Hip hop soul

2020-03-12T07:02:58Z

Dazzlingyarados: /* History */ Jodeci does not have 2 singers and a rapper. They have 4 singers and no rappers

{{Use mdy dates|date=January 2020}}
{{Infobox music genre
| name = Hip hop soul
| color = black
| bgcolor = orange
| stylistic_origins = {{hlist|[[Hip hop music|Hip hop]]|[[Soul music|soul]]|[[Contemporary R&B|R&B]]|[[new jack swing]]}}
| cultural_origins = 1992, U.S.
| popularity = Early to mid 1990s
| derivatives= [[Neo soul]]
}}

'''Hip hop soul''' is a [[musical genre|subgenre]] of [[contemporary R&B]] music, most popular during the early and mid 1990s,<ref name="EncAAMusic" /> which fuses R&B/[[gospel music|gospel]] singing with [[hip hop music|hip hop]] musical production.<ref name="EncAAMusic" /> The subgenre had evolved from a previous R&B subgenre, [[new jack swing]],<ref name="HHAC">{{cite book | url=https://books.google.com/books?id=A85aK5B3Pc8C&q=%22hip+hop+soul%22#v=snippet&q=%22hip%20hop%20soul%22&f=false | title=Hip Hop in American Cinema | publisher=[[Peter Lang (publisher)|Peter Lang]] | author=Donaldson, Melvin Burke | year=2007 | pages=52–53 | isbn=082046345-0 |via=Google Books}}</ref> which had incorporated hip-hop influences into R&B music.<ref name="HHAC" /> By contrast, hip hop soul is, as described in ''The Encyclopedia of African American Music'', "quite literally soul singing over hip hop grooves".<ref name="EncAAMusic">{{cite book | url=https://books.google.com/books?id=nVxgs_E57_EC&dq=%22hip+hop+soul%22+%22jodeci%22&source=gbs_navlinks_s | title=Encyclopedia of African American Music | publisher=[[ABC-CLIO]] | editor-last1=Price | editor-first1=Emmett G. III | editor-last2=Kernodle | editor-first2=Tammy L. | editor-last3=Maxille Jr. | editor-first3=Horace J. | year=2010 | pages=115, 902–903 | isbn=0313341990 |via=[[Google Books]]}}</ref>

The genre was most popular during the mid and late 1990s<ref name="EncAAMusic" /> with artists such as [[Mary J. Blige]] (known as the "Queen of Hip-Hop Soul"), [[Jodeci]], [[Faith Evans]], [[TLC (group)|TLC]], and [[R. Kelly]].<ref name="HHAC" /> By the late 1990s, hip hop soul would lead to the creation of [[neo soul]],<ref name="EncAAMusic" /><ref name="HHAC" /> which retained the hip-hop and R&B/gospel influences while also adding elements of classic 1970s [[soul music]].<ref name="EncAAMusic" />

==Description==
Hip hop soul evolved directly from [[new jack swing]], a form of contemporary R&B popularized by artists and producers such as [[Teddy Riley]] and his group [[Guy (band)|Guy]], [[Keith Sweat]], and [[Bobby Brown]].<ref name="EncAAMusic" /><ref name="VibeHistory" /> New jack swing had incorporated elements of [[hip-hop music]]—primarily hip-hop-inspired drum tracks and [[rapping|rapped]] verses<ref name="EncAAMusic" />—into contemporary R&B music also heavily inspired by the work of [[Prince (musician)|Prince]].
<ref name="VibeHistory">{{cite encyclopedia | title=Hip-Hop Soul | encyclopedia=The Vibe History of Hip-Hop | publisher=[[Three Rivers Press]] | author=Gardner, Elysa | editor=Light, Alan | year=1999 | edition=1st | pages=307–317}}</ref> Hip hop soul took the hip-hop/R&B synthesis further by having R&B singers sing directly over the types of sample-heavy [[Hip hop production|backing tracks]] typically found in contemporary hip-hop recordings.<ref name="EncAAMusic" /><ref name="VibeHistory" />

