Alright, Megan, I’ll take the baton.

Here are some other recent examples that come to mind.

Verve : “Love Is Noise”
I hate that, even though it’s a likable and improbably successful comeback single that sounds nothing like anything they’ve done before, Richard Ashcroft nearly ruins it in the first few seconds with his vocal imitation of the odd, dehumanized, and quite interesting electro-choir sample lining the floor of the entire song. Like he’s making fun of his own band. “Woo-woo woo-woo woo!” he sings, “Ahh-ahh ahh-ahh ahh!”
[Video]

TC : “Where’s My Money [Caspa Remix]”
I hate the rambly bit of the sample, sandwiched between the phone-dial and the title quote, that sounds more The Muppets than menacing, and keeps one of the most exciting and threatening dubstep efforts of the year from being one-hundred percent immense.
[Video]

London Elektricity : “Attack Ships On Fire”
I don’t like how the song, which isn’t a cover of the Revolting Cocks track, is a fine enough circles-under-the-eyes slice of liquid-funk drum & bass peppered with army-ready temple stomps, but chucks in a sample of Rutger Hauer from ‘Blade Runner’ as if it’s never been endlessly done before, like it’s a first-year college student staying up all night with roommates linking sex with death.
[Video]

The Streets : “The Escapist”
I hate half of the whole song. Mike Skinner’s verses are so off-puttingly off-hand, so anti-melodic, that you nearly don’t realize how lovely and enduring the gushing chorus is, all bittersweet abandon, staying in the bloodstream long after it’s gone.
[Video]

Annie : “What Do You Want (The Breakfast Song)”
I hate how, well, wait. It’s brilliant.
[Video]