Behind the Beats: exploring the phenomenon of sampling

It's safe to say that I love samples. 

From a very young age, I have always been fascinated with how such a small snippet can be chopped and developed into something completely new. Now, as an adult, though I'm no connoisseur, my interest has led me down an endless rabbit hole, resulting in an acute ear along with a Spotify playlist filled with some quality samples that sit very nicely on my phone. 

Like a great 2-in-1 shower gel (on the off chance that actually happens), the beauty of sampling is being able to discover two great tracks at the same time, united by simple creativity. And by now it should come as no surprise that behind every great song may be an even greater one

But with great power comes great responsibility, and with murmurs that sampling is the gateway to a lack of creativity (we’ll get to that later), it raises the question: Is there a side of sampling that is lowering the quality of mainstream music? 

To answer that question, this is the perfect time to drop a history lesson. 

From systematic to sound

Let's set the scene: it’s the early 1970s in New York City. Between the Vietnam War, Blaxploitation films just hitting the shelves, and ‘land of the free’ propaganda at an all-time high thanks to the 34th American President, Nixon, America was going through it. As white folks were fleeing to the suburbs, the Bronx was entering a different kind of trenches with the rapid decline in employment. 

With anger at the root of their problems and nowhere to direct it, came a shift. The people were in need of a good time, leading to the birth of hip-hop. A reminder that this is still America, public Black enjoyment was at an all-time low, resulting in an ‘underground’ movement, creating a lot of DJs, MCs, and most importantly, sampling. 

And in 1973, it would be DJ Kool Herc to show the crowd just how it's done at a block party thrown by himself and his sister, where he’d embark on the first attempt at sampling in the underground hip-hop scene. 

By manually extending and loop-breaking sections, DJ Kool took the part that scratched something in your brain, utilising turntables to switch between similar-sounding tracks and mastering the art of sampling. 

However, as cool as that story sounds, sampling goes a little further back than that. Get to know Pierre Schaeffer. A passionate, inventive and most of all curious man, Schaerffer was a composer and engineer who loved making noise (to put it politely). Accompanied by other French composers, Schaeffer spent the vast majority of the 1940s conducting research on how to use raw material and put it with a completely new sound. 

Though the technology used then, compared to turntables, was vastly different, and the sounds he made were far from what you might call music, Schaeffer was able to lay the foundation for sampling. This eventually morphed into its own genre called musique concrète (literally ‘concrete music’), a pivotal moment in the creation of electronic music. 

Today, sampling couldn’t be easier with the invention of Digital Audio Workstations or DAWs, which often include samplers to test out software that is commonly used to edit, loop and manipulate music all in one space. Thanks to pioneers like Schaeffer, DJ Kool Herc and the development of technology, there has never been a better time to produce music. However, between the current climate of dance music, hip-hop, R&B, and more, there seems to be a transition from the art of making music to making money. 

To hip-on or hip-off? 

When hip-hop eventually became mainstream or gentrified (however you want to put it) in the 90s to late 00s in America, it started to lose elements of authenticity, and sampling followed suit. Though sampling remained a front runner in the Black community, with songs like ’Big Poppa’ by The Notorious B.I.G, which sampled, The Isley Brothers’ ‘Between the Sheets’, and Wu-Tang Clan’s ‘C.R.E.A.M. (Cash Rules Everything Around Me)’, which sampled The Charamels’ ‘As Long as I’ve Got You’, sampling was starting to pivot in genre.

Soon enough, the music industry’s focus moved slightly from hip-hop and integrated sampling into R&B, gospel, pop and more. This saw the creation of ‘Everything I Can’t Have’ by Robin Thicke, which sampled ‘Malambio No.1’ by Yma Sumac. There was also ‘Phenomenon’ by LL Cool J, which sampled ‘Who Is He (And What Is He To You)’ by Bill Withers. Another example of a great, classic sample flip, ‘Love Like This Before’ by Faith Evans, who used CHIC’s ‘Chic Cheer’. And also, ‘Looking for You’ by Kirk Franklin, whose preaching sample featured 'Haven’t You Heard’ by Patrice Rushen. 

With honourable mentions, ‘Fantasy’ by Mariah Carey, who sampled Tom Tom Club’s ‘Genius Of Love’. Which doesn’t stop there, as Tom Tom Club did a cheeky beat sample of the song, ‘More Bounce To The Ounce’ by Zapp. And ‘Bootylicous’ by Destiny’s Child sampling ‘Edge of Seventeen’; which, when developed, was approved with speed by Fleetwood Mac’s Stevie Nicks, who also featured in the music video. 

