While 9th Wonder might be known for his work behind the boards with the likes of Mary J. Blige, Kendrick Lamar, and Jay Z to name a few, it’s his latest enterprise finding him cement other artists into history. Working in accordance with Harvard University and their archival Hip-Hop project ‘These Are The Breaks’, 9th has been hard at work to categorise 200 of the culture’s most pivotal albums, tracking down every single sample used on each.
Unveiling the first four to make their place in musical history, he began with classics, Nas’ Illmatic, Lauryn Hill’s The Miseducation of Lauryn Hill, A Tribe Called Quest’s Low End Theory and Kendrick Lamar’s To Pimp a Butterfly. Speaking of his first picks he explained, “These are the first four we chose to start with to live for forever in the Harvard Library, and to be forever placed in the canon, complete with liner notes and the vinyl that was used in the production of the album.”
Each of these albums made an enormously significant impact since they were released, with many being granted ‘classic’ status almost immediately. It’s unclear whether the rest of the list will follow this tradition, or whether albums of a lesser-recognised status will make their way into the archive. Either way, 9th Wonder’s 200 will serve as a fitting representation of hip-hop to exhibit the future generations.
For a little more insight, check out the trailer to Wonder’s documentary where he investigates and teaches hip-hop at Harvard University. Let us know what you think should make it’s way into the rest of the 196.
Image: Hip Hop 4 Life
It was one of the most anticipated performances of the Grammys last week, but one that sadly fell through at the last minute – Lauryn Hill and The Weeknd performing the latter’s latest single, In The Night. Due to complications out of her control regarding flight times and simply not being able to get there in time, Ms. Hill was unable to perform, and whilst The Weeknd pulled off the performance seamlessly on his own, it was safe to say there were more than a few fans around the world who really wanted this performance to happen. Well, now those fans can rejoice.
As The Weeknd smashed through a stripped back rendition of his track, he suddenly and surprisingly introduced none other than Ms Lauryn Hill to the stage and naturally, the performance was taken to a whole new level. A cacophony of noise roared from the small orchestra playing the track as The Weeknd and Hill gave their absolute all when it came to their vocal performances. Heartfelt, enthralling and just so fucking cool, this is definitely one of the more memorable TV performances we have been privy to in quite some time- and will probably remain that way for some time in the future too.
The Weeknd picked up two Grammy awards last week for Best Urban Contemporary Album and Best R&B Performance, and will undoubtedly see even more success this year than he already has, with 2015 being the biggest year for him to date. As long as more performances like this are on the cards, we hope!
Image: Billboard
In the lead-up to the Grammy Awards, one of the most exciting rumours being spread around was that neo-soul legend Lauryn Hill was to be performing on stage with The Weeknd. It was set to be two decades since she last performed at the ceremony – right around when The Fugees’ album The Score first came out.
However, as the ceremony took place yesterday, Hill was evidently not there. While many assumed that the rumours had simply been untrue, it has now been revealed that Hill was indeed supposed to perform – she just didn’t show up on time.
A representative of the singer explained that she was “uncertain she would even be able to make it to LA in time to rehearse for the event.” Furthermore, DJBooth report that Hill did in fact attend a dress rehearsal with The Weeknd, but that she simply didn’t show up when it came time for the actual show.
“Lauryn Hill was someone that The Weeknd felt would be great to collaborate with. He reached out, had conversations, we actually had some rehearsals off site that she didn’t attend. Then we had a dress rehearsal [Sunday] that she did attend. When it came to actual showtime we were told that she was late – one minute, three minutes, seven minutes, she didn’t make it. She didn’t make the performance, didn’t get into the building on time. I know if I have to be someplace on time I make sure I figure it out, but credit to The Weekend. He’s a great artist, a new artist. He was planning something, but plans change and he killed it.”
It’s sad to say, but I’m not surprised. While I’m one of the biggest Lauryn Hill fans out there, her antics haven’t exactly been professional in recent years.
Anyway, it doesn’t matter, because The Weeknd still killed it – as did King Kendrick.
From new Radiohead, Grimes and LCD Soundsystem to The Beatles finally on streaming services and beyond, Christmas 2015 has been incredible for music lovers worldwide. For me, perhaps the most cherished musical gift this year comes from the one and only Lauryn Hill, who has released a beautiful cover of Nat King Cole‘s A Cradle In Bethlehem.
As Pitchfork have noted, the track was first written in the 1920s. However, the most iconic version was recorded by Nat King Cole in 1960 – listen here.
As you might expect, Hill’s version is exquisite, showcasing her polished, inimitably sensual vocals. Behind her melody lies joyous backing vocals and evocative instrumental layers, creating a soulful, festive atmosphere.
It’s been far too long since we’ve heard new music from Lauryn Hill. While this isn’t an original track, we can only hope to hear some more new music from the legendary performer throughout 2016!
http://soundcloud.com/mslaurynhill/a-cradle-in-bethlehem
Earlier this year, Hill also covered Nina Simone’s Feeling Good, featured on the recent tribute album Nina Revisited: A Tribute To Nina Simone. The album saw six covers from Lauryn Hill, and more from Mary J Blige, Common, Usher, Jazmine Sullivan and Lisa Simone, Nina Simone’s daughter. The album came out alongside Netflix documentary What Happened, Miss Simone?
