Since its creation, R&B producers have used innovative sampling drawn from unexpected sources. One particular example is Aaliyah's "Are You That Somebody?" That number saw Timbaland famously incorporate some newborn noises as a rhythmic element – a sound that shouldn't work in theory, but became iconic in practice.
The genre has also shown remarkable versatility in how it transforms samples from different musical traditions. Artists like The Weeknd and 6LACK pulled from some crazy (and often obscure) classic to deliver a dark R&B atmosphere on classic singles. Whether it be from international drops, computerized sound effects, or timeless soap operas, these unexpected choices often result in some of the genre's most memorable moments. Simply put, musical inspiration can come from anywhere.
REVOLT compiled a list of 13 songs that have adopted this theory with some unique audio references. These choices reflect R&B's evolving nature and its beatsmiths' constant push to find new territories to explore.
1. Addictive (Produced by DJ Quik) by Truth Hurts
Truth Hurts' "Addictive" stands as one of R&B's most fascinating sampling cases both musically and legally. Producer DJ Quik created the song's hypnotic backbone by sampling Lata Mangeshkar's "Thoda Resham Lagta Hai" (from the Hindi film, Jyoti) and B.T. Express' "Do It ('Til You're Satisfied).” The distinctive Indian vocals and orchestration created the perfect groove to helped push the single to massive commercial success. Unfortunately, Saregama India Limited, which owned the rights to Lata Mangeshkar's song, filed a $500 million lawsuit against Dr. Dre, Truth Hurts, and Interscope Records. The dispute resulted in "Addictive" being pulled from radio and later releases of Truthfully Speaking, the album it appeared on.
2. Are You That Somebody? (Produced by Timbaland) by Aaliyah
Timbaland was at his most experimentally brilliant with this Aaliyah classic, a lead single from the soundtrack for Dr. Doolittle. The track's most memorable element – a sampled baby coo from an Elektra sound effects compilation – became an unlikely instrument that punctuated the beat. After combining that with a medieval-sounding acoustic guitar and random beatboxing, the final product became one of the most iconic of its time. The baby sample's placement is particularly genius, sometimes acting as a snare, sometimes as an accent, but always perfectly integrated throughout the track. Another fun fact: the entire production was inspired by inspired by the “Oompa Loompa” song from Willy Wonka & the Chocolate Factory. "I took that rhythm, and I listened back to it, and I was like, 'Man. that's a dope addition.' That's what I was trying to attempt, but in a Hip Hop way," Timbaland explained at an NYC conference.
3. No More Drama (Produced by Jimmy Jam & Terry Lewis) by Mary J. Blige
Taken from the album of the same name, Mary J. Blige's "No More Drama" brought unexpected gravitas to R&B by sampling one of television's most recognizable themes: "Nadia's Theme," better known as the theme song from "The Young and the Restless." Producer Jimmy Jam and Terry Lewis transformed the soap opera's dramatic piano melody, originally composed by Barry De Vorzon and Perry Botkin Jr., into a powerful backdrop for Blige's emotional declarations of personal growth. Yes -- the song's message about overcoming life's melodrama was literally built on a soap opera classic that helped make the track one of Blige's most critically acclaimed works.
4. Crazy In Love (Produced by Beyoncé & Rich Harrison) by Beyoncé
"Crazy in Love" came together through a series of fortunate events and near-misses that make its iconic status even more remarkable. As he explained to MTV News, producer Rich Harrison was sitting on a sample of Chi-Lites “Are You My Woman? (Tell Me So)” for a while. When Beyoncé called, Harrison showed up to the studio hungover and late – not an ideal start for working with one of music's biggest stars. Initially, Beyoncé was skeptical about the horn-heavy sample, but she gave Harrison two hours to prove himself, during which he crafted the verses and hook and played all the instruments himself. The entire process, from Harrison's first meeting with Beyoncé to the final recording, spanned about three months.
5. Fantasy (Produced by Dave “Jam” Hall) by Mariah Carey
"Fantasy" stands as one of Mariah Carey's most innovative drops, as it helped to mark a significant shift in both her artistry and pop music as a whole. The song used a clever sample of Tom Tom Club's "Genius of Love," which producer Dave “Jam” Hall and Carey transformed into a breezy pop-R&B effort about romantic daydreaming. But it's the remix that made history – Carey's insistence on featuring Ol' Dirty Bastard, against her label's wishes, helped break down the barriers between a multitude of genres. This collaboration wasn't just a hit; it was a cultural reset that helped normalize rap features on pop songs. The gamble paid off commercially too, as "Fantasy" became only the second song ever (and first by a female artist) to debut at No. 1 on the Billboard Hot 100, where it stayed for eight weeks.
6. Devil’s Pie (Produced by D’Angelo & DJ Premier) by D’Angelo
"Devil's Pie" represented a fascinating moment of cross-pollination between neo-soul and Hip Hop that emerged from an unexpected series of creative connections. Originally crafted by DJ Premier for Canibus, who passed on it, the beat found its perfect home with D'Angelo during his Soulquarians period. The eventual Voodoo standout was a masterclass in sampling that weaved together elements from diverse sources: Teddy Pendergrass' “And If I Had,” Fat Joe's "Success,” Michel Colombier and Pierre Henry's “Jericho Jerk,” and Raekwon's "Wu-Gambinos" were among a hodgepodge of unique sounds used to create this classic. It should be noted that, while not officially credited for “Devil’s Pie,” the late J Dilla had a heavy and profound presence throughout the entirety of Voodoo’s creation.
