In a less enthusiastic review, Q magazine's Dom Phillips felt the music's only flaw was "a lack of memorable melody" on some songs that did not use interesting samples,[102] while John Mulvey from NME quibbled about what he felt were redundant skits and Hill's "propensity" for histrionics and declarations of "how brilliant God is" on an otherwise "essential" album.[39] Pitchfork's Neil Lieberman found some of the ballads tedious and the melodies "cheesy".[29] Citing "Lost Ones" and "Superstar" as highlights, The Village Voice music editor Robert Christgau deemed it the "PC record of the year", featuring exceptionally understated production and skillful rapping but also inconsistent lyrics, average singing, and superfluous skits.[111] He appreciated the "knowledge [and] moral authority" of Hill's perspective and values, although he lamented her appraisal of God on record.[112] In the Los Angeles Times, Soren Baker believed Hill was more effective as a critical rapper than a singer on the more emotional songs, where her voice was "too thin to carry such heavy subject matter".[99]

To my eyes, The Miseducation of Lauryn Hill is like a fine hand-crafted sculpture. It embraces and unmasks both beauty and blemishes that we have all experienced regardless of our race, religion or cultural backgrounds. The entire album is a resounding message citing the ups and downs of life through actuality. While reflecting on this work, I cannot help but hinge unto the title that I find to be a paradox. Through the vibrations of the sounds and the wonderful display of vocals, you begin to not only hear but also feel the actual education of the "miseducation" that Lauryn is giving to us.


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