“I Don’t Fuck With You” by Big Sean feat.“I Wanna Rock” by DJ Jazzy Jeff & the Fresh Prince (1993).“Rock That Body” by Black Eyed Peas (2009).“South Bronx” by Boogie Down Productions (1987).“Hip Hop Hooray (Pete Rock Remix)” by Naughty by Nature (1993).“Without a Doubt” by Black Sheep (1994).“Miuzi Weighs a Ton” by Public Enemy (1987).“Hold It Now, Hit It” by Beastie Boys (1986).A hip hop head can spend hours on end just browning through the different samples in history. Side note: WhoSampled is one of the greatest websites ever if you’re a music nerd.
& Rakim’s “I Know You Got Soul” to Wu-Tang’s “C.R.E.A.M.”, here are the 29 most sampled hip hop tracks of all time. Over time, hip hop itself has become a genre that has been heavily sampled itself.įrom Slick Rick’s “La Di Da Di” to Eric B.
Mos def auditorium sample full#
snatching the bells off Bob James’ “Take Me to the Mardi Gras for “Peter Piper,” Marley Marl digging in the James Brown crates for his work on Paid in Full or Q-Tip taking inspiration from his father’s massive jazz record collection, sampling has been a staple of hip hop production. Out necessity rather than desire, hip hop producers grabbed snippets and sounds from other records to create entirely new and original tracks. But that's what it is.Ever since hip hop emerged as culture in the 1970s, the music has always been built around sampling other genres. ''Don't call it a comeback,'' chimes Mos Def. ''Ten years ago we made history, they missing us'', raps Kweli. The penultimate History with former Black Star partner Talib Kweli, meanwhile, uses the Dilla beat to good effect, looking back but never lapsing into lazy nostalgia. Lead-off single Life In Marvellous Times sees him trace his days from 5th grade, ''the pre-crack era'', to the present, all to a dramatic electro soundtrack courtesy of Ed Banger associate Mr Flash. This somewhat patchwork approach to audio sourcing, though, hasn't muddied the clarity of Mos Def's narrative. They used to call Mos Def backpack rap, and on The Ecstatic, it's like he's made the term his own, zig-zagging across borders and pulling inspiration from all directions.
But then Auditorium shoots back out East again, a Bollywood-tinged production from Madlib that sees Mos sharing the mic with Slick Rick on a track that weaves a tale of post-occupation conflict in Iraq. Next, Twilite Speedball pulls it back to grey cityscapes, all tight angles in dark alleys, boxed in by horns with Mos reeling off narcotics like a dealer looming from the shadows: ''Bad news and good dope… powder, potions, pills, smoke''. Supermagic erupts on a hacked-up sample of psychedelic Turkish songstress Selda Bagcan, tight rhymes spat over wailing guitar lines. The opening run of tracks certainly sounds like an MC out to cover a lot of ground. Three years later, though, and The Ecstatic catches the former Black Star MC back on top of his game, lining up beats from Madlib, Oh No and J Dilla and tackling them with a new confidence, scope and narrative thrust. It's been three years since Mos Def's last album, True Magic, and that wasn't anything to crow about – a tossed-off botch of a record that screamed of contract-filler, suggesting Brooklyn rapper Dante Terrell Smith was enjoying his new life as Hollywood character actor so much that time spent back on the mic felt like time wasted.
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