Ableton’s quantization isn’t good enough yet to snap all this stuff to the grid automatically all the time, so when I get to a spot in an hour-long track where it would actually be useful, I’m invariably way off the grid. Luckily enough the record keeps spinning, though, baby, round and round with a new if imperfect take on the same old sound.
Another editor’s dilemma: I thought I had all the list numbers and tracks sorted out into the 950s, and I still pretty much do, but this book marks the first list discrepancy I’ve found. The original numbers in these pieces were off by two places, as though I found two more doubled-up tracks, deleted them, and forgot to make note. Anyway, for future editors who may be trying to re-curate this list, I apologize. I don’t think I deleted or lost two tracks, and I’m also not going back to look. Not now, anyway.
I’m gonna set you on fire, ’cause it’s hot.
I knew the copy of “Ain’t Nobody” I used was bad while I was using it, but I used it anyway. It’s from my copy of the Breakin’ soundtrack LP and is among the first record rips I ever made when I bought Serato Scratch Live in 2007. I ripped those records with the same poor Shure M44-7 I’d been beating up for a year tryna learn how to scratch. I know I need to go back to all those cuts and transcribe a second time, but I’ll keep the original copies around. They sound to me like the dark West Philly basements and sun-bright block parties where I learned to mix them together.
Get your finger on the funk. Or be the finger on the funk. Either way, anyway, take your handful of feeling and boogie down, jam. Then just let it mind.