The creation and evolution of hip hop soul led to an increasingly symbiotic relationship between its parent genres.<ref name="ComplexRBRapFlip" /><ref name="PopMatters1" /> Hip hop soul acts presented themselves in styles and personas comparable to those of rappers<ref name="VibeHistory" /><ref name="BBHipHopRB" />—dressing in [[hip hop fashion]]s and adopting a tougher image than the traditional pop-friendly personas of R&B artists<ref name="VibeHistory" /><ref name="BBHipHopRB" /> (the existence and popularity of hip hop soul also had the opposite effect on mainstream rappers, who took on some of the elements of the R&B artists' personas to become more palatable to mainstream audiences).<ref name="PopMatters1" /> The subgenre increased the popularity of R&B music among the younger hip-hop audience, leading to better sales and airplay success for hip hop soul recordings versus previous forms of post-[[disco]] R&B, on the ''[[Billboard (magazine)|Billboard]]'' pop music sales charts.<ref name="VibeDec93">{{cite magazine | url=https://books.google.com/books?id=OygEAAAAMBAJ&pg=PT71 | title=The Year in R&B: Quiet Storm | magazine=[[Vibe (magazine)|Vibe]] | date=December 1993 – January 1994 | accessdate=23 July 2014 | author=Owen, Frank | pages=70–73 | issn=1070-4701 | via=Google Books}}</ref> It also increased the popularity of hip-hop music and culture with older audiences and corporations looking to market [[urban music]].<ref name="SteveStout" /> However, the creation of hip hop soul has been argued by music journalists and fans of R&B music to have "killed off" traditional styles of R&B.<ref name="PopMatters1">{{cite web | url=http://www.popmatters.com/feature/146740-the-rb-renaissance/ | title=The R&B Renaissance | website=[[PopMatters]] | date=13 November 2011 | accessdate=23 July 2014 | author=Van Nguyen, Dean}}</ref>

==History==
[[File:Mary J. Blige 2.jpg|thumb|right|186px|R&B singer [[Mary J. Blige]] is known as the "[[Honorific nicknames in popular music|queen of hip hop soul]]" due to her frequent collaborations with rappers and hip hop producers.<ref name="Somebody Scream">{{cite book | last = Reeves| first = Marcus| title = Somebody Scream!: Rap Music's Rise to Prominence in the Aftershock of Black Power | publisher = [[Macmillan Publishers|Macmillan]] | year = 2009 | pages = 143, 185 | isbn = 978-0-86547-997-5}}</ref><ref>{{cite book | last = Bynoe| first = Yvonne| title = Encyclopedia of Rap and Hip-Hop Culture | publisher = [[Greenwood Press]] | year = 2006 | page = 32 | isbn = 978-0-313-33058-2 | quote = Universally known as the 'Queen of Hip Hop Soul' because of her frequent collaborations with rap artists and Hip Hop producers...}}</ref>]]
The term "hip hop soul" is attributed to record producer and later rapper [[Sean "Puffy" Combs]],<ref name="SteveStout">{{cite magazine | url=https://books.google.com/books?id=qbr6WdsnLzQC&pg=RA10-PA8 | title=Share My World | author=Stout, Steve | magazine=Billboard |date=September 17, 2001 | volume=123 | issue=37 | pages=8–9 | issn=0006-2510 | accessdate=January 17, 2020 | via=Google Books}}</ref> who came up with the term during the promotion of ''[[What's the 411?]]'', the 1992 debut album of [[Uptown Records]] artist [[Mary J. Blige]].<ref name="SteveStout" /> Blige was promoted by the company as the "Queen of Hip-Hop Soul", and her debut album, primarily produced by Combs, was filled with mid-tempo R&B ballads sung over hip-hop beats and [[Sampling (music)|samples]].<ref name="SteveStout" /> Similarly, ''[[Diary of a Mad Band]]'' (1993), the second album from another Uptown act, [[Jodeci]], featured the four-man male vocal group moving away from its new jack swing origins into hip hop soul recordings driven more by hip-hop rhythms than melodies.<ref name="VibeHistory" /> A large number of male acts, both solo performers and groups, followed or competed with Jodeci, among them [[R. Kelly]], [[112 (band)|112]], [[Tony! Toni! Toné!]]<ref name="VibeDec93" /> and [[Blackstreet]], a second group formed by Teddy Riley.<ref name="VibeHistory" />

