So the intro is like, like the, like probably the track that took the longest and had the most input. Um in the you know what I am saying in the whole tape cause it was like. I remember I was like I worked, I worked at like three different studios. Four or five different studios really. I am making a tape we did in the basement. And my boy Na'el Shehade, my boy, uh, Classics Crib and a new studio and Soundscape and I remember that we have been working on that since like the beginning. I always knew they I wanted to kind of model it after that good intro that Kanye does with John Legend, where it's just acapella. Where it is just like Kanya rapping over John Legend signing that line over and over again. It was like I heard that one day and I was like that's how my tapes gotta start out. I got up with Peter Cottontail who's like one of my close homies that I have been working with since, since Ten Day. Since pre Ten Day shit. We had a session that was like three hours long that was just you him doing random roughs over it and um, we came up with that one churchy, you know that bounced up wah, wah, wah, wah. That shit just resonated with everybody. That's where it's gotta go. It's gotta be churchy. It's gotta be bouncy like that. The idea of the juke drums didn't come in until wewe started recording the classic and, uh I remember when I thought about it Peter was like was like I don't want to do the track. Peter was like fuck the track, I am not, I don't want to do it if you are going to have those juke drums on it. And we like talked it over for a while and I got you know what I am saying we had a couple of sessions with Seven Points. We threw, we did drums on it. Um, and ah you know what I am says and in the end we were like you know, it was perfect, there were so many different elements of Chicago on that track you know what I'm sayin'. Like I said the Kanye sampling and the horn riff at the end you know what I am saying is from Common Beat. Just like the, the, the juke and footwork influence in the track. All the slang. It is just like I really wanted to, to, to get that like Chicago like soul churchy um hip hop juke jazz feel you know what I am saying. All in one from like the jump and the point of it was to be overproduced. It was like fifty instruments up in that bitch. Mad solos and shit that you will never catch unless you have like you know what I am saying real studio industrial speakers, you know what I am saying. Like its uh, it's very layered, but I wanted that. I wanted people to have to force themselves to listen to it. I wasn't I didn't want to like come across very, you know what I am saying minimalized or like simple. When people first turn on the tape. I want it to be kind of like you know over bearing.
Chance The Rapper discusses track #1 on his album--Acid Rap, titled Good Ass Intro.