Chords for Hank Shocklee - Working On "AmeriKKKa's Most Wanted" With Ice Cube (247HH Exclusive)
Tempo:
121.65 bpm
Chords used:
G#
F
C#m
D#
F#
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
[G#] Working with Ice Cube in America's Most Wanted was, to me, was a great process.
And the reason why I say that is because Ice Cube had first called Green Street Studios,
and I spoke to him on the phone, and I thought it was a joke,
because I'm sitting there going like, well, you know, he's got NWA, why is he calling us?
And so I thought [N] maybe it was some kind of setup or something.
So I said, okay, let me play along with this.
And it was really him.
He said, yo, I'm going to come out to New York, and we want to sit down and talk.
So I said, okay, cool, and I didn't think anything of it.
Lo and behold, a couple of weeks later, he came out, and he had bought a one-way ticket.
He said, I'm buying a one-way ticket, and I'm not going here until I get an album.
And so, for me, it's all about dedication.
And so the first thing I looked and said, okay, he's got the energy and the aggressiveness to come out here and be like,
I'm going to come in and get this record.
So the second thing I want to find out is, okay, well, what kind of material do you have?
He showed me like, I mean, nine or ten composition notebooks of rhymes.
And when I saw that, I was like, wow, he writes.
And that's the one thing a lot of cats don't understand about [F] being an MC.
The first thing I asked is, you know, somebody said, yo, I'm a rapper, boom, boom, boom.
Okay, well, how much material do you have?
Because if you're a writer or a rapper, or whatever you want to, you know, because I consider rappers writers,
you have to write constantly, and you have to have a ridiculous amount of information.
So he came with all this [C#m] information.
So for me, it was more about editing that information down, as [D#] opposed to having them write to create.
So that was the first thing.
The second thing was, this record had to be different from a P.E. record,
and it had to echo the vibration and feelings of Los Angeles.
Every city got their own groove, their own rhythm.
And when you think about Compton, you think about, you know, South Central,
you know, those guys got their own flow, their own feeling, their own vibration.
And luckily for me, that having a ridiculous record library,
I can go back and dig and see what the groups that were making records in that area,
and what that feeling was like.
And because as being a DJ, you always want to represent.
I played music representing areas.
Because every area got their own sound.
You know, the Miami sound has got their own sound, the Atlanta sound is different from Miami sound,
people think it's all the same.
The Baton Rouge, Louisiana sound is different.
You know, [F#] and I'm talking on a hip-hop level.
New York was different.
New York was different from a lot of different places.
Yeah, the Bronx was different from Queens.
Queens was different from Uptown.
Uptown was different from Brooklyn.
Brooklyn was different from Long Island.
Alright, so therefore you have to know all the different ingredients that go down.
So for me, it was about putting together a team that was going to best represent that sound for Ice Cube.
And Ice Cube had his own vision and his own direction,
because he brought his cousin, [E]
Jinx, out to also help with shaping the [N] idea so it didn't go off track.
So he kind of knew exactly what he was going for and what was coming.
So the rest to me was just about filling in the blanks.
And the reason why I say that is because Ice Cube had first called Green Street Studios,
and I spoke to him on the phone, and I thought it was a joke,
because I'm sitting there going like, well, you know, he's got NWA, why is he calling us?
And so I thought [N] maybe it was some kind of setup or something.
So I said, okay, let me play along with this.
And it was really him.
He said, yo, I'm going to come out to New York, and we want to sit down and talk.
So I said, okay, cool, and I didn't think anything of it.
Lo and behold, a couple of weeks later, he came out, and he had bought a one-way ticket.
He said, I'm buying a one-way ticket, and I'm not going here until I get an album.
And so, for me, it's all about dedication.
And so the first thing I looked and said, okay, he's got the energy and the aggressiveness to come out here and be like,
I'm going to come in and get this record.
So the second thing I want to find out is, okay, well, what kind of material do you have?
