| The Miseducation of Lauryn Hill | ||||
|---|---|---|---|---|
| Studio album by Lauryn Hill | ||||
| Released | August 25, 1998 | |||
| Recorded | 1997-1998 RPM Studios, Chung King Studios, Sony Music Studios, The Hit Factory, Right Tracks Studios (New York) Perfect Pair Studios (New Jersey) Marley Music, Inc.,Tuff Gong Studios (Kingston) House Studios (Miami) |
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| Genre | R&B, soul, hip hop, neo soul | |||
| Length | 77:39 | |||
| Label | Ruffhouse, Columbia | |||
| Producer | Lauryn Hill, Vada Nobles, Che' Guevara | |||
| Lauryn Hill chronology | ||||
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| Singles from The Miseducation of Lauryn Hill | ||||
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The Miseducation of Lauryn Hill is the debut solo album by American musician Lauryn Hill, released August 25, 1998, on Columbia Records. Recording sessions for the album took place from late 1997 to June 1998, and were held primarily at Tuff Gong Studios in Jamaica. The album's lyrics deal with Hill's pregnancy at the time, the turmoil in her former group the Fugees, and also love and God, while it incorporates musical elements of R&B, hip hop, soul, reggae, and gospel. The album's title was inspired by the film and autobiographical novel The Education of Sonny Carson, and Carter G. Woodson's The Mis-Education of the Negro.[1]
Upon release, The Miseducation of Lauryn Hill debuted at number one on the Billboard 200 chart, selling 422,624 copies in its first week, which broke a record for first week sales by a female artist.[2] The album spent 81 weeks on the Billboard 200[3] and topped the Billboard Year-End Top R&B/Hip-Hop Albums chart.[4] In 1999, The Miseducation of Lauryn Hill garnered ten Grammy nominations at the 41st Grammy Awards, winning five, making Hill the first female recording artist to receive that number of nominations, as well as awards in one night. The album was certified Gold on September 29, 1998 by the Recording Industry Association of America (RIAA), for shipments of over 500,000 copies, and on December 17, 2001, it was certified 8x Platinum in the United States. According to Soundscan, the album surpassed 7 million sales in the U.S. in September 2010.[5][6]
Initially, The Miseducation of Lauryn Hill received a great amount of critical praise for its lyric themes and genre variance. Since its release, the album has perpetuated its acclaim from most music critics and publications, and has been widely recognized as a crucial and influential component of the neo soul sub-genre. The album has appeared on numerous accolades, with many regarding it as one of the greatest albums of the 1990s, as well as one of the greatest albums of all time. In 2003, it was ranked number 312 on Rolling Stone magazine's The 500 Greatest Albums of All Time.
Contents |
While on The Score Tour with her former group the Fugees, Hill met Rohan Marley, son of reggae musician Bob Marley. The two gradually formed a close relationship, and while on this tour, Hill became pregnant with his child.[7] This pregnancy, along with several other circumstances, would inspire her to make a solo record which would eventually become The Miseducation of Lauryn Hill. In late 1996, fellow Fugee member Wyclef Jean began writing and recording his debut solo album The Carnival, which Lauryn would lend a hand with production, as well as guest verses and vocals. After the album was completed, Lauryn took time off from touring and recording [8] due to her pregnancy and cases of writer's block.[9]
This pregnancy, however, would later revive Hill's artistic flow, as she'd recall in an interview several years later "When some women are pregnant, their hair and their nails grow, but for me it was my mind and ability to create. I had the desire to write in a capacity that I hadn't done in a while. I don't know if it's a hormonal or emotional thing [...] I was very in touch with my feelings at the time."[10] Hill also went on to say "Every time I got hurt, every time I was disappointed, every time I learned, I just wrote a song."[11]
While in this creative zone, Hill wrote over 30 songs in her attic studio in South Orange, New Jersey.[8] Many of these songs heavily drew upon the turbulence in the Fugees, as well as a past love experience that ended sour. In regards to this, Hill stated "I spent so many years working at a relationship that didn't work, that I was like; I'm gonna write these songs and pour my heart into them."[12] In the summer of 1997, as Lauryn was due to give birth to her first child, she was requested to write a song for gospel musician CeCe Winans.[8]
