Chords for The Making Of Post Malone's "rockstar" With Tank God | Deconstructed
Tempo:
64.75 bpm
Chords used:
Gm
G
Eb
E
Bb
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
It was finals week.
It was crazy, man.
I had mad finals.
I was studying.
I have a crib on campus, so all my boys were just there studying.
I was like, yo, we gotta take a break.
So we were just chilling.
And my break is usually just cooking up.
So I cooked up three beats.
I did this one first, and then went to another one, and went to another one, and like five minutes each.
Three days later, I came down to New York.
My boy Christian Combs, he had a studio session.
I always cook up with him.
We were just cooking up, vibing, and I was just taking [D] a break.
And Post came out the studio session, and we crossed paths.
I was like, [G] I met you at LA.
He was like, at Flight Club?
I was like, yeah.
And he was like, well, I'm a producer.
Can I play you some beats?
He was like, yeah, let's get weird.
I've been [Bb] fucking hoes and popping pillies, man, I [Dm] feel just like a rock [Gm] star.
They're guessing they always be smoking like a rock star.
Walking with me, call up on the Uzi and show up in the shot tie.
Me, personally, I don't like sending beats out.
I'd rather be in the studio session with the artist, because you never know what vibe you create.
I feel like if I sent that beat to Post, it probably wouldn't have been touched, or it
wouldn't have been the [Eb] same type of energy.
Put me [Bbm] in the room.
[C] I'm not trying to send no beats.
I started with the 808.
That was the first thing I started with.
I wanted something dark.
80 is a nice little tempo for that vibe.
It has a bounce, but you still can make something dark, but have [G] a bounce.
[Eb]
[E] That was the 808.
Now I'm going to show you how I add the kick.
[G]
[Eb] I try not to have the kick clash with the 808, but also punch through it.
I play the 808 and then click through [E] kicks.
Whichever [G] one punches out, then I [Ab] EQ and compress it.
The hi-hats.
Now that's what brings all the swag into [G] it.
[Bb] I took the hi-hat [Eb] out where the snare comes in, so it's like a little swag, like, [G] snare.
Then I [N] brought the whole hi-hat and the 808 down an octave.
Then the last snare, I brought it down also.
[Cm]
Louis is the engineer, post-engineer, and close friend.
I had the melodies and he beefed it up, adding some piano and [C] just making it more full.
[Gm]
I thought it was dope to also have background melodies over that.
[E] [Gm] Then we got an outro, and that was the last thing that was added.
Post added his voice at the end.
That was dope.
I always wanted one of my records with that type of vocal bend.
[Eb] This was dope for me, this record, [Gm] because I was part of the [G] whole process.
I was there at the initial session, and I was there on each edit that we did.
[Eb] I feel like that's also important because then you have [Bb] a bigger record.
I've been fucking hoes and popping pillies, man, I feel just like a rock star.
I went to LA and I didn't know, [Gm] we was really fully working on this record.
I didn't know that this [C] song was going to be [Bb] the single, but then Dre London, my manager,
post-manager, he [E] was like, this might be the single.
I was like, [Gm] whatever, I don't know.
Then [Eb] I got paperwork.
Then that's when I was like, oh, so [Gm] we going with this [C] then.
Then it was out.
It really makes me want more.
[E] It's all about what you do next.
It's funny, [Gm] I never thought I would feel that way, but it's [E] like you have to.
It's all about longevity, it's not [Gm] about just one and done.
Never that.
It was crazy, man.
I had mad finals.
I was studying.
I have a crib on campus, so all my boys were just there studying.
I was like, yo, we gotta take a break.
So we were just chilling.
And my break is usually just cooking up.
So I cooked up three beats.
I did this one first, and then went to another one, and went to another one, and like five minutes each.
Three days later, I came down to New York.
My boy Christian Combs, he had a studio session.
I always cook up with him.
We were just cooking up, vibing, and I was just taking [D] a break.
And Post came out the studio session, and we crossed paths.
I was like, [G] I met you at LA.
He was like, at Flight Club?
I was like, yeah.
And he was like, well, I'm a producer.
Can I play you some beats?
He was like, yeah, let's get weird.
I've been [Bb] fucking hoes and popping pillies, man, I [Dm] feel just like a rock [Gm] star.
They're guessing they always be smoking like a rock star.
Walking with me, call up on the Uzi and show up in the shot tie.
Me, personally, I don't like sending beats out.
I'd rather be in the studio session with the artist, because you never know what vibe you create.
I feel like if I sent that beat to Post, it probably wouldn't have been touched, or it
wouldn't have been the [Eb] same type of energy.
