"I USED TO LOVE HIM" LAURYN HILL FEAT. MARY J. BLIGE (1998)

The moment a song is born, the world is different. It’s now a part of our lives. We sing it in the shower. We dance to it at our wedding. We get pumped with it. We break up to it. We memorize it. We try to forget it. We rediscover it. This month, I’m joining Arron Wright’s Twitter music challenge: ##Popiversary2. Because why the hell not. Songs deserve their own anniversaries, too.

Year: 1998

Lauryn Hill has one studio album to her credit, but it’s one for the ages. A hugely ambitious effort, The Miseducation of Lauryn Hill was a concept album and a personal memoir. It rewrote the rules and redefined genres like soul and hip hop. It had that rare quality of making your whole being move. Not just your body, but your mind and soul. There were enough songs to get two albums out of it. And one song deserves more credit than it gets. The second half kicks off with one of the greatest, most glorious breakup songs ever: “I Used to Love Him”.

The doo-wop influences are all over Miseducation, and especially apparent in the opening harmony on “I Used to Love Him”. It’s one of the most memorable and iconic musical moments on the album. But the highlight is the dual rant from Hill and Mary J. Blige. The breakups described in the lyrics weren’t debilitating, they were liberating. The more I listen to “I Used to Love Him” the more I come to a beautiful realization. That the song is less about breakups and more about reclaiming your identity.

“I CHOSE THE ROAD OF PASSION AND PAIN. SACRIFICED TOO MUCH. AND WAITED IN VAIN. GAVE UP MY POWER. CEASED BEING QUEEN.”

"THIS IS AMERICA" CHILDISH GAMBINO (2018)

The moment a song is born, the world is different. It’s now a part of our lives. We sing it in the shower. We dance to it at our wedding. We get pumped with it. We break up to it. We memorize it. We try to forget it. We rediscover it. This month, I’m joining Arron Wright’s Twitter music challenge: ##Popiversary2. Because why the hell not. Songs deserve their own anniversaries, too.

Year: 2018

The relationship between images and music has always been a powerful, inescapable part of the music listening experience. Album art. Music videos. Full-length concert documentaries. And now NFT collectibles. In 2018, Childish Gambino produced a music video for “This Is America” that was intricately and artistically tied to the track with perfection. There are few music videos that have left as powerful an impression as this one.

It’s easy to let the music video steal the thunder of this song itself. Which would be a shame. “This is America” blends hip hop with gospel and afrobeat textures, making the musicality completely different than anything else out there. Then there’s the message. Gun violence. Police brutality. Discrimination. Childish Gambino took this raw, honest commentary and the most un-pop-like track all the way to #1 on the charts. It’s a once-in-a-lifetime song.

“Look how I'm geekin' ouT. I'm so fitted. I'm on Gucci. I'm so pretty, yeah, yeah.”

"THIS IS AMERICA" CHILDISH GAMBINO (2018)

This month on Twitter, @sotachetan hosts #BrandedInSongs – which is a head-on collision of my personal world of music and my professional world of branding and advertising. The challenge is to simply pick a song with a brand name in its lyrics or title. I added one more criteria to my picks, which is this: the songs themselves must be as iconic as the brands they mention. No filler here.

The relationship between images and music has always been a powerful, inescapable part of the music listening experience. Album art. Music videos. Full-length concert documentaries. And now NFT collectibles. In 2018, Childish Gambino produced a music video for “This Is America” that was intricately and artistically tied to the track with perfection. There are few music videos that have left as powerful an impression as this one.

It’s easy to let the music video steal the thunder of this song itself. Which would be a shame. “This is America” blends hip hop with gospel and afrobeat textures, making the musicality completely different than anything else out there. Then there’s the message. Gun violence. Police brutality. Discrimination. Childish Gambino took this raw, honest commentary and the most un-pop-like track all the way to #1 on the charts. It’s a once-in-a-lifetime song.