Read our feature on The Miseducation Of Lauryn Hill
Lauryn Hill fans hardly need anything else to swoon over, but her latest movements should probably come with a warning label just in case.
The singer performed on The Tonight Show with Jimmy Fallon, and stopped the show with her rendition of Nina Simone‘s Feeling Good. An eight time Grammy award winner, Ms Hill contributed to the Netflix only documentary about Nina (titled What Happened Miss Simone?), as well as the Nina Simone tribute album titled Nina Revisited. It’s a show-stopping rendition, with Hill’s voice perfectly matching the raucous, bluesy arrangement. Backed by rhythm, horn and string sections, a searing guitar solo courtesy of blues guitarist Eric Gales and back up singers, Lauryn Hill delivered one of – if not the – biggest performance to grace Fallon’s late night show.
Ms Lauryn Hill will be in Australia very soon for some hugely anticipated shows, both on the Soulfest lineup and some sideshows – all of which are selling fast (more details here).
As part of a tribute album featuring huge names like Common and Mary J. Blige, Lauryn Hill has recorded her own version of a pair of classic songs by the late, great Nina Simone. She tackles the old standard Feeling Good, a song you’ll know even if you haven’t heard the Simone original (or Michael Bublé‘s soulless hatchet job of a cover); Jay-Z and Kanye West sampled it brilliantly on New Day from Watch The Throne.
Wow. Holy shit actually. Nobody will ever match the raw sultriness of Simone’s original rendition, but Lauryn Hill comes damn close. Her voice, absolutely smoky, never falters once, the a capella introduction giving me absolute chills. I love that song but pretty much all of the covers up until this point have missed the mark pretty wide (looking at you, Muse). Lauryn Hill has absolutely nailed it here though. Damn.
The tribute album comes out on July 10, and will follow on from a new documentary about Nine Simone, which premieres on Netflix this June 26.
On top of that, she released a snippet of another song to feature on that album today finding her rapping over the top of a sample of Simone’s 1968 single Ain’t Got No, I Got Life.
The lyrics are politically-charged and deeply reflective, Hill flowing ‘Watch the words, how they twist them/Two-thirds of the world turned victim/Subtle energy that capture and block chi/The unseen violence behind a democracy/Some call it hypocrisy’.
Coming just days after the travesty in Charleston, there is so much extra meaning behind these lyrics and it’s beyond powerful. Many artists have responded in their own ways to the tragic events, and one would have to wonder what Simone, a noted civil rights activist in her time, would have made of the current state of racial equality in the United States.
Hill was only slated to work on two tracks on the tribute album, but will now appear on a further four. If they’re anywhere near as good as the first two, I can’t wait.
Lauryn Hill’s Miseducation of Lauryn Hill is probably one of the greatest neo-soul albums of all time – we documented our love for it in a recent edition of Flashback Friday. She will also be appearing at this year’s Soulfest, along with Miguel, Mary J Blige, Black Star and more. Full details here.
Israeli fans of Lauryn Hill were disappointed to discover that the singer has cancelled her upcoming gig in Israel. A social media campaign began, asking Hill to ‘boycott’ the gig over Israel’s occupation of Palestine.
“When deciding to play the region, my intention was to perform in both Tel Aviv and Ramallah,” she said. “Setting up a performance in the Palestinian Territory, at the same time as our show in Israel, proved to be a challenge.”
When it was deemed almost logistically impossible to do a concert in Israel and one in Palestinian territory, she decided to cancel it all together. Hill released this statement explaining her decision:
“I’ve wanted very much to bring our live performance to this part of the world, but also to be a presence supporting justice and peace. It is very important to me that my presence or message not be misconstrued, or a source of alienation to either my Israeli or my Palestinian fans. For this reason, we have decided to cancel the upcoming performance in Israel, and seek a different strategy to bring my music to ALL of my fans in the region.”
In conclude her statement, Hill said she hopes for “healing, equanimity, and the openness necessary for lasting resolution and reconciliation come to this region and its people.”
She’s not the first artist to refuse to perform in Israel for this reason. Others who have done this include Elvis Costello, Pink Floyd and Stevie Wonder.
Neo-soul legend and one of my personal favourite artists, Lauryn Hill has shared a video of herself performing classic track Doo-Wop (That Thing) in her own home.
The video was part of an apology to her Nigerian fans, after she had to recently pull out of a concert in Lagos. She’s explained that the tour promoter didn’t organise travel arrangements, and thus the show had to be cancelled.
After talking about how she was stuck at an airport for seven hours trying to make it to Nigeria, she launched into a gorgeous rendition of her Grammy-winning track, accompanied by an equally gorgeous group of family members/backup singers.
A message to Nigeria from Ms. Lauryn Hill
Posted by Ms. Lauryn Hill on Friday, 1 May 2015
She also posted to video to her website, alongside a photograph of her team at the airport.
