Chords for The Making Of Eminem's "KILLSHOT" With IllaDaProducer | Deconstructed
Tempo:
105.4 bpm
Chords used:
Gm
D
A
Eb
Gb
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
Em changed my life, you know what I'm saying?
Like he didn't have to believe in my sound
so much in Kamikaze.
The fact that he did, I'm [Gm] forever loyal to Em.
So you got a problem with him, you got a problem with me.
I'm like, all right, that's how we gonna rock?
I'm gonna give Em the [D] hardest beats I [Eb] could find.
Stand, stand, son, listen, man, dad isn't [Eb] mad,
but how you gonna name yourself after a damn gun
and have [Gm] a man bun?
[Eb]
[Gm] [D] [A] So when I originally started [Bb] the beat for Killshot,
it was actually for gigs.
[Am] He always asked me for like these horror movie beats.
That's what I was thinking when I made the Killshot beat,
it's just something mean, gritty, grimy.
When I realized it was gonna go to Eminem
was the morning that MGK dropped Rap Devil.
Fuck rap, God, I'm the rap devil.
I'm a bare face with a black shovel like the Armageddon.
When the smoke settle, this body next to this instrumental.
You know, I was in Miami with my girl on vacation
celebrating Kamikaze and I see Eminem, MGK diss.
I'm like, what?
So I clicked on it.
I'm like, damn, that's how it is, Ronnie.
You know what I'm saying?
Right away I went into [N] my folder
and tried to find like the hardest beats possible.
And then I sent him like two beats.
It was like eight o'clock at night.
I'm like, yo, I sent gigs, some crazy shit, hit gigs.
And he told me what beat he used.
He didn't use that one.
So I sent it right away like, yo, here's one more.
So when I [Gm] first started Killshot,
the first sound I used was this piano
that I found from a loop pack from Two Dope Boys.
[Gm] It was the chord [D] progression [Gm] that really stood out to me.
[A] It was [Gm] really theatrical, [D] like Phantom of the Opera.
[Gm] I wrote automation on it to make it breathe a little bit.
[D] It gives it like a [Gm] pumping effect.
[A] [Gm] [N]
I usually do a hi-hat after I do the melody,
but this time I wanted a snare.
I knew I wanted something with a lot of pop to it.
I added this plugin, Sausage Fattener.
Makes it really stand out in the mix.
Once I felt good about the snare,
I added a couple of hi-hats.
This is the first hi-hat.
But it didn't go with the rhythm of the piano.
So I didn't want all that.
I just wanted the tripled effect at the beginning,
just to give it a little bounce.
Second hi-hat was a lot more involved.
I picked two of them because the first one is short
and it has a tripled up effect.
Then the second one has like a reversed symbol
after the first tripled up effect.
So it gives the track rhythm.
I tried like four different kick patterns,
but this is the one I finally decided to go with.
Once all the drums were there
and the sample was moving like I wanted it to move
and everything was fitting together like a puzzle,
I was like, all right, perfect.
Now I can go and do my favorite thing, the 808.
You know what I'm saying?
That thang.
It's hitting in between the kicks
and it's actually following some of the rhythm of the sample.
So there's rhythms that somebody like technical
can just jump all over.
Since I didn't use a lot of sounds in this beat,
I used the ranging to build [Gm] the drama
and you know what I mean, build the crescendo of the beat.
I took the sample and then I half-timed it.
This is [A] the sound by itself [Ebm] and this is it [D] with it on.
It gave it a dramatic breakdown and he used it perfect.
I added my tag.
Then I was like, all right, this is perfect.
[Gm] I'm definitely [D] somebody I looked up to as a lyricist.
[A] I think pretty much everybody who's [D] a fan of rap
is a fan of [Eb] Eminem in some light
because he's the [D] top [Gm] technical lyricist ever.
You know what I'm [Gb] saying?
And he's on [D] a Mount Rushmore of rap.
Can't take him off [Gm] there.
Great said it, Jay [D]-Z, [Gm] 50, Kendrick, [A] Kanye.
[Gm] Everybody that [D] we look up to has said he's,
you know what I mean, top five.
For me, this has been like,
it's the biggest blessing that I've ever [Db] experienced.
You [Gm] know what I'm saying?
I'm forever [Gb] grateful, forever loyal.
[G] [D]
[Eb] [D]
[N]
Like he didn't have to believe in my sound
so much in Kamikaze.
