Bun B Says Drake’s ‘Solar Eclipse’ Sample Sent New Money and Listeners to ‘Get Throwed’

Bun B says a new Drake placement has delivered a familiar but meaningful kind of second life for “Get Throwed”: compensation tied to its use in a newer song, plus a renewed wave of listeners seeking out the original Houston rap record.

Drake and Don Toliver’s “Solar Eclipse” draws on the bass line from “Get Throwed” while reworking Ella Langley’s “Choosin’ Texas.” For Bun B, the effect is bigger than a credit line buried in a song’s metadata. He said the placement has created revenue and pushed curious listeners toward the 2005 track from his debut solo album, Trill.

“Not only is there revenue from having your song attached to a Drake song, but also, people rediscover the original record,” Bun B said.

That observation gets at why a prominent sample can matter well beyond a one-time moment of visibility. A sample is a portion of an earlier sound recording or composition used within a new recording. In this case, the reported element is the bass line from “Get Throwed.” While the exact financial terms of the use have not been disclosed, Bun B’s comments distinguish two outcomes: income connected with the sample and increased streams for the original song.

A catalog moment for “Get Throwed”

“Get Throwed” arrived on Trill, Bun B’s 2005 first solo album. Produced by Mr. Lee, the track assembled a particularly notable group around Bun B: Pimp C, Jay-Z, Jeezy and Z-Ro. Its return to the conversation through “Solar Eclipse” places a two-decade-old recording in front of people who may know the newer collaboration first.

For listeners, that discovery path is straightforward: hear a familiar bass figure or become curious about a track’s credits, then search for the earlier song. For an artist with a long catalog, however, that path can reconnect attention to a defining era, its collaborators and the work surrounding it. Bun B specifically pointed to fans revisiting the original rather than treating the newer record as a replacement for it.

The case also illustrates a useful distinction in music discourse. A sample can be creatively central, even when the newer song is not simply a recreation of the older one. “Solar Eclipse” is described as a reworking of “Choosin’ Texas” that uses the “Get Throwed” bass line. Those are separate musical reference points, and they help explain why the track may direct listeners toward more than one prior catalog.

“Solar Eclipse” reached streaming services on October 2 after appearing earlier in Drake’s FOMO film. It then entered the Hot 100 at No. 5, giving the song a major chart launch and, by extension, a large potential audience for its sampled material.

Not the first connection between Bun B and Drake

The “Solar Eclipse” placement is part of an established creative history rather than a sudden crossover between unrelated catalogs. Drake had previously sampled “Get Throwed” on “N 2 Deep” in 2021. Before either sampling moment, Bun B appeared with Drake and Lil Wayne on “Uptown,” a track from Drake’s 2009 mixtape So Far Gone.

Bun B’s presence on “Uptown” represented an early connection between Drake and a respected voice from Houston’s rap tradition. The two artists later shared stages in Houston, and Drake subsequently appeared on Bun B’s Trill OG. Bun B had also spoken in 2010 about recognizing Drake’s drive, drawing a parallel between Drake’s approach and UGK’s ability to combine hard-edged storytelling with melodic hooks.

That context matters because samples often get discussed only as a transaction, a credit or a dispute. Here, Bun B frames the latest use as an extension of a relationship that has run through collaborations, live appearances and previous catalog overlap. His response is notably focused on durability: a newer hit can help an older track reach listeners who were not there when it first arrived.

It is also a reminder that older recordings can continue to operate as active cultural works. “Get Throwed” is not merely an archival reference in this situation. Its bass line is being carried into a current charting song, while the original recording is receiving a fresh round of listener attention. That can be especially consequential for a song whose identity is bound to an ensemble of artists and a distinct regional lineage.

How a sample can create two kinds of value

Bun B’s account separates two related forms of value that are sometimes conflated.

• Sample-related income: Bun B said there is revenue from having “Get Throwed” connected to a Drake song. The available information does not specify deal terms, ownership splits or payment amounts.
• Renewed consumption of the original: People hearing “Solar Eclipse” may look for “Get Throwed,” producing added streams and renewed awareness of the earlier release.

The second point is particularly important for the practical afterlife of a back catalog. A song can enjoy a surge in attention without being re-released, remixed by its original artists or otherwise altered. The new use becomes a discovery prompt. Listeners who follow that prompt encounter the actual original, including its production by Mr. Lee and its lineup of Bun B, Pimp C, Jay-Z, Jeezy and Z-Ro.

The reporting does not establish how large the streaming lift has been, how long it may last or how revenue is distributed. Those details should not be assumed from a chart position alone. But Bun B’s description confirms that he has seen an increase in interest and treats the effect as a material benefit of the placement.

Sampling rights can also be a central issue in music business disputes, as seen in a separate copyright conflict involving The Neptunes. Nothing in Bun B’s remarks suggests a conflict over “Solar Eclipse”; instead, he has expressed appreciation for the renewed attention and revenue. Still, the broader comparison underscores why accurate credits, clear rights arrangements and recognition for foundational recordings matter when old and new catalogs meet.

“Trill” and the circumstances behind Bun B’s solo breakthrough

The renewed focus on “Get Throwed” also returns attention to the unusual circumstances surrounding Trill. Bun B’s solo chapter came while Pimp C was imprisoned, forcing Bun B to take on responsibilities that his UGK partner had often handled. He later explained that he suddenly had to make decisions across the recording process, including selecting beats and sequencing the album.

Sequencing is the process of deciding a project’s track order. It can shape pacing, transitions and the way listeners understand an album as a complete statement rather than a collection of isolated songs. Choosing beats is equally significant: it establishes the sonic foundation that artists will write and perform over. Bun B’s account depicts Trill as an album made amid an abrupt expansion of his responsibilities, with the need to keep UGK’s momentum alive informing the work.

That makes “Get Throwed” more than a convenient fragment for a later hit. It is part of a solo record born from a period in which Bun B was required to carry new creative and organizational weight. The current attention, in his view, has brought people back to that original chapter rather than only to its contemporary echo.

Bun B backs Drake’s staying power

Bun B also addressed Drake’s ability to keep his audience through the backlash surrounding Drake’s feud with Kendrick Lamar. He praised Drake’s persistence and argued that listeners have remained with the rapper despite repeated efforts by critics to write him off.

That perspective lines up with the performance of “Solar Eclipse,” which opened at No. 5 on the Hot 100. A single placement cannot settle larger debates about an artist’s career, but the chart entry does show the immediate reach available to music connected to Drake. For Bun B, that reach has had a concrete legacy-catalog effect: more people hearing about, seeking out and streaming “Get Throwed.”

Bun B said he plans to release new music in 2027. Until then, “Solar Eclipse” provides a current bridge back to one of his best-known solo-era records, reinforcing how collaborations and samples can keep an older song in circulation without separating it from the artists and history that made it matter in the first place.