Chords for How Scoop Deville Produced Kendrick Lamar's 'Poetic Justice' and 'The Recipe'

Yo, yo, what up?
This is Scoop DeVille and this is Behind The Beat with DJ Citi.
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_ _ _ _ _ _ [C] To give you a little history on how I grew up, I was around everything at the time.
My father was, you know, he was [Dm] rapping and working on his albums.
[Em] And so I was [Db] just in the studio [A] watching everybody do their thing.
Producing, rhyming, engineering, arranging, composing.
But at the same time, my family, everybody was into all kinds of music.
So we were listening to classic rock, _ 80s, 90s music, you know, [G] _ reggae.
We were listening to just all kinds [Ab] of different vibes.
Old [Ab] school, R&B, funk.
So everything [A] kind of just combined together.
You know, I just have, I'm definitely a fan of _ music and stuff.
Our roots are where it comes from.
And I like to, you know, take it back to [C] just the original way of how hip hop is created.
There's a lot of sampling and a lot of, you know, renditions and people flipping stuff.
[Am] And that was, that's what [Ab] got the party going.
When people heard tracks [A] that were familiar and they would vibe with it.
When it was over like a hip hop beat, when people were rapping over it.
So it's definitely a part of the culture.
And it's like a lot of the cats that have been in the game heavy, they [C] can appreciate that.
And it's definitely like, that's the sound.
Like creating, re-flipping everything.
Like, you know, [F] scooping it.
Then when I Wanna Rock came out, everything changed.
I mean, from phone calls from a bunch of crazy artists like Busta and Fat Joe and everybody hitting me up.
Yo, I need that.
I need that sound.
And, you know, Jay-Z rapping on I Wanna Rock, it was definitely, that was my like shine moment, you know.
And now it's happening all over again with the Poetic Justice and The Recipe and Kendrick.
And it's just like, it's crazy to see that work, you know.
When I first linked up with Kendrick Lamar, I was already affiliated with Top Dog.
And, you know, I was working with J-Rock and we were already just vibing with each other.
So we knew of each other.
We were in certain _ _ sessions with Game and just, you know, working, writing mixtapes.
And every type of thing, we were just trying to get on.
[A] So I got a phone call [Bb] from Stack [Bb] Flow and, you know, my boy Edgar Sanchez had put me in contact [A] with him.
And [E] he actually came over to the crib to vibe out to some of the [Bb] records that I had.
[E] And everything I played for him, he took [A] like eight records.
He was like, man, I'm gonna get these records straight.
And [Bb] sure enough, like I got a phone [C] call like a half an hour later.
[Dm] From Dre himself and [D] he's like, yo, like, would you be interested [Bb] in vibing with me with these records?
I [Eb] really, you know, enjoy your work.
So I [A] was like, man, absolutely.
[E] Like, take the files.
We got up to him [Bb] that same night.
And, you know, [Bb] it was crazy just to [A] hear all the madness going on in that camp.
Because I was getting [D] phone calls nonstop from just like everybody.
[Bb] From Kendrick and [Eb] everybody saying like, _ you know, this is going to be that song.
[G] I'm happy to [Bb] see what it did.
And, you know, the group that I sampled it from, which is [A] Twin Sisters, the song's [E] called
Meets the Crownies.
[Bb] And, you know, they were doing their thing grinding on the independent tip.
And that's how I even heard their record [A] was on [A] Indie Rock Station.
And that's like, I [Bb] heard it on the radio and it was like, Smokin' [C] weed with you.
And I'm like, oh my goodness.
It [A] just put me in a crazy trance and I had to just go back and [Bb] flip it.
Originally, Damian Marley was on that record.
It was just crazy the way [A] how everything was moving and [B] how it turned out to be [D] Kendrick
single, Dre [A] rapping on it.
Like, that's pretty crazy [Eb] to me still.
I still think that beat is [Db] untouchable.
So yeah, the [Gb]
way that Poetic Justice came about was, you know, we was in the lab _ working.
I heard the record on the [Gb] radio and it just, you know, of course, when I hear certain things,
it'll _
[Ab] move you in a certain way.
You know, it's just like emotion.
When you hear a certain song come on the radio, it's like, oh my goodness, this is crazy to
be around that time.
And that record's like one of the sexiest records [Gb] of our time, you know, growing up.
It was just a big record.
And just hearing it the way I did, I was like, man, this would be crazy if I flipped it.
So, you know, we went back to the studio and I just kept vibing with it.
Everybody at the label was really vibing with the song and the idea.
And I had no idea Drake was going to be on it.
But, you know, it seems like everybody was vibing with [Fm] it.
It could be like one of those potential single records to [Gb] hit, you know, sample hip hop,
2012.
It's like a whole new [Abm] steez.
_ So the breakdown, the chop, pretty much like, _ _ [Gb] I kind of had to sit with the record and just,
you know, find every piece [Ab] and part that matched together and blend it [E] right.
And it [Eb] just, it turned out her actually saying something [Em] totally different when she didn't
[Ab] even say this in the original record.
It [Dbm] kind of just, it [Gb] just came out this way, but it came out really [B] dope.
And then I had to take another part from [Gb]
like a bridge part and put that for like the hook.
[Db] _
_ It's just dope the way [C] it came out.
There's a bunch of chops in there to actually [E] make it so you can rhyme over it.
And [Gb] it's kind of, it's still a lot going on, but you know what I'm saying?
[Dbm] There's enough chops to actually rhyme over it [Gbm] and in the right pocket and stuff like that.
_ _ _ _ [C] _ _ _ _
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[Gbm] _ _ _ _ _ _ _ _
_ _ _ _ _ _ _ [Abm] _
_ [Gb] _ _ _ That [Abm] like that [Ab] old school type of feel to it.
I didn't want to, I didn't want to take, you know, the essence of the [E] actual _ original record
out of it.
I wanted [Abm] to leave it all there, but still kind of modernize it so you can play it, [Gb] you
know, like, like just a remix type of thing.
[G] And that's originally what I had in mind to, [Gb] you know, when I did the, when I did the beat.
Yo, yo, you know, thank you.
[Ebm] I appreciate it.
Shout out to DJ City and my boy Chris Coquette for letting me do this.
And I might have to do a scooper loop out of this, man.
Cause this, this record is going to be big, man.
Just to see what it does.
[Ab] And you know, I'm very happy to [Dbm] definitely show you how I did it.
So, damn. _
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