The fact that he did, I'm [Gm] forever loyal to Em.
So you got a problem with him, you got a problem with me.
I'm like, all right, that's how we gonna rock?
I'm gonna give Em the [D] hardest beats I [Eb] could find.
Stand, stand, son, listen, man, dad isn't [Eb] mad,
but how you gonna name yourself after a damn gun
and have [Gm] a man bun?
[Eb]
[Gm] [D] [A] So when I originally started [Bb] the beat for Killshot,
it was actually for gigs.
[Am] He always asked me for like these horror movie beats.
That's what I was thinking when I made the Killshot beat,
it's just something mean, gritty, grimy.
When I realized it was gonna go to Eminem
was the morning that MGK dropped Rap Devil.
Fuck rap, God, I'm the rap devil.
I'm a bare face with a black shovel like the Armageddon.
When the smoke settle, this body next to this instrumental.
You know, I was in Miami with my girl on vacation
celebrating Kamikaze and I see Eminem, MGK diss.
I'm like, what?
So I clicked on it.
I'm like, damn, that's how it is, Ronnie.
You know what I'm saying?
Right away I went into [N] my folder
and tried to find like the hardest beats possible.
And then I sent him like two beats.
It was like eight o'clock at night.
I'm like, yo, I sent gigs, some crazy shit, hit gigs.
And he told me what beat he used.
He didn't use that one.
So I sent it right away like, yo, here's one more.
So when I [Gm] first started Killshot,
the first sound I used was this piano
that I found from a loop pack from Two Dope Boys.
[Gm] It was the chord [D] progression [Gm] that really stood out to me.
[A] It was [Gm] really theatrical, [D] like Phantom of the Opera.
[Gm] I wrote automation on it to make it breathe a little bit.
[D] It gives it like a [Gm] pumping effect.
[A] [Gm] [N]
I usually do a hi-hat after I do the melody,
but this time I wanted a snare.
I knew I wanted something with a lot of pop to it.
I added this plugin, Sausage Fattener.
Makes it really stand out in the mix.
Once I felt good about the snare,
I added a couple of hi-hats.
This is the first hi-hat.
But it didn't go with the rhythm of the piano.
So I didn't want all that.
I just wanted the tripled effect at the beginning,
just to give it a little bounce.
Second hi-hat was a lot more involved.
I picked two of them because the first one is short
and it has a tripled up effect.
Then the second one has like a reversed symbol
after the first tripled up effect.
So it gives the track rhythm.
I tried like four different kick patterns,
but this is the one I finally decided to go with.
Once all the drums were there
and the sample was moving like I wanted it to move
and everything was fitting together like a puzzle,
I was like, all right, perfect.
Now I can go and do my favorite thing, the 808.
You know what I'm saying?
That thang.
It's hitting in between the kicks
and it's actually following some of the rhythm of the sample.
So there's rhythms that somebody like technical
can just jump all over.
Since I didn't use a lot of sounds in this beat,
I used the ranging to build [Gm] the drama
and you know what I mean, build the crescendo of the beat.
I took the sample and then I half-timed it.
This is [A] the sound by itself [Ebm] and this is it [D] with it on.
It gave it a dramatic breakdown and he used it perfect.
I added my tag.
Then I was like, all right, this is perfect.
[Gm] I'm definitely [D] somebody I looked up to as a lyricist.
[A] I think pretty much everybody who's [D] a fan of rap
is a fan of [Eb] Eminem in some light
because he's the [D] top [Gm] technical lyricist ever.
You know what I'm [Gb] saying?
And he's on [D] a Mount Rushmore of rap.
Can't take him off [Gm] there.
Great said it, Jay [D]-Z, [Gm] 50, Kendrick, [A] Kanye.
[Gm] Everybody that [D] we look up to has said he's,
you know what I mean, top five.
For me, this has been like,
it's the biggest blessing that I've ever [Db] experienced.
You [Gm] know what I'm saying?
I'm forever [Gb] grateful, forever loyal.
[G] [D]
[Eb] [D]
[N]
Key:
Gm
D
A
Eb
Gb
Gm
D
A
_ _ _ _ _ Em changed my life, you know what I'm saying?
Like he didn't have to believe in my sound
so much in _ Kamikaze.
_ The fact that he did, I'm [Gm] forever loyal to Em.
So you got a problem with him, you got a problem with me.
