Chords for Soundz breaks down the beat for Rae Sremmurd Throw Sum Mo' ft. Nicki Minaj & Young Thug)

And I met Bieber, he was with his mom, he was playing piano in the lobby waiting for Tricky.
And I was like, who's this kid?
Tricky let him know, you know, this guy Sounds, you need to rock with him.
So he gave me a shot and we worked on Believe, I think he was like 16, 17.
And we did Outta Town Girl.
And that made his album. _ _
_ [A] What's good, my name is Sounds.
I'm a [Bm] producer, songwriter.
I do a lot of records for a lot of artists.
[G#] Usher, [Bm] Pitbull, Brandy, Beyoncé, Lil [A] Wayne, Melanie Fiona, [Bm] Snoop Dogg, Mary J.
Blige,
[G#] Trey Songz, Rihanna, [Em] Chris Brown.
Now, Jeremiah, I [A] did one on this album with Juicy J and Twista, that's [Bm] crazy.
Ciara.
I'm missing a whole [E] bunch more.
Well, Sounds came from a neighborhood [Em] name.
My name was Sound Mind at first.
It came [A] out of like a scripture out of a bible.
You know, my [B] mom and dad were gospel singers.
I was around [E] some people that weren't into good things and [Em] homie went to jail.
He used to [A] always call me Sounds, some nickname shit.
[Bm] And it just stuck.
I was born [G#] in Milwaukee, Wisconsin, Midwest.
I [Bm] grew up in Atlanta, pretty much.
That's where I got all the [A] game.
Me being a teen hearing [Bm] nothing but 808s and people singing on top of [Em] 808s, not just necessarily rapping.
To hear [A] records like that, to grow up [Bm] not being able to hear it, because my [F#] parents
were gospel singers.
So for me to sneak in here, that means I had to be passionate about wanting [B] to hear new music.
I just wanted to [F#] hear the new songs on the radio.
You know what I mean?
It's that passion, I guess, got me to where I'm at right now.
When I first [Bm] got in the game, I was writing hooks.
We had nobody to get on the hook and I [Em] was afraid to sing.
Being a singer [B] was not what you wanted to be.
You wanted to be a rapper.
And my homies was like, you can sing, bro.
Like, [G#] get on the hook.
And I'm like, alright.
[E] My first hook I got placed [A] was a song, Trey Songz and Huey.
[Bm] It was called No Makeup.
And I did the beat and I wrote [G#] the hook.
That was [Em] the first time someone accepted my hook.
[E] Had Trey Songz re-sing it.
[Bm] I was like, whoa.
[G#] Probably was like May 2013 and I was [C#m] in the Atlantic [G#] session and [F#m] they were asking me for
being Flo [A] Rida.
And Flo Rida's the number one selling [G#] artist at this time.
[F#] So it was like, [A] I was shooting for the stars.
So [G#] I gave the label the beat.
I gave them maybe six or seven beats.
[C#] _ [G#] And they didn't pick any of them.
[F#] And [A] the beat sat for a while and I gave [F#] Jeremiah a pack of beats.
[C#] One of the beats in there, he wrote a song.
He hit me up and said, [G#] yo, I got this song I wrote.
It's rough.
[D] I want you to hear it.
Let me know what you think about it.
Sent me the [C#] shit back.
And it [A] was crazy.
I [F#] did.
It was a [A] girl on the hook.
The hook was [G#] done.
_ Him and his friend, Jeremiah, wrote the hook.
And then it was just him just murmuring over the [C#] verses.
That beat happened to [A] be the Throwsome Mo beat [F#]
that is out right now.
The [C#] idea was written out and Mike Will was working with Jeremiah at the time and Jeremiah
just played it.
[G#m] And Mike was like, whoa, whoa, whoa.
What's that?
We need that.
[G#] So he hit me [A] up.
He was like, yo, Sound, [F#] you got this record.
[A] I think it's crazy.
[G#] I got this group.
_ _ Nobody know about them yet, but I'm telling you, they're going to be [A] big.
They the next big thing.
He put Young Thug and he put Nicki Minaj on it.
[F#] He made that record [C#] go.
[N] I'm about to break this beat down.
It was originally inspired for Flo Rida, so you got to understand why I was coming at it.
When I did the filter and the beat, this is the very last part of the beat, but it started
with a candy-like little sound because I knew Flo Rida was just on some, _ not bubblegum,
but radio.
I wanted to give him some Urban Bounce.
So I was like, oh, oh.
Then I just started adding the 808s on it.
The 808s [C#] came next.
_ [G#] _
_ _ [C#] _ _ [G#] _ _ [N] I drew all these notes in.
_ [G#] Pretty [A] loose.
[C#] _ _
_ Put on my [N] kicks.
Do my hat thing. _
_ I got so many different sounds that I could have used, but out of this beat, I probably
used maybe five sounds at max.
Kick, snare, hat, 808, and that noise.
It's one of my easiest beats I've ever made.
Besides the filter sweeps, filter sweeps make the beat sound like it's a totally different beat.
So that helped me out with making it seem a little bit more complicated, but when Jeremih
got the song, he got the song like this.
Exactly like this.
[A#] What's the word for the beat?
[G#] Bouncing sounds.
Sounds, sounds, [F#] sounds. _ _
[G#] _ _ _ [A] Sequencing is really [C#] important, too. _
_ [G#] _ _ _ _ _ _ _
[C#] The element of surprise is when I drop the beat out. _ _
_ _ [B] _ [C#] _ _ [G#] _ _ _
[C#] _ _ [G#] _ _ _ [F#] _ _ [A] _