Unpacked is a playlist analysis of new and classic albums where we highlight key tracks alongside their influences, collaborators, and sample sources to encourage a deeper understanding and appreciation of the record. After loading up 1989’s cult classic Paul’s Boutique with a dizzying array of samples, the Beastie Boys refocused on live instrumentation in the more litigious ‘90s, drafting keyboardist Money Mark as one of the group’s many honorary “fourth” Beastie Boys. But while Check Your Head, which turns 25 this week, contains fewer samples than Paul’s Boutique, it still features dozens of them, drawing on the crates full of punk, classic rock, funk, and comedy records that informed the bratty white rappers’ revolutionary fusion of styles. Check Your Head’s opening track “Jimmy James” sets the densely referential tone: It features no fewer than three Jimi Hendrix Experience samples from three different albums. (The title itself is a nod to Hendrix’s early stage name.) But first, you hear “this next one is the first song on our new album,” as spoken by Robin Zander on Cheap Trick’s 1978 live album At Budokan in his introduction to the future classic “Surrender.” And then, the beat that kicks in is taken primarily from The Turtles’ novelty track “I’m Chief Kamanawanalea.” More than perhaps any album in history, Check Your Head blurs the line between samples and original recordings. Some of the blasts of distorted guitar are played live by Ad-Rock, while others are taken from Thin Lizzy and Bad Brains. On “Finger Lickin’ Good,” MCA and Mike D begin a sentence in 1992 that is finished by Bob Dylan in 1965. One of the most straightforward punk songs on the album, “Time For Livin’,” is actually a revved up Sly & The Family Stone cover. And while “The Biz Vs. The Nuge” features Biz Markie riffing in the Beasties’ studio over a Ted Nugent sample, “So What’cha Want” samples Biz vocals from both his 1988 Big Daddy Kane collaboration “Just Rhymin’ With Biz” and the Check Your Head outtake “Drunken Praying Mantis Style.”

New Jersey singer and musician Jack Antonoff fronted the band Steel Train for a decade with only a small cult following before pivoting into an unlikely career as a producer and songwriter behind Hot 100 hits by platinum pop stars like Taylor Swift and Lorde. It all began when he joined The Format’s Nate Ruess in a new project, fun. The band’s second album, Some Nights, launched “We Are Young,” an anthemic track that became one of the biggest pop hits of 2012. Ruess followed up the album with a solo project while Antonoff fronted a new band, Bleachers. But Antonoff went on to gain most of his success behind the scenes.Antonoff’s early outside credits include co-writing with Canadian indie pop heroes Tegan and Sara, including a track on their 2013 breakthrough album Heartthrob, and a bonus track for Carly Rae Jepsen’s Kiss. He also landed a big hit for Sara Bareilles, helping her write the Grammy-nominated, triple-platinum single “Brave.”By then, Antonoff and girlfriend Lena Dunham were rubbing elbows with a number of Top 40 stars, including Taylor Swift and Lorde, who both began seeking out his ear for nostalgic ‘80s pop sounds and confessional lyrics. Antonoff co-wrote several tracks on Swift’s 1989 and also her recent hit duet with ZAYN, “I Don’t Wanna Live Forever.” He’s frequently collaborated with Lorde, both on her recent hit “Green Light” and on the second Bleachers album, Gone Now, due out June 2nd. He also collaborated with Grimes on “Entropy,” from the soundtrack for Dunham’s HBO series Girls.Though he sings in Steel Train and Bleachers, Antonoff’s Terrible Thrills series defers to stars like Tinashe and Charli XCX for their own spin. His affinity for female voices and perspectives has served him well as a songwriter, and ultimately, he might be happiest when handing the mic to a woman, even on his own records.Click here to follow this playlist on Spotify.

Butch Walker scored his first hit as the frontman of Marvelous 3, who recorded the alt-rock smash “Freak of the Week” in 1998, before he launched a lengthy solo career as a singer-songwriter with a cult fanbase. But over the last two decades, Walker’s most widely heard work has been as a producer or songwriter. With his lyrical wit, his bottomless well of guitar licks, and his ear for big catchy choruses, he’s a pop punk power player who’s helped with Fall Out Boy’s comeback as well as singles for Bowling For Soup and American Hi-Fi. But his versatility and work ethic have also made him a crucial collaborator for pop stars like Katy Perry and Pink, hard rock bands like Sevendust, and even country singer Keith Urban.