Although the Black artists of America were dominating the sampling game, the UK soon started to catch on, but the use of sampling headed in a different direction. After experiencing similar events to the US, thanks to the Iron Lady, there was a vast decline in industrial resources and a heightened level of rebellion. With a lot of empty warehouses and an itch for escapism at an all-time high, came rave culture.

During the late 80s and early 90s, the UK began to focus on dance music (everybody say thank you, Pierre Schaeffer). Collecting whatever they could get their hands on, the UK used similar equipment and techniques to our dedicated Parisian engineer. Creating coherent and experimental sounds, they borrowed from genres such as reggae, bassline, and even incorporated snippets of vinyl, including gospel and church sermons. 

Though a vast majority used sounds without clearance, hence the underground distribution, it formed a new ethos of sampling in the UK, igniting some newfound genres, including EDM, jungle, techno and acid house. 

With the popular track ‘Out of Space’ by Prodigy coming to light, which sampled a mass of songs, the most notable sample being from Jamaican reggae singer Max Romeo’s ‘Chase The Devil’. Some more UK samples during this time also included Shy FX and UK Apache, ‘Original Nuttah’, which sampled an array of songs, including one of the most sampled songs of all time that birthed the creation of the Amen break, The Winstons' ‘Amen, Brother’. As well as ‘Love Is Not A Gamble’ by The Techniques, Tommy McCook and The Supersonics and ‘Fat Thing’ by Anthony Rose Red, to name a few. 

Plus ‘A Little Bit Of Luck’ by DJ Luck & MC Neat, which sampled ‘When A Man In Love’ by Yami Bolo. 

And the development of sampling in a quicker BPM kept on developing. Soon, came the influx of more house and dance tracks, such as ‘You Don't Know Me’ by Armand Van Helden, which sampled the disco break from ‘Dance With You’ by Carrie Lucas. And ‘Lola’s Theme’ by The Shapeshifters, which sampled the recognisable intro from The Brothers Johnson’s ‘Stomp!’. 

Using old disco songs, DJs were elevating music that didn’t overpower the original but also didn’t conform to a remix, allowing two genres to loop, making it not only listenable music but also danceable music. 

But of course, there's a back story. 

Trickling down from hip-hop, the mid to late 80s in Chicago (see where I’m going?) saw the birthplace of all things funky with a different kind of beat. Chicago saw sampling as a way of expression, using disco tracks that had empowered them from childhood as queer liberation; creating Chicago house (jazz hands, please). 

With DJs such as Honey Dijon and house pioneer Frankie Knuckles, who labelled house music as “disco’s revenge” after the Disco Demolition Night in 1979. Sampling in house music became more than just art, but rather a homage to Black artists before them, which allowed a space for Black and queer DJs to create music. 

From there, Chicago house became a prominent sub-genre within the ‘ontz ontz’ community and the charts. Pushing DJs to this day to follow the equilibrium, paying their respects to those who came before in the best way they know how. With songs like ‘Move Your Body’ by Solardo, which sampled ‘Move Your Body’ by Marshall Jefferson.  Plus  ‘Brighter Days’ (Underground Goodie Mix) by Cajmere feat. Dajaé, which saw KETTAMA sample the vocals on his song ‘Rok Da House’.

I just want you extra time and your…sample?

However, it wasn’t long before the fun police started to get involved, and an artist who was unimpressed with the use (or misuse) of samples was Prince. Producing some outstanding hits during his reign in the '80s to the mid-'90s, Prince strummed through his career, constantly being compared to The King of Pop. However, despite this, Prince was a cutthroat Gemini king with a lot of opinions, especially when it came to music. 

During an interview in 1998, Prince expressed his fear for the music industry, highlighting, “Why would somebody need to sample when you can have the satisfaction of creating music first-hand?”. Between his flat expressions and deadpan voice, it was clear that there was no amount of convincing that could change his mind: “At the heart of the matter is the music. I am an artist, I don’t sample”. 

Ironically, the jokes write themselves, and we’d see the singer being sampled quite frequently by the likes of Kanye West, Jay Z, MC Lyte, Public Enemy and more. However, while many stand with Prince and view sampling as a cop-out method for artists to accumulate beats and, in turn, ruin the song, it’s far from it. 

