the mainstream countesses of hip hop soul, by year
Digital Magazine
Mary J. Blige may be the Queen of Hip Hop Soul, but who followed her lead the best each year to get their own place in the court of R&B?
BY HARPSICHORD
OCTOBER 8, 2023
A.I. illustration of SZA, Lauryn Hill, and Keyshia Cole.
so why the nobility ranking of “Countess” for this list?
Following the queen, the duchesses, and the empress would be the marquise, a woman who defends against potentially hostile neighbors. Although hip hop and R&B received its fair share of criticisms, it still remained fruitful. As a result of hip hop soul, R&B dominated the 90s into the 2000s, and subsequently inspired a new league of artists receiving mainstream success. Therefore, no one had to defend its honor quite as hard as a noble figure would during times of war. That leads to a countess, someone who had administrative responsibilities that made sure order existed. Since people followed Blige’s order, they then had to become responsible for growing hip hop soul. Therefore, countess will be used to acknowledge their honorary title.
This list consists of a year by year selection starting in 1993, a year after 1992’s hip hop soul explosion. Some names will appear on this list multiple times, as there were multiple peaks in those ladies careers. As expected, there will be names that readers will agree with, and some names that others will question based on principle. It also needs to be mentioned that although a countess may have released music in a respective year, their impact may not have been felt or fully experienced until the following year.
The qualifications for this list is based on commercial success, impact, and influence each countess brought to music by incorporating hip hop soul in their catalog. Simply put: Who were the countesses that followed Mary’s hip hop soul lead the best?
The ‘90s
Ironically starting off this list is Xscape– a quartet that would become the industry rivals of SWV, two decades later. With their songs “Just Kickin’ It” and “Understanding,” the group and their producer, Jermaine Dupri, proved that Puffy and Mary weren’t the only combo to control Billboard. Mary’s presence had been in full effect, as the tomboy aesthetic became the forefront of Hip Hop Soul fashion for women, and the mirroring of Faith Evans– who’d be crowned as hip hop royalty with songs like “Soon As I Get Home.” The teen star Aaliyah would break out the new jack swing mold of R. Kelly, and adapt to mega producers Timbaland and Missy Elliott’s intergalactic, futuristic drum n bass inspired production. She laid out a princess-akin blueprint for her peers Brandy and Monica, who reigned at the end of the decade with their respective albums ‘Never Say Never’ and ‘The Boy Is Mine.’ The chameleon trend of artists both rapping and singing on their own songs became second nature after the success of ‘The Miseducation of Lauryn Hill’ and Missy Elliott’s ‘Supa Dupa Fly.
1993: Xscape
Ironically on this list, Xscape will be mentioned as the first Countesses of Hip Hop Soul. The irony lies in the fact that they’re currently in a friendly-industry-rivalry with SWV, who debuted a year before R&B audiences received Hummin’ Comin’ at Cha. Hailing Atlanta, the quartet of Kandi Burruss, Tameka "Tiny" Harris, LaTocha Scott, and Tamika Scott burst onto the scene with the laid back stylings of “Just Kickin’ It.” Produced by Jermaine Dupri– who would be pivotal in developing Xscape’s artistic direction and signature sound– “Just Kickin’ It” peaked at No. 2 on the Billboard 100, and No. 1 on the Hot R&B Singles chart. Their ballad and second single, “Understanding,” reached similar heights, also topping the R&B charts in 1993, and the Top 10 of the Hot 100. Xscape’s brand of hip hop soul blended new jack swing with gospel cadences which made them a distinct girl group staple of the ‘90s.
1994: Aaliyah
In the music video for her debut single, “Back & Forth,” a 15 year-old Aaliyah is seen in a high school gymnasium wearing a black and blue pallet of clothing and accessories consisting of a headscarf, sunglasses, a leatherman coat over a bandeau top, and sagging denim jeans. The corresponding looks in the music video mirrored the tomboy aesthetics of Mary J. Blige, TLC, and Xscape. What made Aaliyah stand out as a solo artist, had been her youthful, effortless sense of cool, matched by an on-camera maturity. By the release of her debut album, Age Ain’t Nothing But A Number, on May 24, “Back & Forth” took less than a month to catapult up the charts – eventually to No. 5 on the Hot 100, and No. 1 for R&B. Ironically the song ended the 12-week reign of the album’s executive producer (R. Kelly’s) hit single “Bump n’ Grind.” Although Aaliyah happened to be young, musically she harkened the sounds of old school R&B (as evident in the Isley Brothers’ cover “At Your Best (You Are Love)”), hip hop’s cornerstone genre of jazz (“Young Nation),” and matched the vibes of trending genres like g-funk (“Back & Forth”). What seemed like instant success for a teen pop star— that would set the wave for future icons such as Brandy, Monica, Britney Spears, and Justin Timberlake– had only just begun.