Several months later, she went to Detroit to work with soul legend Aretha Franklin, writing and producing the song "A Rose is Still a Rose." This song would turn out to be Franklin's up-coming single for her album of the same name, and Aretha would later have Hill direct the song's music video.[13] Shortly after this, Hill did writing work for Whitney Houston.[14] Having now written songs for musical acts ranging from hip hop to gospel, to R&B, Lauryn brought all of these influences and experiences to bear upon an album of her own.[15]
Recording for the album began in late 1997 at Chung King Studios in New York,[16] and ended in June 1998 at Tuff Gong Studios in Jamaica.[17] In an interview, Hill described the first day of recording, stating "The first day in the studio I ordered every instrument I ever fell in love with: harps, strings, timpani drums, organs, clarinets. It was my idea to record it so the human element stayed in. I didn't want it to be too technically perfect."[18] Initially, Wyclef Jean did not support Lauryn recording a solo album, but eventually offered his production help, which she did not accept.[19][20]
Aside from doing work at Chung King Studios, Lauryn also recorded at Perfect Pair Studios in New Jersey, as well as Sony Studios,[21] with some songs having different elements recorded at different studios.[21] The bulk of the album, however, was recorded at Tuff Gong Studios in Kingston, Jamaica, the studio built by reggae legend Bob Marley.[22] Regarding this shift in environment Hill stated "When I started recording in New York and New Jersey, lots of people were talking to me about going different routes. I could feel people up in my face, and I was picking up on bad vibes. I wanted a place where there was good vibes, where I was among family, and it was Tuff Gong."[23] Many members of the Marley family were present in the studio during the recording sessions, among them Julian Marley, who added guitar elements to "Forgive Them Father."[22]
In an interview, recording engineer Gordon Williams recalled the recording of "Lost Ones," stating "It was our first morning in Jamaica and I saw all of these kids gathered around Lauryn, screaming and dancing. Lauryn was in the living room next to the studio with about fifteen Marley grandchildren around her, the children of Ziggy, and Stephen, and Julian, and she starts singing this rap verse, and all the kids start repeating the last word of each line, chiming in very spontaneously because they were so into the song."[24]
The Miseducation of Lauryn Hill incorporates a vast range of musical styles ranging from R&B, soul and reggae, to hip hop and gospel, with many of its songs containing more than one of these genres. For instance, "When It Hurts So Bad" is musically old roots reggae mixed with soul. While mostly in English, "Forgive Them Father" and "Lost Ones" both feature singing in patois, which is the common dialect in Jamaica. Although heavily R&B, the song "Superstar" contains an interpolation of the song "Light My Fire" by the classic rock band The Doors. In an interview, Lauryn described the artistic control her record label granted her, and how she wanted the album to sound, stating "I had total control of the album. Chris Swartz at Ruffhouse, my label, said, 'Listen, you've never done anything stupid thus far, so let me let you do your thing.' [...] I'm sure everybody was skeptical, but this was something I wanted to do separate to the entire sound. I didn't want to come out with a Refugee All-Stars type of sound. I wanted to come out with something that was uniquely and very clearly a Lauryn Hill album."[25] Though this formula of mixed genres would prove to be both critically and commercially successful, Lauryn stated in an interview how none of the album's success was intentional, stating "There's too much pressure to have hits these days. Artists are watching Billboard instead of exploring themselves. Look at someone like Aretha, she didn't hit with her first album, but she was able to grow up and find herself. I wanted to make honest music. I don't like things to be too perfect, or too polished. People may criticize me for that, but I grew up listening to Al Green and Sam Cooke. When they hit a high note, you actually felt it."[26] Despite early talk of having Wu-Tang Clan member RZA contribute to production,[27] this collaboration would prove to be neglected, though some of his music with Wu-Tang would be sampled.
