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10 Chart-Toppers That Pattern or Pull From Previous No. 1s


“First Class,” the second single from Kentucky rapper Jack Harlow’s album Come House The Children Miss You, is without doubt one of the greatest songs of 2022 to date, reaching No. 1 on the Sizzling 100 twice since its April launch. One purpose for the short ascent: the familiarity of the refrain, which samples Fergie’s vocals from “Glamorous,” which additionally topped the Sizzling 100 again in 2007.

Since Billboard started publishing the Sizzling 100 in 1958, 9 songs have topped the chart greater than as soon as by completely different artists, like Little Eva’s 1962 authentic “The Loco-Movement” and Grand Funk Railroad’s 1974 cowl. However as hip-hop started to take over the charts within the Nineties, sampling outdated hits has turn into probably the most notable technique of reviving pop’s previous. And lately, interpolations with replayed components of outdated hits have kicked up just a little controversy and courtroom drama. Right here’s a glance again at 10 chart-toppers that sampled or interpolated different No. 1s.

 

Kris Kross’s “Soar” (1992)
The pattern: The Jackson 5’s “I Need You Again” (1969)

 

Lots of the hottest hip-hop songs are constructed on acquainted pop hits, relationship again to The Sugarhill Gang’s “Rapper’s Delight,” which featured replayed components of Stylish’s chart-topper “Good Instances.” And when hip-hop artists lastly started reaching No. 1 themselves within the ‘90s, they usually obtained a lift from a well-known loop – Vanilla Ice sampling Queen, P.M. Daybreak sampling Spandau Ballet, and so forth. However the first No. 1 that sampled a No. 1 got here from the kiddie rap duo Kris Kross.

 

Producer Jermaine Dupri crammed “Soar” with a dense patchwork of samples, together with early hip-hop staples by James Brown, the Honey Drippers, and the Ohio Gamers. However the piano loop from the Jackson 5’s first single “I Need You Again” helped the music attain one other historic chart benchmark. Kris Kross, each round age 13, grew to become the youngest rappers on a No. 1, simply as an 11-year-old Michael Jackson was the youngest individual to sing lead on a No. 1.

 

The Infamous B.I.G.’s “Hypnotize” (1997)
The pattern: Herb Alpert’s “Rise” (1979)

 

Within the mid-‘90s, Dangerous Boy Information introduced hip-hop to new heights of business dominance partly by shrewdly sampling among the greatest ’70s and ’80s hits. The Infamous B.I.G.’s “Hypnotize,” launched every week earlier than the rapper’s dying in March 1997, grew to become his first posthumous No. 1. And the observe’s iconic bass line got here from “Rise,” trumpeter Herb Alpert’s second chart-topper.

 

Whereas Dangerous Boy’s 1997 hit parade usually looped probably the most well-known components of classics by David Bowie, Kool & The Gang, and Grandmaster Flash & The Livid 5, “Hypnotize” dug just a little deeper. Probably the most recognizable aspect of Biggie’s music stands out as the temporary, echoing guitar line plucked from the disco instrumental.

 

Puff Daddy’s “I’ll Be Lacking You” (1997)
The pattern: The Police’s “Each Breath You Take” (1983)

 

When the Infamous B.I.G. was shot and killed days after the discharge of “Hypnotize,” producer and mentor Puff Daddy determined to file a tribute to his fallen buddy. And in true Dangerous Boy custom, that music, nonetheless heartfelt, derived most of its melody and emotion from a well-known supply. With a rewritten model of the refrain from The Police’s 1983 blockbuster “Each Breath You Take” and a pattern of the music’s iconic Andy Summers guitar riff, “I’ll Be Lacking You” dominated the summer season of 1997.

 

Main label hip-hop artists had turn into extra diligent about clearing samples and getting artist approval following a historic 1991 copyright case through which Gilbert O’Sullivan sued Biz Markie. Remarkably, although, Puff Daddy rush-released “I’ll Be Lacking You” with out getting permission to make use of the Police pattern, and Sting reportedly sued for one hundred pc of the Puff Daddy observe’s songwriting royalties. All in all, “Each Breath You Take” topped the Sizzling 100 for eight weeks, and “I’ll Be Lacking You” went to No. 1 for an extra 11 weeks, making it maybe the preferred melody in modern pop historical past.

 

Monica’s “The First Night time” (1998)
The pattern: Diana Ross’ “Love Hangover” (1996)

 

Georgia R&B singer Monica Denise Arnold hit No. 1 on the Sizzling 100 thrice, and every music got here from her second album, The Boy Is Mine, launched when she was simply 17. These chart-toppers had been the title observe with Brandy, the ballad “Angel of Mine,” and “The First Night time,” a sassy music concerning the prospect of first-date intercourse that sampled Diana Ross’ “Love Hangover.”

 

Ross’ disco period was ripe for reclamation by ‘90s producers – Puff Daddy, in spite of everything, had turned “I’m Coming Out” into the Infamous B.I.G.’s “Mo’ Cash, Mo’ Issues.” Jermaine Dupri sampled “Love Hangover,” Ross’ first actual disco single, for Monica’s music. However he really utilized the slower intro groove, earlier than the music kicks into high-gear disco.

