us was each going through some pain. Lauryn was crying when she did her vocals. It was unbelievable. To see her singing with tears coming out of her eyes, it made me want to cry too." The fourth and final single from the album, a cover of Bob Marley's "No Woman, No Cry", with lead vocals by Wyclef Jean, was released on November 18, 1996. It was produced by Wyclef Jean and Lauryn Hill, with additionally production from Pras and Jerry 'Wonder' Duplessis. It features uncredited backing vocals from by Marley's children Stephen and Sharon Marley, as well as reggae singer Pam Hall. An official remix of the track, featuring Stephen Marley, was included on the group's third release, Bootleg Versions. The song peaked at No. 38 on the US Hot 100 Airplay chart. It was more successful worldwide, peaking atop the New Zealand Singles Chart for two weeks, and No. 2 in the UK. Critical reception Upon its release, The Score received critical acclaim. Entertainment Weekly writer James Bernard commented, "What a shock: a smooth, well-produced rap album that doesn't have Dr. Dre's fingerprints on it [...] The Score showcases their acrobatic lyrical techniques and restless intelligence, and unlike much East Coast rap, The Score feels warm and intimate — partly because the instruments are live but also because the Fugees sound so relaxed and casual." Robert Christgau from The Village Voice called The Score "so beautiful and funny its courage could make you weep", and said the Fugees possess "black humanism" and "the gender-equality formula in which one girl learning equals two guys calling the shots". Steve Huey from AllMusic wrote that, "Even when they're not relying on easily recognizable tunes, their original material is powered by a raft of indelible hooks [...] The Score balances intelligence and accessibility with an easy assurance, and ranks as one of the most distinctive hip hop albums of its era." Cheo Hodari Coker from the Los Angeles Times wrote that, "The Score succeeds on all counts", while the Fugees are as fluid a rap group since A Tribe Called Quest: "Their specialty is matching a gymnastic rhyme flow and rock-solid beats with expert crooning." Selwyn Seyfu Hinds of Spin commented, "A sense of organic interaction is the hallmark of this album [....] the album's most important factor is its beats; chest-shaking, obscure-texture-having, freestyle-friendly beats." Q described the album as "An impressively