Chords for The Making Of A$AP Ferg’s “Plain Jane” With Kirk Knight | Deconstructed

Ferg had a voice memo and he was like doing it to, you know, Slav on my knob and he was like, _ _
He plays a voice memo for me.
I'm like, nah, give me that.
Give me that.
Nah, we need that.
Like, that's fire.
Like, instantly I started making that beat because it was just more or less like we was
going with a vibe.
Like, that's the thing that you learn about sampling when you grew up over like shit like
Madlib and Jay.
Everything is a sample.
Everything.
Don't matter what, that's a sample.
Like you don't know.
Like you can't really have any boundaries when it's time to make [Abm] music.
You feel me?
You really just got to think the impossible.
[Ebm] _ _ [E] _ _ [Ebm] _
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[E] It's always great to talk [Ebm] about struggle and certain, but sometimes you really just got
to make people feel great.
Like, and that's why I love this record so much because it's like this record is Ferg
talking about his life in a way where everybody can have fun to it.
Like it's like, that's dope as fuck to me. _ _ _
_ _ _ [B] _ Basically how I did Playing Jane, right?
I don't usually do this, but I started with the drums and shit. _ _ _ _ _
_ _ _ Then I added the hi-hats.
Then I layered the [G] claps and all that shit.
I be also layering hi-hats and all that shit.
Layering is like one of the most important things like when you're producing, like you
got to make that shit sound fast.
So it's the whole drum section [Gb] all together.
_ _ _ _ I added a [A] television like sound effect, like real quick, [Eb] just to like white noise and shit
like that, just to like [F] give it a little like, you know, spice.
Like, you know what I'm saying?
I'm from [Abm] Grenada.
I'm from the Spice Island, bro.
You got to throw some spice on shit.
You can't just have a fucking unseasoned [G] turkey nigga.
Like this is the sound that everybody fucking talks about.
And they're like, yo, Kirk, what the [N] fuck is this? _
_ I was taking the Q train home.
It was late as fuck.
It was like probably 4am.
And I was just like, yo, this train track sound, this train was coming, but it sounded
so fucking clear that I was like, yo, maybe I can fucking record this shit.
And I recorded it on my iPhone.
And that, like, you know what I'm saying?
Shit like that gives it, oh.
This is [Gb] everything so far with the [F] train tracks we added. _
_ _ [Eb] _ _ _ [E] _
_ [Eb] _ _ _ _ _
_ _ _ [B] This is literally a fucking spoon hitting a glass bowl for real, for real. _
_ [Eb] Stressed it, made it sound like fucking like, urgh, like [Em] grainy.
This I got from a random cartoon FX kid.
I don't even know what the fuck this is for real, but it's like a zombie or some shit.
I don't know.
_ [C] Like, if I got a good bass, then it's like I could do a little digital here and there.
So this is like Omnisphere.
_ [B] _ _ _
[Bb] _ [N] So all together, this is what you got now.
[Ebm] _ _ [E] _ _ [Eb] _
_ _ [Gb] So it's moving.
[Ebm] Now I got, you know what I'm saying?
So now I'm like, alright, I need something like, I don't know, I need something that's
gonna be like the lead.
I was like, alright, piano.
Let's do it.
_ _ [Ebm] I remember one time I was at RZA's house, man, and he told me one of the realest shit
that I still remember today.
He made a million before he knew how to play one key.
And that was kinda like, I don't know why that shit just hit me so crazy, but I just
was like, yo, you know, it made me eliminate the fear of not knowing how to play the fucking
keys, you know what I'm saying?
And I just had to drop that gem real quick, because I was like, one of the realest shit
that man ever told me, and I still don't know how to play the keys, and I'm triple
platinum and shit.
So I was like, shout out to fucking RZA and shit.
_ _ [E] _ _ [Ebm] _
_ _ [Eb] That's like a good, solid foundation.
I'm like, alright, so I need a little extra extra just to make it feel like it's complete,
and that's [Ebm] how I was feeling.
So I added this bell kinda sound that I got from a cheap keyboard and shit like that.
_ [F] _ _ _
_ _ _ This is what gave it the tribal feel to me.
It was like, aight, trap [N] lord. _
One more time, let's just take the time out to appreciate the congos, for real, the bongos,
whatever you wanna call it, you know what I'm saying?
Because I know once that first one goes off, that's when the crowd says, ride with the mob.
Hamduallah, [C]
check in with [Bb] me, and do your [Eb] job.
Everything together, this is like the whole beat, for real, for [Cm] real.
_ _ [F] _
_ _ _ The rush of you having to get out, [B] or the rush of excitement [Eb] because of something going down.
Almost the fear that all rappers is gonna feel [F] when this beat drop.
That's kinda how I looked at the whole entire record.
_ [B] _ _ _ _ [Ebm] _
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_ _ _ _ People miss the point of music.
If it is making you move your body or dance, then the artist did his job.
That's why I love this beat so much, because every time it plays, [E]
people are excited, it's
like fucking New Year's, this shit is just, [Ebm] everything's just turned up. _
_ [E] _ [Ebm] _ _ _ _
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_ [Eb] _ _ _ _ _