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A time not too long ago at that, a legacy which dogged the producer for more than a decade until his most recent court engagement was dismissed last year on a technicality.
The decadence of this emperor, strangely enough, was neither vice nor vodka nor voluptuous women, but a crime of much higher stakes: uncredited sampling.
But it was hard to wrangle.” (pg 126)The composer of “Khosara,” Baligh Hamdi, never got to hear his tune take over the airwaves anew decades after its composition.
But his nephew, Egyptian national Osama Fahmy, sure did, and took Tim to court. On a hot mic, however, Tim lets the truth pour out, his face a cast-iron kettle: A few others in the industry aside from plaintiff Fahmy beg to differ.
There was no argument to be made for this incident: the buzzy blips from Tempest’s track formed the entirety of the rhythm section, and more than 3 seconds of material had been used.
Tim had little to say about it in interviews aside from notable nonchalance: sample from Omarion’s “Ice Box,” 2006 truly marked Tim’s transition in sampling ethics: no more Levantine, just video game machine.
Compare the percussion on “Dirt,” for example, to the bucket-banging on “Cop That Shit” (later duplicated by colleague Justin Timberlake on Beyoncé’s “Yoncé/Partition”); the cheerleader whistle samples and hand-claps on Missy Elliott’s “Pass That Dutch”; and the iconic pep rally horns on Lil’ Kim’s “The Jump Off”.
(Fun fact: This song can be found on the same belly-dancing compilation as a recording of “Khosara.”) Or, fresh off one of Tim’s rock shows in Japan, the string and vocal sample driving Utada Hikaru’s “Exodus ’04,” originally from Eidha Al Menhali’s “Meshkeltek.”All in all, it was the Middle East which underpinned all of these songs, and the labor of Levantine and Arab musicians of years past which helped line Timbaland’s pockets.Hell even the sexy video is good Votes are used to help determine the most interesting content on RYM.Vote up content that is on-topic, within the rules/guidelines, and will likely stay relevant long-term. Up until 1999, Timbaland was making purely fresh beats, crisp and innovative in their own right compared to the compressor carnage being wrought in the pop market during that time. Even Tim admits it in “As usual, I had this one beat that I just couldn’t get a grip on.I’d been playing with a sample called “Khosara Khosara,” a beautiful Egyptian melody performed by a famous singer named Abdel Halim Hafez, who was like the Frank Sinatra of Arab music.
In fact, those very same guitar riffs could have been Timbaland’s calling card during that era, judging by “Are You That Somebody?