The Song with the Most Samples Ever Recorded

Sampling has become synonymous with hip-hop and electronic music, but its influence stretches across all genres. While some view it as mere theft—taking snippets of existing songs—there’s an undeniable artistry in recontextualizing these samples. Imagine a jazzy melody layered over an ambient soundscape; it’s fascinating how creativity can reshape sounds.

Though some samples might fit seamlessly into new compositions, others undergo extensive manipulation, transforming them almost beyond recognition. This is the beauty of sampling, where artists demonstrate their compositional skill while crafting outstanding tracks from borrowed elements.

Two landmark albums in the world of sampling are DJ Shadow’s 1996 debut, Endtroducing…, which was groundbreaking for being entirely sample-based, and The Avalanches’ Since I Left You, a masterfully woven hour of psychedelic disco created by a group of friends in Melbourne.

But who holds the record for the most samples in a single song? While The Avalanches hinted at using 3,500 samples on their debut album, their song “Frontier Psychiatrist” only features 28 identifiable samples. Although impressive, it’s far from the record.

DJ Shadow’s contribution as part of UNKLE brings us closer, with their track “Intro (Optional)” containing about 69 samples, which plays as a rapid collage of hits—though this too falls short of the ultimate title.

To dig deeper, we need to explore a unique term: “plunderphonics,” introduced by Canadian composer John Oswald in 1985. This genre revolves around music crafted solely from samples. Oswald’s acclaimed 1993 work, Plexure, is often considered a defining piece in this realm, with tracks blending seamlessly into a continuous 20-minute composition.

His rework from 2010, PIPEX, stretches over 30 minutes and is recognized as one extensive piece of music, boasting around 317 identifiable samples—though the reality is likely in the thousands. The samples in PIPEX—each lasting mere seconds—create an overwhelming sound collage, showcasing popular music from 1982 to 1992.

You’ll recognize snippets of iconic songs like “Smells Like Teen Spirit” or “When Doves Cry” amidst the chaotic blend. Regardless of whether you label Plexure, PIPEX, or Oswald’s various reinterpretations as albums or suites of songs, it’s clear that Oswald’s work likely contains the highest sample density of any contender mentioned. As Jon Leidecker of Negativland stated, “there’s only music you haven’t heard yet”—you may have heard elements from Plexure before, just never quite like this.