1995: Faith Evans
A part of hip hop culture is the aspect of competition and trying to find the next best thing. Mary J. Blige has been candid about how Puffy slowly distanced himself during her frequent bouts with drugs, and how she resented some of his business moves that borrowed from that they created together. Although the Queen of Hip Hop Soul still reigned supreme with her own releases, as evident in the previous year’s My Life, her blueprint ushered in new queens of their own right. For his own record label, Puffy introduced the world to “The First Lady of Bad Boy Records,” Faith Evans. She had an earthy soprano voice which differed from Mary’s and made her a pleasant contrast. To kick off Summer 1995, the platinum blonde wife of The Notorious B.I.G. appeared on the hook of his remixed “One More Chance” alongside Blige and Total frontwoman, Keisha Spivey. Later that summer, “You Used to Love Me” graced radio airwaves and did well for its loungey, groovy midtempo vibes. The single’s corresponding debut album– aptly titled, Faith– served as a collection of songs documenting the turbulent moments of her relationship with B.I.G. The standout track from that album had been “Soon As I Get Home,” a ballad that managed to bring a modernized approach to quiet storm centerstage.
1996: Aaliyah
Unfortunately, Aaliyah’s career can not be detailed without mentioning the R. Kelly mishaps that affected her legacy. At 18 years old, the industry’s Baby Girl found herself in the midst of backlash due to her dissolved relationship with the R&B star, as his career seemed to reach new successful heights. During this time, R&B evolved out of new jack swing and settled further into hip hop soul being its dominant subgenre. However the genre needed a new sound to keep the freshness alive. As a result, Aaliyah joined forces with producer, Timbaland, and songwriter, Missy Elliott. Both Virginia natives had been fascinated with the hopping, intergalactic dance genres of UK garage, and trip hop. That summer, Aaliyah came with “If Your Girl Only Knew,” which elevated her laid back technique with a defiant sassiness. On August 13, her fans would receive her sophomore effort, One In A Million, which documented her new found independence after enduring heartbreak. The title track being the main source of inspiration for propelling a popular production sound across R&B of the time.
1997: Missy Elliott
As hip hop soul continued to evolve, it became central for the genre to have its summer hits and statement pieces. Already getting her fix with Aaliyah’s One In A Million, it had been time for Missy "Misdemeanor" Elliott to show the world her solo abilities. Her futuristic production and technique would be introduced to the world on "The Rain (Supa Dupa Fly).” Counting as one of her career’s signature songs, Missy raps like an efficient storyteller full of innuendos and punchlines, while singing in the style of ‘70s vocalists. When her debut album was released in July 1997, her and Timbaland’s spacey sound became prominent, making her stand out from other rappers and R&B singers alike. Missy had brought something eccentric to the game– empowering women in the process with songs such as “Sock It 2 Me” and “Beep Me 911.”
1998: Lauryn Hill
On February 24, 1999, Lauryn Hill took one of the most iconic pictures of her career, and for the genres of hip hop and R&B. She stood on the red carpet with the five Grammys she collected that night. In 1998, she released her first solo studio album, The Miseducation of Lauryn Hill. Already the stand out member from her trio hip hop group, The Fugees, Lauryn Hill would deliver an album that explored the trials and tribulations of black love. The album’s biggest hit single, “Doo Wop (That Thing),” became the first from a solo female rapper to reach No. 1 on the Billboard Hot 100. On The Miseducation, she’d blend in neo soul, gospel, and reggae. Other standouts like “Ex-Factor” have since become some of the most cherished records in R&B history.
1999: Brandy & Monica
In the late ‘90s the explosion of teen stars in music had been undeniable. Brandy Norwood and Monica Brown lead the pack (alongside Aaliyah Haughton) when it came to who represented R&B amongst the crop. In 1998, both Brandy and Monica released their sophomore albums, Never Say Never and The Boy Is Mine, respectively. Both albums would include their No. 1 duet, “The Boy Is Mine.” Ultimately because of the media and attitudes of young ladies navigating the world of music, the ladies would experience an industry rivalry as a result of the song. Carrying into 1999, “The Boy Is Mine” won the Grammy Award for “Best R&B Performance by a Duo or Group with Vocals.” They both would continue the eras for their albums with videos laced with futuristic imagery and production. Brandy’s 1999 consisted of the ballad “Almost Doesn’t Count” and the electrohop bop, “U Don’t Know Me (Like U Used To).” While Monica enjoyed the success of “Angel of Mine” reaching No. 1 and the buzz of a single titled “Gone Be Fine,” which featured Outkast. Nearly 21 years later, the women would settle their differences in an iconic Verzuz match up.
