This dark, near-industrial tune features production from the French duo Daft Punk who worked with West on several of Yeezus' tracks. This was the first one that the French duo recorded for the album and it originated from some unused material recorded for the robots' own Random Access Memories. “The drums we had recorded earlier during the recording of our album, so we had those,” Daft Punk’s Thomas Bangalter explained to Vibe Magazine.

It was a great twist of pushing the envelope.

The drums are strikingly similar to those on the classic stadium song by Gary Glitter, “Rock N Roll Part II”, and while the track would certainly bump in the stadium, we could all understand how the lyrics might be a little too edgy for the NFL.

After West performed the song on Saturday Night Live, many reviewers cited its similarities to Marilyn Manson’s “The Beautiful People.” or “Personal Jesus”. It was initially suggested that the tune sampled the Shock Rocker’s 1996 hit, but West clarified that the beat was made from scratch and it was him screaming and breathing on the track.

The song contains audio samples of ad-libs provided by Young Jeezy as well as background vocals provided by Connie Mitchell of the Australian electronic group Sneaky Sound System. The drum track which uniquely uses the ride cymbal was laid down by DJ Troomp and upon first listen you know the driving crescendo of beats were made to be echoed loud and clear through an arena venue. In an interview, West further discusses the finer point of the song’s arena rock like qualities.

I hear records that are super hot for two months, but the records won’t last in people’s minds. I set out not to just make records that could hop off the radio instantly, but stuff that will speak to people. People still bring up ‘Spaceships’ to me. And people compare ‘Can’t Tell Me Nothing’ to ‘Spaceships’ saying that’s a song that inspires them when they going to work. But the chords itself, is like a Led Zeppelin rock melody. Yeah, you thinking it’s made for the car and you thinking it’s made for the club, and it works in the arena because DJ Toomp did the drums and all that, but the actual melody is made to rock 50,000 people.

http://www.youtube.com/watch?v=1J-Tirjbnuc

The off-kilter piano production heard throughout the song was a perfect contrast to ODB’s unhinged drunken master flow. It epitomized the Ol' Dirty Bastard persona in musical terms, a drunken saloon pianist plunking a two-note melody which sampled two songs:

• Stevie Wonder’s “Knocks Me Off My Feet”

The Emotions’ “I Like It,” which provides an ungainly, limping breakbeat sound to the beat:

This song’s electronic symphonic build up with the thundering orchestral timpani echoing in the intro not only foreshadows this song’s epic proportions, but sets up the stage for one of the most recited hooks of 2010. In combination with Rick Ross’s husky voice, menacing horn section, schizophrenic hi-hat patterns, and trunk rattling 808’s and sub woofer bumping; its hard not to act ignorant to this 2010 hood anthem.

The song was produced by the Virginia beatsmith Lex Luger, who was still in his teens when he helmed the cut. He told MTV News:

To take something that a lot of people thought was nothing and to turn it into another dimension of sound was crazy to me. The reaction from people that I saw was crazy to me. That’s when I really knew this is what I wanted to do.

This video below shows the process that Lex Luger typically goes through in making a beat.

http://www.youtube.com/watch?v=DZsiT2BX8Xc

Produce by D-Dot the song samples two pieces of music.The first sample heard up to the end of Lil' Kim’s verse is taken from the song “I Did It for Love” performed by Love Unlimited written by Linda Laurie and Terri Etlinger which was slowed down and accompanied with shuffling drums and backspins to create the catchiest head-nodder of the Bad Boy era.

The verse performed by Notorious B.I.G. contains a sample from The Jackson 5 song “It’s Great to Be Here” which payed homage to park jam era of Brooklyn great. This latter sample is exclusive to the No Way Out remix. After the final verse, the song reverts to the first sample and ends shortly after.

Puffy also released a rock version of the song, “It’s All About the Benjamins (Rock Remix)”. This collaboration, also known as “Shot-Caller Rock Remix” and “Rock Remix I”, featured Tommy Stinson, Fuzzbubble, Rob Zombie and Dave Grohl on drums. This remix added guitar riffs and live drums, as well as a more “in your face” approach to the song’s chorus.

The song uses a horn stab from Uncle Louie’s 1979 track, “I Like Funky Music.”

https://www.youtube.com/watch?v=mIWxyJumc3k&t=2m26s

But the bulk of the rhythm is a Roland TR-808, running backwards.

https://www.youtube.com/watch?v=5tTbxf_wT6k

“That backwards 808? If I think right, it was actually Joe, Run, from Run-DMC. It was his idea to flip the tape up. He was there, like, ‘Hey, y'all should flip the tape around so that shit’s backwards.’ Either that, or we had it on backwards and he heard it, he bugged out, and that’s when he said, ‘Y'all have to do a story rhyme over the shit.’ And he came in started writing the shit with us.” – Michael Diamond, 1995

“It was Run’s idea to turn the beat backwards on ‘Paul Revere.’ They wanted to have a slow beat, and Run was like, ‘To make it outrageous you need to turn the beat backwards and rhyme over that.’” – Darryl “DMC” McDaniels

“I think that the whole concept of trying the drum backwards was a mistake, and then it turned into a record. Everybody was congratulating themselves on how creative they were, but in fact, it was really a mistake.”
- Russell Simmons

The most notable and memorable aspect of this song is the simple yet epic piano loop and pizzicato string combination. It is played by Scott Storch in the first 10 seconds of the song and can be heard throughout.

Dre, Mel-Man, and Storch took a minimalist approach with the drum patterns, and in the traditional West Coast style they let the piano/pizzicato string loop, as well as the lofty guitar loop, heard on the end of every fourth measure of music shine through.

Via an interview with Hittman:

[O]ne night at the old A&M Studios, Scott (Storch) got on the keys and started to play what we all recognize now as “Still D.R.E.” and Mel came out of nowhere and started bangin’ out patterns on the drum machine. Dre was at the board tweakin the sounds…then Jimmy [Iovine] came into the studio seemingly amused by our vibe and said, “There it is!”

The chord progression, for those who want to know, is A minor (1st inversion) – Esus4 minor (2nd inversion) – E minor (2nd inversion).

Although Tyga is an American citizen hailing from LA, his flow however is so out of this world it’s damn near illegal.
A green card also refers to an immigration process of becoming a permanent resident. The green card serves as proof that its holder, a lawful permanent resident (LPR), has been officially granted immigration benefits, which include permission to reside and take employment in the United States. The holder must maintain permanent resident status, and can be removed from the United States if certain conditions of this status are not met.

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