“Look how I'm geekin' ouT. I'm so fitted. I'm on Gucci. I'm so pretty, yeah, yeah.”

"HEY YA!" OUTKAST (2003)

This month on Twitter, @sotachetan hosts #BrandedInSongs – which is a head-on collision of my personal world of music and my professional world of branding and advertising. The challenge is to simply pick a song with a brand name in its lyrics or title. I added one more criteria to my picks, which is this: the songs themselves must be as iconic as the brands they mention. No filler here.

When “Hey Ya!” was released as a single, it achieved a kind of monumental status. The kind achieved only by a small few. A song so universally liked by fans of all genres, how could it be? Played everywhere. Proms. Weddings. Reunions. And every party under the sun. I remember in my own wedding, it was a must-have. We made the DJ play it, the only hip hop song that whole night.

It’s interesting to think about what makes a song achieve the kind of universal appeal that “Hey Ya!” achieved. It’s full of catchy moments. And in the case of “Hey Ya!”, there’s plenty to catch. The 1-2-3 count in the intro. The harmonizing in the chorus. The “alright, alright, alright” refrain. And then there’s the famous line that became a household phrase. Who can ever forget it?

“Shake it, shake it, shake it, sugar. Shake it like a Polaroid picture.”

"INTRO" LAURYN HILL (1998)

Great album openers get the listeners to keep on listening. They can do this in any number of ways. Some openers set the tone by easing us in. Others jump right in and blow our minds from the very beginning. A great album opener isn’t an easy thing to create. More than a great song, it’s all about the sequence. Track 1 has to be the perfect starter. This month, I’m highlighting my favorites. #AlbumOpeningSongs

Lauryn Hill wasn’t the first to rewrite the rules of concept albums. But The Miseducation of Lauryn Hill was a huge step forward. It showed that a record could be just as effective of a vehicle for a story than a book or movie. The music on the album was phenomenal, but the storytelling was even more powerful. Miseducation was an album that could imagine in your head. Every time I listen to it, I can picture the classroom and the street corner with vivid detail. And Lauryn Hill made a powerful statement at the beginning, opting for an audio story approach rather than the traditional song format.

“Intro” is only 47 seconds long. It’s perhaps the least played track on the album. It contains no singing, no rapping, no melody. But it’s the track that sets the stage and holds the entire album together. “Intro” puts us inside a classroom at roll call. We hear the teacher calling out the students’ names one by one. One by one, they respond. But the child version of Lauryn Hill is missing. The teacher calls one, twice, three times. but no answer. This simple track makes the album title that much more poignant and lets us know from the outset it’s not just a catchy name. This entire album is one autobiographic story.

"GANGSTA'S PARADISE" COOLIO (1995)

For the last five days of October, I’m remembering music artists that died in 2022 by celebrating their music and legacy.

Artis Leon Ivey Jr. (Coolio): Aug 1, 1963 – Sep 28, 2022

The very reasons why people love hip hop and gangsta rap are the same reasons why I’m not crazy about these genres. Many of their most well-known tracks rely on samples from existing tracks for their riffs – and even for their melodies and lyrics. I just prefer originality when it comes to these core music elements. But I understand the significance of a samples-heavy approach. It’s a reminder that the artists themselves are fans just like us. Samples also serve as an ode to the past and to key musical influences. And if you’re going to sample someone else’s music, you may as well use the best, like Coolio did in “Gangsta’s Paradise”.

Stevie Wonder’s Songs in the Key of Life is a great listen. But I have to admit, I heard “Gangsta’s Paradise” before I even knew about “Pastime Paradise”. Hearing the songs in this order allowed me to appreciate the latter that much more. Coolio had the groove and his finger on the pulse of the new reality. But Stevie had the vision and musical creativity, being one of the first to use a synthesizer to create string sounds. “Gangsta’s Paradise” made the groove and rhythm more palatable for everyone – from black kids in the hood to white suburban kids to parody kingpin “Weird Al” Yankovic. “Gangsta’s Paradise” is that rare track that is both a cultural statement and a cultural phenomenon.