He showed me like, I mean, nine or ten composition notebooks of rhymes.
And when I saw that, I was like, wow, he writes.
And that's the one thing a lot of cats don't understand about [F] being an MC.
The first thing I asked is, you know, somebody said, yo, I'm a rapper, boom, boom, boom.
Okay, well, how much material do you have?
Because if you're a writer or a rapper, or whatever you want to, you know, because I consider rappers writers,
you have to write constantly, and you have to have a ridiculous amount of information.
So he came with all this [C#m] information.
So for me, it was more about editing that information down, as [D#] opposed to having them write to create.
So that was the first thing.
The second thing was, this record had to be different from a P.E. record,
and it had to echo the vibration and feelings of Los Angeles.
Every city got their own groove, their own rhythm.
And when you think about Compton, you think about, you know, South Central,
you know, those guys got their own flow, their own feeling, their own vibration.
And luckily for me, that having a ridiculous record library,
I can go back and dig and see what the groups that were making records in that area,
and what that feeling was like.
And because as being a DJ, you always want to represent.
I played music representing areas.
Because every area got their own sound.
You know, the Miami sound has got their own sound, the Atlanta sound is different from Miami sound,
people think it's all the same.
The Baton Rouge, Louisiana sound is different.
You know, [F#] and I'm talking on a hip-hop level.
New York was different.
New York was different from a lot of different places.
Yeah, the Bronx was different from Queens.
Queens was different from Uptown.
Uptown was different from Brooklyn.
Brooklyn was different from Long Island.
Alright, so therefore you have to know all the different ingredients that go down.
So for me, it was about putting together a team that was going to best represent that sound for Ice Cube.
And Ice Cube had his own vision and his own direction,
because he brought his cousin, [E]
Jinx, out to also help with shaping the [N] idea so it didn't go off track.
So he kind of knew exactly what he was going for and what was coming.
So the rest to me was just about filling in the blanks.
Key:
G#
F
C#m
D#
F#
G#
F
C#m
_ _ _ _ _ _ _ _
_ [G#] Working with Ice Cube in America's Most Wanted was, to me, was a great process.
And the reason why I say that is because Ice Cube had first called Green Street Studios,
and I spoke to him on the phone, and I thought it was a joke,
because I'm sitting there going like, well, you know, he's got NWA, why is he calling us?
And so I thought [N] maybe it was some kind of setup or something.
So I said, okay, let me play along with this.
And it was really him.
He said, yo, I'm going to come out to New York, and we want to sit down and talk.
So I said, okay, cool, and I didn't think anything of it.
Lo and behold, a couple of weeks later, he came out, and he had bought a one-way ticket.
He said, I'm buying a one-way ticket, and I'm not going here until I get an album.
And so, for me, it's all about dedication.
And so the first thing I looked and said, okay, _ _ he's got the _ energy and the aggressiveness to come out here and be like,
I'm going to come in and get this record.
So the second thing I want to find out is, okay, well, what kind of material do you have?
He showed me like, I mean, nine or ten composition notebooks of rhymes.
_ And when I saw that, I was like, wow, he writes.
And that's the one thing a lot of cats don't understand about [F] being an MC.
The first thing I asked is, you know, somebody said, yo, I'm a rapper, boom, boom, boom.
Okay, well, how much material do you have?
Because if you're a writer or a rapper, or whatever you want to, you know, because I consider rappers writers,
you have to write constantly, and you have to have a ridiculous amount of information.
So he came with all this [C#m] information.
So for me, it was more about editing that information down, as [D#] opposed to having them write to create.
So that was the first thing.
The second thing was, this record had to be different from a P.E. record,
and it had to echo the vibration and feelings of Los Angeles.
Every city got their own groove, their own rhythm.
And when you think about Compton, you think about, you know, South Central,
you know, those guys got their own flow, their own feeling, their own vibration.
