to anybody's CD collection
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on 17 April 2009
Without a doubt, the best album ever made in this reviewers humble opinion.

albums were i am comfortable letting the entire album play straight through from start to end come round very rarely, if at all!! but this is a classic, from the opening intro the the final fu-gee-la version!!

beats and vocals are on point through-out, laureyn hill's voice is sublime and lyrically, very few can compare to this offering from the Fugees!

this was a rare occasion where three people came together at the peak of their powers, and produced a classic album that will be listened to for years to come. i for one will still be nodding my geriatric head to family business, mask and laureyn's amazing Killing Me Softly!

a MUST have for any serious music fan
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on 11 May 2007
Don't get me wrong, the singles from this are fantastic (Killing me softly, Ready or not, etc), so buying it on the strength of those seemed like a bit of a no-brainer. How wrong I was. Apart from The Mask, the rest of the tracks are pretty poor and the talky bits between them only suceed in annoying the listener.

I'm all for a bit of swearing when it's appropriate, but it just seemed to be for the sake of it. As for the track Mista Mista, couldn't quite figure out if it was serious or not. I'll leave that decision to someone else. I paid 1p for the CD second hand, so I guess it was worth it for the singles!
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