The majority of The Miseducation's lyrics were written in Hill's attic during her first pregnancy, with much of the content dealing with motherhood, the Fugees, reminiscence, love, heart break, and God.[8] Commenting on the album's gospel content, Lauryn stated "Gospel music is music inspired by the gospels. In a huge respect, a lot of this music turned out to be just that. During this album, I turned to the Bible and wrote songs that I drew comfort from."[28] Several of the album's songs, such as "Lost Ones," "Superstar," "Ex-Factor" and "Forgive Them Father" were widely speculated as direct attacks at Fugee members Wyclef and Pras.[29][30]
Although a large portion of the album's love songs would turn out to be bitter from Hill's previous relationship, "Nothing Even Matters,"[31] a duet performed by Hill and D'Angelo, showcased a brighter, more intimate perspective on the subject. The song was inspired by Hill's relationship with Rohan Marley. Speaking about "Nothing Even Matters"' lyrics, Hill remarked "I wanted to make a love song, á la Roberta Flack & Donny Hathaway, and give people a humanistic approach to love again without all the physicality and overt sexuality."[32]
"To Zion," among the more personal tracks on the album, spoke about how her family comes before her career,[33] and her decision to have her first child, even though many at the time encouraged her to abort the pregnancy as to not conflict with her blossoming career.[34] In an interview, she discussed the song's origin and significance, commenting "Names wouldn't come when I was ready to have him. The only name that came to me was Zion. I was like, 'is Zion too much of a weight to carry?' But this little boy, man. I would say he personally delivered me from my emotional and spiritual drought. He just replenished my newness. When he was born, I felt like I was born again."[35] She further stated "I wanted it to be a revolutionary song about a spiritual movement, and also about my spiritual change, going from one place to another because of my son."[36]
Throughout The Miseducation of Lauryn Hill, several interludes of a teacher speaking to what is implied to be a classroom of children are played. The "teacher" was played by Ras Baraka (poet, educator and politician) speaking to a group of kids in the living room of Hill's New Jersey home.[1] Lauryn Hill requested that Baraka speak to the children about the concept of love, to which he improvised in the lecture.[1]
With many charting songs such as "Lost Ones," "Nothing Even Matters," "Can't Take My Eyes Off You" and "To Zion" used for radio play, only three official singles were released for the album. The first of which was the up-beat "Doo Wop (That Thing)," released October 27, 1998. The song features doo wop vocal harmonies, soul horns, hip hop DJ scratches, and an R&B chorus, with lyrics criticizing the many flaws common by both males and females in relationships. "Doo Wop" was an instant success, peaking at number 1 on the Billboard Hot 100, spending a total of three weeks at that position, and a total of 21 weeks on the Hot 100 chart.[37] It also peaked at number 2 on the Hot R&B/Hip-Hop Songs chart, and number 29 on the Pop Songs chart, which it stayed for 25 weeks.[37] The song's music video was filmed in Manhattan's Washington Heights, with the video showing two Lauryn Hill's singing side by side at a block party. On the left side of the split screen, she is dressed in full late 1960s attire, complete with a bob cut and a zebra-striped dress, paying homage to older R&B and doo wop, and on the right side of the screen, the present-day Lauryn is shown in a homage to hip hop culture.[38] Slant Magazine writer Paul Schrodt praised the "Doo Wop (That Thing)" music video, stating "The resulting split-screen music video is the most flabbergasting testament to what the neo soul movement is all about."[39] The song earned Hill Grammy Awards for Best Female R&B Vocal Performance, and Best R&B Song at the 41st Grammy Awards.[40]