I'm like, all right, that's how we gonna rock?
I'm gonna give Em the [D] hardest beats I [Eb] could find.
_ _ Stand, stand, son, listen, man, dad isn't [Eb] mad,
but how you gonna name yourself after a damn gun
and have [Gm] a man bun?
_ _ [Eb] _
[Gm] _ _ _ [D] [A] So when I originally started [Bb] the beat for Killshot,
it was actually for gigs.
[Am] He always asked me for like these horror movie beats.
That's what I was thinking when I made the Killshot beat,
it's just something mean, gritty, grimy.
When I realized it was gonna go to Eminem
was the morning that MGK dropped Rap Devil.
Fuck rap, God, I'm the rap devil.
I'm a bare face with a black shovel like the Armageddon.
When the smoke settle, this body next to this instrumental.
You know, I was in Miami with my girl on vacation
celebrating Kamikaze and I see Eminem, MGK diss.
I'm like, what?
So I clicked on it.
I'm like, damn, that's how it is, Ronnie.
You know what I'm saying?
Right away I went into [N] my folder
and tried to find like the hardest beats possible.
And then I sent him like two beats.
It was like eight o'clock at night.
I'm like, yo, I sent gigs, some crazy shit, hit gigs.
And he told me what beat he used.
He didn't use that one.
So I sent it right away like, yo, here's one more.
_ So when I [Gm] first started Killshot,
the first sound I used was this piano
that I found from a loop pack from Two Dope Boys.
_ _ _ [Gm] It was the chord [D] progression [Gm] that really stood out to me.
[A] It was [Gm] really theatrical, [D] like Phantom of the Opera.
[Gm] I wrote automation on it to make it breathe a little bit.
[D] It gives it like a [Gm] pumping effect.
_ [A] _ [Gm] _ _ [N] _
I usually do a hi-hat after I do the melody,
but this time I wanted a snare.
I knew I wanted something with a lot of pop to it.
I added this plugin, Sausage Fattener.
Makes it really stand out in the mix.
Once I felt good about the snare,
I added a couple of hi-hats.
This is the first hi-hat. _
But it didn't go with the rhythm of the piano.
So I didn't want all that.
I just wanted the tripled effect at the beginning,
just to give it a little bounce.
_ Second hi-hat was a lot more involved. _
_ _ _ _ I picked two of them because the first one is short
and it has a tripled up effect.
Then the second one has like a reversed symbol
after the first tripled up effect.
So it gives the track rhythm. _ _ _ _
_ _ _ _ _ I tried like four different kick patterns,
but this is the one I finally decided to go with. _
_ _ _ Once all the drums were there
and the sample was moving like I wanted it to move
and everything was fitting together like a puzzle,
I was like, all right, perfect.
Now I can go and do my favorite thing, the 808.
You know what I'm saying?
That thang. _ _ _ _ _
_ _ It's hitting in between the kicks
and it's actually following some of the rhythm of the sample.
So there's rhythms that somebody like technical
can just jump all over. _ _ _ _
_ _ _ Since I didn't use a lot of sounds in this beat,
I used the ranging to build [Gm] the drama
and you know what I mean, build the crescendo of the beat.
I took the sample and then I half-timed it.
This is [A] the sound by itself [Ebm] and this is it [D] with it on.
_ It gave it a dramatic breakdown and he used it perfect.
I added my tag.
Then _ _ I was like, all right, this is perfect.
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ [Gm] _ I'm definitely [D] somebody I looked up to as a lyricist.
[A] I think pretty much everybody who's [D] a fan of rap
is a fan of [Eb] Eminem in some light
because he's the [D] top [Gm] technical lyricist ever.
You know what I'm [Gb] saying?
And he's on [D] a Mount Rushmore of rap.
Can't take him off [Gm] there.
Great said it, Jay [D]-Z, [Gm] 50, Kendrick, [A] Kanye.
[Gm] Everybody that [D] we look up to has said he's,
you know what I mean, top five.
For me, this has been like,
it's the biggest blessing that I've ever [Db] experienced.
You [Gm] know what I'm saying?
I'm forever [Gb] grateful, forever loyal.
_ _ _ [G] _ _ _ _ [D] _
[Eb] _ _ _ _ _ _ _ [D] _
_ _ _ _ _ _ _ [N] _
Like he didn't have to believe in my sound
so much in _ Kamikaze.
