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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”.At the time, Tim was his own personal step team in the studioproducer and dancer and hype man in one singular chubby body.Now, despite owning up to the sample, Tim never mentions the court case in the book. Take Aaliyah’s “More Than a Woman,” built off of Mayada El Hennawy’s “Alouli Ansa.” Or the orchestral Warda sample which serves as the foundation to another Aaliyah classic, “Don’t Know What to Tell Ya.” Or the strings in Petey Pablo’s “Raise Up”, taken from Hossam Ramzy’s rendition of “Enta Omri”.
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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.
From the moment Tim cracked open the crystal case of that belly-dancing compact disc, these samples have been the plaster wall and stud boards upon which Timbaland’s gold records could be hung.
By the time Timbaland was first accused of plagiarism for Nelly Furtado’s “Do It” in 2006, uncredited sampling was already one of his go-to pro tools. Timbaland was first called out digitally for sampling from a remix of Finnish artist Tempest’s composition entitled “Acidjazzed Evening,” and the case was later brought to court by copyright holder Kernel Records of Finland.
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.