Though Prince wasn’t far off on his stance that the privilege of being an artist is to make music, it dismisses the skill it takes to be able to hear a completely new song on top of an already established one.

However, many artists have come under fire for the use of sampling, leading to public shaming or worse, the law. Including Beyonce, a well-known artist who takes no shame in her love for samples, crediting whoever she comes across. However, amongst speculation on whether she can write a song, which we all know she can (unbiased, of course).  

Beyoncé unfortunately dropped the ball and was hit with a fair bit of heckling from Milkshake singer ‘Kelis’, who called out the use of her song on Beyoncé’s ‘ENERGY’. Naming it downright “disrespectful”. Ending the feud, Ms Sasha Fierce dropped the ‘la la la’ Milkshake sample from her song just days after the 2022 album Renaissance release. 

But Beyoncé wasn’t the only one, as Lana Del Rey also caught some heat for her song ‘Get Free’ similarities to the song ‘Creep’ by Radiohead in 2018. However, the case shortly fell flat.

After some digging, it turned out Radiohead wasn’t as squeaky clean as they had hoped, as after the release of their song ‘Creep’, they were sued by the writers of the song ‘The Air That I Breathe’ by The Hollies for plagiarism. This led to Radiohead paying a percentage of songwriting royalties to the writers Hammond and Hazlewood. 

The controversy eventually resulted in Radiohead dropping their allegations and Lana lighting up (as she should) at the 2018 Lollapalooza festival in São Paolo, Brazil. 

It really is so sample…

Without sampling, we wouldn’t have been able to hear such gems in music today, such as 'LDN' by Lily Allen, which sampled the undeniable old-timey track ‘Reggae Merengue’ from 1970 by Jamaican saxophonist Tommy McCook & The Supersonics. As well as the quality house tune, ‘Da Fonk’ by Brazilian DJ, Moachakk, who sampled the instrumental from ‘Groovin That’s What We’re Doin’ by The S.O.S Band. 

Songs that also follow suit are the recognisable intro from ‘10%’ by KAYTRANADA, who sampled the groovy intro from the 1979 track, ‘Love Thang’ by First Choice. And ‘Boyz N Da Club’ by Shermanology, which samples a part of ‘Bomb Intro / Pass That Dutch’ by Missy Elliott. Last of all, ‘Can’t Wait’ by Doja Cat, which, believe it or not, sampled the drums in the song ‘Impeach The President’ by The Honey Drippers. 

Sampling opens portals to expand your music knowledge, and while the to sample or not to sample debate will always be in circulation, the main aspect of sampling is that it's meant to be experimental. With such deep-rooted history ingrained in Black communities, sampling has even opened up space for hip-hop to be sampled, honouring some legendary hip-hop tracks. With Docheii’s ‘DENIVAL IS A RIVER’ sampling, ‘Hail Mary’ by Makaveli feat. Kastro, Prince Ital Joe and Young Noble. Plus, ‘Like That’ by Future featuring Kendrick Lamar, who incorporated a lot of old skool hip-hop samples, including the recognisable sound from Rodney O and Joe Cooley’s ‘Everlasting Bass’. 

So the question still stands: Is sampling damaging mainstream music? My answer? No. 

While sampling has become a large influence at the moment, leading us down a rocky road of songs that have been a little harsh on the ears such as, ‘Super Freaky Girl’ by Nicki Minaj, which sampled ‘Super Freak’ by Rick James, as well as the controversial comeback track ‘Houdini’ from Eminem, which sampled ‘Abracadabra’ by Steve Miller Band. And undoubtedly the most shaky of them of all, ‘I'm Good (Blue)’ by David Guetta ft. Bebe Rexha, which sampled snippets of the song ‘Blue (Da Ba Dee)’ (DJ Ponte Ice Pop Mix) by Eiffel 65. These songs, unfortunately, are the equivalent of a slap-and-go method, lacking in creativity, displaying a laziness that fails to capture the true essence of sampling. 

Sampling always has been and always will be a dedication to craft. Though it has become less abstract over the years, sampling is a 3 to 4-minute moment of euphoria that always has and always will have an impact on music, whether it be positive or not. 

With the reminder that sampling is not a trend, it might also be fair to say that sometimes it’s not even sampling that is the issue at hand, and maybe the real question we need to be asking is if the art of sampling is being damaged by artists? 

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