“As I walk through the valley of the shadow of death, I take a look at my life and realize there's nothin' left.”

"EVERYTHING IS EVERYTHING" LAURYN HILL (1998)

I generally gravitate to the music first before the lyrics. But as a writer, I still marvel at well-spun verses and choruses. This month, I’m joining the music Twitter community in #SeptSongLyricChallenge

Day 13

It’s hard to think of another song based on two chords that’s as gripping as this one. Those two simple chords formed an irresistible, unforgettable hook, forged by John Legend on piano and the Indigo Quartet on strings. It’s the heartbeat of the song, But what made “Everything is Everything” even more unique was Lauryn Hill’s lyrics. Hill wrote the song for “everyone who struggles in their youth” and criss-crossed genres so seamlessly, going from R&B to hip hop to soul. Perhaps this is what makes The Miseducation of Lauryn Hill so appealing. It’s not simply a hip hop record, it’s so much more.

“Now everything is everything. What is meant to be, will be. After winter, must come spring. Change, it comes eventually.”

"GANGSTA'S PARADISE" COOLIO (1995)

This month, the Mental Jukebox revisits the movie soundtracks of the nineties. The music I’m highlighting are some of my personal favorites. In many cases, the movies themselves were huge for me as well. But the focus will still be on the music – as always. Let’s bring on the throwback classics, the grunge, the gangsta rap, and the indie gems. #31DaysOf90sMovieSongs

Movie: Dangerous Minds

The very reasons why people love hip hop and gangsta rap are the same reasons why I’m not crazy about these genres. Many of their most well-known tracks rely on samples from existing tracks for their riffs – and even for their melodies and lyrics. I just prefer originality when it comes to these core music elements. But I understand the significance of a samples-heavy approach. It’s a reminder that the artists themselves are fans just like us. Samples also serve as an ode to the past and to key musical influences. And if you’re going to sample someone else’s music, you may as well use the best, like Coolio did in “Gangsta’s Paradise”.

Stevie Wonder’s Songs in the Key of Life is a great listen. But I have to admit, I heard “Gangsta’s Paradise” before I even knew about “Pastime Paradise”. Hearing the songs in this order allowed me to appreciate the latter that much more. Coolio had the groove and his finger on the pulse of the new reality. But Stevie had the vision and musical creativity, being one of the first to use a synthesizer to create string sounds. “Gangsta’s Paradise” made the groove and rhythm more palatable for everyone – from black kids in the hood to white suburban kids to parody kingpin “Weird Al” Yankovic. “Gangsta’s Paradise” is that rare track that is both a cultural statement and a cultural phenomenon.

“As I walk through the valley of the shadow of death, I take a look at my life and realize there's nothin' left.”

"EVERYTHING IS EVERYTHING" LAURYN HILL (1998)

Each day in November, I’m revisiting a song from the 90’s — a decade that was a sorta coming of age for me. In that span, I experienced high school, college and my time as a young single guy in New York City. It was a decade of ups and downs, and the music never stopped playing during that span. It was always there with me. #30DaysOf90sSongs

I was never a big fan of hip hop, mainly because I find original instrumentation to be much more satisfying than sample dropping and beats. That said, The Miseducation of Lauryn Hill is probably one of my all-time favorite albums. As a concept album, it told a larger story that I could practically visualize in my head. This made the album much more appealing aside from having just individual standout tracks. Scenes of an inner city classroom danced in my head as one song blended into another. There isn’t a weak track on the album, but my favorite, by far, is “Everything is Everything”.

It’s hard to think of another song based on two chords that’s as gripping as this one. Those two simple chords formed an irresistible, unforgettable hook, forged by John Legend on piano and the Indigo Quartet on strings. It’s the heartbeat of the song, But what made “Everything is Everything” even more unique was the vocal performance. Lauryn Hill criss-crossed genres so seamlessly, going from R&B to hip hop to soul. Perhaps this is what makes The Miseducation of Lauryn Hill so appealing. It’s not simply a hip hop record, it’s so much more.

