God's Son

Get Down

Nas

Lyrics & Rhyme Analysis

20

End

173

Internal

54

Multi

153

Slant

13

Chain

Rhyme Groups — hover to spotlight
[Chorus: James Brown sample & Nas]
"Get down" "Get down!" "Get down" "Get down!"
"Get" "Get" "Get" "Get" "Get" "Get" "Get down!"
Everybody✦ – "Get down" "Get down!" "Get down" "Get down!"
"Get" "Get" "Get" "Get" "Get" "Get" "Get down!"
[Verse 2: Nas]
Some niggas✦ fuck their enemies in their ass when they catch 'em
Weird-ass niggas✦ who dangerous, so don't test 'em
They make you disappear, this a year that I won't forget✦
Sold CD's, double Platinum, met mo' execs
Southern✦ niggas,✦ independent label,✦ real killers
Know the business, ran Tennessee for years, now they chillin'
They had the coke game somethin'✦ crazy✦
Sold music out the trunk of their car, that shit amazed✦ me
Put me onto✦ heron✦ blunts, sherm or somethin'✦
Took a puff, "What the fuck?!" I turned✦ and punched 'em
Southern✦ niggas✦ ain't slow, nigga✦ tried to play me
I left from around✦ them dudes,✦ they cool, but they crazy✦
Now I'm back around✦ the old school that raised✦ me
New York gangsters, we loungin', out in L.A
See a dude wrote my dog from Pelican Bay
The letter✦ say, "Nas, I got your back, the fools don't play"
I rolled✦ with some Crips down to a Crenshaw funeral
Never✦ saw so many✦ men slaughtered, and I knew the ho responsible
The nigga✦ still alive✦ in a hospital
Midnight, they crept in his room and shot the doctor✦ too
See, my cousin's in the game, thuggin' and thangs
He plugged me with a dame who was half-Mexicano✦
Gave the ass up, I'm a mack daddy✦ Soprano✦
She passed✦ me the indigo✦
But the imbecile, should've never✦ tippy-toed
Thought my eyes were closed✦
Openin'✦ the hotel✦ room door to let her goons in
But I moved✦ in a manner✦ on some Jet Li shit
I let the hammers blow, wet three kids
See, honey✦ thought I had somethin'✦ to do
With all the drama,✦ 'cause I was with a crew
That had her people killed✦
Called✦ up my cousin,✦ told him, "I ain't fuckin'✦ with you"
He responded, "Cool," but told me "Out here, this how motherfuckers—"
[Chorus: James Brown sample & Nas]
"Get down" "Get down!" "Get down" "Get down!"
"Get" "Get" "Get" "Get" "Get" "Get" "Get down!"
Everybody✦ – "Get down" "Get down!" "Get down" "Get down!"
"Get" "Get" "Get" "Get" "Get" "Get" "Get down!"
[Outro: Salaam Remi]
All I really✦ gotta✦ say, is that...
If that's how our people gon' get down, how we ever✦ gon' get up?
How we ever✦ gon' get up if that's how we get down?
A shame when you really✦ look at it
My folk against your folk, but we all kinfolk
Somebody✦ got to make a change
[Produced by Salaam Remi]

Technical Breakdown

8.9
Multisyllabic Rhymes8.5

Complexity of rhyme schemes (data-driven)

Internal Rhymes9.5

Rhymes within a line (data-driven)

Wordplay / Double Entendres7.5

Clever language, metaphors, punchlines

Cadence / Rhythm10.0

Flow variation and timing (data-driven)

Vocabulary Complexity6.0

Range and depth of words used (data-driven)

Delivery / Breath Control9.0

Performance and control

Computed Score8.88

Production

— Nas, Salaam Remi

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Critic Analysis
RAPLEDGER BAROMETER™

Nas demonstrates master-class narrative pacing and conversational flow, utilizing a documentary-style delivery that prioritizes internal rhyme density and atmospheric realism over complex metaphors.

A+
8.5
Multisyllabic
9.5
Internal Rhymes
10
Cadence / Flow
6
Vocabulary
7.5
Wordplay
9
Delivery
Narrative arc constructionConversational cadenceInternal rhyme densityCinematic scene-settingColloquial flow integration
Rhyme Architecture: Predominantly AABB or AAAA couplet-based structures with dense internal rhyme linkages that bridge the gap between sentences, maintaining a steady 4/4 pocket while varying syllable counts.
Verified Doubles & Entendres

"this a year that I won't forget / Sold CD's, double Platinum, met mo' execs"

① A literal statement about the timeline of his commercial success and industry exposure.② A subtextual commentary on how industry success acts as a catalyst for the 'dangerous' encounters he chronicles in the narrative.

"I knew the ho responsible"

① A literal reference to the person who caused the 'slaughtered' state of the funeral attendees.② A double entendre playing on the homophone for 'whole'—implying he understood the entire scope of the situation or 'the whole' context behind the violence.

Unrivaled conversational flow that feels like a natural monologue

Masterful use of rhythmic pockets to deliver heavy narrative content

Authentic, gritty world-building

Effective use of non-rhyming line endings to emphasize the punchline

Lower lexical density compared to his more dense, abstract lyrical works

Some phrasing leans on street-reportage cliches common to the genre

User Scores