Before her musical talents were unleashed onto the world, Lauryn Hill found moderate success as a young actress, starting alongside Whoopi Goldberg in the feature film “Sister Act 2: Back In The Habit”. However her career changed whilst attending Columbia High School, where she formed a hip-hop group with fellow student, Pras Michel, and his cousin Wyclef Jean, called “Tranzlator Crew” in 1992.
After gaining record label attention through live gigs and demo’s, the group was picked up by Columbia Records. They eventually released their debut album “Blunted On Reality” in 1994 under the now famous moniker of “The Fugees” (in reference to Michel and Jean’s Haitian heritage” Whilst the album struggled commercially and critically due to its “gangsta rap” direction, Hill, under her “L.Boogie” persona caught the attention of critics and fans alike.
When the group was given a second change by label execs, they did not disappoint, and their second album “The Score” was a smash hit, reaching number one on charts around the world, and certified six times platinum, whilst receiving the adulation of music critics for its alternative hip hop sound and politically charged focus. At the center of the groups success was Hill, with her smooth and recognizable singing voice and sharp rap lyrics often standing out on hit tracks such as “Ready or Not” or the Grammy winning “Killing me Softly”.
Following on from the breakout success of the Fugees, all the members decided to take a solo path. Lauryn finally gave the fans what they wanted with the release of her debut solo album “The Miseducation of Lauryn Hill” in 1998 an R&B project which featured tracks such as “Doo Wop (That Thing)” which touched on personal subjects such as her failed personal relationship with Wyclef Jean and the pressures of being a young single mother. The album made Hill a superstar, as it received universal acclaim, exceptionally high sales figures and an incredible five Grammy’s including “Best Album”, unprecedented for a Hip-Hop album in the 90’s.
Since her success and the international tour that followed, Hill has kept herself out of the public eye, citing the stress of being a celebrity too much to handle, and has instead focused on raising her six children. Despite her decision, many music fans around the world are hopeful for her much awaited comeback.
Though Jean was born in Croix-des-Bouquets, Haiti and had lived in the country since he was nine, he spent most of his childhood and formative years as a musician in the United States. Jean cites reggae and Bigga Haitian as his earliest musical influences but since his move to the States he developed a love for hip-hop music.
One of Jean’s first professional musical endeavors and undeniably one of his most successful was the formation of the Fugees. The group formed in South Orange, New Jersey in the 80s, initially under the moniker Tranzlator Crew. During their assimilation to Ruffhouse and Columbia Records they altered their name to the Fugees and put out their studio debut “Blunted on Reality” a year later. This album did relatively well on the charts, but did not come close to achieving the success they reached with their sophomore release “The Score”. This album topped the US Billboard 200 and has since obtained Platinum status six times over. The Fugees disbanded in 1997 with only two albums under their belt, but left an indelible impression on both hip-hop and pop culture.
Jean was the first member of the Fugees to start a solo career and wasted no time in doing so. The year the group broke up he released his debut studio album “The Carnival”. The album contained over 73 minutes of material and featured guest spots from Lauryn Hill, Celia Cruz, John Forte, and even the Haitian politician/ former musician Michael Joseph Martelly. The album hosted the three singles “Guantanamera”, “Gone till November”, and “We Trying to Stay Alive” (the latter an ode to the Bee Gees). Additionally the album garnered praise from more underground critics like the Village Voice and excelled commercially, placing at No.16 on the US Billboard 200 and selling over 5 million copies since it’s release.
Jean’s next studio album also sported a hefty list of guest artists spanning from pioneering funk troupe Earth, Wind & Fire to actor/pro-wrestler Dwayne Johnson (aka The Rock). His 3rd studio album “Masquerade” was issued on 18 July 2002 and out performed his previous two releases, peaking at No. 6 on the Billboard 200. Prior to the release of this album Wyclef suffered the loss of his father and pursued a career as an actor making an appearance in the film “Shottas” (a Jamaican gangster movie). These events (particularly the loss of his father) influenced the tone of “Masquerade” and contrary to his past works he included surprising reworking of songs by Bob Dylan and Frankie Valli and also included a guest spot for Tom Jones on his rendition of “Pussycat”.
Not even three albums into his career Jean issued a Greatest Hits compilation in 2003 and followed it up the same year with his studio LP “The Preacher’s Son” (an obvious self-reference as his father was a Nazarene pastor). Jean’s 5th studio album “Welcome to Haiti” marked a drastic alternation in style as every song was performed in a foreign language and was heavily influenced by Caribbean culture.
