Honestly, I never listened to JID’s music a day in my life until we worked with him.
He played me maybe like, three or four songs before I played him any beats.
I’m like “Oh okay."
"Got some good music.”
Playing it for JID was an accident.
I didn’t even mean to play him that beat.
I been seeing somebody grandma work out to this, somebody auntie workin’ out to this.
I watched a whole fucking Zumba class work out to this shit.
If I can get somebody to move to it, somebody auntie that don’t even know this song from
a can of paint, that means I’m doing something right.
Everything comes to me naturally.
I don’t think about how I’m going to make this beat, I don’t think about how I’m
gonna make this beat.
I don’t think about what I’m going to make.
It just happens.
When I made “Off Deez,” I was in LA.
I was at Dro Fe’s house.
He was over there sampling like some crazy old Mexican song.
Some salsa music or something, I don’t know what the hell he was sampling.
I had just came in the room.
I was like, “Yo that shit hard.”
The sample for “Off Deez” is Los Pasteles Verdes.
Don’t crucify me if I say this wrong.
So basically what I did was I added a half-speed on Gross Beat.
I layered the sample with two different Gross Beats.
One was half-speed and one was slow triplet.
Now that’s some sauce for you niggas.
Y’all gotta pay homage when you do that ‘cause I know most of you niggas don’t
do that.
When the tone changed on the sample, so when it went from sounding like…
To sounding like…
I caught the 808 in my head.
That’s the backbone of it.
The bass is always the backbone to me.
If your bass not hitting, that shit wack.
Just to me.
I wanted this shit to ride, so I kept everything fast-paced.
I wanted the tempo to be fast, I wanted the beat to be fast.
I want the hi-hats to be fast.
I like the shit fast.
It’s just like a brand new fucking Ferrari.
The beat was already done when the bass was done so the hi-hats, all they had to do was
follow.
I kept them at a two step.
I added some hi-hat rolls, it was fire.
Just some quick, quick rolls.
What I did next was, I had a clap after.
Sound like some California shit, some Snoop Dogg and Dr. Dre shit, you heard me?
Go!
The kicks had to match.
After that I did a hi-hat.
Open hi-hat.
If you haven’t noticed by now, I like simple shit.
I like simplicity.
I don’t try too much, don’t use too much.
I only used, how many sounds is this?
Six sounds, seven including my tag.
For those who don’t know.
That tag is Valee.
He said that tag in a song, it’s “VTL.”
And he said, “ChaseTheMoney ChaseTheMoney.”
So now let me play you the beat in full.
The feature situation, I didn’t really...I mean that was up to them initially.
I made a couple suggestions.
I said maybe Ski Mask, Kendrick I think was supposed to be on it, and then Cole just ended
up hopping on the beat.
I think the pockets that JID found was perfect for him.
And I feel like Cole, it was perfect for him.
What they did was amazing.
The day I made this beat was special.
And the day I played this beat for JID was special.
It was a special moment in time and history.
I originally said we should put Future on it.
I said we should put Future on the hook, on the remix.
Best believe there’s a remix coming, we just don’t know with who.