{"id":9781,"date":"2023-02-21T16:00:00","date_gmt":"2023-02-21T15:00:00","guid":{"rendered":"https:\/\/riffsandbeats.com\/non-classe\/lauryn-hill-fr\/"},"modified":"2026-11-09T07:13:33","modified_gmt":"2026-11-09T06:13:33","slug":"lauryn-hill-fr","status":"publish","type":"post","link":"https:\/\/riffsandbeats.com\/fr\/chroniques\/artistes\/lauryn-hill-fr\/","title":{"rendered":"Lauryn Hill – Le sermon et le sample"},"content":{"rendered":"

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The Miseducation, puis le long silence<\/h3>\n

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\u00c0 l’\u00e9t\u00e9 1998, Lauryn Hill a mis tout un argument sur un disque, puis s’est surtout effac\u00e9e. The Miseducation of Lauryn Hill ne sonne pas comme un premier album solo qui temporise. Cela sonne comme quelqu’un qui avait d\u00e9j\u00e0 chant\u00e9 les accroches que la radio voulait dans les Fugees et avait d\u00e9cid\u00e9 que le prochain document tiendrait accroches, reproche et le\u00e7on du dimanche dans la m\u00eame tracklist. N\u00e9e Lauryn Noelle Hill \u00e0 South Orange, New Jersey, le 26 mai 1975, elle avait jou\u00e9 au cin\u00e9ma, rapp\u00e9 et sur The Score en 1996 fait de Killing Me Softly et Ready or Not l’air de l’\u00e9t\u00e9 dans chaque voiture.<\/p>\n

Le chemin des Fugees explique la confiance. Blunted on Reality en 1994, avec Wyclef Jean et Pras Michel, n’annon\u00e7ait pas un ph\u00e9nom\u00e8ne. The Score oui, deux ans plus tard et ses couplets sur If I Ruled the World de Nas montraient une rappeuse qui entre dans un morceau sans copier l’humeur du morceau. \u00c0 vingt-trois ans, elle \u00e9tait d\u00e9j\u00e0 au centre de la conversation sur le plus grand prix du hip-hop avant que le prix n’arrive.<\/p>\n

Sorti le 25 ao\u00fbt 1998, Miseducation est construit comme une journ\u00e9e d’\u00e9cole. Entre les chansons, des enfants parlent d’amour, un cadre qui aurait pu \u00eatre mignon et ne l’est pas, parce que les morceaux autour sont pr\u00e9cis. Doo Wop (That Thing) gronde et swingue dans la m\u00eame mesure. Ex-Factor est un adieu qui refuse de partir. To Zion s’adresse \u00e0 son fils et aux conseils de carri\u00e8re qui disaient qu’un b\u00e9b\u00e9 ruinerait le plan. Lost Ones est le morceau rap, coup\u00e9 et personnel. Elle a produit la majeure partie elle-m\u00eame avec un groupe plut\u00f4t qu’un empilement de loops, m\u00eame si des samples \u00e9taient l\u00e0 et seraient plus tard discut\u00e9s au tribunal. L’accord gospel et le rythme hip-hop tiennent ensemble dans l’arrangement.<\/p>\n

Les Grammy 1999 ont donn\u00e9 cinq prix \u00e0 l’album, dont Album of the Year, sur dix nominations. La soir\u00e9e a confirm\u00e9 ce que les chansons montraient d\u00e9j\u00e0: une femme pouvait tenir le centre de l’industrie ce soir-l\u00e0 et sonner, sur le disque, comme si elle n’avait pas demand\u00e9 la permission. Puis le centre s’est vid\u00e9. MTV Unplugged No. 2.0 en 2002 est l’oppos\u00e9 d’un tour de victoire: gorge r\u00e2peuse, guitare \u00e0 peine accord\u00e9e, nouvelles chansons qui inculpent l’industrie, l’image et sa propre certitude pass\u00e9e. Certains ont entendu une rupture. La bande montre une chanteuse qui refuse la version lisse d’une voix trop utile aux autres.<\/p>\n

Ce qui a suivi n’\u00e9tait pas un second Miseducation et ne s’est jamais convaincamment expliqu\u00e9 par la paresse. Tourn\u00e9es, reunion Fugees qui s’effiloche, proc\u00e8s, longs silences et des soirs o\u00f9 elle arrivait tard ou pas du tout c\u00f4toient des soirs o\u00f9 une voix plus \u00e2g\u00e9e ouvrait encore Ex-Factor et la salle se comportait comme si la chanson attendait. Elle a parl\u00e9 de pression, de foi et du d\u00e9sir que le travail signifie plus qu’un cycle de singles. Le catalogue est rest\u00e9 court par choix ou par dommage ou les deux. Cette bri\u00e8vet\u00e9 fait partie de l’\u00e9coute actuelle.<\/p>\n

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Les influences sont dans le m\u00e9lange plut\u00f4t que sur un badge: harmonie gospel, rythme reggae du c\u00f4t\u00e9 carib\u00e9en de la famille, cadence du hip-hop des ann\u00e9es 90 et l’habitude Fugees de transformer reprise ou sample en nouvel argument. Compar\u00e9e aux pairs qui s\u00e9paraient rap et chant sur des albums diff\u00e9rents, elle gardait les deux dans le m\u00eame souffle.<\/p>\n

\u00c0 l’\u00e9coute, entendez une batterie en direct sous de longues vocalises, une basse qui marche comme les disques soul et des voix qui pr\u00eachent sur une ligne et jasent sur la suivante. Les skits de classe gardent la production \u00e0 \u00e9chelle humaine. Les disputes de cr\u00e9dits de session rappellent qu’un disque fini est aussi une pi\u00e8ce pleine de monde; elle se tenait au milieu, jeune, certaine, planifiant peut-\u00eatre d\u00e9j\u00e0 la sortie.<\/p>\n

Les portes d’entr\u00e9e restent claires. The Miseducation pour la d\u00e9claration 1998 compl\u00e8te. Unplugged 2.0 pour la confession rugueuse apr\u00e8s la couronne. The Score pour le contexte de groupe. Ajoutez Doo Wop (That Thing), Ex-Factor et Ready or Not et vous entendez l’arc de porteuse de tubes \u00e0 auteure solo \u00e0 ic\u00f4ne r\u00e9ticente.<\/p>\n

\u00c0 c\u00f4t\u00e9 des confessionnels de Mary J. Blige ou de l’\u00e2me cosmique d’Erykah Badu, Hill partage la chaleur R&B mais garde un tranchant de rap dans le m\u00eame couplet. \u00c0 c\u00f4t\u00e9 des stars multi-casquettes plus tardives, elle reste le cas qu’on cite dans les deux sens: un album abouti, puis les ann\u00e9es o\u00f9 on lui demande de le refaire.<\/p>\n

Des chanteuses plus jeunes ont pris le m\u00e9lange, les longues vocalises sur un breakbeat, le droit de gronder dans une chanson d’amour et rarement le co\u00fbt. Mettez Doo Wop (That Thing) ou Ex-Factor et le disque de 1998 montre encore la m\u00e9thode: finir la pens\u00e9e, laisser le sample porter le sermon et garder cette exigence dans la chanson.<\/p>\n

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