First Hit #1: March 24, 2001
Sampling is one of those things that depends on the creativity of the sampler. A good sample-based song is going to be very different from the original track it’s borrowed from, as the snippets of song are combined in unexpected ways. On the other hand, you have examples like Butterfly, which merely puts lyrics on top of The Red Hot Chili Peppers’ Pretty Little Ditty. Yeah, the chorus is alright, but the song’s power is predominantly in that one sample, with the dream-like guitar propelling the track forward. I’m not entirely sure it’s better than just the original instrumental track, and that’s the problem with a lazy sample. Why should I listen to Butterfly instead of Pretty Little Ditty? Are the lyrics good enough to justify this recording’s existence? I’m not sure honestly, the second verse is downright clumsy, and even I have residual affection for the overall experience, most of that affection is connected to the part that Crazy Town didn’t have much to do with.
I actually like the song a lot, though a big portion of that is that insidious high school nostalgia some of us are afflicted with.
We Are Number Ones 
This clip can be viewed in the USA: http://www.youtube.com/watch?v=LWnP9r222DY
This track brings together a number of hoary techniques: (1) The Marky Mark “listen to my music because of my impressive body” approach; (2) The Sugarhill Gang “vapid rap over a cool instrumental loop” approach; (3) Complimentary lyrics about how great his woman is. Only in this case we get the disturbing discovery that he has a police rap sheet and thinks Sid Vicious is a good romantic role model. So, indadvertantly actually warning his lady away.
Still, they surely had to pay royalties to the RHCP, so at least there’s that. Pity that “Under the Bridge” only made it to #2; let’s discuss it anyway! John Frusciante lays down some gorgeously fluid guitar riffs. I can hit the notes but not the carefree feeling. The arrangement follows the gradual build seen in everything from “Unchained Melody” and “You Don’t Have to Say You Love Me” to “With Or Without You” and “Total Eclipse of the Heart.” The subdued beginning also helps Anthony Kiedis to build his vocal fervor rather than starting off full-tilt like an alt-rock Michael Bolton. The lyrics about addiction start off wistful but end up in roaring regret. Sadly, Frusciante could not take the hint and cracked under the pressure of success and the bad influence of his bandmates, spiraling off into heroin addiction for years, leading to addled interviews like this one: http://www.youtube.com/watch?v=E0Cc_A3N21k