'Superstar' took to task musicians with more emphasis on the bottom line than making great music (perhaps another Fugees nod), while her collaborations with a pair of sympathetic R&B superstars (D'Angelo and Mary J. She used a feature for Carlos Santana ('To Zion') to explain how her child comes before her career and found a hit single with 'Doo Wop (That Thing),' an intelligent dissection of the sex game that saw it from both angles. Hill, of Haitian heritage, rhymed in a tough Caribbean patois on the opener, 'Lost Ones,' wasting little time to excoriate her former bandmates and/or record-label executives for caving in to commercial success. And for the choruses she could move from tough to smooth in a flash, with a vocal prowess that allowed her to be her own chanteuse (à la Mariah Carey). Hill's verses were intelligent and hardcore, with the talent to rank up there with Method Man. Also, and most importantly, it introduced to the wider pop world an astonishingly broad talent. The social heart of the group and its most talented performer, she tailored The Miseducation of Lauryn Hill not as a crossover record but as a collection of overtly personal and political statements nevertheless, it rocketed to the top of the album charts and made her a superstar.
Though the Fugees had been wildly successful, and Lauryn Hill had been widely recognized as a key to their popularity, few were prepared for her stunning debut.
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