The second single released for the album was "Ex-Factor," released December 8, 1998. It was originally intended for a different artist, however, Lauryn decided to keep it after it was completed, due to its personal content.[41] The song proved to be less commercially successful than the previous single, peaking at number 21 on the Billboard Hot 100 chart, and number 7 on the Hot R&B/Hip-Hop Songs chart.[42]
The album's third and final official single was "Everything is Everything," released May 4, 1999. The song marked the first commercial appearance of R&B musician John Legend, who was still in his late teens upon the song's release.[43] Though being less successful in America than the previous singles, it peaked at the 35th position on the Billboard Hot 100, and the 14th position on the Hot R&B/Hip-Hop Songs chart. The song, however, peaked at number 19 on the UK Top 40 chart.[44] In 2008, About.com ranked "Everything is Everything" number 66 on their 100 Greatest Rap Songs list.[45]
Initially, there was no immediate tour planned due to the album not needing the promotion, and also, Lauryn was once again pregnant, and the child was due in September 1998.[46] Her first live performances of the songs were at Saturday Night Live and the Billboard Music Awards.[47] In January 1999, Lauryn recruited a band and began rehearsals for what would become The Miseducation Tour.[48] As soon as the tour was announced, tickets immediately sold out.[46]
The Miseducation Tour began at Budokan in Tokyo on January 21, 1999. She performed there again the following night, and played at two other Tokyo venues in the following week.[46] One week later, she flew to London for her performance at the Brixton Academy on February 8, 1999.[46] With 20 U.S. dates total,[49] the American part of the tour, which featured Outkast as the opening act, started on February 18 in Detroit, and ended on April 1, 1999 at Lauryn's hometown Newark, New Jersey.[49] After the U.S. dates, she flew to Japan, where the tour was finished.[50]
| Professional ratings | |
|---|---|
| Review scores | |
| Source | Rating |
| Allmusic | [33] |
| Entertainment Weekly | (A)[51] |
| The New York Times | (favorable)[52] |
| NME | (8/10)[53] |
| Pitchfork Media | (8.0/10)[54] |
| Rolling Stone | 1998[55] |
| Rolling Stone | 2004[56] |
| Slant Magazine | [39] |
| Spin | (9/10)[57] |
| The Village Voice | (favorable)[58] |
Upon its release, The Miseducation of Lauryn Hill was well-received by most music critics, who complimented the album's themes and genre variance. David Browne from Entertainment Weekly gave the album an A rating, and wrote "Easily flowing from singing to rapping, evoking the past while forging a future of her own, Hill has made an album of often-astonishing power, strength, and feeling." Browne also went on to compliment the album's limited guest appearances by stating "Miseducation is one of the rare hip-hop soul albums without thousands of posse cameos. D'Angelo and Mary J. Blige show up but blend right in."[51] The Village Voice wrote a favorable review of the album, and complimented its cohesiveness, stating "What makes The Miseducation majestic is the seamlessness with which she travels her realm within any given song."[58] The New York Times writer Ann Powers gave the album a favorable review as well, and labeled it "miraculous." Furthermore, she praised Lauryn's ability to mix gospel content with secular audiences, stating "Her religious fervor is not what makes Miseducation exceptional; it is the way that her faith, based more in experience and feeling than in doctrine, leads her to connect the sacred to the secular in music that touches the essence of soul."[52] Despite criticizing its "between-songs interludes and skits", Chicago Tribune writer Greg Kot commented that "the arrangements bristle with great ideas" and praised Hill's "out-on-a-limb rawness that rouses the '70s ghosts of Gaye and Bob Marley".[59] John Bush from Allmusic gave the album a 5 out of 5 star rating, and stated "she tailored The Miseducation of Lauryn Hill not as a crossover record, but as a collection of overtly personal and political statements [...] and if her performing talents, vocal range, and songwriting smarts weren't enough, Hill also produced much of the record, ranging from stun-gun hip-hop to smoother R&B."[33] In a retrospective review for the Rolling Stone Album Guide (2004), Jon Caramanica gave the album 4½ out of 5 stars and called it "as earnest, unpretentious, and pleasantly sloppy an album as any woman of the hip-hop generation has ever made".[56] Caramanica discussed its musical content and impact, stating:
