Chords for The Making Of JID & J. Cole's "Off Deez" With CHASETHEMONEY | Deconstructed
Tempo:
88.65 bpm
Chords used:
D
B
F#
G
D#
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
Honestly, I never listened to JID's music a day in my life until we worked with him.
He played me like maybe three or four songs before I played him any beats.
I'm like, okay, that's some good music.
Playing it for JID was an accident.
I didn't even mean to play him that beat.
I've been seeing somebody's grandma work out, somebody's auntie working out.
I watched a whole fucking Zumba class work out this shit.
If I could get somebody to move to it, somebody's auntie that don't even know this song from
a can of paint, that means I'm doing something right.
[D]
[B]
Everything comes to me naturally.
I don't think about how I'm going to make this beat.
I don't think about what I'm going to make.
It just happens.
When I made Off Deez, I was in LA.
I was at Dro Fee's house.
He was over there sampling some crazy old Mexican songs, salsa music or something.
I don't know what the hell he was sampling, but I just came in the room.
I was like, yo, that shit hard.
The sample for Off Deez is Los Pasteles Verdes.
Don't crucify me [F#] if I say this wrong.
[G] So basically what I did was I added a half speed on a gross beat.
I [B] layered the sample with two different gross beats.
[G] One was half speed and one was slow triplet.
Now that's some sauce for you niggas.
Y'all got to pay homage when you do that, because I know most of you niggas don't do that.
When the tone changed on the sample, so when it went from sounding like, to sounding like
[D] I caught the 808 in my head.
That's the backbone of it.
The bass is always the backbone to me.
If your bass not hitting, that shit whack.
It's whack just to me.
I wanted this shit to ride, so I kept everything fast paced.
I want the tempo to be fast.
I want the beat to be fast.
I want the hi [F#]-hats to be fast.
I like this shit fast.
It's like a brand new fucking Ferrari.
The beat was already done when the bass was done, so the hi-hats, all they had to do was follow.
I kept them at [N] a two-step.
I had some hi-hat rolls.
It was fine.
Just some quick rolls.
What I did next was I had a clap after it.
Sound like some California shit.
Some Snoop Dogg and Dr.
Dre shit.
You hear me?
Go, go.
No, I'm kidding.
The kicks had to match.
After that, I did a hi-hat.
Open hi-hat.
If you haven't noticed by now, I like simple shit.
I like simplicity.
I don't try too much.
I don't use too much.
I only use, what?
How many sounds is this?
Six sounds.
Seven, including my tag.
For those who don't know, that tag is Valet.
He said that tag in a song is VTL.
He said, chase the money, chase the money.
So now let me play you the beat in full.
[D]
The feature [D#] situation, I didn't really, I mean, that was up to them initially.
I made a couple suggestions.
I said maybe Ski Mask, Kendrick, I think was supposed to be on it.
And then Cole just ended up hopping on the beat.
I think the pockets that JID found was perfect for him.
And I feel like Cole, it was perfect for him.
What they did was [Cm] amazing.
The day I made this beat was [E] special.
And the day I played this beat for JID was special.
It was a special moment in time and history.
[D]
[A]
[D] I originally said we should put Future on it.
I said we should put Future on the hook.
On the remix.
Best believe there's a remix coming.
We just don't know
He played me like maybe three or four songs before I played him any beats.
I'm like, okay, that's some good music.
Playing it for JID was an accident.
I didn't even mean to play him that beat.
I've been seeing somebody's grandma work out, somebody's auntie working out.
I watched a whole fucking Zumba class work out this shit.
If I could get somebody to move to it, somebody's auntie that don't even know this song from
a can of paint, that means I'm doing something right.
[D]
[B]
Everything comes to me naturally.
I don't think about how I'm going to make this beat.
I don't think about what I'm going to make.
It just happens.
When I made Off Deez, I was in LA.
I was at Dro Fee's house.
He was over there sampling some crazy old Mexican songs, salsa music or something.
I don't know what the hell he was sampling, but I just came in the room.
I was like, yo, that shit hard.
The sample for Off Deez is Los Pasteles Verdes.
Don't crucify me [F#] if I say this wrong.
[G] So basically what I did was I added a half speed on a gross beat.
I [B] layered the sample with two different gross beats.
[G] One was half speed and one was slow triplet.
Now that's some sauce for you niggas.
