10 tracks that prove MF DOOM was the master of samples

Five years on from his untimely passing, there’s no better way to pay homage MF DOOM than to delve headfirst into his genius world of sampling. Revered for his vivid characterisation and comic-villain narratives, DOOM demonstrated the same ingenuity and attentiveness toward his use of samples as his rhymes, turning even the most abrasive sounds into a hum, a screech into a melody.

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Throughout his decades-spanning career and even in the years since his death, eager sample hunters are still filling pages on Reddit and uncovering the hidden gems within his discography; audiences are still enraptured by his ability to transform well-worn classics into a villainous mirage of the original with both his own productions and his lyrics.

So to honour the one-and-only SuperVillain, we have compiled 10 of the best tracks that prove MF DOOM was the master of samples with music included from not only his primary alias, but also Metal Fingers and his Madlib collaborative project, Madvillain. Check them out below.

Built around Sade’s narcotic ‘Kiss of Life’, MF DOOM’s beloved ‘Doomsday’ is a track that could calm a room of raging bulls. The 1999 classic weaves drum loops and chimes across Sade’s sample, whilst DOOM’s flow glides through a lullaby of disc scratches. 25 years on, it remains one of DOOM’s most versatile and enduring cuts.

Cortex may have flown under the mainstream radar in the ’70s, but their music has become a touchstone for hip hop producers — celebrated for its rich textures and hypnotic rhythms. In sampling the jazz-funk instrumental from 'Huit Octobre 1971', DOOM taps into a legacy that bridges 1970s European jazz-funk with modern hip hop with 'One Beer'.

No stranger to layering samples to the point where they become unrecognisable, on 'That's That', DOOM practically camouflages the evocative chord progression and vocals, borrowed from Michael Jackson and the Jackson 5's 'I Wanna Be Where You Are'. A Motown ballad and the beginning of Micheal Jackson's career as a solo artist, 'That's That' transforms the original love song to form something truly cinematic.

The ‘Rhymes Like Dimes’ loop showcases DOOM at his most captivating, courtesy of one of America’s great influential producers: Quincy Jones. The 32-bar, synth-driven jazzy melody first slipped quietly into the bridge of Jones’ 'One Hundred Ways', only to be tastefully lifted and brought into the spotlight, where it sits at the heart of one of his most comforting tracks.

On 'Rhinestone Cowboy', MF DOOM and Madlib sample Maria Bethânia's 'Molambo', a track from her 1968 live album 'Recital Na Boite Barroco Odeon'. The original piece is Brazilian MPB (Música popular brasileira), which DOOM and Madlib operate on to craft a moody backdrop for a song for a lovable villain. The manipulation of these samples demonstrates his world musical heritage, balanced with underground hip hop sensibilities.

From his 'Special Herbs' series, MF DOOM adds a depth we didn’t even know we needed to Cymande’s '80s rare groove classic 'Brothers on the Slide'. An ode to a track that is already an addictive, soulful rhythm, 'Cedar' strips the original’s simplicity. The sample itself fuses funk, jazz, African rhythms, and Calypso. DOOM barely touches the loop, giving it space to breathe whilst proving just how much he trusts in the subtlety of production.

MF DOOM and MED (AKA Madlib)'s 'Raid' begins in the unlikely world of the Bill Evans Trio, sampling the jazz piece 'Nardis'. Originally written by Miles Davis, it became closely associated with Bill Evans, whose interpretations and performances turned it into a jazz standard. DOOM and Madlib's knack for flipping old sounds into vivid, sample-based collages mirrors the improvisational spirit of jazz, and 'Raid' feels like an homage to his own jazz influences.

Steely Dan’s 1977 classic 'Black Cow' has lingered across generations, having become mythologised long before it was sampled on a DOOM track, as a snapshot of the late-'70s comedown — when the decade's glamour gave way to disillusion. On 'Gas Drawls', DOOM threads fragments of Steely Dan's smooth alchemy while keeping listeners alert to each tantalising echo of the original.

MF DOOM’s most recognisable loop proves that the best tracks are born from the classics. Pulled from the depths of David Matthew’s 1977 cover of Dave Bowie's 'Space Oddity', the 15-second guitar solo is twisted into the backbone of one of his most iconic beats. The original song later featured on the soundtrack of David Lynch’s 1984 adaptation of Dune. It’s classic DOOM style to hear something timeless, break it down, and rebuild it into something entirely new. A loop so sharp and hypnotic, all it needed was his adlibs to make it unforgettable.

Over a decade later in his discography, 'Coco Mango Diced' takes a different approach and samples his very own 'Rhinestone Cowboy'. The 2019 track nods to his earlier work while leaning on a purely instrumental structure, a stark contrast to the lyrical focus of the original. 'Coco Mango Diced' tips its hat to DOOM’s past while showing how far his sound has come. No need to fill every second with lyrics - the track lets the music do the talking.

Annabel Craddock is a freelance journalist, follow her on Instagram.