SAMPLED is a recurring column that examines the skeletal production of a contemporary Rap/R&B/Hip-Hop or Pop song. From what song did the loop, sample, or chopped up vocal providing the backbone for a new interpretation originate? SAMPLED looks at the original song with some historical context, and then presents the contemporary production that utilizes a sample from the original. For better or worse, this is the process by which a huge portion of contemporary pop music is assembled.

This week, the sample in question comes from Eddie Murphy’s surprise 1985 hit “Party All The Time,” which was featured on Murphy’s third musical album How Could It Be:

It’s easy to forget that Eddie Murphy was even had a song, let alone three musical albums worth of material, including the 1982 single “Boogie In Your Butt.” Actually, though. His third musical album, 1985’s How Could It Be, was critically panned, even though it charted well on the Billboard 200 (#26!) thanks to the surprise success of “Party All The Time.” Produced and co-written by none other than Rick James, “Party All The Time” was a funky synth pop monster, making it all the way to #2 on the Billboard charts in 1985. Murphy has a surprisingly high singing voice, and gives the track a Prince-esque treatment. Rick James laid down a huge reverb-laden drum track, filled out with vocal harmonies, a massive bassline and washy atmospheric synths. It sounds a bit ridiculous today, but it’s easy to see why this was a big hit for the comedic actor in 1985.

The chorus from Eddie Murphy’s “Party All The Time” was recently sampled by Asher Roth, on “Party Girl” featuring Meek Mill:

“Party All The Time” is an appropriate choice of sample for Asher Roth, given his eternal party aspirations, and let’s be honest, Asher Roth is probably considered more of a comedian than a rapper by many skeptical hip-hop fans. It’s been over four years since Asher Roth released his debut record Asleep In The Bread Aisle, and the white bread suburban rapper presents “Party Girl” as the lead single from Is This Too Orange?, to be released sometime this spring. “Party Girl” was produced by longtime collaborator Oren Yorel, who produced nine out of twelve tracks on Roth’s debut. To construct the hook on “Party Girl,” Yorel filtered out the low end on the Eddie Murphy chorus, and programmed a big sounding half-time beat on top. A cameo from fellow Philadelphian and Mayback Music rookie of the year Meek Mill earns some points, but Asher Roth has yet to shake his one hit wonder status.

Some view sampling as a symptom of a lack of creativity, and that’s exactly why it is a polarizing topic in terms of contemporary pop music. Critics liken it to Hollywood’s nasty habit of repurposing old franchises and old ideas, updating and remaking anything that was once profitable. On the flip side, many argue that sampling is an art form not to be discredited. On a weekly-ish basis, SAMPLED aims to take it on a case-by-case basis, and examine the dividing practice of using samples in the creation of music.