Y'all got to pay homage when you do that, because I know most of you niggas don't do that.
When the tone changed on the sample, so when it went from sounding like, to sounding like
[D] I caught the 808 in my head.
That's the backbone of it.
The bass is always the backbone to me.
If your bass not hitting, that shit whack.
It's whack just to me.
I wanted this shit to ride, so I kept everything fast paced.
I want the tempo to be fast.
I want the beat to be fast.
I want the hi [F#]-hats to be fast.
I like this shit fast.
It's like a brand new fucking Ferrari.
The beat was already done when the bass was done, so the hi-hats, all they had to do was follow.
I kept them at [N] a two-step.
I had some hi-hat rolls.
It was fine.
Just some quick rolls.
What I did next was I had a clap after it.
Sound like some California shit.
Some Snoop Dogg and Dr.
Dre shit.
You hear me?
Go, go.
No, I'm kidding.
The kicks had to match.
After that, I did a hi-hat.
Open hi-hat.
If you haven't noticed by now, I like simple shit.
I like simplicity.
I don't try too much.
I don't use too much.
I only use, what?
How many sounds is this?
Six sounds.
Seven, including my tag.
For those who don't know, that tag is Valet.
He said that tag in a song is VTL.
He said, chase the money, chase the money.
So now let me play you the beat in full.
[D]
The feature [D#] situation, I didn't really, I mean, that was up to them initially.
I made a couple suggestions.
I said maybe Ski Mask, Kendrick, I think was supposed to be on it.
And then Cole just ended up hopping on the beat.
I think the pockets that JID found was perfect for him.
And I feel like Cole, it was perfect for him.
What they did was [Cm] amazing.
The day I made this beat was [E] special.
And the day I played this beat for JID was special.
It was a special moment in time and history.
[D]
[A]
[D] I originally said we should put Future on it.
I said we should put Future on the hook.
On the remix.
Best believe there's a remix coming.
We just don't know
Key:
D
B
F#
G
D#
D
B
F#
_ Honestly, I never listened to JID's music a day in my life until we worked with him.
He played me like maybe three or four songs before I played him any beats.
I'm like, okay, that's some good music. _
Playing it for JID was an accident.
I didn't even mean to play him that beat.
I've been seeing somebody's grandma work out, somebody's auntie working out.
I watched a whole fucking Zumba class work out this shit.
If I could get somebody to move to it, somebody's auntie that don't even know this song from
a can of paint, that means I'm doing something right.
[D] _ _ _ _ _ _ _ _
_ _ _ _ _ [B] _ _ _
Everything comes to me naturally.
I don't think about how I'm going to make this beat.
I don't think about what I'm going to make.
It just happens.
When I made Off Deez, I was in LA.
I was at Dro Fee's house.
He was over there sampling some crazy old Mexican songs, salsa music or something.
I don't know what the hell he was sampling, but I just came in the room.
I was like, yo, that shit hard.
The sample for Off Deez is _ Los Pasteles Verdes.
_ Don't crucify me [F#] if I say this wrong. _ _
[G] _ _ So basically what I did was I added a half speed on a gross beat.
_ _ _ I [B] layered the sample with two different gross beats.
[G] One was half speed and one was slow triplet.
Now that's some sauce for you niggas.
Y'all got to pay homage when you do that, because I know most of you niggas don't do that.
When the tone changed on the sample, so when it went from sounding like, _ _ _ to sounding like
[D] _ _ _ I caught the 808 in my head.
_ _ _ _ _ _ That's the backbone of it.
The bass is always the backbone to me.
If your bass not hitting, that shit whack.
It's whack just to me.
I wanted this shit to ride, so I kept everything fast paced.
I want the tempo to be fast.
I want the beat to be fast.
I want the hi [F#]-hats to be fast.
I like this shit fast.
It's like a brand new fucking Ferrari.
The beat was already done when the bass was done, so the hi-hats, all they had to do was follow.
I kept them at [N] a two-step. _
_ _ I had some hi-hat rolls.
It was fine.
Just some quick rolls.
_ _ _ What I did next was I had a clap after it.
_ _ _ Sound like some California shit.
Some Snoop Dogg and Dr.
Dre shit.
You hear me?
Go, go.
No, I'm kidding.
The kicks had to match. _ _ _ _ _
_ _ After that, I did a hi-hat.
_ Open hi-hat.
_ _ _ _ _ If you haven't noticed by now, I like simple shit.
