Harmonies and melodics aside, Lauryn Hill’s rapping skills are often regarded as some of the finest in Hip Hop history – a distinction earned through her unique blend of technical mastery, emotional depth, and lyrical complexity. Whether delivering intricate rhyme schemes or poignant social commentary, she has consistently showcased her ability to weave complex narratives into her verses. This is arguably most evident in The Miseducation of Lauryn Hill, where tracks like “Lost Ones” featured razor-sharp wordplay and rhythmic dexterity that can compete with any of that era's most revered emcees.

It's not just her technical prowess that sets Ms. Hill apart – it's also her emotional range and the authenticity she brings to a song. While peers are typically centered around materialism or bravado (common themes in Hip Hop), she consistently delves into subjects like love, heartbreak, social injustice, and self-awareness. On “Doo Wop (That Thing),” for instance, Hill critiqued both men and women, urging them to avoid superficial lifestyles while utilizing a seamless mixture of soul and rap.

Her work with the Fugees, particularly on The Score, demonstrated her ability to stand out in a group of talented emcees. Tracks like “How Many Mics” and “Ready or Not” revealed the depth of her competitive nature, as the many bars she contributed often outshined ones from male counterparts Wyclef Jean and Pras. As you'll see below, Lauryn Hill is the epitome of an artist who balances artful lyricism with deep, resonant messages.

1. The Beast: “Conflicts with night sticks, illegal sales districts, hand-picked lunatics keep poli-trick-cians rich...”

With two short verses, Lauryn Hill blasted the country’s racist law enforcement system and its corrupt agents. This didn’t need much time to address everything from the Newt Gingrich-led Contract with America to the brutal murder of Malcolm X. Somewhat related, “The Beast” was also the home to the Fugees famous Chinese restaurant skit.

2. Lost Ones: “Now don't you understand, man, universal law? What you throw out comes back to you, star, never underestimate those who you scar 'cause karma, karma, karma comes back to you hard...”

The fiery “Lost Ones” was a stand-out track from the timeless The Miseducation of Lauryn Hill. Over sparse-yet-booming production, Hill aimed her verses at a presumed former ex – an individual who many speculated was Fugees bandmate Wyclef Jean (Clef would later state that he wasn’t sure if the song was a shot in his direction). Nonetheless, many consider the track to be one of the greatest disses in Hip Hop history.

3. How Many Mics: “Au contraire mon frère, don't you even go there, me without a mic is like a beat without a snare...”

Taken from The Score, “How Many Mics” was a lyrical exercise for all participants, beginning with a hard-hitting verse from Hill about just how great she is at rapping. She also managed to squeeze in lines about the youth misusing the culture (an argument that continues long after this song’s release) and her Muslim faith. At one point, she even compared herself to the late Khalid Abdul Muhammad.

4. Cowboys: “Bust this scenario, can't no other niggas in the barrio, from North to Ontario, tame us when we in stereo...”

Who had the lyrical finesse to outrap the likes of John Forté, Outsidaz, and her own group members? Ms. Hill did. “Cowboys” is arguably one of Hip Hop’s most notable posse cuts, and – for the second verse – Hill and Flipmode alum Rah Digga traded lines like tag team champions. The only two things more memorable might’ve been Clef’s yodeling and Pras’ out-of-nowhere Kenny Rogers impression.

5. Vocab (Remix): “I be baitin’ the rebel base to bass distort the EQ, the devil's wishin’ they could send me back to Mogadishu...”

Originally found on the Fugees’ debut album, Blunted on Reality, “Vocab” later saw a “Refugee Hip-Hop Remix” that took on a life of its own. While both versions were lyrically inclined, the updated version featured an opening verse from Hill that saw her rapping about maintaining her realness (and occasional mischievousness) despite her affluent background.

6. Ready or Not: “While you imitating Al Capone, I'll be Nina Simone and defecating on your microphone...”

Following the megahit “Killing Me Softly with His Song,” the Fugees struck again with “Ready or Not,” another infectious cut from The Score. Unlike the former, Hill used the above track to obliterate the track with bars about voodoo, chess-inspired strategies, and “rap orgies with Porgy and Bess.” The expensive music video helped to elevate the single to legendary status.

