And she was like, "I don't wanna fuck with them, I just wanna get a whole new crew."Vada Nobles (producer/programmer): My friend Kilo called and said, "Yo, bring some music, Lauryn Hill wants us to come to her house!
" In her living room, Lauryn had on a brown robe, she was pregnant.
Sony never wanted her to make a solo record; they wanted her to make another Fugees record.
Marley: Lauryn and her mom took [early versions of] her album to Sony Records and they said, "This is coffee table music. Coffee table music." She took her shit and walked outta there. She said, "I wanna make my own record, have the baby and use these unknown guys." They're like, you're Lauryn Hill, why aren't you with Track Masters?
Lauryn Hill: [I wanted to] write songs that lyrically move me and have the integrity of reggae and the knock of hip-hop and the instrumentation of classic soul.
[My engineer and I worked on] a sound that's raw.
She was saying she's moving on from the Fugees and considering doing a solo record.
She was looking to put together her own creative support team. Her mother said that Lauryn prayed for a situation like this.
It was, in fact, a huge group effort, as underlined by a lawsuit settled out of court in 2001 for a reported million.Commissioner Gordon Williams (engineer/project supervisor): In the beginning, the New-Ark guys were the core who put the basic tracks together.Vada was a programmer who made drum beats, Kilo [Rasheem Pugh] would write hooks and lyrics, Tejumold Newton played piano and Johari Newton played guitar. By the time the album was done I actually had to re-do their stuff and make it stronger.Commissioner Gordon: I remember the first time she sang "To Zion" to me I almost started crying on the spot.Che put together a drum loop and she came over right next to me at the board and started singing "Zion" in my ear.
It took a lot of courage to go down that road and we all felt like soldiers in her army.