Record 2742. #GladysKnightAndThePips #Imagination Bumping funky album including big big tracks like "Midnight Train To Georgia", "I've Got To Use My Imagination" and yes, "Window Raisin' Granny". Not bad for $2! #funk #soul #whosampled #vinyl #records #nowspinning #vinyljunkies #recordcollection #vinyligclub https://www.instagram.com/p/CpHmImRvX2H/?igshid=NGJjMDIxMWI=

Storia di alcuni dei sample più utilizzati di sempre

https://www.dlso.it/site/2023/01/24/sample-piu-utilizzati-di-sempre/

Mom's House:  Sample Tape 12/93 - Series Premier

In the last few months, I've been excavating old cassettes from the "Mom's House" era. This installment is a simple sample tape from 1993. Sample tapes are what I used to make in order to remember which loop ideas I liked as I listened to records I either just got or had sitting around for a while. Most are just one element. There are a couple of layered arrangements as well which means I had high hopes they would turn into something. Happy to say a couple of these samples found nice homes as you may recognize. -Cut Chemist

Series Premiere, Subscribe Here for DOWNLOAD & Future Exclusives: https://cutchemist.bandcamp.com/a-stable-sound-club

was messing around in fl studio while bored and made another synthwave-type track

has this already been discovered or did i just do something

Mmmmmmmmmm...your gonna want me back

Whosampled drake pound cake

Remove from heat, and add lemon juice to taste and to adjust consistency.

While the cake bakes, make the glaze: In a small saucepan over low heat, combine cream cheese, butter and confectioners’ sugar and whisk until smooth.

(Do not open the oven door before 20 minutes have passed, as the temperature shift can flatten the cake.)

Bake for 45 minutes to 1 hour, until golden brown and a cake tester comes out clean.

Increase the speed to high and beat until fluffy, about 5 minutes. With the mixer on low speed, gradually add the dry ingredients to the wet ingredients.

In another large bowl, add cake flour, cornstarch, baking powder and salt whisk to combine.

(The fluffier the eggs, the fluffier the cake.) Add the beaten eggs, vanilla and lemon extracts to the butter and cream cheese mixture and beat on low speed until just combined. Rinse the beaters and in a separate large bowl, add eggs and beat until light in color and fluffy, about 5 minutes. Using a hand mixer, beat on high speed until creamy, 3 to 4 minutes.

Make the cake: In a large bowl, combine softened butter, cream cheese and granulated sugar.

Grease and flour a 10-inch/12-cup Bundt pan. Let me know a few of your favorite sampling songs in the comments below. Who Sampled is a resource that I use to get the process started. I have always enjoying the treasure hunt of tracking down a song that was sampled in a modern production that I admire. has outlined the process in a clear, readable fashion. Strikes will eventually lead to the inability to professionally distribute your music, compromising your career and success.Ĭlearing samples is a mundane process, but is not overly challenging. Additionally, distributors and streaming services will issue a “strike” if you are caught releasing songs with uncleared samples. If you choose to proceed with releasing music that contains a sample without clearance, beware of the consequences. This Act gave copyright owners the exclusive right to exploit their music in any way they see fit, including protecting it from unauthorized sampling or the creation of derivative works.įollowing the correct procedures to sample musical works legally will make sure that you remain free from concerns about potential claims and costly litigation.

When a sampling artist claims Fair Use, the rights holders (labels and publishers) counter, citing The United States Copyright Act of 1976. This is a very rare exception to copyright infringement and should not be relied upon when considering sampling the work of others. A New York federal judge ruled that Drake had “transformed the purpose of the clip” as opposed to merely incorporating the sample in his recording. In 2017, Drake won a Fair Use case for his 35-second sample of Jimmy Smith’s 1982 Jimmy Smith Rap, without clearance, for his 2013 song Pound Cake. Transformation is a possible justification that use of a copyrighted work may qualify as Fair Use. Without getting into a heavy legal discussion, one of the factors in determining whether sampling is a Fair Use is the concept of “transformation”. Fair Use allows the use of copyrighted works of others for very limited purposes including for purposes such as: criticism, comment, news reporting, teaching (including multiple copies for classroom use), scholarship and research. Some who have faced legal claims for sampling the works of others have been known fight back, claiming that the sampling of others’ work falls under the “Fair Use” doctrine of United States law. There are many examples of this “wait” method, including litigation surrounding Thinking Out Loud, We Can’t Stop and Stairway to Heaven Wait until the sampling song is finished making all of its money because you might be entitled to higher amounts of damages if the song goes on to become successful. If someone samples your music without clearance, a popular and common approach is WAIT. Strong production value is attractive to potential suitors of your song, so make sure the sonics, vocals and mix cross the professional threshold. On the other side of the discussion, any sort of musical creativity can be monetized via an artist sampling your work, including a full production, a hook, a drum track or a break. The copyright owner can also ask a court to issue a Cease & Desist (or, in other words, force you to recall any physical albums and destroy them). Violators may be sued for damages that can constitute the greater of all profits made from the work containing the sample or $100,000 for each act of copyright infringement. All samples used in a production need to be cleared.

