Nothing demonstrates the art of mimicry quite like music. More often than not, a new song sounds familiar because it was designed that way, built on the bones of a track that came before it. Last year alone was particularly rich with exceptional examples of this global phenomenon. These references come in two primary forms: sampling and interpolation. 

Sampling is the most direct form of musical borrowing; it’s when an artist takes an actual piece of an existing recording, a drum break, a guitar riff, a vocal line, and places that exact slice of audio into a new song. Think of it as a direct quote. Interpolation, on the other hand, is replaying or re-singing a part of a previous song. Instead of lifting the audio, the artist creates a new recording of the melody or lyrics. It’s the idea, not the original soundbite. It offers more creative freedom in terms of instrumentation and vocal delivery, as the recreated element can be tailored to fit the new song’s aesthetic more easily. Legally, interpolation usually requires clearance for the musical composition itself, not the sound recording. Both sampling and interpolation serve as powerful tools for artists, allowing them to tap into collective musical memory, pay respects to influences, and inject new life into classic sounds. 

Here are nine instances where foundational tracks were cleverly repurposed into global hits that sweet music that sound fresh, but uncannily familiar.

“California Love”, 2Pac featuring Dr. Dre / interpolated in “Veteran”, Boj featuring Blanco

2Pac’s “California Love” is iconic for many reasons, but the sound most people remember is Roger Troutman’s talk box chorus. Troutman, the funk pioneer from the band Zapp, created a sound that became shorthand for West Coast G-funk. The warbling, melodic hook also became the official sound of West Coast rap. On “Veteran,” Nigerian alté artist BOJ and UK rapper Blanco tap right into that feeling. The song’s main hook isn’t a direct sample, but a clear musical reference to Troutman’s famous part. 

“Notorious Thugs”, The Notorious B.I.G. ft. Bone Thugs-N-Harmony (1997) / Interpolated in “All Eyes On You,” Nicki Minaj, Meek Mill, Chris Brown (2015)

In the mid-90s, when coastal rivalries were at their peak, The Notorious B.I.G. was so taken by the dizzying, multi-tracked flows of Cleveland’s Bone Thugs-N-Harmony that he invited them onto his epic album Life After Death and even completely mirrored their rapid-fire, melodic style. The track is a prime example of Biggie’s genius, showcasing a jarringly effective union between Brooklyn’s heavyweight and Cleveland’s rapid-fire harmonizers. Years later, “All Eyes on You” picks up on that same assertive energy with its immensely enjoyable rhythmic dexterity. Nicki Minaj, Meek Mill, and Chris Brown’s take isn’t a direct copy, but it channels the original’s rhythmic dexterity and intensity.

“Hail Mary”, Makaveli featuring Kastro, Prince Ital Joe and Young Noble / sampled in “Denial is a River”, Doechii

Released shortly after his death, 2Pac’s “Hail Mary,” recorded under his Makaveli alias, is haunting and prophetic. Its ominous beat, church bells, and chilling chorus have made it one of hip-hop’s most enduring tracks. Its most potent line: “I ain’t a killer, but don’t push me”, is a perfect distillation of 2Pac’s embattled persona and her own reflective song, “denial is a river,” Doechii borrows the threat.

“Magasman”, Trompies featuring Lebo / sampled in “Abo Mvelo”, Daliwonga featuring Mellow, Sleazy and MJ

South African amapiano wouldn’t exist without kwaito’s foundation, and “Abo Mvelo” shows exactly why. Trompies were giants of Kwaito, a genre that soundtracked post-apartheid South Africa with its blend of house music, hip-hop, and local sounds. Their hit “Magasman”, a charismatic kwaito anthem with chanted vocals and elastic horns, gets flipped on “Abo Mvelo” into a rolling dance track. The original’s celebratory vibe is kept intact but sped up slightly, with punchier drum programming and amapiano’s signature log-drum throb underneath. 

“So Into You”, Tamia / sampled in “You4Me”, Tiwa Savage

Tiwa Savage consistently shows her skill with love songs and she does it again with “You4Me”, a modern Afrobeats love song, defined by her fluid vocal performance. Tamia’s original, and the Fabolous remix it inspired, were defining tracks for millennial R&B listeners. The specific melodic fragment from Tamia’s original creates an immediate, almost subconscious connection for the listener. This re-contextualization allows Tiwa Savage to imbue her contemporary track with a touch of established romantic nostalgia, repurposing a familiar emotional texture for a new lyrical narrative.

“All Night Long”, SWV / sampled in “Inhale”, Bryson Tiller

Released as part of the landmark Waiting to Exhale soundtrack, a cultural moment that solidified a generation of Black female artists — SWV’s “All Night Long” is pure 90s R&B silk. Its slinky, relaxed groove, courtesy of Babyface, sets a mood of easy intimacy and Bryson Tiller builds “Inhale” around a loop from the song. SWV were central to the sound of ’90s R&B radio, and Tiller leans on that soft, melodic texture for the song’s mood. The vocals are pitched and looped as background texture while Tiller delivers new verses.

“Opon Apala Ti Sun”, Musiliu Ishola / sampled in “Rodo”, Adekunle Gold

Nigerian traditional sounds like Fuji, Apala, and Highlife are experiencing a powerful resurgence. Modern artists are consciously blending these rich traditions into contemporary music, often directly sampling or referencing classic tracks. Musiliu Ishola is the undisputed king of modern Apala, a traditional Yoruba percussion-based genre. His hit “Opon Apala Ti Sun” is a cultural touchstone, a sprawling display of musicianship and praise-singing. Adekunle Gold, known for his Afropop-Highlife fusion, pays homage to this legacy in “Rodo,” directly lifting a vocal and melodic phrase from Ishola’s classic.

“Ngiyakusaba”, Brenda Fassie / sampled in “All Eyez on Me”, AKA featuring Burna Boy, J.R. and Da L.E.S

Brenda Fassie, the rebellious “Madonna of the Townships,” was a force of nature in South African music, a beloved icon whose voice soundtracked the final years of apartheid. Her song “Ngiyakusaba” (“I’m scared of you”) is pure bubblegum pop, a joyous, synth-driven track whose upbeat feel contrasts with the turbulent era it was born in. For their continental collaboration “All Eyez on Me,” South African rapper AKA and Nigerian powerhouse Burna Boy completely transformed this pop gem. All Eyez on Me uses a part of Ngiyakusaba and builds it into a rap song that links South African pop with modern hip-hop from Johannesburg and Lagos. Burna Boy’s involvement ties the song into the wider Afrobeats world. The sample gives “All Eyez on Me” historical weight while still working as a mainstream rap hit.

“Keep on Keepin’ On”, MC Lyte ft. Xscape (1996) / Interpolated in “Sakomo,” The Remedies (1997)

MC Lyte’s “Keep on Keepin’ On,” with its smooth, Jermaine Dupri-produced beat (which itself samples Michael Jackson’s “Liberian Girl”), was a staple of mid-’90s hip-hop. Its influence, however, stretched far beyond American shores. In Nigeria, the burgeoning Afrobeats scene was finding its voice, and the trio, The Remedies, a pioneering hiphop group, reworked the instrumental for their landmark track “Sakomo.” As pioneers who were helping create the sound of modern Nigerian pop, The Remedies interpolated the infectious chorus and re-contextualized it for a home audience.