“I wrote these words for everyone who struggles in their youth, who won't accept deception, instead of what is truth.”

"I USED TO LOVE HIM" LAURYN HILL (1998)

For the second half of September, I’m putting my Mental Jukebox into a time machine, featuring the best songs on the best albums from the very best years of music. #70sThrough90sBestAlbum

Lauryn Hill has one studio album to her credit, but it’s one for the ages. A hugely ambitious effort, The Miseducation of Lauryn Hill was a concept album and a personal memoir. It rewrote the rules and redefined genres like soul and hip hop. It had that rare quality of making your whole being move. Not just your body, but your mind and soul. There were enough songs to get two albums out of it. And one song deserves more credit than it gets. The second half kicks off with one of the greatest, most glorious breakup songs ever: “I Used to Love Him”.

The doo-wop influences are all over Miseducation, and especially apparent in the opening harmony on “I Used to Love Him”. It’s one of the most memorable and iconic musical moments on the album. But the highlight is the dual rant from Hill and Mary J. Blige. The breakups described in the lyrics weren’t debilitating, they were liberating. The more I listen to “I Used to Love Him” the more I come to a beautiful realization. That the song is less about breakups and more about reclaiming your identity.

“I chose the road of passion and pain. Sacrificed too much. And waited in vain. Gave up my power. Ceased being queen.”

"LOST ONES" LAURYN HILL (1998)

Inspired by Albumism, I’m doing my own version of Flying Solo with individual tracks. Band breakups and hiatuses are never fun, but these solo jams were defining moments in my life’s soundtrack.

The Fugees were two studio albums and done. And to this day, Lauryn Hill as a solo artist only has one. But it was an absolute legendary one. The Miseducation of Lauryn Hill was so exceptional it may have been impossible to follow up with another effort. Instead, Hill has recorded the occasional single and has toured sporadically.

Without that prolific catalog that other artists have in their name, a bigger exclamation point is put on songs like “Lost Ones”. It’s a hip-hop song loaded with attitude, rhythm and hooks. And then comes the kicker: the realization that “Lost Ones” seems to nod to the demise of the Fugees and call out her former bandmate Wyclef Jean. Which makes the song an even more powerful statement than what it exudes on the surface.

“It's funny how money change a situation. Miscommunication leads to complication. My emancipation don't fit your equation.”

"EVERYTHING IS EVERYTHING" LAURYN HILL (1998)

For Women’s History Month, I’m selecting some of my favorite songs from some of the most talented and influential women in music. From frontwomen to singer-songwriters to iconic performers, I’m picking one song a day on Mental Jukebox until the end of March.

“Everything is Everything” is a towering bridge spanning the musical landscape. It bridges the seminal work of the Fugees with the new, defining sound and themes of Lauryn Hill. It bridges multiple genres, from R&B to soul to hip hop. It also bridges us into the next decade with an early peek into John Legend, who played piano on the track as a 19 year old. The Miseducation of Lauryn Hill was a reeducation of what music can be. And “Everything is Everything” led the way.

“Now hear this mixture, where Hip Hop meets scripture. Develop a negative into a positive picture.”

"TENNESSEE" ARRESTED DEVELOPMENT (1992)

Inspired by Jeep’s “Reunited States of America” Super Bowl ad, this is my peek into America through a handful of songs. Each track is dedicated to one of the states. Here’s Part 1.

This week, I’m celebrating the United States on Mental Jukebox. First up, the highly influential 90’s southern hip hop classic “Tennessee”. It gave us an early example of a half-sung, half-rapped delivery. It stood in stark contrast to gangsta rap with a more positive message - exploring themes like family and spirituality. And it just had an infectious, unforgettable beat. This track helped Arrested Development win far more than just awards. It won them a ton of respect, even outside hip hop circles.