Fatboy Slim - Praise You 1999

"Praise You" is a song by British big beat musician Fatboy Slim, and was released as the third single from his second studio album, You've Come a Long Way, Baby (1998). It reached number one on the UK Singles Chart and in Iceland, number four in Canada, number six in Ireland, and number 36 in the US. A total of six samples are used in the song. The song features a prominent vocal sample from the opening of "Take Yo' Praise" by Camille Yarbrough, as well as a prominent piano sample from the track "Balance and Rehearsal" from a test album entitled Sessions released by audio electronics company JBL in 1973. That recording session was for "Captain America", sung by Hoyt Axton; a snippet of Axton's vocals humming the "Captain America" melody can be heard in the album version of "Praise You." "Praise You" also features a guitar sample from the opening of "It's a Small World" from the Disneyland Records-released album Mickey Mouse Disco, the theme from the cartoon series Fat Albert and the Cosby Kids, the electric piano riff from "Lucky Man" by Steve Miller Band, and the drum beat from "Running Back To Me" by Tom Fogerty. In a 2021 interview with the website WhoSampled, Yarbrough said that she liked "Praise You" and its use of her vocals, feeling that Cook kept the essence of "Take Yo' Praise".

The accompanying video for "Praise You" was directed by Spike Jonze with Roman Coppola. Jonze starred in the film, under the pseudonym Richard Koufey, along with a fictional dance group: The Torrance Community Dance Group. The video intro described it as "A Torrance Public Film Production". The video was shot guerrilla-style – that is, on location without obtaining permission from the owners of the property – in front of puzzled onlookers outside the Fox Bruin Theater in Westwood, Los Angeles, California. In the video, a heavily disguised Jonze and the dance group, acting as a flash mob, dance to "Praise You", much to the chagrin of a theatre employee who turns off their portable stereo.

The video reportedly cost only US$800 to produce. It won three major awards at the 1999 MTV Video Music Awards: Breakthrough Video, Best Direction, and Best Choreography. It was also nominated for, but did not win, Best Dance Video. In 2001, it was voted number one of the 100 best videos of all time, in a poll to mark the 20th anniversary of MTV.

"Praise You" received a total of 80,6% yes votes! Previous Fatboy Slim polls: #12 "Weapon of Choice".

Record 2654. #TheMadLads #ANewBegining Fantastic Stax label Rhythm and Blues. Hilltop Hoods fans would recognise the opening track "Pass the Word (Love Is The Word)" piano and chorus sampled for the tune "Chase The Feeling". #staxrecords #funk #soul #hilltophoods #chasthatfeeling #whosampled #hiphop #vinyl #records #nowspinning #vinyljunkies #recordcollection #vinyligclub https://www.instagram.com/p/ChHd1K9PWbC/?igshid=NGJjMDIxMWI=

Cissy Strut · The Meters

The Meters are an American funk band formed in 1965 in New Orleans by  Zigaboo Modeliste (drums), George Porter Jr. (bass), Leo Nocentelli (guitar) and Art Neville (keyboards). The band performed and recorded their own music from the late 1960s until 1977 and played an influential role as backing musicians for other artists, including Lee Dorsey, Robert Palmer, Dr. John, and Allen Toussaint. Their original songs "Cissy Strut" and "Look-Ka Py Py" are considered funk classics.