Jean’s sequel to his debut “Carnival Vol. II Memoirs of an Immigrant” was released at the close of 2007 and was chalked full of differing guest musicians: Serj Tankian, Shakira, Paul Simon, Mary J. Blige, Norah Jones, Lil Wayne, Akon etc...
Jean’s next full length release “From the Hut, to the Projects, to the Mansion” is a concept album based on the Haitian revolutionary “Toussaint L’Ouverture”. He followed up this album with yet another Haitian themed release “If I Were President: My Haitian Experience”. As the title suggests this recording is influenced by and coincided with Jean’s decision to run for president of Haiti.
Outside Jean’s solo career he is heavily involved in politics and charity work, particularly in regards to his home country Haiti. He has also established himself as a highly sought after songwriter and has composed material for Destiny Child, Sublime, Simply Red, Whitney Houston, Cypress Hill, Michael Jackson, Mya, Santana, Mick Jagger, and Sinead O’Connor among others.
Born and raised in Dallas, Texas, US, Badu studied at a school of arts where she cultivated her musical abilities, growing up with a love for 70s soul and 80s hip hop. Her first break came whilst she was working as a teacher and part-time singer, when she opened for D'Angelo in 1994. Her performance caught the attention of D'Angelo's manager, Kedar Massenburg, who was so impressed that he signed her to his label, Kedar Entertainment, before then arranging for Badu to record a cover of Marvin Gaye and Tami Terrell's duet, "Precious Love."
Badu's debut album, "Baduizm," arrived in 1997, finding fans with her bass-heavy R&B and her emotive, delicate vocals. The album was produced by Massenburg and also featured members of the Roots on several tracks. Her first single, "On & On" topped the R&B charts, with the album also peaking at the top spot. The album also faired well in the mainstream pop charts, bolstered by high profile support slots with R&B stars as well as hip hop acts, including Wu Tang Clan.
She returned to the studio in 2000, recording her sophomore release, "Mama's Gun," which utilized the production talents of Badu herself, James Poyser, Bilal and Jay Dee, scoring a hit single with "Bag Lady." Badu followed "Mama's Gun" a year later with 2003's EP, "Worldwide Underground." Badu pushed her sound towards a heavier, more abstract neo-soul with 2008's "New Amerykah, Pt.!: 4th World War," which featured members of Sa-Ra and Georgia Anne Mulldrow. The album was a huge success, peaking at number two on the Billboard 200, with this stylistic move continuing with 2010's "New Amerykah, Pt. 2: Return of the Ankh," although being a more light-hearted affair. Following this release, Badu has featured on a number of recordings with various artists, including Bonobo, Tyler the Creator, and Flying Lotus.
“Before I work with Lauryn Hill again, you will have a better chance of seeing Osama Bin Laden and Bush in Starbucks having a latte, discussing foreign policy.” Granted, Pras Michel said that before Bin Laden died, but you get his point; only the most committed optimist would have any real expectation of the Fugees working together again. Instead, fans would be better advised to turn their attentions to Hill’s solo career, under the new moniker of ‘Ms.’ Lauryn Hill (allegedly, her insistence on being addressed as such was one of the contributing factors to the group’s demise.) Whether or not we’ll ever get a proper follow-up to the genre-defining 'The Miseducation of Lauryn Hill' remains up in the air; for now, file it alongside D’Angelo’s 'James River' as an R&B record that might never see the light of day. Instead, Hill is focusing on touring, having ironed out some of the difficulties that marred her initial return to the stage in 2007. She’s no longer rushing through her sets at breakneck pace, but continues to reconfigure the classics; check out a haunting new arrangement of ‘Ex-Factor’ on YouTube for proof. With a recent jail term for tax evasion out of the way, she’s lined up her first UK tour in a long, long time for September; recent evidence suggests she’s somewhere close to top form.
