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
Jam Along & Learn...
Honestly, I never listened to JID's music a day in my life until we worked with him.
played me like maybe three or four songs before I played him any beats.
Playing it for JID was an accident.
work out, somebody's auntie working out.
to move to it, somebody's auntie that don't even know this song from
[D]
[B]
Everything comes to me naturally.
played me like maybe three or four songs before I played him any beats.
Playing it for JID was an accident.
work out, somebody's auntie working out.
to move to it, somebody's auntie that don't even know this song from
[D]
[B]
Everything comes to me naturally.
100% ➙ 89BPM
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