Lauryn Hill has not released an album since 1998, and in the years since, has developed a questionable reputation when it comes to her live performances.
The Miseducation of Lauryn Hill came out in 1998. It was Lauryn’s first solo album after her work with The Fugees, and is one of my favourite albums of all time.
I was introduced to The Fugees as a child, and Lauryn’s solo work as an early teen. I was getting into rock music when I heard Miseducation, and recently rediscovered it once again, having inexplicably sidelined the album for a couple of years.
Released only three years after D’Angelo‘s Brown Sugar, Lauryn Hill almost single-handedly popularised neo-soul in the mainstream. In 1999, she was the first woman to ever be nominated for ten Grammys (of which she won five.) On stage, she famously proclaimed, “This is crazy. This is hip hop!” The album itself broke sales records for a female artist, and remained on the Billboard charts for a whopping 81 weeks.
Miseducation is stripped back and bare at a time when most hip hop was going the other way – Puff Daddy’s Bad Boy Records was popularising heavy samples and a party attitude, losing touch with the loud, proud politics we’d found in NWA and Public Enemy. Miseducation went against the grain; not only was she female, but she was honest. She used her voice, and her lyrics, and barely any samples; I think that’s a big part of why this is so timeless. As entertaining as it is inspiring, there’s no MC quite like Lauryn Hill, none so fresh, truthful (for sake of truth not shock-factor,) socially minded or, simply, talented.
It’s the kind of album that means more to me each and every time I listen to it.
For starters, it was one of, if not the first album that has shaped my now-slightly-obsessive adoration of neo-soul, soul, R&B and hip hop. An absolute masterpiece blend, Lauryn effortlessly transitions from crystal clear R&B melodies to rapping with the kind of natural flow most MCs would kill for, and everything in between from reggae to pop to gospel. That range alone is astounding.
Check out this old clip of her freestyling over Wyclef Jean’s guitar playing.
From the very start, it’s on the ball. Lost Ones is snappy and tough, infusing a Jamaica vibe (where it was recorded) with the simple hip hop beat. There’s crystal clear power and confidence in her words – you can instantly hear that she’s found her feet in a post-Fugees world. The melodic loop throughout the chorus is one of those little licks that stay in your head for days, and you’re not even annoyed about it.
I love how bold the opening lyrics are – our introduction to the full picture ahead. “It’s funny how money change a situation, miscommunication lead to complication, my emancipation don’t fit in your equation…”
Then you’ve got something like To Zion, which couldn’t be more different. Featuring the recognisable guitar flickers of Carlos Santana, the soulful, deep, intimate song instantly draws you in. Lauryn’s son is named Zion, and this song is an ode to him, but there’s also underlying religious subtext throughout – something I only realised in later years.
Of course, we can’t go past the empowering Doo Wop (That Thing), the single that won her two Grammys, four MTV awards and a #1 spot on the Billboard charts. With that bright piano loop and and funky bass, the message is not only coherent but fucking powerful, about self-respect and generally not acting like a money-grabbing hoe. There’s always been speculation around what specifically that ‘thing’ is – Money? Sex? Fame? All of the above? It was so cool for a solo female MC at that time with a song like this, about not having to sell yourself short to be recognised and respected.
Ah, the beauty of an album that continues to unfold more than a decade after you first heard it……
When It Hurts So Bad and I Used To Love Him (featuring the impeccable Mary J Blige) are dark and distressed yet full of strength, in a way unique to Lauryn Hill, and Lauryn Hill alone (and maybe Mary J Blige.) She sings of anger and heartbreak in a totally non-nostalgic way, and they’re not only phenomenal songs musically, but again, they’re empowering. And while I can’t exactly relate on a cultural or personal basis like I could, say, Silverchair, these songs definitely meant something to me as I was going through my teens and discovering certain emotions within myself.
I Used To Love Him is easily one of the greatest female duets in R&B. Just take a moment to enjoy this song.
I see this album as a foundation; a springboard. I didn’t grow up listening to much rap or R&B, and this opened my eyes and ears.
Not only did it introduce me to the artists featured, like Mary J Blige and D’Angelo (the album also features a then-unknown John Legend) but a whole world of artists and genres – female singers in particular, like Erykah Badu and India.Arie.
The depth of this album is not lost, either. Each song can be interpreted from numerous angles, with subtexts and hints and historical references at every step. Not only do I discover something new each time in a musical sense, but I learn something new. There’s a lot of lyrics – some veiled, some not so much – that deal with race, relationships, culture, motherhood and religion, and the more I listen, the more I learn. I love music that has the capacity to teach, and this has increasingly become one of the best in that respect. It’s an album that taught me that all kinds of people can be introspective, and all kinds of music can deal with all kinds of emotions. That sounds broad, I know, but considering this was one of my first true windows into an entire genre and culture, it feels so weighted, so important. Every step of Miseducation has been an education for me, and that in itself has immeasurable value.
I could wax on and on about why I love this album, but I guess the fundamental reason is that it is really, really good.
Here’s the whole thing for you.