Put me [Bbm] in the room.
[C] I'm not trying to send no beats.
I started with the 808.
That was the first thing I started with.
I wanted something dark.
80 is a nice little tempo for that vibe.
It has a bounce, but you still can make something dark, but have [G] a bounce.
[Eb]
[E] That was the 808.
Now I'm going to show you how I add the kick.
[G]
[Eb] I try not to have the kick clash with the 808, but also punch through it.
I play the 808 and then click through [E] kicks.
Whichever [G] one punches out, then I [Ab] EQ and compress it.
The hi-hats.
Now that's what brings all the swag into [G] it.
[Bb] I took the hi-hat [Eb] out where the snare comes in, so it's like a little swag, like, [G] snare.
Then I [N] brought the whole hi-hat and the 808 down an octave.
Then the last snare, I brought it down also.
[Cm]
Louis is the engineer, post-engineer, and close friend.
I had the melodies and he beefed it up, adding some piano and [C] just making it more full.
[Gm]
I thought it was dope to also have background melodies over that.
[E] [Gm] Then we got an outro, and that was the last thing that was added.
Post added his voice at the end.
That was dope.
I always wanted one of my records with that type of vocal bend.
[Eb] This was dope for me, this record, [Gm] because I was part of the [G] whole process.
I was there at the initial session, and I was there on each edit that we did.
[Eb] I feel like that's also important because then you have [Bb] a bigger record.
I've been fucking hoes and popping pillies, man, I feel just like a rock star.
I went to LA and I didn't know, [Gm] we was really fully working on this record.
I didn't know that this [C] song was going to be [Bb] the single, but then Dre London, my manager,
post-manager, he [E] was like, this might be the single.
I was like, [Gm] whatever, I don't know.
Then [Eb] I got paperwork.
Then that's when I was like, oh, so [Gm] we going with this [C] then.
Then it was out.
It really makes me want more.
[E] It's all about what you do next.
It's funny, [Gm] I never thought I would feel that way, but it's [E] like you have to.
It's all about longevity, it's not [Gm] about just one and done.
Never that.
Key:
Gm
G
Eb
E
Bb
Gm
G
Eb
_ It was finals week.
It was crazy, man.
I had mad finals.
I was studying.
I have a crib on campus, so all my boys were just there studying.
I was like, yo, we gotta take a break.
So we were just chilling.
And my break is usually just cooking up.
So I cooked up three beats.
I did this one first, and then went to another one, and went to another one, and like five minutes each.
Three days later, I came down to New York.
My boy Christian Combs, he had a studio session.
I always cook up with him.
We were just cooking up, vibing, and I was just taking [D] a break.
And Post came out the studio session, and we crossed paths.
I was like, [G] I met you at LA.
He was like, at Flight Club?
I was like, yeah.
And he was like, well, I'm a producer.
Can I play you some beats?
He was like, yeah, let's get weird.
I've been [Bb] fucking hoes and popping pillies, man, I [Dm] feel just like a rock [Gm] star. _ _
They're guessing they always be smoking like a rock star.
_ Walking with me, call up on the Uzi and show up in the shot tie.
Me, personally, I don't like sending beats out.
I'd rather be in the studio session with the artist, because you never know what vibe you create.
I feel like if I sent that beat to Post, it probably wouldn't have been touched, or it
wouldn't have been the [Eb] same type of energy.
Put me [Bbm] in the room.
[C] I'm not trying to send no beats.
I started with the 808.
That was the first thing I started with.
I wanted something dark.
80 is a nice little tempo for that vibe.
It has a bounce, but you still can make something dark, but have [G] a bounce. _ _ _ _
_ _ [Eb] _ _ _ _ _
[E] That was the 808.
Now I'm going to show you how I add the kick.
[G] _ _ _ _ _
_ _ [Eb] I try not to have the kick clash with the 808, but also punch through it.
I play the 808 and then click through [E] kicks.
Whichever [G] one punches out, then I [Ab] EQ and compress it.
_ The hi-hats.
Now that's what brings all the swag into [G] it.
_ _ _ [Bb] I took the hi-hat [Eb] out where the snare comes in, so it's like a little swag, like, [G] snare.
_ _ _ Then I [N] brought the whole hi-hat and the 808 down an octave.
Then the last snare, I brought it down also.
[Cm] _
Louis is the engineer, post-engineer, and close friend.
I had the melodies and he beefed it up, adding some piano and [C] just making it more full.
[Gm] _ _ _
I thought it was dope to also have background melodies over that. _ _
[E] _ _ [Gm] _ Then we got an outro, and that was the last thing that was added.