Hill was always an outstanding rapper, but Miseducation showed her to be a more-than-competent singer ... By turns socially engaged, personally revelatory, and, in the hip-hop tradition, a bit arrogant, Miseducation managed to filter hip-hop through a womanist lens, resulting in an album that appealed to an improbably wide spectrum of listeners. Miseducation made Hill a superstar of epic proportions: She earned five Grammys and found herself at the focal point at hip-hop's crossover into the mainstream.[56]—Jon Caramanica
Spin magazine gave the album a 9 out of 10 rating, and praised the album's confidence, vocal layerings, and subject matter.[57] Although describing the album as "striking lyrics in beautiful melodies and driving beats," and rating it 8.0 out of 10, Pitchfork Media's Neil Lieberman stated "Miseducation does have some missteps. Running nearly 80 minutes long, the album has a hard time staying sharp throughout. Ballads like the title track are tiresome after the first full hour of listening, and additionally, Hill's sweet tooth for cheesy '70s tunes rears its ugly head more than once."[54] Slant Magazine's Paul Schrodt gave the album 4 ½ out of 5 stars, and stated "Before M.I.A. ever said "I've got the bombs to make you blow," Hill was framing her very personal lyrics in the larger narrative of black history. The album's title is a reference to Carter G. Woodson's The Mis-Education of the Negro, a book about the failures of black education. But Hill isn't trying to make herself a martyr, she adopts Woodson's thesis and makes it part of her own artistic process. Like the songs themselves, the intro/outro classroom scenes suggest a larger community working to redefine itself." Schrodt also went on to say "For being almost 80 minutes long, Miseducation is a surprisingly easy listen [...] The album's simple authenticity is one of its strengths, turning backup vocals into rap refrains."[39] Steve Jones from USA Today gave The Miseducation of Lauryn Hill a 4 out of 4 star rating, and described the whole album as a "listening pleasure," and praised Carlos Santana and Mary J. Blige's contributions.[60] NME gave the album an 8 out of 10 rating, and stated "Essentially, The Miseducation is a document of triumph. The emotional richness, vigour and range is astounding [...] As an article of faith in the possibilities of music to heal and inspire, and an album to convince doubters that late-'90s R&B is capable of measuring up to its classic '60s and '70s precedents, The Miseducation Of Lauryn Hill is essential."[53] The album also received positive reviews from many hip hop publications, most notably XXL, which awarded it the perfect XXL, making it the first album to ever receive the rating.[61]
At the 41st Grammy Awards, Hill was nominated ten times, making her the first female to ever be nominated ten times in one year. She won five Grammys, including Best New Artist, Best R&B Song, Best Female R&B Vocal Performance, Best R&B Album and Album of the Year,[40] making The Miseducation the first hip hop oriented album to ever receive that award. Lauryn Hill set a new record in the industry, as she also became the first woman to win five Grammys in one night. The Miseducation of Lauryn Hill also earned her several other awards, including several nominations at the thirteenth NAACP Image Awards for Outstanding Female Artist, Outstanding Album, Outstanding Music Video (for "A Rose Is Still A Rose"), and finally, competing against her own self, for Outstanding Song, nominated for both "Doo Wop" and "A Rose Is Still A Rose."[62] At the Annual Billboard Music Awards, The Miseducation won for R&B Album of the Year, while at the 20th Billboard Music Awards, "Doo Wop" won Best R&B/Urban New Artist Clip.[63] On January 11, 1999, at the 26th Annual American Music Awards, Hill won the award for Best New Soul/R&B artist.[46] She also won a Soul Train award, and a nomination for Best International Female Solo Artist at the Brit Awards (British Grammy's).[50] Due to the large success of the album, Lauryn Hill became a national media icon, as magazines ranging from Time to Esquire to Teen People vied to place her on their front covers. In a February 8, 1999 Time cover-story, Hill was credited for helping fully assimilate hip-hop into mainstream music, making her the first hip hop artist to ever appear on the magazine's front cover.[64][65]
