Chords for The Making Of Kodak Black's "No Flockin" With VinnyxProd | Deconstructed

I was in college.
[C] I hated school.
And I think there's [Cm] this one specific day
I was just kind of pissed off.
At [B] the time I just wanted to pick up this MIDI keyboard
and I had it laying around [Fm] for a couple months.
After class I just made this beat.
I didn't realize the potential or how [G] special it was.
I uploaded [C] it.
Kodak found it on YouTube.
At that time no [G] one knew who Kodak [Fm] Black was.
It took about two [Ab] years for it to really get [C] bigger and bigger.
It kept going.
I definitely didn't expect that.
[F] _ _
Next thing you know this [Ab] track becomes certified [C] platinum.
[Fm] ♪ _ Bet you niggas [G] won't come cross the street [Fm] partin' me ♪
♪ I don't talk to you so don't you talk to me ♪
♪ I ain't dissin' on nobody, be on vibin' on the beat ♪
I was pretty much purely a bedroom producer
because I didn't really have reach or following
to work with any of the artists in my city.
Growing up [G] in Toronto for a long time
was [C] just only Drake, you know,
type of kind of holding on to [G] the torch.
But then all of a sudden, like when the weekend came out,
like the city [Fm] exploded, like Party Next Door came,
Magic Jordan.
That's what really like got me into
[F] more mainstream type music.
I think that somehow really got me [C] inspired to do this.
_ _ [F] I start with usually like one melody
and then I make the rest of the percussion,
like everything, and then I layer the rest
of the melodies on top.
I just pick one of the basic stock pianos from Logic. _ _ _ _ _ _
_ _ _ _ _ _ Especially with main melodies,
I always like [Ab] to play out everything [G] and like practice it.
I don't really like edit the notes. _ _
Sound [Eb] selection to me [C] is more important
than just like being able to edit the sound after.
So I have a kick. _ _ _
_ _ With all my kicks, I usually like to add like a,
you know, a little bit of overdrive,
you know, distortion and exciter for some punch.
_ _ _ _ _ _ _ _
_ _ _ _ _ _ I added the snare, _ _ _ _ the hi-hat afterwards.
_ _ _ _ _ I personally like busy sounding hi-hats.
That's basically what I feel like [G] drives like,
you know, the percussion a lot.
So after I lay down all the percussion,
I focus back on melody.
So over here, I have like a, you know,
pad more in the back,
kind of just gives it like the environment for the beat. _ _
_ _ _ _ I try to fill the space by layering it.
_ _ And I actually created [F] like something
that kind of resembles like a bass note almost,
that I mixed together with the [Ab] pads.
_ _ [G] It drives the chord progression
because I know with the lead melody,
the piano, it just kind of like stay the same
without [Ab] too many like change in the progressions.
Right now it sounded [C] like. _ _ _ _ _ _
_ [Fm] So later on the beat, you know,
I just started adding more different details.
And I [G] had like this harp [Fm] first. _
_ _ _ _ _ _ _
Also, I had this kind of like a [F] synth lead. _ _ _
_ _ _ [Ab] _ _ _ [C] _ _
_ _ _ _ [Fm] _ [F] That's when I needed to add my bass.
I was like [Ab] messing around with a lot [C] of like, you know,
808 basses.
Didn't give that like right feel.
So then I randomly [G] went to this,
like just like the first time I did it too,
I just added some really hard deep,
like it's called a reggae [F] bass. _ _ _ _
_ _ [Ab] _ _ [C] _ _ _ _
_ _ [G] _ [F] I added like a choir afterwards.
I like to keep my music [Fm] very like 3D,
especially if I'm already [Bb] adding so [G] many sounds,
I want them to [Fm] make sure they all have room.
_ _ _ And I feel like this is one of the important parts
of the song because we're brought it
to like a different climax. _
_ _ _ _ Usually I would go with a drum break,
but this time, I don't know,
I was [G] messing around with like a [Fm] horn.
This is like one of those, the Lex Luger trap horn.
[C] _ _ [Fm] _ _ _
_ _ _ _ _ [G] _ _ [Fm] _
_ I just feel [C] like it completed everything.
It's Lakota, the finesse kid.
What [G] who I is me.
Told the doctor.
You couldn't really put [Db] a name to what type of beat it [Fm] is.
That low from Kodak, that was like a very [G] distinctive flow.
And I felt like it really embraced like [C] what I was feeling
when I was making [G] the instrumental.
[Fm]
You know, with Kodak doing no [G] flocking,
I think with Cardi B [Fm] and Bodak Yellow,
like it really told me like,
yeah, I can make something influential.
It's really hard making a name for yourself.
And as a producer,
[G] you still understand [Fm] the difficulty of having people
to [C] understand, you know, your [G] capabilities.
_ [F] _ _ _ _ _ [B] _ _ _ _
_ _ _ _ _ _ _ _