My sister used to play The Miseducation of Lauryn Hill on repeat when we were kids. We’d been really big Fugees fans (The Score was the first album I ever owned and I was obsessed with it, mainly because of Hill’s voice and the beats), and we were so excited that she’d done a record by herself. I remember being totally caught up in the melodies and the beauty of all those interweaving harmonies, and the ease with which she’d go from singing to rapping and back again. Only when I was older did I read more about the context of the making of the album and the lyrics I’d sung along to but never really interrogated. And then, the songs came to life in such a different way.

During production, Hill handpicked unexpected musicians and collaborators to work with – from Mary J Blige to Santana and D’Angelo – before bedding down in a New York apartment to ....

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