Though The Miseducation was largely a collaborative work between Hill and a group of musicians known as New Ark (Vada Nobles, Rasheem Pugh, Tejumold and Johari Newton), there was "label pressure to do the Prince thing," wherein all tracks would be credited as "written and produced by" the artist with little outside help.[19][66] While recording the album, when Hill was asked about providing contracts or documentation to the musicians, she replied, "We all love each other. This ain't about documents. This is blessed."[19]
In 1998, New Ark filed a fifty-page lawsuit against Hill, her management, also her record label, stating that Hill "used their songs and production skills, but failed to properly credit them for the work."[67] The musicians claimed to be the primary songwriters on two tracks, and major contributors on several others,[68] though Gordon Williams, a prominent recorder, engineer, and mixer on The Miseducation described the album as a "powerfully personal effort by Hill" and stated, "It was definitely her vision."[68] In response to the lawsuit, Hill claimed that New Ark took advantage of her success.[69] New Ark requested partial writing credits, and monetary reimbursement.[70] The suit was eventually settled out of court in February 2001 for a reported $5 million.[71]
| No. | Title | Writer(s) | Producer(s) | Length |
|---|---|---|---|---|
| 1. | "Intro" | Lauryn Hill | 0:47 | |
| 2. | "Lost Ones" | Lauryn Hill | Lauryn Hill, Che' Guevara, Vada Nobles | 5:33 |
| 3. | "Ex-Factor" | Lauryn Hill | Lauryn Hill | 5:26 |
| 4. | "To Zion" (featuring Carlos Santana) | Lauryn Hill | Lauryn Hill, Che' Guevara | 6:08 |
| 5. | "Doo Wop (That Thing)" | Lauryn Hill | Lauryn Hill | 5:19 |
| 6. | "Superstar" | Lauryn Hill, Johari Newton, James Poyser | Lauryn Hill | 4:56 |
| 7. | "Final Hour" | Lauryn Hill | Lauryn Hill | 4:15 |
| 8. | "When It Hurts So Bad" | Lauryn Hill | Lauryn Hill | 5:42 |
| 9. | "I Used to Love Him" (featuring Mary J. Blige) | Lauryn Hill | Lauryn Hill | 5:39 |
| 10. | "Forgive Them Father" | Lauryn Hill | Lauryn Hill | 5:15 |
| 11. | "Every Ghetto, Every City" | Lauryn Hill | Lauryn Hill | 5:14 |
| 12. | "Nothing Even Matters" (featuring D'Angelo) | Lauryn Hill | Lauryn Hill | 5:49 |
| 13. | "Everything Is Everything" | Lauryn Hill, Johari Newton | Lauryn Hill | 4:58 |
| 14. | "The Miseducation of Lauryn Hill" | Lauryn Hill, Tejumold Newton | Lauryn Hill | 4:17 |
| U.S. bonus tracks | |||||||||
|---|---|---|---|---|---|---|---|---|---|
| No. | Title | Writer(s) | Producer(s) | Length | |||||
| 15. | "Can't Take My Eyes Off You" | Bob Crewe, Bob Gaudio | Lauryn Hill | 3:41 | |||||
| 16. | "Sweetest Thing" (Mahogany Mix) | B. DeVorzon, Wyclef Jean | Lauryn Hill | 4:42 | |||||
| Import bonus / hidden tracks | |||||||||
|---|---|---|---|---|---|---|---|---|---|
| No. | Title | Writer(s) | Producer(s) | Length | |||||
| 15. | "Can't Take My Eyes Off You" | Bob Crewe, Bob Gaudio | Lauryn Hill | 3:41 | |||||
| 16. | "Tell Him" | Pending | Lauryn Hill | 4:38 | |||||
| Title | Samples/Notes |
|---|---|
| "Lost Ones" |
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| "Ex-Factor" |
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| "To Zion" |
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| "Doo Wop (That Thing)" |
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| "Superstar" |
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| "I Used To Love Him" | |
| "Forgive Them Father" |
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| "Every Ghetto, Every City" |
|
| "Can't Take My Eyes Off You" |
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Chart positions
End of decade charts
|
Certifications
|
| Preceded by Follow the Leader by Korn Mechanical Animals by Marilyn Manson |