“Take me to another place, take me to another land. Make me forget all that hurts me, let me understand your plan.”

"CHECK THE RHIME" A TRIBE CALLED QUEST (1991)

An homage to the past. A glimpse of the future. On Low End Theory, A Tribe Called Quest fused jazz with hip-hop, leading the way to a totally different brand of hip-hop. And in “Check the Rhime”, we found a new, simple and unforgettable groove. With clean, iconic beats and mesmerizing horn samples, it was as ambitious as it was accessible. “Check the Rhime” puts ATCQ’s musicality on full display. Surprisingly simple, yet powerful.

“How far must I go to gain respect? Um, well it's kind of simple, just remain your own.”

"SABOTAGE" BEASTIE BOYS (1994)

Pretty much everything the Beastie Boys ever produced sounds like the stuff you would record with your buddies inside a garage. The kind of music you make for fun, not for FAME or money. That’s what makes songs like “Sabotage” that much more awesome. while these guys were just having fun, they were reinventing music. “Sabotage” unleashes a barrage of drums, turntable scratches and distorted bass riffs like we’ve never heard before.

“I can't stand it, I know you planned it. I'mma set it straight, this Watergate. I can't stand rockin' when I'm in here. 'Cause your crystal ball ain't so crystal clear.”

"THIS IS AMERICA" CHILDISH GAMBINO (2018)

It’s easy to let the music video steal the thunder of this song itself. Which would be a shame. “This is America” blends hip hop with gospel and afrobeat textures, making the musicality completely different than anything else out there. Then there’s the message. Gun violence. Police brutality. Discrimination. Childish Gambino took this raw, honest Commentary and the most un-pop-like track all the way to #1 on the charts. It’s a once-in-a-lifetime song.

“This is America. Don't catch you slippin' now. Look at how I'm livin' now. Police be trippin' now. Yeah, this is America.”

"RIGHT ON" THE ROOTS (2010)

In the back half of How I Got Over, “Right On” comes in with its mid-tempo ranting and grooving. Like much of the album, this is a song of self-determination. You hear it in the lyrics. But, most importantly, you just feel it—from the Joanna Newsom sample to the final verse. But what I love most about the song is it felt right for the times. “Right On” feels more like a journal entry than a public proclamation.

“For this love I go above and beyond the limit. I told y'all I'm above and beyond the gimmick. I get into your head and spread like a pandemic. I never put myself in a race I can't finish.”

"TIMES" NOMADIC MASSIVE (2019)

Both George Floyd’s death and the ensuing violent protests show us that there’s too much “us vs them” and not enough unity. Not enough understanding. Not enough love. We can all benefit from looking at systems and structures that bring people together, rather than cause more division. Sometimes it happens in the simple act of making music. That’s the one thing I admire most about Nomadic Massive. Its intentionality in bringing together different races and cultures, because music gets richer when we’re more inclusive. “Times” is a sharp commentary on the now—not from one, but from many voices.

“Brains wired to liars. Dreams to be hired. Now their past is now expired hashtag TPS. And wanna rest to avoid this madness. Cuz this world seems to be lost without a GPS. Which road to follow. Times we do borrow. And spit like arrows and change what’s tomorrow.”

"FORGIVE THEM FATHER" LAURYN HILL (1998)

What did you feel when you first heard this album? What did it make you think? How did it confirm or change what you believe? Chances are, it did something for you. I think Miseducation is one of the best concept albums ever recorded from beginning to end. It’s hard to pick just one song for my jukebox, but “Forgive Them Father” always struck me as going a level deeper. It’s Lauryn Hill trying to reconcile faith through her imperfections. It’s a peek behind the curtain of her soul. It’s the kind of song that leaves us wanting more solo stuff from Ms. Lauryn Hill. But we simply wait.

“Forgive us our trespasses. As we forgive those that trespass against us. Although them again we will never never never trust.”