_ _ _ Post added his voice at the end.
That was dope.
I always wanted one of my records with that type of vocal bend. _ _ _ _
_ _ [Eb] _ This was dope for me, this record, [Gm] because I was part of the [G] whole process.
I was there at the initial session, and I was there on each edit that we did.
[Eb] I feel like that's also important because then you have [Bb] a bigger record.
I've been fucking hoes and popping pillies, man, I feel just like a rock star. _
_ I went to LA and I didn't know, [Gm] we was really fully working on this record.
I didn't know that this [C] song was going to be [Bb] the single, but then Dre London, my manager,
post-manager, he [E] was like, this might be the single.
I was like, [Gm] whatever, I don't know.
Then [Eb] I got paperwork.
Then that's when I was like, oh, so [Gm] we going with this [C] then.
Then it was out.
It really makes me want more.
[E] It's all about what you do next.
It's funny, [Gm] I never thought I would feel that way, but it's [E] like you have to.
It's all about longevity, it's not [Gm] about just one and done.
Never that. _ _ _ _ _
It was crazy, man.
I had mad finals.
I was studying.
I have a crib on campus, so all my boys were just there studying.
I was like, yo, we gotta take a break.
So we were just chilling.
And my break is usually just cooking up.
So I cooked up three beats.
I did this one first, and then went to another one, and went to another one, and like five minutes each.
Three days later, I came down to New York.
My boy Christian Combs, he had a studio session.
I always cook up with him.
We were just cooking up, vibing, and I was just taking [D] a break.
And Post came out the studio session, and we crossed paths.
I was like, [G] I met you at LA.
He was like, at Flight Club?
I was like, yeah.
And he was like, well, I'm a producer.
Can I play you some beats?
He was like, yeah, let's get weird.
I've been [Bb] fucking hoes and popping pillies, man, I [Dm] feel just like a rock [Gm] star. _ _
They're guessing they always be smoking like a rock star.
_ Walking with me, call up on the Uzi and show up in the shot tie.
Me, personally, I don't like sending beats out.
I'd rather be in the studio session with the artist, because you never know what vibe you create.
I feel like if I sent that beat to Post, it probably wouldn't have been touched, or it
wouldn't have been the [Eb] same type of energy.
Put me [Bbm] in the room.
[C] I'm not trying to send no beats.
I started with the 808.
That was the first thing I started with.
I wanted something dark.
80 is a nice little tempo for that vibe.
It has a bounce, but you still can make something dark, but have [G] a bounce. _ _ _ _
_ _ [Eb] _ _ _ _ _
[E] That was the 808.
Now I'm going to show you how I add the kick.
[G] _ _ _ _ _
_ _ [Eb] I try not to have the kick clash with the 808, but also punch through it.
I play the 808 and then click through [E] kicks.
Whichever [G] one punches out, then I [Ab] EQ and compress it.
_ The hi-hats.
Now that's what brings all the swag into [G] it.
_ _ _ [Bb] I took the hi-hat [Eb] out where the snare comes in, so it's like a little swag, like, [G] snare.
_ _ _ Then I [N] brought the whole hi-hat and the 808 down an octave.
Then the last snare, I brought it down also.
[Cm] _
Louis is the engineer, post-engineer, and close friend.
I had the melodies and he beefed it up, adding some piano and [C] just making it more full.
[Gm] _ _ _
I thought it was dope to also have background melodies over that. _ _
[E] _ _ [Gm] _ Then we got an outro, and that was the last thing that was added.
_ _ _ Post added his voice at the end.
That was dope.
I always wanted one of my records with that type of vocal bend. _ _ _ _
_ _ [Eb] _ This was dope for me, this record, [Gm] because I was part of the [G] whole process.
I was there at the initial session, and I was there on each edit that we did.
[Eb] I feel like that's also important because then you have [Bb] a bigger record.
I've been fucking hoes and popping pillies, man, I feel just like a rock star. _
_ I went to LA and I didn't know, [Gm] we was really fully working on this record.
I didn't know that this [C] song was going to be [Bb] the single, but then Dre London, my manager,
post-manager, he [E] was like, this might be the single.
I was like, [Gm] whatever, I don't know.
Then [Eb] I got paperwork.
Then that's when I was like, oh, so [Gm] we going with this [C] then.
Then it was out.
It really makes me want more.
[E] It's all about what you do next.
It's funny, [Gm] I never thought I would feel that way, but it's [E] like you have to.
It's all about longevity, it's not [Gm] about just one and done.
Never that. _ _ _ _ _