Chords for The Making Of Eminem's "Lucky You" With Boi-1da & Jahaan Sweet | Deconstructed

_ _ _ _ [D] _ _ [Dm] _ _
[Bbm] _ When I think about Lucky You, [Ab] it gives off this [Bbm] ominous kind of vibe to it.
_ _ [Gb] I don't know, like a bad Christmas or something like that.
You [F] were naughty or nice, I don't know, [Db] whatever.
It just [Gb] had that energy to it.
It sounds kind of [F] evil, to be honest.
[G] Y'all gotta move.
Y'all gotta move.
Y'all gotta [Ebm] move.
Give me some room.
Give [F] me some room.
Give me the [Bbm] juice.
How about the coupe?
How about the coupe?
How about the shoot?
Y'all gotta move.
Y'all gotta move.
[C] Give me the juice.
I started working on the beat for Lucky You in a hotel room, I think.
I was just playing some stuff on the keyboard and I was like, yo, this is cool.
And I called [Db] Wanda, I'm like, yo, I made something cool and he played it for him.
And I was like, yo, [Ebm] I think this is cool.
He was like, that's hard, [F] isn't it?
And [Fm] then he was like, yeah, [Db] send me that.
[Bb] Send it to him and Wanda just [F] threw some crazy [Db] stuff on there.
Hit a little something.
Yeah, nah.
Something light.
A lot of something.
So [Ebm] when Jahan first played [Db] me the beat, I listened to it a few times.
I liked it a lot.
It had these Christmas type elements to it.
Yeah, I ended up just [Gb] speeding it up and just putting that slap to it.
I ended up sending it over to Joyner because I knew he was going to go work with Eminem.
My first album I've ever bought was a Slim Shady LP.
So for years I've been studying Eminem, studying his music, his style, everything.
It was like a real case study [C] for me.
_ [F] _ _ _ _ _ _
_ [Dbm] So the first thing I did, I got this plugin called Feel Harmonic.
I used this glockenspiel, which is just some bells.
[Eb] _ _ _ _ [Db]
I was really just playing [Abm] something on this instrument.
I had a MIDI keyboard and I was just like, okay, cool.
Finding something out.
I thought that the key was too bright.
[Bbm] So what I did was I converted this to audio.
So I used this thing called Sound Shifter.
I dropped it down three semitones and it ended up sounding like this. _ _
[Ebm] _ _ _ _ [F] _ _ [Bb] After I had these bells, I was like, okay, I'm going to take some high end off.
So I took some high end off just so it's not as bright.
Plus I know when I work with Wonder, Wonder likes darker stuff.
So I was just like, yo, let me darken this up a bit.
And I was like, okay, that's pretty much the loop.
So after I got the sound all dark and stuff, I pretty much just slowed the bells down half time.
_ _ _ _ [Bbm] _ _
[F] _ _ Those [Bbm] together just sounded like_ _
_ _ _ [Ebm] _ [Fm] _ [Bbm] After I had those two other bells, I just added [Eb] one more bell.
_ And that's when shit got real.
[Db] _
I got it more serious and just added these trombones. _ _
_ _ [Ebm] _ _ [F] _ [Fm] At that point, the [Bb] bells just, it sounded like an orchestra to me.
I was going in that direction.
So I [F] just said, let me just stick with this orchestration vibe I'm going for.
So I just was like, okay, trombones sound good.
I added some French [G] horns.
_ _ [C] _ _ [A] _ _
So I just used that for a little [Cm] melody in the background.
Genius.
[Abm] Nah.
[A] _ _
[Bb] _ Then I added this bass. _ _ _
_ _ _ _ [Gb] _ [Bb] _ _ _
_ Then after all of that, I added this bass from Omnisphere. _
_ _ [Eb] _ This all sounds good.
And I listened back to it one more time just to be [Bbm] sure.
_ _ _ [Ebm] _ _
[F] _ _ When I heard that section in the beat, that shit just sounded like, you know in a movie
[B] when something's about to [G] really go down, it gets scarier, that part.
So it's literally the perfect setup, perfect build up for a beat.
That was the complicated part.
Now we get to the slap. _
All right, let me show you how this stuff_ _ _ _
I got the idea for it immediately.
It was all in my head.
So I was like, put it right into the fruity [Bbm] loops and I sped it up. _
_ _ [D] _ _ [Dm] _ _ [Bbm] _ _
_ _ [Gb] _ _ [F] _ [N] Hi-hats kind of direct the rhythm a little bit.
So I just started off with a hi-hat.
Yeah.
That energy.
We keep it the same over here.
So it _ _ _ _ _ _ needed some rumble to it.
So I found this 808, this BWB sound.
Shout out to Big White [F] Beats. _ _ _ _ _
_ _ [Gb] When I heard everything [G] that Jahan had done with the orchestration, it's really smooth.
Although it sounds ominous, it's really smooth and Christmasy sounding.
So I felt like it needed the most ugly percussion to kind of a_
What's the word I would [F] say?
Just position, like balance.
Yeah, exactly.
Offset. Offset it.
So I found this really ugly clap _ and then I added a snare just to give it that little extra bop.
And when you put it all together, the pattern sounds a little something like this.
_ _ _ [Eb] _ _ [F] _ It just sounded bouncy and it's just such contrast with Jahan's [Gb] beautiful French horns
and the glockenspiels and all that stuff to these [F] gritty, ugly drums that are kind of
wild and obnoxious.
So it worked perfectly [Bb] together. _ _ _ _ _
[F] _ _ [Bbm] _ _ How about it, shoot?
Y'all gotta move.
[F] Y'all gotta move.
Give me the [Gb] juice.
That wraps up [G] basically what me and Jahan [F] added to this song, which is mainly the first
part of the beat and then Illa, the producer, and Eminem [E] did the rest of it, which is the
second half of the beat.
Then it transitions back into what we [Bbm] did.
They're asking me what the fuck happened [Gb] to hip hop.
I said I don't have any answers, cause I took a nail when I dropped my last album.
It hurt me like hell, but I'm back on these rappers.
[G] To hear that caliber of rap is just amazing to me.
Like on the same thing.
Yeah, it really doesn't get much better than that.
The skill level there and the flow, the energy of the song, the hook, it just all came together
as one big ball of energy.
I've been waiting for Eminem and Joyner to do a song together [Gb] for a minute, so it's perfect matrimony.
Y'all gotta move.
[F] Give me the juice. _ _