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Despite the initial disappointment with Blunted’s stagnant sales, the record did reinforce that the talented trio’s chemistry on the mic contained the seeds of a future breakthrough, provided that a few more stars—and songs—could be aligned in their favor. The staff at Ruffhouse were believers, which explains why the label granted the group a generous six-figure advance in anticipation of their sophomore effort. Wisely, the threesome used a good portion of the advance to upgrade the sound equipment in Booga Basement, the makeshift recording studio that Wyclef and his cousin Jerry “Wonder” Duplessis built in the latter’s basement of his East Orange home. As Wyclef it to Rolling Stone, the DIY recording space “sort of gives you a Tuff Gong feeling,” a nod to Bob Marley’s legendary Kingston, Jamaica studio. Recorded in the latter half of 1995, the Fugees’ follow-up was, as Wyclef to MTV, “the big payback” inspired by the group’s shared commitment to “settling the score for those who slept on the Fugees.” Flaunting a considerably more polished and kaleidoscopic sound imbued with soul, reggae, and folk along with its fundamental hip-hop core, The Score seamlessly straddled the seldom achieved line between street credibility and coffeehouse charm. Although both Wyclef and Pras upped their lyrical game on The Score, the dynamic and precociously self-assured Hill, who was just 20 years old at the time of the album’s release, made the most impressive leap of all.

Liberated to flex her venerable vocal prowess, lyrical dexterity and incisive songwriting throughout the sophomore song suite, L-Boogie’s contributions across the album are nothing short of revelatory, not to mention compelled by a noble calling. “If you want to call us ‘alternative,’ so be it,” she to Vibe magazine in a March 1996 interview. “We’re trying to bring musicality back to the hood.” Defined by its subdued soundscapes, inventive use of samples, catchy-as-all-hell hooks, and multitude of sonic inspirations, The Score resonates with a distinctive sound and eclecticism all its own. Lyrically, the album is chock-full of clever rhyme schemes, memorable turns of phrase, and countless metaphors and similes that namecheck a motley roll call of pop culture luminaries like Alec Baldwin, Buju Banton, Dick Van Dyke, Menudo, Tommy Mottola, Paul McCartney, Carlos Santana, Seal, John Travolta, and Stevie Wonder, among others. Irresistibly addictive first single “Fu-Gee-La” is the finest of the album’s several fine moments, with Hill flashing her best in the song’s chorus, as she confirms the group’s mission of getting heads “super high off the Fu-Gee-La.” Not entirely sure why Ruffhouse thought it was a good idea to toss three mediocre remixes of the track onto the end of the album, instead of simply letting them live on the maxi-single, but their curious presence doesn’t undermine the allure of the original. The album’s other standouts can be found in the opening three tracks, all of which revolve around the group’s assertions of microphone superiority.