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Sonically, it probably doesnвЂ™t hold up quite as highly as the truly perfect classics (see its final score), but this is an excellent example that greatness and importance canвЂ™t always be quantified.

The critical and popular success The Score garnered may not make sense on paper, but itвЂ™s a deep, honest album that translates perfectly in the listenerвЂ™s ear. The diverse flavors of the tracksГўв‚¬вЂќmoody, upbeat, sing-along, reggae, love songs, et ceteraГўв‚¬вЂќshows a deep appreciation for the borrowed genre elements that comprise hip hop and project them into a well-meshed whole. Truth be told, this album stands as one of the few that can easily refute the ignorant вЂњrap isnвЂ™t even really musicвЂќ argument. Detractors will argue that this album lacks the stark elements or rawness of a true hip hop classic, an argument that holds some validity, but the positives of The Score far outweigh the negatives. Their adept ability in live instrumentation and general musical talent alone more than makes up for some self-indulgence. Serious flaws are few and far between, though itвЂ™s worth mentioning that the two remix versions of вЂњFu-Gee-LaвЂќ at the tail end of the album are a bit much. Fans are sure to have their favorites like the aforementioned covers, the harmony-laden single вЂњReady or Not,вЂќ the doo wop era вЂњZealots,вЂќ or the guitar-heavy вЂњFamily Business.вЂќ While entire verses of impressive quotables may not be abundant throughout most of The Score, a few highly recognizable lines tend to stick out, like Lauryn HillвЂ™s вЂњI play my enemies like a game of chessвЂќ and вЂњIвЂ™ll be Nina Simone/and defecating on your microphoneвЂќ from вЂњReady or Not.вЂќ The album plays extremely smoothly and cohesively, without much (if any) filler material. Where NasвЂ™ Illmatic and Common SenseвЂ™s Resurrection succeeded in producing top-notch material but ultimately failed to achieve any sort of crossover success, The Score did both. ItвЂ™s more like The Fugees did almost everything right here. In comes The FugeesГўв‚¬вЂќcomplete with soulful samples, acoustic guitars, beautiful singing voices, solid rapping, thumping beats, and positive, conscious subject matterГўв‚¬вЂќand, certified diamond status later, itвЂ™s fair to say The Fugees did something right here.

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The Native Tongues of the late 80s and early 90s were fading from prominence for various reasons, and rap thug caricatures were out in full effect. The well-documented вЂњbreath of fresh air in an era (mid 90s) utterly dominated by mindless gangsta clonesвЂќ rhetoric is tired, but no less true. It did at the time of its release, and it still does today. Add to this the fact that two of the more popular tracks from this LP are straight covers (Roberta FlackвЂ™s вЂњKilling Me Softly,вЂќ and Bob MarleyвЂ™s вЂњNo Woman, No CryвЂќ) and one might assume a recipe for mediocrity or slightly-better-than-average, at best.Д«ut ask nearly anyoneГўв‚¬вЂќthe most dedicated hip hop heads or even casual, song-of-the-minute music fansГўв‚¬вЂќand they will probably tell you this album bangs. The liner notes wonвЂ™t reveal any guest bangers from DJ Premier, Pete Rock or any other dominant producer. Neither Lauryn Hill, Wyclef Jean, and most definitely not Pras will rank in anyoneвЂ™s list of top 20 MCs. From a distance, The Score should not have necessarily been as successful as it was.

Generally speaking, itвЂ™s so easy to under or overestimate the importance, impact and overall quality of any given album when considering the context in which it was released.