Subscribe to the Spotify playlist here.2016 was a year of insurgent indie label artists breaking through to hip-hop radio, including Young M.A, YFN Lucci, and Chance The Rapper, whose jubilant gospel rap sound crossed over from self-released mixtapes to mainstream stardom with the help of killer guest verses by 2 Chainz and Lil Wayne on “No Problems.” Kevin Gates’s long-simmering buzz finally paid off with his first two platinum singles, the sweetly melodic “2 Phones” and the rampaging “Really Really.” Lil Yachty led the charge of a new generation of teen rappers with his breakout guest verse on D.R.A.M.’s “Broccoli.” And mainstays of radio playlists like Drake, Future, and Young Thug continued to dominate the airwaves along with post-prison comebacks from veterans Gucci Mane and Remy Ma.

Donald Fagen and Walter Becker were already anachronisms when they met as jazz-obsessed teenagers in the late ‘60s and began to write the droll, harmonically complex songs that made Steely Dan one of the greatest and most unique bands of the ‘70s. So it’s not surprising that the duo who worked tirelessly to get the best performances out of skilled session players never had much interest in hip-hop and the art of sampling. They even made it difficult to clear samples; they negotiated for the entire songwriting credit and publishing for the Lord Tariq & Peter Gunz hit “Déjà Vu (Uptown Baby)” and only allowed a “Kid Charlemagne” sample on Kanye West’s “Champion” after West sent the duo a passionate handwritten letter. But even Steely Dan’s stingy attitude towards sample clearances hasn’t stopped dozens of artists from doing the necessary paperwork to obtain use of the band’s gloriously recorded jazz-rock grooves (though De La Soul may not have, which could be why one of the most famous Steely Dan samples, the “Peg” loop on “Eye Know,” isn’t available on streaming services). But while the Dan’s tightly syncopated grooves and densely detailed arrangements clearly attract crate-digging producers the most, Donald Fagen’s voice figures into a surprising number of samples, boasting “Yes, I’m gonna be a star” on Amiri’s “Star” or chanting “They don’t give a fuck about anybody else” on one of Super Furry Animals’ biggest UK chart hits. The Steely Dan songs that have been sampled by multiple artists offer a case study in how many options the band’s rich arrangements offer to beatmakers. Lord Tariq and Peter Gunz went for the obvious but irresistible opening bars of “Black Cow,” while MF Doom zeroed in on a lovely keyboard flourish that happens just once in the song’s bridge. And where Audio Bullys looped the hypnotic guitar lick from “Midnite Cruiser,” legendary Atlanta production team Organized Noize played the riff at three different speeds to create a whole new chord progression for Sleepy Brown’s solo track “Dress Up.” Becker, sadly, passed away on September 3, 2017. But his music lives on—and continues to find new audiences—through the many hip-hop, rock, and R&B tracks collected here.

Clap clap clap clap: one of the dominant sounds of hip-hop and R&B in the 2010s is a synthesized handclap, hitting hard on straight 8th notes for every measure of the beat. This deceptively simple formula, which was foreshadowed in the previous decade in beats by Soulja Boy and Swizz Beatz, is compatible with any number of rhythms and production styles, from New Orleans Bounce and D.C. Go-Go to Atlanta crunk and stomping EDM. Stars like Rihanna, Justin Bieber, Kanye West, and Nicki Minaj all have their share of clappers, slowing down a soul clap for a relaxed groove or picking up the BPM to a frenzied pace that no pair of human hands would be able to keep up with.

Subscribe to the Spotify playlist here.Virginia native Shelley Marshaun Massenburg-Smith always seems to have a huge grin on his face, and makes the kind of infectiously whimsical anthems that put a smile on everyone else’s faces. The 2015 EPs #1Epic and Gahdamn! established his unique sound and irrepressible personality with the Super Mario Bros.-sampling hit “Cha Cha.” A wide array of features followed, with kindred spirits like Chance The Rapper and Donnie Trumpet as well as surprising collaborators like Chairlift and E-40. The full-length debut Big Baby D.R.A.M. arrived on the heels of the smash Lil Yachty collaboration “Broccoli,” showcasing D.R.A.M.’s witty rhymes as well as his earworm melodies.