I like simplicity.
I don't try too much.
I don't use too much.
I only use, what?
How many sounds is this?
Six sounds.
Seven, including my tag. _
For those who don't know, that tag is Valet.
He said that tag in a song is VTL.
He said, chase the money, chase the money.
So now let me play you the beat in full.
[D] _ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ The feature [D#] situation, I didn't really, I mean, that was up to them initially.
I made a couple suggestions.
I said maybe Ski Mask, Kendrick, I think was supposed to be on it.
And then Cole just ended up hopping on the beat.
I think the pockets that JID found was perfect for him.
And I feel like Cole, it was perfect for him.
What they did was [Cm] amazing.
The day I made this beat was [E] special.
And the day I played this beat for JID was special.
It was a special moment in time and history.
[D] _ _ _ _
_ _ _ _ _ [A] _ _ _
[D] _ _ _ I originally said we should put Future on it.
I said we should put Future on the hook.
On the remix.
Best believe there's a remix coming.
We just don't know
He played me like maybe three or four songs before I played him any beats.
I'm like, okay, that's some good music. _
Playing it for JID was an accident.
I didn't even mean to play him that beat.
I've been seeing somebody's grandma work out, somebody's auntie working out.
I watched a whole fucking Zumba class work out this shit.
If I could get somebody to move to it, somebody's auntie that don't even know this song from
a can of paint, that means I'm doing something right.
[D] _ _ _ _ _ _ _ _
_ _ _ _ _ [B] _ _ _
Everything comes to me naturally.
I don't think about how I'm going to make this beat.
I don't think about what I'm going to make.
It just happens.
When I made Off Deez, I was in LA.
I was at Dro Fee's house.
He was over there sampling some crazy old Mexican songs, salsa music or something.
I don't know what the hell he was sampling, but I just came in the room.
I was like, yo, that shit hard.
The sample for Off Deez is _ Los Pasteles Verdes.
_ Don't crucify me [F#] if I say this wrong. _ _
[G] _ _ So basically what I did was I added a half speed on a gross beat.
_ _ _ I [B] layered the sample with two different gross beats.
[G] One was half speed and one was slow triplet.
Now that's some sauce for you niggas.
Y'all got to pay homage when you do that, because I know most of you niggas don't do that.
When the tone changed on the sample, so when it went from sounding like, _ _ _ to sounding like
[D] _ _ _ I caught the 808 in my head.
_ _ _ _ _ _ That's the backbone of it.
The bass is always the backbone to me.
If your bass not hitting, that shit whack.
It's whack just to me.
I wanted this shit to ride, so I kept everything fast paced.
I want the tempo to be fast.
I want the beat to be fast.
I want the hi [F#]-hats to be fast.
I like this shit fast.
It's like a brand new fucking Ferrari.
The beat was already done when the bass was done, so the hi-hats, all they had to do was follow.
I kept them at [N] a two-step. _
_ _ I had some hi-hat rolls.
It was fine.
Just some quick rolls.
_ _ _ What I did next was I had a clap after it.
_ _ _ Sound like some California shit.
Some Snoop Dogg and Dr.
Dre shit.
You hear me?
Go, go.
No, I'm kidding.
The kicks had to match. _ _ _ _ _
_ _ After that, I did a hi-hat.
_ Open hi-hat.
_ _ _ _ _ If you haven't noticed by now, I like simple shit.
I like simplicity.
I don't try too much.
I don't use too much.
I only use, what?
How many sounds is this?
Six sounds.
Seven, including my tag. _
For those who don't know, that tag is Valet.
He said that tag in a song is VTL.
He said, chase the money, chase the money.
So now let me play you the beat in full.
[D] _ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ The feature [D#] situation, I didn't really, I mean, that was up to them initially.
I made a couple suggestions.
I said maybe Ski Mask, Kendrick, I think was supposed to be on it.
And then Cole just ended up hopping on the beat.
I think the pockets that JID found was perfect for him.
And I feel like Cole, it was perfect for him.
What they did was [Cm] amazing.
The day I made this beat was [E] special.
And the day I played this beat for JID was special.
It was a special moment in time and history.
[D] _ _ _ _
_ _ _ _ _ [A] _ _ _
[D] _ _ _ I originally said we should put Future on it.
I said we should put Future on the hook.
On the remix.
Best believe there's a remix coming.
We just don't know