7. Got ‘Til It’s Gone (Produced by Jimmy Jam & Terry Lewis & Janet Jackson) by Janet Jackson
While arguably not a sample in the most traditional sense (nor is it necessarily lesser known), this song’s use of folk and pop cuts certainly made it no less interesting than others on this list. The Q-Tip-assisted “Got ‘Til It’s Gone” was a single from The Velvet Rope that borrows lines from Joni Mitchell’s “Big Yellow Taxi” (hence the Canadian icon’s credit). It also pulled from Des’ree’s pop jam “Feel So High,” making it one of Jimmy Jam and Terry Lewis’ more experimental productions. The song became a bonafide hit that landed on charts across the globe.
8. Pony (Produced by Timbaland) by Ginuwine
“Pony,” Ginuwine’s debut single from his album Ginuwine... The Bachelor, quickly became a standout hit. Created by Ginuwine with help from Swing Mob associates like the late Static Major, the track marked a breakthrough for Timbaland as a producer. What’s largely notable is the song’s samples, a mix of computerized sound effects – including one from Hanna-Barbara Cartoons – and what’s said to be a very trippy flip of The Sunday’s “Life & Soul” (given Timbaland’s track record, it could also be his own voice). Timbaland later revealed that the instrumental was created several years before the song’s actual completion. It eventually peaked at No. 6 on the Billboard Hot 100.
9. Out Of Time (Produced by Max Martin, Oscar Holter, The Weeknd, & Oneohtrix Point Never) by The Weeknd
For those not familiar, “Out of Time” was a song by Canadian artist The Weeknd, released as the third single from his album Dawn FM. The urban adult contemporary track was co-written and produced by The Weeknd and Oneohtrix Point Never, with songwriting credits also given to Tomoko Aran and Tetsurō Oda for its sample of Aran’s Fuyü-Kükan single “Midnight Pretenders.” Additional production came from Max Martin and Oscar Holter, while actor Jim Carrey lent his voice to narrate parts of the album.
10. SOS (Produced by Carl Sturken, Evan Rogers & J.R. Rotem) by Rihanna
“SOS” is a song by Rihanna from her album A Girl like Me. Written by J.R. Rotem and Evan “Kidd” Bogart, the booming cut used a sample of Soft Cell’s “Tainted Love” hit (originally written by Ed Cobb). The track combines dance-pop, Hip Hop, and R&B. In an interview with HitQuarters, Rotem explained how he wanted to reimagine the famous bass line of “Tainted Love” with a fresh, modern twist. The song became Rihanna’s first U.S. No. 1, spending three weeks at the top of the Billboard Hot 100. The triple-platinum drop also saw major success worldwide.
11. Nikes (Produced by Frank Ocean, Malay & Om’Mas Keith) by Frank Ocean
Led by Alan Hawkshaw, a collective of musicians known as The Mohawks created a song titled “The Champ,” which found moderate U.K. success. What many will know the funky number for is how it became widely sampled within Hip Hop and R&B. In addition to rap heavyweights like KRS-One and Nicki Minaj, Frank Ocean borrowed a smart piece for his single “Nikes,” which the Odd Future alum produced with Malay and Om’Mas Keith. Eagle-eyed listeners should be able to catch the sample a little more than halfway through.
12. PRBLMS (Produced by Nova & OnBeat) by 6LACK
A true deep cut in the world of sampling. 6LACK’s “PRBLMS,” taken from the Atlanta artist’s debut LP, FREE 6LACK, became a runaway hit that scored a Billboard Hot 100 placement and a quadruple-platinum certification. It also incorporated a flute sample from "Irby Tremor," an experimental cut taken from Matthew Barnes’ Engravings. As Splice best described it, “The sample is absolutely dripping wet with reverb, which makes the sound seem as though it is constantly shifting position in the stereo field. Despite being the only melodic element living in the mid frequency range besides the voice, the sample really never catches the listener’s ear.”
13. Set Adrift on Memory Bliss (Produced by P.M. Dawn) by P.M. Dawn
P.M. Dawn’s “Set Adrift on Memory Bliss” became an iconic track from their debut album Of the Heart, of the Soul and of the Cross: The Utopian Experience. Built around samples from Spandau Ballet's "True," the Soul Searchers’ "Ashley's Roachclip," and Bob James' version of "Take Me to the Mardi Gras," the song was primarily written by group member Attrell "Prince Be" Cordes. “I've always liked that Spandau Ballet song, it's so dreamy and trance-like, so when I came to deal with it, I knew I'd be daydreaming along to that one,” he told Melody Maker. “Set Adrift” was P.M. Dawn’s only No. 1 single on the Billboard Hot 100, and – notably – it was the first chart-topping song under Billboard's Nielsen SoundScan system.