Billboard 200 number-one album September 12 - October 2, 1998 October 10–17, 1998 |
Succeeded by Mechanical Animals by Marilyn Manson Vol. 2... Hard Knock Life by Jay-Z |
| Preceded by Da Game Is to Be Sold, Not to Be Told by Snoop Dogg Chyna Doll by Foxy Brown |
Billboard Top R&B/Hip-Hop Albums number-one album September 12 - October 10, 1998 February 27, 1999 |
Succeeded by Vol. 2... Hard Knock Life by Jay-Z Da Next Level by Mr. Serv-On |
| Preceded by Life After Death by The Notorious B.I.G. |
Billboard Top R&B/Hip-Hop Albums 1998 |
Succeeded by 400 Degreez by Juvenile |
| Publication | Country | Accolade | Year | Rank |
|---|---|---|---|---|
| About.com | United States | 100 Greatest Hip-Hop Albums[101] | 2008 | 43 |
| Best Rap Albums of 1998[102] | 2008 | 1 | ||
| Associated Press | The 10 Best Albums of the 1990s | 1999 | * | |
| Blender | 500 CDs You Must Own Before You Die | 2003 | * | |
| The 100 Greatest American Albums of All time | 2002 | 75 | ||
| CD Now | The 10 (+5) Essential Records of the 90s | 2002 | * | |
| Ego trip | Hip Hop's 25 Greatest Albums by Year 1980-98 | 1999 | 4 | |
| Hip Hop's 25 Greatest Albums by Year 1980-98 | 1999 | 5 | ||
| Entertainment Weekly | The 100 Best Albums from 1983 to 2008 | 2008 | 2 | |
| Gear | The 100 Greatest Albums of the Century | 1999 | 88 | |
| Ink Blot | Best Albums of the 90s | 2000 | 9 | |
| Kitsap Sun | Top 200 Albums of the Last 40 Years | 2005 | 65 | |
| Nude as the News | The 100 Most Compelling Albums of the 90s | 1999 | 40 | |
| Pause & Play | 10 Albums of the 90's | 2003 | * | |
| Albums Inducted into a Time Capsule | 2003 | * | ||
| The 90s Top 100 Essential Albums | 1999 | 7 | ||
| Robert Dimery | 1001 Albums You Must Hear Before You Die | 2005 | * | |
| Rolling Stone | 50 Essential Female Albums | 2002 | 32 | |
| The 500 Greatest Albums of All Time | 2003 | 312 | ||
| The Essential Recordings of the 90s | 1999 | * | ||
| The Source | The Critics Top 100 Black Music Albums of All Time[103] | 2006 | 10 | |
| Spin | Top 100 (+5) Albums of the Last 20 Years | 2005 | 49 | |
| Top 90 Albums of the 90s | 1999 | 28 | ||
| Tom Moon | 1000 Recordings to Hear Before You Die | 2008 | * | |
| VH1 | The 100 Greatest Albums of R 'N' R | 2001 | 37 | |
| Vibe | 150 Albums That Define the Vibe Era | 2007 | * | |
| 51 Albums representing a Generation, a Sound and a Movement | 2004 | * | ||
| BBC Radio | United Kingdom | Stuart Maconie's Critical List | 1999 | 17 |
| Channel 4 | The 100 Greatest Albums | 2005 | * | |
| Elvis Costello | 500 Albums You Need | 2000 | * | |
| Gary Mulholland | 261 Greatest Albums Since Punk and Disco | 2006 | * | |
| The Gaurdian | 1000 Albums to Hear Before You Die | 2007 | * | |
| Hip-Hop Connection | The 100 Greatest Rap Albums 1995-2005 | 2005 | 39 | |
| Metro Times | Top 10 Albums of the 90s | 1999 | 8 | |
| Mojo | The 100 Greatest Albums of Our Lifetime 1993-2006 | 2006 | 67 | |
| The Mojo Collection | 2007 | * | ||
| The New Nation | Top 100 Albums by Black Artists | 2003 | 10 | |
| Q | 90 Albums of the 90s | 1999 | * | |
| The Ultimate Music Collection | 2005 | 41 | ||
| Top 100 Albums Ever[104] | 2003 | 20 | ||
| The Rough Guide | Soul: 100 Essential CDs | 2000 | * | |
| Aftenposten | Norway | Top 50 Albums of All Time | 1999 | 48 |
| Eggen & Kartvedt | The Guide to the 100 Important Rock Albums | 1999 | * | |
| Helsingin Sanomat | Finland | 50th Anniversary of Rock | 2004 | 2 |
| Musik Express | Germany | The 50 Best Albums of the 90s | 2005 | 23 |
| Wiener | Austria | The 100 Best Albums of the 20th Century | 1999 | 100 |
| FNAC | France | The 1000 Best Albums of All Time | 2008 | 420 |
| Rock & Folk | The Best Albums from 1963 to 1999 | 1999 | * | |
| Dance de Lux | Spain | The 25 Best Hip-Hop Records | 2001 | 12 |
| Rock de Lux | The 150 Best Albums from the 90s | 2000 | 132 | |
| Juice | Australia | The 100 (+34) Greatest Albums of the 90s | 1999 | 55 |
| Babylon | Greece | The 50 Best Albums of the 1990s | 1999 | 45 |
| Pure Pop | Mexico | The 50 Best Albums of the 90s | 2000 | 40 |
| The Sun | Canada | The Best Albums from 1971 to 2000 | 2001 | * |
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