Originally published on MadeLoud, Aug 25, 2011.
Playing “spot the sample” has long been a favorite pastime for hip-hop fans. While it’s easy enough to pick out the endless parade of James Brown, Funkadelic and Meters samples, some producers make their audiences work a little harder. With the assistance of the invaluable whosampled.com, we’ve assembled a smattering of rap’s most surprising samples.
Del hit it big on college radio in the early ‘90s, largely on the strength of the sardonic, infectious single “Mistadobalina.” His lyrical evisceration of the titular music industry sycophant was so thorough and personal that it’s hard to imagine “Bob Dobalina” being anything but Del’s own creation. Dedicated followers of ‘60s pop, however, already knew Bob well from the Monkees’ exceedingly strange filler track “Zilch.” “Zilch” isn’t much more than a minute-long cacophony of nonsense phrases, one of which is Peter Tork’s repeated intonation of “Mister Dobalina, Mister Bob Dobalina.” In its natural habitat it doesn’t seem much like a future hip-hop hook, but it’s hard to argue with an icon.
One of the more surreal moments in recent Academy Awards history came when a visibly befuddled Barbra Streisand announced Eminem’s win for Best Original Song in 2003. The Academy could scarcely have selected a better embodiment of the bland old establishment to pass the torch off to Hollywood’s new age. Unhip though she may be, Streisand samples have turned up on tracks by everyone from RZA to Royce da 5’9”. Maybe the most fascinating repurposing comes from producer Thayod Ausar and the decidedly non-easy-listening Xzibit, whose 1996 “Paparazzi” samples not just any Barbra, but 1976’s Classical Barbra LP. Xzibit’s grim cautionary tale about the pitfalls of fame and fortune pairs surprisingly well with the lilting strings and ethereal vocal of “Pavane (Vocale).” Babs may not have been ready for hip-hop, but hip-hop appears to have been ready for her.
Tom Waits’ distinctive percussion and impeccable hipster credentials would seem to make him a natural sample source for backpack rappers, but only a handful of artists have taken the bait (Atmosphere, De La Soul and 3rd Bass among them). Perhaps the unlikeliest MC to dip into the Waits well is hipster kryptonite Master P. The off-kilter swagger of Waits’ “Underground” propels “I Got the Dank,” a deep cut from P’s early LP The Ghettos Tryin to Kill Me! Channeling a macabre meditation on the lives of the dead into a prototypical weed and booze ballad may seem a little suspect, but of course Tom has a long history of lyrical debauchery himself (although his rhymes tend to run a tad deeper than “chronic sack, gonna fuck with the endo / You ain’t down with the mob you out the window”).
“Right Now” is a standout track in the Devin the Dude catalog for a number of reasons. One, it’s just a remarkably mellow groove. Two, it starts out as a goof about a stoned plane ride and morphs into a moving rumination on the fragility of life. Three, it accomplishes all this on the back of an acoustic guitar riff from one of James Taylor’s cheesiest chunks of Lite FM fodder. “Shower the People” might sound like the title of an R. Kelly B-side, but it’s really just Taylor incessantly encouraging us to shower our friends with love. Kudos to Devin for pushing the tune into some deeper territory.
The catalog of Insane Clown Posse sample sources reads mostly as you’d expect: plenty of early gangsta rap, a bit of classic rock and a whole lot of cannibalizing their own songs. At least 1991’s uncharacteristically low-key “Life at Risk” goes a bit farther afield, calling up Nipsey Russell’s soulful performance of “What Would I Do If I Could Feel?” from 1978’s The Wiz. A legendary comedian baring his emotions as the Tin Man in a sociopolitical Wizard of Oz adaptation is a far cry from standard Insane Clown Posse fare. The sample never gets around to Nipsey’s vocal, but the song’s melancholy air is in full effect. The jazzy organ and piano riff add smoky flavor to an atypically thoughtful ICP track, albeit one that’s still littered with requisite amounts of murder and misogyny.
At this stage of its existence, hip-hop has been mashed up with nearly every conceivable genre, from country to metal to show tunes. Goth, however, has never taken much of a foothold in the rap game, despite the cult popularity of horror-core acts like Tyler the Creator and early Gravediggaz. Given Bone Thugs-n-Harmony’s penchant for dark themes and occultism, it makes some sense that spin-off group Bone Brothers would be among the few to sample goth godfathers Bauhaus. It’s still an iffy match on paper, but in practice a dreary guitar lick from “She’s in Parties” paints a moody landscape for the grim, fast-paced flows of “The Struggle.” Plus, could there be a more perfectly mismatched pair of Petes than Peter Murphy and Petey Pablo?
Once reviled as little more than a coattail-riding harridan, Yoko Ono has recently gotten her much-deserved props for being a trailblazer of art rock. Hip-hop, not so much, but Wiz Khalifa’s super-chill “The Statement” gets some good mileage out of Ono’s weepy, classical-tinged “Beautiful Boys.” Given Yoko’s sometimes puzzling history of protecting her late husband’s art, it’s hard to imagine what she’d have to say about a deeply personal ode to her family being turned into an introspective weed anthem. If her Twitter account is any indication, though, it would probably be baffling but poetic.
OK, so it’s not like sampling “In the Air Tonight” is especially noteworthy. Dozens of producers have fallen under the sway of those irresistible percussion licks over the past 25 years. Nevertheless, the odd triple feature of Phil Collins, Shaquille O’Neal and special guest Bobby Brown on 1996’s “Edge of Night” is bizarre enough to merit a mention. It would easily rank as Collins’ weirdest public threeway if Mike Tyson and Zach Galifinakis hadn’t come along 13 years later.