The Score
Fugees
Columbia/Ruffhouse,
1996
Reviewed by
Dave Vrabel
With the rampant success of Lauryn Hill and Wyclef Jean as solo artists, it
seems a forgotten fact that they once were part of one of the most successful rap outfits
of all time. Long before Wyclef dropped the charismatic The Carnival and Hill
released the unforgettable The Miseducation Of Lauryn Hill, the two, along with
fellow bandmate Pras, were the seemingly unstoppable Fugees. And despite failing to turn
heads with their first effort Blunted On Reality, the hip-hop/reggae melange of
their second record, The Score, brought the Fugees (short for 'Refugee Camp') to
the forefront.
Had Bob Marley had a turntablist in the Wailers, the Fugees may not have sounded original,
but a sound that blended the hip-hop sensibilities of the East Coast with the soulful
island stylings of the Caribbean was innovative and clearly distinct from the rest of the
rap community in 1996. And sure, they've been dubbed the best cover band in hip-hop, which
doesn't lend much to their credibility, but don't sell them short on that.
When a cover tune is done with as much heart and beauty as the original, original or not,
it's a testament to the artists' skills. It was the cover of Roberta Flack's "Killing
Me Softly" that helped propel the album to multi-platinum status, and rightfully so.
Not only a major hit, this time Wyclef isn't hogging the spotlight, allowing L-Boogie to
shine on her own. Her elegant voice transcends everything, as she belts the heartfelt
passages of the song with pure beauty and reverence. Also worth a listen is Wyclef's cover
of Marley's "No Woman, No Cry." Not necessarily a classic, it still shows that
the group wanted this, one of their primary influences, to be done clear justice. Live
musicians, with Wyclef on guitar and vocals, respectably translate Marley into hip-hop.
Other cuts from the album, most notably "Fu-Gee-La" and "Ready Or Not"
are the models of the true Refugee Camp style, and prove they don't need a cover tune to
show skills. The beats are simple, soulful, and exhibit tenacious rhymes with clear reggae
feel. And of course, probably sensing that Hill's talents were more irrepressible and
majestic than most female vocalists, the mix once again elevates her voice above the rest
of the elements.
And while the Fugees' members continue to garner success going their own separate ways
(with the exception of Pras, whose solo debut Ghetto Supastar proved less than
impressive), it's safe to say that The Score was the springboard for it all.
Let's just hope that sometime in the near future they can once again combine their talents
and produce yet another masterpiece.
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"The
Fugees had a sound that was innovative and clearly distinct from the rest of the rap
community."
Dave Vrabel
- NATN Contributor
Related Links
Fugees Homepage
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