And luckily for me, that having a ridiculous record library,
I can go back and dig and see what the groups that were making records in that area,
and what that feeling was like.
And because as being a DJ, you always want to represent.
I played music representing areas.
Because every area got their own sound.
You know, the Miami sound has got their own sound, the Atlanta sound is different from Miami sound,
people think it's all the same.
The _ _ Baton Rouge, Louisiana sound is different.
You know, [F#] and I'm talking on a hip-hop level.
New York was different.
New York was different from a lot of different places.
Yeah, the Bronx was different from Queens.
Queens was different from Uptown.
Uptown was different from Brooklyn.
Brooklyn was different from Long Island.
Alright, so therefore you have to know all the different ingredients that go down.
So for me, it was about putting together a team that was going to best represent _ that sound for Ice Cube.
And Ice Cube had his own vision and his own direction,
because he brought his cousin, [E]
Jinx, out to also help with _ shaping the [N] idea so it didn't go off track.
So he kind of knew exactly what he was going for and what was coming.
So the rest to me was just about filling in the blanks. _ _
_ [G#] Working with Ice Cube in America's Most Wanted was, to me, was a great process.
And the reason why I say that is because Ice Cube had first called Green Street Studios,
and I spoke to him on the phone, and I thought it was a joke,
because I'm sitting there going like, well, you know, he's got NWA, why is he calling us?
And so I thought [N] maybe it was some kind of setup or something.
So I said, okay, let me play along with this.
And it was really him.
He said, yo, I'm going to come out to New York, and we want to sit down and talk.
So I said, okay, cool, and I didn't think anything of it.
Lo and behold, a couple of weeks later, he came out, and he had bought a one-way ticket.
He said, I'm buying a one-way ticket, and I'm not going here until I get an album.
And so, for me, it's all about dedication.
And so the first thing I looked and said, okay, _ _ he's got the _ energy and the aggressiveness to come out here and be like,
I'm going to come in and get this record.
So the second thing I want to find out is, okay, well, what kind of material do you have?
He showed me like, I mean, nine or ten composition notebooks of rhymes.
_ And when I saw that, I was like, wow, he writes.
And that's the one thing a lot of cats don't understand about [F] being an MC.
The first thing I asked is, you know, somebody said, yo, I'm a rapper, boom, boom, boom.
Okay, well, how much material do you have?
Because if you're a writer or a rapper, or whatever you want to, you know, because I consider rappers writers,
you have to write constantly, and you have to have a ridiculous amount of information.
So he came with all this [C#m] information.
So for me, it was more about editing that information down, as [D#] opposed to having them write to create.
So that was the first thing.
The second thing was, this record had to be different from a P.E. record,
and it had to echo the vibration and feelings of Los Angeles.
Every city got their own groove, their own rhythm.
And when you think about Compton, you think about, you know, South Central,
you know, those guys got their own flow, their own feeling, their own vibration.
And luckily for me, that having a ridiculous record library,
I can go back and dig and see what the groups that were making records in that area,
and what that feeling was like.
And because as being a DJ, you always want to represent.
I played music representing areas.
Because every area got their own sound.
You know, the Miami sound has got their own sound, the Atlanta sound is different from Miami sound,
people think it's all the same.
The _ _ Baton Rouge, Louisiana sound is different.
You know, [F#] and I'm talking on a hip-hop level.
New York was different.
New York was different from a lot of different places.
Yeah, the Bronx was different from Queens.
Queens was different from Uptown.
Uptown was different from Brooklyn.
Brooklyn was different from Long Island.
Alright, so therefore you have to know all the different ingredients that go down.
So for me, it was about putting together a team that was going to best represent _ that sound for Ice Cube.
And Ice Cube had his own vision and his own direction,
because he brought his cousin, [E]
Jinx, out to also help with _ shaping the [N] idea so it didn't go off track.
So he kind of knew exactly what he was going for and what was coming.
So the rest to me was just about filling in the blanks. _ _