The Truth about Sampling

I can say that although I'm a fan of Kanye West (even though he seems like kind of a loud and pompous guy), I'm a little disappointed that he samples so frequently. Maybe I'm just old-fashioned when it comes to music, but if 15 of the 16 songs on your album (*cough,cough* Late Registration) contain samples of other songs, how much actual music are you creating?

I believe that sampling and mixing are valid and beautiful forms of art, as are lyric writing and rapping, but they are not the same art as classic musical composition? It takes different talent to write and play music, which is why I think when an artist samples music, the said samples should be "loudly" labeled as creative property of the original composer/performer. For example, instead of placing a small notice of sampling in the credits of each song, create a bibliography of songs used and thank every artist individually for their contribution. I have problems with music becoming a purely capitalist endeavor, so the idea of creative property in a legal sense has nothing to do with my objection to "quiet" sampling. I only feel that samplers are being unfair to the original artist and to the listener when they deny us the opportunity to appreciate all facets of the music. Which is why I'm now taking the time to go song by song through Kanye West's Late Registration and name the artist and song sampled. Songs are like onions, and I hope my readers will take the time to appreciate the layers.

"Wake Up Mr. West" and "Heard 'em Say" use a sample from "Someone That I Used To Love" by Natalie Cole. The original song is a strong piano ballad, with Cole's vocals sliding - in a melancholy way - over the keys. The two songs by West showcase one loop of the piano in the original song.

"Touch The Sky" uses Curtis Mayfield's amazing song "Move On Up". I wouldn't call this one a sample, because West basically takes the whole song. It is a great song. Jamming horns, and tight, latin drums, strings, and a little playful piano. The lyrics are empowering and intense.

"Gold Digger" notoriously cuts Ray Charles' "I Got a Woman", even going so far as to take liberty with the lyrics. I find this sample interesting because it takes the sentiment of a song (where a down-and-out man goes to his girl for comfort and care) and reverses the dynamic. In West's version, the woman is a gold digger who takes advantage of her man. In the final section the song reverses itself again as West tells the story of a woman who stands by her man through thick and thin only to have him run off with another woman. For anyone who doesn't know the Ray Charles original, it's a great soul song with a blues turnaround.

"Drive Slow" seems to sample "Wildflower" by Hank Crawford, although I cannot find any real evidence to back this up as the album credit only states that West samples from a Hank Crawford song. "Wildflower" is a kind of soul-jazz hybrid song with a funky coo-ing chorus over the saxophone. It sounds a little dated, making it an appropriate choice for "Drive Slow" which tells the story of a semi-shadowy figure that West knew in his youth.

"My Way Home" samples "Home Is Where The Hatred Is" by Gil Scott-Heron. Best known for the spoken word poetry of "The Revolution Will Not Be Televised", Gil Scott-Heron is an artist whose music centers around social activism. This particular song is delivered with understandable anger, and tells the story of a junky who has left a home full of pain to find a world without sympathy or compassion. The song centers around the lyrics, but the backing music is heavy on bass and keyboards.

"Crack Music" samples the song "Since You Came In My Life" by New York Community Choir. Unfortunately, I cannot find a recording of this song. I've listened to other songs by the New York Community Choir and they are spiritual in both content and character. If you can listen to a great gospel choir and tell me you don't believe in a god, then you really can't be redeemed.

"Roses" samples the song "Rosie" by Bill Withers. This is another piano ballad, but this song is very different from Natalie Cole's. In the first place, the song seems to be driven by a feeling lacking hope. When I listen, I feel like I'm being tossed around by some particularly foul weather. The piano is original, and has an almost classical feel. The song is heavy, but the lyrics are a celebration of a person. There's a bit of a disjunction between lyrics and music in this sense, which makes me feel as if Withers is singing of a great love that he has lost.

"Addiction" claims that it takes elements from the Etta James version of "My Funny Valentine". This is a pleading song really, but Etta sings it with a certain depth that reminds the listener that this is an adult asking another adult to stay. Where the Frank Sinatra version seems meant for Hollywood (and don't get me wrong, I love it), Etta sings a song that is more mature and less naive in its request for love.

"Diamonds From Sierra Leone" samples the perfect Bond song "Diamonds Are Forever" as performed by Shirley Bassey. This is quintessenital Bond, and its overproduced quality just adds to its diamond-like shine. Shirley Bassey can belt a tune, and makes the song glamorous ad not tacky.

"We Major" samples "Action" by Orange Krush. This is a funk classic with steady drums, banging bass, and the odd sassy statement thrown over the top.

"Hey Mama" samples Donal Leace's "Today Won't Come Again". I can't find a recording of this song, but I imagine it runs along the same lines as Leace's other recordings. This folk artist seems to be a fan of Buddhism, or at least of Buddhist thought, and he injects much of this philosophy into his bare folk music.

"Celebration" pulls from "Heavenly Dream" by the KayGees. Yet another song that is difficult to find. The KayGees music is 1970s funk with a heavy disco influence.

"Gone" samples the amazing Otis Redding with "It's Too Late". With a steady piano and a climbing bass-line, Otis Redding sings with flare over a minimal song. A great song.

The sampling choices read as a lesson in African American history, but the lesson would be more profitable for all if Mr. West took the time to thank his fathers and mothers in music. I hope you've enjoyed, and that you've learned a bit more about the origins of your favorite songs.