When you think about the Fugees, it’s actually quite difficult to gauge which of the members has had the most success since the group disbanded, initially in 1997 and then again, acrimoniously, in 2005. Lauryn Hill, of course, produced a genuine classic in the form of The Miseducation of Lauryn Hill in 1998, but the fact she’s since been better-known for her legal troubles and disappointing live appearances is seriously threatening to outweigh her genre-defying record. Pras Michel has focused primarily on a modest acting career, although still found time for a worldwide smash in the form of ‘Ghetto Superstar’. And then, there’s Wyclef Jean, who’s extensive solo canon has fluctuated wildly in terms of critical reception; the hugely-successful ‘Perfect Gentleman’ bordered on novelty single, whilst his terrific collaboration with Mary J. Blige, ‘911’, had him at the top of his game. At his best, his musical talent is undeniable, and the infrequent festival appearances that he’s made under his own name over the past decade or so have demonstrated that his charisma certainly translates to the stage; his slot at Woodstock ’99, in particular, had him commanding an enormous crowd with an inventive, irrepressibly fun set. He seems to have bigger fish to fry than music these days - including his well-documented political ambitions - but the latest instalment in his Carnival series, The Carnival Series, remains slated for a future release; perhaps, when it does arrive, he’ll make a long-overdue return to touring proper, too.
On the last day of the year, I’ve generally stayed at home with candles lit and music on, while writing and reflecting on the upcoming year. My plans would have probably been the same for 2012, but one person changed all that. Erykah Badu. Upon discovering she was spending her New Year’s Eve in Oakland at the Fox Theatre, I did what any fanatic fan would do – I immediately sent word out that I was going and asked if anyone wanted to join. I feel as though she and I share a special bond. We do have a few things in common – we are both water signs (she’s a Pisces, I'm a Cancer); she also attended my alma mater, Grambling State University. I would love to say that I knew her while I was there. It would be nice if I had bumped into her a time or two on campus and knew she was going to be somebody (at Grambling, the motto is “The place where everybody is somebody,” so I guess all students are somebody). But, alas, we were not on campus together; I believe she left the year before I entered the University. But I do actually know someone who really knows her, so there’s something else we have in common. Enough of the digression. One thing I clearly remember from my Grambling days is listening to Baduizm for the first time in 1997. I was in my last semester, set to graduate and officially become a “grown” woman. Gone would be the safety net of college life; now I had student loans to repay, a car note to worry about, and a job to secure. So in my life walks this woman singing about her cipher moving like a rolling stone, picking her friends like she picks her fruit, and asking who gave anyone permission to rearrange her. And I recall thinking, she's absolutely right on point! Erykah’s lyrics and music were refreshingly different than most R&B of the 90s. While we had Mary J. Blige singing about Real Love over a hip-hop beat, Erykah sang about Next Lifetime and No Love. She was an inspirational change of pace, and I clung on to her every word. I am a lover of everything Badu. When Mama’s Gun was released in 2000, I just knew she wrote many of those songs about my life. From Didn’t Cha Know, to . . . & On to Kiss Me On My Neck, Erykah’s growth was apparent. So, back to her show on Dec. 31, 2012. It’s been 15 years since Baduzim’s debut and Erykah has subsequently released five more albums. Each has showcased an ever-changing Badu, but one thing has remained consistent – Erykah’s live performances. They are NEVER a disappointment. Strolling on stage while her band played a lazy and drawn out version of 20 Feet Tall (it came across as if they were still in sound check), she paused at the microphone, taking in all the audience love, before proclaiming, “My love, what did I do to make you fall so far from me?” At the end of the song (and come to think of it, she did this on every song), Erykah struck a warrior/goddess pose. The next three songs (The Healer/Hip Hop, Me and My People) are all from New Amerykah: Part One (4th World Order) – the one album whose meaning I’m still working on grasping. This provided me, however, the perfect opportunity to stop and do some video recording. Playing On & On and . . . & On back to back, Love of My Life (An Ode to Hip Hop) followed with a surprise appearance by Oakland’s own Raphael Saadiq who, according to Erykah, provided the base line for the song. (Side note, I normally am up dancing to this song, but I sacrificed this time so I could record this performance for my readers. I’m glad I did.) As the clock neared midnight, the band began the first notes of Danger. About half way through the song, a count-down appeared on the screen behind the stage and we all stopped, screamed happy New Year, and went back to partying. During Back in the Day (Puff), Erykah exclaimed, “Now is the opportunity for you to smoke,” as if that hadn’t been already occurring. At some point, she took her shoes off and ended the night with Didn’t Cha Know, the first verse from Out My Mind, Just in Time (the one song I just had to hear) and Bag Lady, which I think was an appropriate song to finish with because in the new year, I definitely will be working on letting the bags go!
He’s an excellent performer,one of the best out of Africa. He performs with his live band and he adds a new feel to his songs when performing. The best concert I’ve ever attended,hands down. I recommend .