Duet vocal arrangements within the Hot 100 top 10 are typically shared between co-primary or featured artists. Jack Harlow, however, distinguishes himself by employing a unique interaction with a vocal sample.

His breakthrough hit utilizing this technique came in 2022 with the chart-topping "First Class," which cleverly incorporates the Fergie and Ludacris song "Glamorous." In this track, Harlow skillfully exchanges vocals with Fergie on the chorus hooks:

            “Glamorous” hook:
            “I been a (G), throw up to the (L), sex in the (A-M), uh-huh, (O-R-O-U-S)”

             Song Title Hook:
             “I can put you in (first class, up in the sky)” x2

This vocal exchange technique not only added a unique and infectious twist to the song but also played a significant role in its success. However, if Harlow had used the same approach in subsequent singles, it might have come across as gimmicky and lost its impact. To avoid this, Harlow introduced a fresh take on the vocal-sample interaction technique in his 2023 single, "Lovin On Me," which samples Cadillac Dale's lead from 1995's "Whatever (Bass Solique)."

In contrast to his previous work, where he traded lines with the sampled vocals, in "Lovin On Me," Harlow both raps on top of the sample and sings along with it during the song's choruses.

The uniqueness of "Lovin On Me" becomes evident right from the start, as it kicks off with the chorus instead of an intro. This sets it apart from most mainstream contemporaries, as it was the only hip hop Hot 100 top 10 track in 2023 to do so. The decision to lead with the sample immediately delivers Cadillac Dale's impactful sung delivery of the song title hook in the first three lines, which is arguably the catchiest part of the song:

               “I don't like no whips and chains and you can't tie me down
                But you can whip your lovin' on me, baby
                Whip your lovin' on me, baby”

This approach captures the listener's attention right away, drawing them into the song while establishing its R&B vibe and leaving room for arrangement growth in the following lines.

Harlow enters with his rapped lyrics in lines 4-8, overlaying the sung sample, which now takes a backseat in the mix. This shift transitions the song's focus from R&B to hip hop, creating interest through the contrast in delivery styles and placing the spotlight squarely on Harlow.

The chorus then undergoes a notable change in the last three lines. After Harlow's "and the thing about your boy is" rap lead-in, the sung sample resurfaces in the mix and Harlow sings the lyrics along with the rapped "that's right, that's right" interjection. This reinforces the song's primary hook in a fresh yet familiar way while also setting the stage for Harlow's all-rapped verse to stand out distinctly. Had Harlow gone into the verse immediately after his initial rap segment in the chorus, the song might have felt less dynamic.

Following Harlow's all-rapped verse, the second chorus revisits the duet structure of the first, which provides engaging cross-section contrast while further reinforcing the song’s primary “hook center” in the listener’s mind. Another all-rapped verse from Harlow follows, leading into the third and final chorus, which possesses both familiar and unique qualities compared to the earlier choruses.

This final chorus begins with a brief snippet of the vocal sample, introducing familiarity before Harlow adds a distinctive rapped vocal over it, disrupting the expected pattern and heightening engagement. After returning to familiar territory in his rapped segment (lines 4-8) and sample duet singing segment (lines 9-12), the song closes with the sample featured solo once again, echoing the way it began.

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