The Notorious Big Ft. Ja Rule - Old Thing Back (matoma Remix) -

Matoma’s remix also served as a gateway for a new generation of listeners. By the mid-2010s, the "Tropical House" movement was at its peak, dominated by artists like Kygo and Thomas Jack. By infusing this trendy sound with a legendary hip-hop figure, Matoma introduced Biggie Smalls to a global audience of young electronic dance music (EDM) fans who might never have sought out Ready to Die or Life After Death . It democratized the "Golden Era" of hip-hop, stripping away the gatekeeping often associated with the genre and presenting it as something celebratory and universal.

"Old Thing Back" remains a staple of modern playlists because it captures a specific kind of nostalgia while feeling entirely fresh. It is a testament to the fact that while the "old thing" (90s lyricism) was great, putting it in a new context can make it immortal. It reminds us that the grit of the past and the sunshine of the present aren't mutually exclusive—they’re just two different ways to feel the beat. Matoma’s remix also served as a gateway for

In 2014, Norwegian producer Matoma took a gritty, posthumous verse from The Notorious B.I.G.’s "Want That Old Thing Back" and stripped away its dark, club-heavy production. In its place, he layered bright saxophone riffs, a buoyant tropical beat, and a tempo that felt more like a Mediterranean sunset than a Brooklyn street corner. The resulting remix, "Old Thing Back," did more than just climb the charts; it bridged a generational and sonic gap, proving that Biggie Smalls’ flow is truly timeless. It democratized the "Golden Era" of hip-hop, stripping

The Sunny Side of the Streets: Recontextualizing "Old Thing Back" It reminds us that the grit of the

Purists often argue that such remixes "dilute" the original artist's intent. However, "Old Thing Back" arguably does the opposite: it proves the versatility of the legend. Great art is malleable. Just as Shakespeare’s plays are reimagined in modern settings, Biggie’s verses are robust enough to survive—and thrive—in different sonic landscapes. Matoma didn't change Biggie; he simply changed the room Biggie was standing in.

The brilliance of the remix lies in its cognitive dissonance. Christopher Wallace, better known as Biggie, was the master of "cool"—his delivery was heavy, rhythmic, and grounded in the realities of 1990s New York. Matoma’s production, conversely, is "warm." By placing Biggie’s baritone alongside Ja Rule’s gravelly hook and Ralph Tresvant’s smooth vocals over a breezy, melodic backdrop, Matoma created a "summer anthem" out of a rap song that originally felt aggressive. This contrast highlighted the inherent musicality of Biggie’s voice; he didn’t just rap, he played with cadence like a jazz instrument, allowing his words to fit perfectly into a genre that didn't exist when he was alive.