_ The fact that he did, I'm [Gm] forever loyal to Em.
So you got a problem with him, you got a problem with me.
I'm like, all right, that's how we gonna rock?
I'm gonna give Em the [D] hardest beats I [Eb] could find.
_ _ Stand, stand, son, listen, man, dad isn't [Eb] mad,
but how you gonna name yourself after a damn gun
and have [Gm] a man bun?
_ _ [Eb] _
[Gm] _ _ _ [D] [A] So when I originally started [Bb] the beat for Killshot,
it was actually for gigs.
[Am] He always asked me for like these horror movie beats.
That's what I was thinking when I made the Killshot beat,
it's just something mean, gritty, grimy.
When I realized it was gonna go to Eminem
was the morning that MGK dropped Rap Devil.
Fuck rap, God, I'm the rap devil.
I'm a bare face with a black shovel like the Armageddon.
When the smoke settle, this body next to this instrumental.
You know, I was in Miami with my girl on vacation
celebrating Kamikaze and I see Eminem, MGK diss.
I'm like, what?
So I clicked on it.
I'm like, damn, that's how it is, Ronnie.
You know what I'm saying?
Right away I went into [N] my folder
and tried to find like the hardest beats possible.
And then I sent him like two beats.
It was like eight o'clock at night.
I'm like, yo, I sent gigs, some crazy shit, hit gigs.
And he told me what beat he used.
He didn't use that one.
So I sent it right away like, yo, here's one more.
_ So when I [Gm] first started Killshot,
the first sound I used was this piano
that I found from a loop pack from Two Dope Boys.
_ _ _ [Gm] It was the chord [D] progression [Gm] that really stood out to me.
[A] It was [Gm] really theatrical, [D] like Phantom of the Opera.
[Gm] I wrote automation on it to make it breathe a little bit.
[D] It gives it like a [Gm] pumping effect.
_ [A] _ [Gm] _ _ [N] _
I usually do a hi-hat after I do the melody,
but this time I wanted a snare.
I knew I wanted something with a lot of pop to it.
I added this plugin, Sausage Fattener.
Makes it really stand out in the mix.
Once I felt good about the snare,
I added a couple of hi-hats.
This is the first hi-hat. _
But it didn't go with the rhythm of the piano.
So I didn't want all that.
I just wanted the tripled effect at the beginning,
just to give it a little bounce.
_ Second hi-hat was a lot more involved. _
_ _ _ _ I picked two of them because the first one is short
and it has a tripled up effect.
Then the second one has like a reversed symbol
after the first tripled up effect.
So it gives the track rhythm. _ _ _ _
_ _ _ _ _ I tried like four different kick patterns,
but this is the one I finally decided to go with. _
_ _ _ Once all the drums were there
and the sample was moving like I wanted it to move
and everything was fitting together like a puzzle,
I was like, all right, perfect.
Now I can go and do my favorite thing, the 808.
You know what I'm saying?
That thang. _ _ _ _ _
_ _ It's hitting in between the kicks
and it's actually following some of the rhythm of the sample.
So there's rhythms that somebody like technical
can just jump all over. _ _ _ _
_ _ _ Since I didn't use a lot of sounds in this beat,
I used the ranging to build [Gm] the drama
and you know what I mean, build the crescendo of the beat.
I took the sample and then I half-timed it.
This is [A] the sound by itself [Ebm] and this is it [D] with it on.
_ It gave it a dramatic breakdown and he used it perfect.
I added my tag.
Then _ _ I was like, all right, this is perfect.
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ [Gm] _ I'm definitely [D] somebody I looked up to as a lyricist.
[A] I think pretty much everybody who's [D] a fan of rap
is a fan of [Eb] Eminem in some light
because he's the [D] top [Gm] technical lyricist ever.
You know what I'm [Gb] saying?
And he's on [D] a Mount Rushmore of rap.
Can't take him off [Gm] there.
Great said it, Jay [D]-Z, [Gm] 50, Kendrick, [A] Kanye.
[Gm] Everybody that [D] we look up to has said he's,
you know what I mean, top five.
For me, this has been like,
it's the biggest blessing that I've ever [Db] experienced.
You [Gm] know what I'm saying?
I'm forever [Gb] grateful, forever loyal.
_ _ _ [G] _ _ _ _ [D] _
[Eb] _ _ _ _ _ _ _ [D] _
_ _ _ _ _ _ _ [N] _