There's a French House song called "Just a little" I'm pretty sure, that samples Piano in the dark by Brenda Russell, but it's not listed on whosampled. Not sure where else to check

i actually love love love seeing where samples in music come from, if you dont mind telling us what samples fob has used? out of curiosity

please note this list is excluding samples of themselves and anything not on official albums, this list is also including lyrical samples and my panic at the disco formal complaint excluded lyrical samples for both artists

so good right now-- lyrical from little bitty pretty one bobby day

young and menace -- "oops i did it again" lyrical from britney spears

uma thurman-- the munsters

4th of july-- lost it to trying, son lux

centuries-- toms diner

ab/ap-- too fast for love, motley crue

the phoenix-- allegro non troppo, dmitri shostakovich

my songs-- lyrical from on fire by van halen

the mighty fall-- main titles / terrorist attack danny elfman

i dont care-- spirit in the sky by norman greenbaum

hum hallelujah-- lyrics from hallelujah by leonard cohen

arms race-- sound effect from days go by by dirty vegas

i also listened to ALL of these multiple times and the panic at the disco ones and in my opinion with the exception of the really heavy samples on abap a lot of these are like incorporated riffs or sound effects and not as obvious as the ones in the tiktok about panic i posted

spending all my time on whosampled makes me insufferable but at least i have good music taste

what caravan palace song are you referring to? o_O

Lone Digger, it's in that little vocal chop fill at the end of each bar. David Guetta used it too, you can look it up on whosampled for the source.

ERIKA DE CASIER - LUCKY

Yeah, she’s lucky, but is she a star?

[7.38]

Katherine St. Asaph: I too enjoy "Boy's a liar Pt. 2" and Des'ree's "You Gotta Be." [6]

Nortey Dowuona: Apparently, this samples both "Sailing" by Christopher Cross and "Can't Let Go" by Linda Király. It's also liquid drum and bass. Excuse me... *leaves blurb to listen underneath an oil drum, waits for 5 minutes before realizing it is empty, thinks of actually analyzing the song, remembers the 2nd line of the chorus, shrugs awkwardly, keeps listening* [8]

Ian Mathers: YouTube comments section absolutely undefeated: I scroll down and the first thing I see is "Love the Chistopher [sp] Cross vibe going." I do get where they're coming from (WhoSampled tells me it's Linda Király instead), but if I didn't like "Lucky" what a weirdly specific diss that could be. The song always seems to be a step away from going full depressive breakcore to me, and I mean that as a compliment. [8]

Hannah Jocelyn: "Can't Let Go" is a lost gem from the late 2000s: too sparse to stand among Darkchild's best productions (unless you're listening to the Radio Edit W/ Guitars [sic]), but Linda Király sings the fuck out of it. Elementary-school Hannah was obsessed with the song: melodrama perfect for a 4th grader grieving her first unrequited crush. I smiled big when I heard that piano show up in "Lucky", but I kept waiting for this song to explode the way "Can't Let Go" does in its chorus and it just... doesn't. Instead, it stays in a quiet register, de Casier not even phased by the breakbeats skittering around her. The production is excellent, even if I'm already getting a bit sick of the drum and bass revival, but there's no catharsis beneath the smooth synth pads and frenzied percussion. The actual song's sophistication is captivating in its own right, but the blunt force melodrama of the original is missed. [7]

Harlan Talib Ockey: Erika de Casier throws the entire kitchen at us on “Lucky.” Between the Linda Király sample, the stuttering drums, the bass hits, the synths, and the laughs, her vocals are often overpowered. There’s logic to contrasting the busy production with her serene vocal performance, and it does prove very effective when the waves break in the chorus. However, when every element is bouncing off the walls at once in a drum and bass-inflected surge, it’s easy to lose track of the main melodic line. [5]

Jacob Satter: de Casier's wrapped-in-velvet vocal style brings to mind pop stars who have found ways to repurpose their delicacy as stridency (Nelly Furtado), as a firm corset of gossamer support (Coco O), as an internal monologue set free (Cleo Sol), as coyly kitsch confessional (Clairo). de Casier checks a few of these boxes -- she seems content to hold the center, to be simply present in "Lucky's" swirl of juddering trap, SOPHIE-esque squeaks, and music-box nostalgia. Her patience and clarity elevate near-house muzak into something distinctly, warmly human. [7]

Jacob Sujin Kuppermann: Somehow even more gloriously energized than the singles off Sensational – the drums feel like hail falling on a sunny day, melting immediately on contact with the song's surface. Thanks to the great NewJeans convergence event we talked a lot last year about de Casier as a songwriter, but "Lucky" is a fine reintroduction to her power as a performer: that opening laugh, the way she says "Whoa," even the slight lift as she sings "lucky" for the second time on the chorus. It's all finesse, a highlight reel of perfectly struck moments that make the ordinary trappings of "Lucky" into something sublime. [8]