In May 2005, the Illinois quartet Fall Out Boy were just starting to get known outside of Midwestern emo circles when they took a candid backstage pic with two unlikely supporters: JAY Z and Beyoncé. Jay, then an executive at the Island Def Jam conglomerate that had just released the band’s latest album, was probably just schmoozing as a businessman. But that photo-op foreshadowed Fall Out Boy’s ambitions to reach outside of pop-punk, and mix rap, R&B, dance music, and classic rock into a sound that could provide a little something for everyone.Fall Out Boy’s early forays into hip-hop were self consciously awkward. Their next album, 2007’s Infinity On High, featured a cameo appearance by JAY Z, but he just blandly played hypeman on the opening track, “Thriller.” The video for the lead single, “This Ain’t A Scene, It’s An Arms Race,” mockingly depicts the culture clash of Fall Out Boy recording with a hip-hop producer, and being “thrown out the hood” after they break someone’s 40 ounce. Kanye West appeared on a remix of the song, but he mostly just shrugged that he didn’t know what the song was about and riffed on the band’s tight jeans. But Infinity On High showed signs that the group wasn’t just clowning on their own tenuous grasp of black music: The Babyface-produced “I’m Like A Lawyer With The Way I’m Always Trying To Get You Off” was an early glimpse of Patrick Stump’s chops as an R&B crooner.Over the next few years, Fall Out Boy would work hip-hop into their sound more fluidly, utilizing Lil Wayne and Pharrell Williams to great effect on 2008’s Folie à Deux. But they also demonstrated that their taste in rock ranged far outside pop-punk and emo, seeking out Elvis Costello, Elton John, and Courtney Love for collaborations. They wrote their own cheeky Christmas song, “Yule Shoot Your Eye Out,” and their cover sources ranged from Michael Jackson to Disney’s The Jungle Book.During an extended hiatus in the early 2010s, the members of Fall Out Boy moved onto side projects that illustrated their far-ranging influences. Patrick Stump’s 2011 solo album, Soul Punk, was full of lo-fi homages to Prince; bassist Pete Wentz united with future pop star Bebe Rexha for the dancey duo Black Cards; and guitarist Joe Trohman and drummer Andy Hurley formed the metal band The Damned Things with members of Anthrax and Volbeat.Since reconvening in 2013, Fall Out Boy have put even more of a pop polish on their albums and have continued to stir together genres, making an entire rap remix album (2015’s Make America Psycho Again) and working with everyone from Demi Lovato to Missy Elliott. They even dashed off an EP of breakneck punk anthems produced by Ryan Adams, 2013’s PAX AM Days, just to prove they hadn’t abandoned their roots. Their seventh album, Mania, is set to continue diversifying Fall Out Boy’s résumé through collaborations with pop superstar Sia, folk singer Audra Mae, R&B producer Illangelo, and Afrobeat star Burna Boy. And it was preceded by a single, “Young And Menace,” that put the band’s sound in an EDM blender even while the lyrics nodded to Mötley Crüe’s Nikki Sixx—yet another defiant statement that Fall Out Boy will never stay in their lane.

The biggest hit from Eric Church’s fifth album Mr. Misunderstood, “Record Year” continued the North Carolina native’s impressive run of singles topping the country radio charts. But it’s more than just a bittersweet breakup song, folding references to some of Church’s favorite music into a tale of getting over heartbreak with the help of a turntable. His heroes George Jones and Waylon Jennings get a namecheck, Willie Nelson’s landmark album Red Headed Stranger has a cameo, and progressive bluegrass cult heroes New Grass Revival get a shout out. Yet Church’s songs have always been rich with influences from outside of country, and James Brown and Stevie Wonder’s records get a spin as well.

Although Paramore’s new album, After Laughter, marks the return of founding drummer Zac Farro, frontwoman Hayley Williams remains the only permanent member of the Tennessee pop-punk group since the band began, five albums ago. But even as Paramore have diversified their sound, Williams’ side work as a guest vocalist has cast an even wider net, as she’s played with acts who are heavier or more poppy than anything in Paramore’s catalog.Williams has experienced some of her greatest chart success as a hook singer, crooning the gentle melodies on Atlanta rapper B.o.B’s blockbuster single “Airplanes” and German producer Zedd’s EDM crossover hit “Stay The Night.” Her affection for indie and electronic music came out in a collaboration with Scottish synth-pop band CHVRCHES, and she’s embraced family-friendly pop stardom with high-profile collaborations, as on the cover of “Rainbow Connection” with Weezer for a Muppets tribute album.But most of Hayley Williams’ guest work has been with the kinds of punk and emo bands that Paramore came up with in their Warped Tour days. She’s added a much needed feminine perspective to songs by Say Anything and has dueted on multiple occasions with husband Chad Gilbert of New Found Glory. But most impressively, Williams has been able to hang with metalcore bands like The Chariot and Set Your Goals on blistering uptempo collaborations, and Zac Farro’s recent return to Paramore was foreshadowed by her appearance on “As U Wave” by Farro’s long running solo project HalfNoise.Click here to follow this playlist on Spotify.