 

Will Smith’s “Wild Wild West” (1999)
The pattern: Stevie Marvel’s “I Want” (1977)

 

Stevie Marvel was sampled on quite a few ‘90s rap hits, together with Coolio’s “Gangsta’s Paradise” and 2Pac’s “So Many Tears.” The observe that went to No. 1 twice, nonetheless, is “I Want,” the lead single from his masterpiece Songs within the Key of Life.

 

Will Smith’s title music for his 1999 movie, Wild Wild West, was a mashup of kinds, combining the music of “I Want” with the hook from the 1988 music “Wild Wild West” by Kool Moe Dee, who additionally friends on the Smith music. Marvel was additionally one of many many movie star cameos within the “Wild Wild West” video.

 

Robin Thicke’s “Blurred Traces” (2013)
The interpolation: Marvin Gaye’s “Received to Give It Up” (1977)

 

Right here’s the place we get into the stickier topic of interpolations. A pattern is the usage of one music’s grasp recording in a brand new music, which is normally simply confirmed or disproven. However an interpolation, through which a musical or lyrical aspect of 1 music is replayed in a distinct music, is usually extra open to debate. And lately, interpolations have been topic of nice debate and even court docket circumstances, together with most famously the Marvin Gaye property’s 2014 lawsuit in opposition to Robin Thicke over the similarities between his “Blurred Traces” and Gaye’s “Received to Give It Up.”

 

“Blurred Traces” doesn’t include the identical melody or lyrics as “Received to Give It Up” and isn’t even on the identical tempo. But it surely all the time felt clear that Thicke and producer Pharrell Williams had been most likely paying homage to Gaye with the music’s general sound: the descending bass strains, the celebration chatter ambiance, the falsetto “woo!” advert libs. Prefer it or not, although, a jury discovered the similarities substantial sufficient, awarding Gaye’s household thousands and thousands of {dollars} and appending Gaye’s identify to the official songwriting credit.

 

Ed Sheeran’s “Form of You” (2017)
The interpolation: TLC’s “No Scrubs” (1999)

 

Within the aftermath of the “Blurred Traces” court docket determination, hitmakers have been just a little extra accommodating about sharing songwriting credit score when a similarity is discovered between their observe and an older music. Simply final 12 months, Olivia Rodrigo credited Paramore on her hit “Good 4 U” for some pretty broad resemblances to their “Distress Enterprise.” And in 2017, Ed Sheeran credited the authors of TLC’s “No Scrubs” on his blockbuster “Form of You,” possible resulting from an identical vocal cadence within the music’s pre-chorus part.

 

Sheeran’s camp reportedly reached out to the “No Scrubs” writers, Xscape members Kandi Burruss and Tameka Cottle and producer Kevin “She’kspere” Briggs, earlier than the discharge of “Form of You.” However an settlement wasn’t reached that added the trio to the songwriting credit till shortly after Sheeran’s music started its long term on the pop charts.

 

Taylor Swift’s “Look What You Made Me Do” (2017)
The interpolation: Proper Stated Fred’s “I’m Too Attractive” (1991)

 

The lead single from Taylor Swift’s 2017 album, Status, featured a staccato spoken chorus of its title that bore a slight resemblance to Proper Stated Fred’s saucy 1991 dance hit. Swift’s camp reached out to the British duo every week earlier than her music’s launch, though they didn’t initially affirm which main artist was in search of approval of an interpolation.

 

Proper Stated Fred had been a bit much less organized about clearing the interpolation within the authentic “I’m Too Attractive.” “I wasn’t conscious our guitarist, Rob Manzoli, had performed the riff from Jimi Hendrix’s ‘Third Stone from the Solar’ on ‘I’m Too Attractive’ till a lot later,” Fred Fairbrass informed The Guardian in 2017. “[B]ut the Hendrix property was very cool about it and simply requested for a writing credit score and a charitable donation.”

 

Drake’s “Means 2 Attractive” (2021)
The pattern: Proper Stated Fred’s “I’m Too Attractive” (1991)

 

In a reasonably unusual flip of occasions, the campy one hit wonders Proper Stated Fred wound up again on the high of the Sizzling 100 by way of two completely different singles by trendy pop superstars prior to now few years. Nevertheless, “Means 2 Attractive,” Drake’s Licensed Lover Boy hit with Future and Younger Thug, is a way more overt riff on “I’m Too Attractive” than Taylor Swift’s music, really that includes a pattern of Richard Fairbrass’ voice from the unique.

 

Jack Harlow’s “First Class” (2022)
The pattern: Fergie’s “Glamorous” (2007)

 

Though Jack Harlow topped the Sizzling 100 final 12 months along with his visitor spot on Lil Nas X’s “Business Child,” he not too long ago netted his first solo No. 1 with “First Class.” And the music’s pre-release buzz after he previewed it on TikTok, spotlighting Harlow’s playful call-and-response with Fergie’s vocal from “Glamorous,” had loads to do with its rapid success.

 

“Glamorous,” the third single from Fergie’s 2006 album, The Dutchess, really had its origins in one other high 40 hit. Producer Polow Da Don created a remix of Gwen Stefani’s “Luxurious” that includes a visitor verse by Ludacris, however she reportedly determined to make use of the unique album combine. Sensing they’d successful on their fingers, Polow and Ludacris repurposed their components of the remix for a brand new music on the Black Eyed Peas singer’s solo debut, and it sailed to the highest of the charts.



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