7. Everything Is Everything: “Emcees ain't ready to take it to the Serengeti, my rhymes is heavy like the mind of sister Betty (Betty Shabazz)...”

While “Everything Is Everything” is largely R&B-based, the self-produced cut did feature one of Hill’s hardest verses. The multilayered bars ranged from dense, African-oriented lines to boastful declarations about her rhyming prowess. The track became a top 40 hit in countries like the Netherlands, the United Kingdom, and – of course – the United States, where it peaked at No. 35 on the Billboard 200.

8. Doo Wop (That Thing): “Showing off your a** 'cause you're thinking it's a trend, girlfriend, let me break it down for you again, you know I only say it 'cause I'm truly genuine, don't be a hard rock when you really are a gem...”

Hill’s debut solo single became her first – and only – No. 1 on the Billboard Hot 100. “Doo Wop (That Thing)” serves as a message to women (in the first verse) and men (in the second) about self-worth and protecting oneself from the world’s evils. Despite it being primarily a rap song, the self-produced number scored Hill a couple of Grammys for Best Female R&B Vocal Performance and Best R&B Song.

9. Fu-Gee-La: “Ha-ha-ha-ha, you shouldn't diss Refugees and, ha-ha-ha-ha, you whole sound set booty and, ha-ha-ha-ha, you have to respect Jersey...”

On the above track, Hill switched up her flow and was more animated than other efforts on this list. The verse contained variations in pitch and exclamations of amusement to help get her point across. Fun fact: According to the track’s producer, Salaam Remi, the beat for “Fu-Gee-La" was originally meant for Fat Joe. Following an impromptu verse from Wyclef during a studio session, the rest was history.

10. Guantanamera: “This gentle flower, fertility was her power, sweet persona, Venus flytrap primadonna, que será, que será, she turned dinero to dinera...”

Taking the spotlight off Hill for a moment, credit must be given to Wyclef for taking an iconic Cuban anthem and crafting it into a hit of his own (with aid from Celia Cruz no less). With that out of the way, Hill’s closing verse still managed to take the cake as a vivid tale about a female character from the streets of Spanish Harlem.

11. Nobody: “My awareness like Keanu in The Matrix, I'm savin' souls and y'all complainin' 'bout my lateness, now it's illegal for someone to walk in greatness, they want the same shh, but they don't take risks...”

Reconnecting with her “If I Ruled the World” collaborator, Lauryn Hill surprised fans with an appearance on Nas’ “Nodoby,” a standout from King’s Disease II. Following stream-of-consciousness verses from the QB legend, Ms. Hill proceeded to rap for about a minute and a half about everything from her presence in the game to those critical of her live performances (specifically, her penchant for being tardy to her shows).

12. Family Business: “Jokers is scatter-brained, their focus is unrestrained, my army is trained, you never find us beefin' in vain, 'cause I've seen fire and I've seen rain, you claim fame while modest n**gas remain...”

Lauryn Hill was moving extra militant on “Family Business,” a track from The Score that saw the Fugees alongside Omega and longtime affiliate John Forté. Even with two verses and a hook from Wyclef, Hill stood tall with a verse about taking down all detractors in defense of her loved ones. “Your number's retired, I hope you like the hell fires, you'll be screamin', ‘Murder she wrote’ like Chaka Demus and Pliers,” she further rapped.

13. Final Hour: “Whether posed in Mirabella in couture, or collecting residuals from off The Score, I'm making sure I'm with the 144...”

Lauryn Hill’s ability to mix braggadocio bars with gospels about her faith and spirituality is front and center on “Final Hour,” one of the few rap cuts from The Miseducation. Over her own production that features live instrumentation and RZA-esque vibes, Hill poured her heart out about Judgement Day, being a fashion symbol, strengthening her community, and navigating through the complexities of fame and fortune.