Most of them serve her well, especially Kelly and Cox. Like a lot of younger urban contemporary artists who record for major labels, Nivea works with different producers and songwriters on different songs - and of course, she is at their mercy. Nivea can be teen-friendly, although not in a bubblegum way in Nivea's case, teen-friendly doesn't mean teen pop. In fact, Nivea provides a likable blend of girlishness and grit on catchy, hip-hop-minded offerings like 'Ya Ya Ya' (another Kelly contribution) and the single 'Don't Mess With My Man' (which was produced by Bryan-Michael Cox).
Nivea is much more girlish than the neo-soul divas, which isn't to say that her material lacks bite. Blige, Jaguar Wright, Alicia Keyes, or Jill Scott, although one does hear some '70s sweet soul influence on the slow jam 'Laundromat' (which R. Nivea doesn't get heavily into the neo-soul trend à la Mary J. Nivea's self-titled debut album is a perfect example of how hip-hop-drenched R&B has become from the production to the lyrics, this CD frequently underscores hip-hop's influence on modern R&B. Just as an electric blues/classic soul mixture works well at a blues festival, an urban station might play Destiny's Child one minute and Jay-Z the next. But times have changed, and these days rap and urban contemporary are joined at the hip.
Back in the '80s - when rap was the new kid on the block - there were plenty of urban contemporary stations and R&B singers who wanted nothing to do with hip-hop.
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