潮騒のメモリー
There was also the matter of the mysterious circumstances surrounding the creation of Janet Jackson’s 1997 single “Got Til It’s Gone.” While production is credited to Jackson and her frequent songwriting partners Jimmy Jam and Terry Lewis, the song features all the hallmarks of Ummah-era J Dilla, from the gurgly bass and keys to the crack of the snare and the Q-Tip rap break, leaving some questions regarding who actually produced the track.
Dilla, for his part, tried to remain diplomatic: “That doesn't sound like a Jimmy Jam and Terry Lewis beat, not to say any names, but it just doesn’t sound like it. I know they couldn’t have done it. Why is Q-Tip rapping on it, it sounds like a Tribe beat. We all had an input into that, me, Tip and Ali. In this game there’s cats coming up producing and have had joints come out and [their] name is not on it. It’s all good, it’s all good. In the end you just gotta stay focused.” Still, when it came time to do the remix, he couldn’t help himself. He turned up the low frequencies, filtered the organ, packed on the kick drum notes and made the snare extra dry, all of his trademark maneuvers. He called it the “Ummah Jay Dee’s Revenge Mix.”
说到底，天野春子和j dilla一起去乘凉，一起追忆如潮。
Dilla, for his part, tried to remain diplomatic: “That doesn't sound like a Jimmy Jam and Terry Lewis beat, not to say any names, but it just doesn’t sound like it. I know they couldn’t have done it. Why is Q-Tip rapping on it, it sounds like a Tribe beat. We all had an input into that, me, Tip and Ali. In this game there’s cats coming up producing and have had joints come out and [their] name is not on it. It’s all good, it’s all good. In the end you just gotta stay focused.” Still, when it came time to do the remix, he couldn’t help himself. He turned up the low frequencies, filtered the organ, packed on the kick drum notes and made the snare extra dry, all of his trademark maneuvers. He called it the “Ummah Jay Dee’s Revenge Mix.”
说到底，天野春子和j dilla一起去乘凉，一起追忆如潮。