Dorian Sinclair: There's a tedious kind of social media post I'm sure we've all seen, where someone posts a lyric sheet from the '70s or '80s next to a modern one (I've most often seen it with Beyoncé's "Run the World (Girls)") to make some point about The Decline of Music Today. The lyrics for "Lucky" could make an appearance in one of those posts, but the song itself makes clear why the core argument the posts are making is nonsense. Sure, repeating the line "another night" 23 times in a 3 1/2-minute song looks lazy on paper, but in practice? Hearing de Casier's intonation changing, the piano shifting under her, the backing vocals slipping in and out of the mix? It's beautiful! And it's not beautiful in spite of the repetition of the lyrics, but because of them. "Lucky" is swoonily, overwhelmingly romantic, and getting that impact with such a deliberately restrictive set of tools takes a hell of a lot of skill. [8]

Isabel Cole: Retro vibes — not just the tinkling piano of the sample, but a particular unabashed sweetness in both content and melody that seems less in fashion than it once was — run through just the right amount of champagne-bubble glitchiness to make it feel up to date, but not in an ostentatious way. More love songs should draw attention to the erotic potential of being a good listener. [8]

Kayla Beardslee: “Lucky” is so delicate and conversational that at times you almost forget you’re listening to a song. Erika de Casier is one of few artists who can turn that into a good thing -- embraced by the glimmering piano line (even as it shifts focus away from the lyrics), she concentrates on feelings forming and drifting by like clouds in the sky so the rest of us don't have to, so that we can lay back instead and just feel. [8]

Will Adams: The liquid drum and bass revival of recent tends to have a winking cutesyness about it (see the de Casier-penned "Super Shy" as but one example). It's fun to listen to, but "Lucky" pushes beyond that to reveal something darker. The arrangement is in standard skitter mode with twinkling pianos, but throughout are throbbing beat rolls, glitches, and haunting exhalations, as if the song is threatening to crumble at any moment. Even the outro -- an emotional tug of war between repeated lines "another night" and "too fast" -- forgoes a standard fade out in favor of increased distortion and tactile whispers. Behind the timid smile, a more raw emotion bubbles up to the surface. [8]

Leah Isobel: Last year, I ended a friendship that I'd had for almost a decade. I had always known it would happen one way or another: either by the slow drift that accompanies physical or emotional distance, or by sharper, more sudden means. I chose the latter option, releasing myself from what would have been years of confused and angry longing. I'm proud of that choice. Yet, I still reminisce about what I thought our relationship was, and who I thought we both were -- to each other, to ourselves. The intensity of feeling that characterized my experience of the relationship made me feel fragile, girlish. Of course it wasn't sustainable. But it was thrilling to see how long we could sustain it; how much I could take from them while minimizing myself; how much I could give to them without them asking for any of it. How many times we could go out together, dancing, drinking, smoking, laughing on the street. On "Lucky," Erika repeats "Another night" over and over and over, each repetition surprising for the sheer fact of its existence. It's not about what's in the future, but the shock of the present staying present: day after day morphing into a zoetroped sequence of images, cycling but not moving, time itself standing still due to the horrible electricity of one-sided love. [7]

Joshua Minsoo Kim: A lot of people in my close friend group shit on Erika de Casier, constantly pointing out that she’s a mediocre singer with unimaginative toplines. And yes, they were not slow to mention that this sounds like Des’ree’s “You Gotta Be” over a skittering beat that wouldn’t even turn heads a couple decades ago. But even though I can recognize their disdain, what keeps me coming back to de Casier’s work is the way her productions are integral to the emotional trajectory of her lyrics. You don’t understand this song without hearing that cackle and those sci-fi synths, which capture the anxiety and blissed-out possibilities of lasting romance. Indeed, this is the same artist who wrote NewJeans’ “Super Shy,” eager to define the complexities of a crush with a polysemic phrase. “I need ya another night” is repeated so often that it becomes a musical Rorschach test. Is it sweet and honest? Too forward and desperate? A sign of confidence? Of insecurity? Love will make your head spin, making you feel like all these things could be true. [8]

[Read, comment and vote on The Singles Jukebox ]