Hip hop soul artist [[Montell Jordan]] was the first R&B singer signed to hip-hop record label [[Def Jam Recordings]];<ref name="BBHipHopRB">{{cite magazine | url=https://books.google.com/books?id=1gsEAAAAMBAJ&pg=PA23 | title=Is Hip-Hop's Growing Dominance of R&B an Evolutionary Step, or Is It Displacing Traditional Soul Music Altogether? | author=Reynolds, J.R. | magazine=[[Billboard (magazine)|Billboard]] |date=June 3, 1995 | volume=107 | issue=22 | page=2 | issn=0006-2510 | via=Google Books}}</ref> his 1995 single "[[This Is How We Do It]]", built around a sample of [[Slick Rick]]'s 1989 hip-hop song "[[Children's Story]]",<ref name="ComplexRBRapFlip">{{cite web | url=http://www.complex.com/music/2013/03/the-50-best-rb-songs-that-flipped-rap-beats/tamia-so-into-you | title=The 50 Best R&B Songs That Flipped Rap Beats | work=[[Complex (magazine)|Complex]] | date=19 Mar 2013 | accessdate=23 July 2014 |last1=Baker |first1=Ernest |last2=Lechner |first2=Alysa |last3=Drake |first3=David |last4=Ahmed |first4=Insanul |last5=Spencer |first5=Tannis}}</ref> typified the sound of the subgenre. Another key recording is "[[I'll Be There for You/You're All I Need to Get By]]", a 1995 duet between [[Wu-Tang Clan|Wu-Tang]] rapper [[Method Man]] and Mary J. Blige which interpolated Method Man's rapped verses with Blige singing a cover of [[Marvin Gaye]] and [[Tammi Terrell]]'s "[[You're All I Need to Get By]]".<ref name="MMMJB">{{cite book | url=https://books.google.com/books?id=OffZAAAAQBAJ&dq=I%27ll+Be+There+for+You/You%27re+All+I+Need+to+Get+By+%22tammi+terrell%22&source=gbs_navlinks_s | title=What the Music Said: Black Popular Music and Black Public Culture | publisher=[[Routledge]] | author=Neal, Mark Anthony | year=2013 | page=156 |via=Google Books}}</ref> "I'll Be There For You/You're All I Need to Get By" won the 1996 [[Grammy Award for Best Rap Performance by a Duo or Group]].<ref name="VibeHistory" />

The female vocal group [[TLC (band)|TLC]], consisting of two singers and a rapper, had their start in new jack swing (dubbed "new jill swing" in their case)<ref name="VibeHistory" /> with their debut album, ''[[Ooooooohhh... On the TLC Tip]]'' (1992). Their second album, ''[[CrazySexyCool]]'', to which Puffy Combs was a significant contributor, moved the group into the aesthetic of hip hop soul.<ref name="VibeHistory" /><ref name="BBHipHopRB" /> Similar female acts of the time included [[SWV]], [[Adina Howard]],<ref name="BBHipHopRB" /> [[Faith Evans]], and [[Total (band)|Total]], the latter two acts signed to Puffy Combs' own label, [[Bad Boy Entertainment]].<ref name="VibeHistory" />

Hip hop soul as a distinct subgenre experienced a lull in popularity with the spread of hip-hop influences into more standard R&B music by the end of the 1990s<ref name="BillboardHipHop">{{cite magazine | url=https://books.google.com/books?id=mQ8EAAAAMBAJ&pg=PA42 | title=Hip Hop: It's Here to Stay, OK? | author=Kenon, Marci | magazine=Billboard |date=June 3, 2000 | volume=112 | issue=23 | page=42 | issn=0006-2510 | via=Google Books}}</ref> and the emergence of [[neo soul]], an R&B subgenre which blended hip-hop and contemporary R&B with heavier influences from the [[soul music]] of the 1960s and 1970s.<ref name="EncAAMusic" /> Examples of neo soul artists include [[Tony! Toni! Toné!]], [[D'Angelo]], [[Erykah Badu]], and [[Lauryn Hill]].<ref name="VibeHistory" /> Several newer artists continued to perform in the hip hop soul subgenre in its original form from the 2000s forward, among them [[John Legend]], [[Anthony Hamilton (musician)|Anthony Hamilton]], and [[Keyshia Cole]].<ref name="EncAAMusic" />

==See also==
* [[African-American music]]
* [[Soul music]]

==References==
{{reflist}}

{{Rhythm and blues}}
{{Hip hop}}
{{Soulmusic}}

[[Category:American styles of music]]
[[Category:Contemporary R&B genres]]
[[Category:Hip hop genres]]
[[Category:Soul music genres]]

Wikipedia - User contributions [en]

Hip hop soul