My Homies Part 2

Street Lights

Scarface

Lyrics & Rhyme Analysis

9

End

143

Internal

56

Multi

139

Slant

2

Chain

Rhyme Groups — hover to spotlight
[Chorus: Kanye West]
Before✦ the street lights, come on, come on
Before✦ the street lights
I knew Puff before✦ Benjamin
I knew Mike aprés, shamone, come on
Before✦ the street lights, come on, come on
Before✦ the street lights
[Verse 3: Freddie Gibbs]
Bitch, as I sin again✦
I diss my baby✦ mama✦ grandma stove, I pray to God that she forgive
I got tough skin, so I know how it feel
I'm in the Benz-y✦ with my kids, they singin',✦ "I can't fuck with Freddie Gibbs" (Hahaha)✦
If I ever✦ diss you on wax for life, it's fuckin'✦ broke
I just cussed✦ out B. Dot the other✦ day, I still love him though
He was just trying to say I've been livin'✦ like I'm untouchable
Communication key, but sometimes we fuck up the message,✦ bro (Fuck up the message,✦ bro)
Yeah, I keep shit off the record✦ (The record)✦
When I speak the truth, it float over✦ niggas✦ head like it's Kiki✦ Shepard✦
Black barbie, bad bitch, dark chocolate,✦ she Kiki✦ Shepard✦
Black nigga✦ Bernie Mac, Player's Club, bitch get bucket✦ necklace✦ (Bucket✦ necklace,✦ uh, haha)✦
[Chorus: Freddie Gibbs]
Before✦ the street lights come on, come home (I gotta✦ get home on my bitches, heh)
Before✦ the street lights come on, come home, uh (Gotta✦ get rich)
Before✦ the street lights come on, come home (Bitch, yeah, yeah, yeah, yeah yeah)
[Verse 4: Kanye West]
Nobody✦ gon' take my hat, nobody✦ gon' tell me where I'm at
Where the fuck we at? Nobody✦ can take me where I got
Ain't nobody✦ got me or have me since my mama✦ drama✦
Karma,✦ comma,✦ oh, comma,✦ and that's on my mama✦
How I'ma,✦ call a hama,✦ fuck O—, ha
You don't want me on my goat, ha ha hah
Yo, my man, these niggas✦ too stunned—
[Chorus: Kanye West]
'Fore the street lights, come on, come on, come on
'fore the—
[Verse 5: Kanye West]
We was hangin'✦ in Kans', less private✦
When you get that Ghavami, I'ma✦ need to test drive it
I figured out the codes to heaven,✦ back in my mode, two steppin'
Everything we did, too legend, now you now listening to two legends
[Outro: Freddie Gibbs]
Uh, when the street lights come on, come home, uh
When the street lights come on, come home, uh
When the street lights come on, come home, uh
(Yeah, mama's✦ told me like)

Technical Breakdown

7.3
Multisyllabic Rhymes9.5

Complexity of rhyme schemes (data-driven)

Internal Rhymes9.5

Rhymes within a line (data-driven)

Wordplay / Double Entendres7.0

Clever language, metaphors, punchlines

Cadence / Rhythm5.5

Flow variation and timing (data-driven)

Vocabulary Complexity7.0

Range and depth of words used (data-driven)

Delivery / Breath Control8.0

Performance and control

Computed Score7.25

Production

— Big Tyme

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Critic Analysis
RAPLEDGER BAROMETER™

Freddie Gibbs delivers a masterclass in conversational intensity, grounding complex emotional honesty in the specific, localized cadence of his personal life while utilizing internal rhyme structures that feel improvisational yet tightly controlled.

B+
9.5
Multisyllabic
9.5
Internal Rhymes
5.5
Cadence / Flow
7
Vocabulary
7
Wordplay
8
Delivery
Multisyllabic internal rhyme clustersConversational flowBreak in rhythmic expectationAllusive pop-culture anchoring
Rhyme Architecture: Gibbs utilizes a complex A-A-B-A-C structure, prioritizing internal rhyme density ('sin again', 'Benjamin', 'Benz-y') while weaving in a conversational cadence that masks the rigidity of the rhyme scheme.
Verified Doubles & Entendres

"I keep shit off the record (The record) / When I speak the truth, it float over niggas head like it's Kiki Shepard"

① Keeping information private/confidential ('off the record') and referencing the host of 'Showtime at the Apollo' to imply his flow is overhead or high-level.② A double-entendre on the name 'Kiki Shepard'; phonetically linking the television host to the act of 'shepherding' or keeping things 'kept' (off the record), effectively creating a play on word-association with the Apollo stage.

High level of raw vulnerability matched with aggressive delivery

Exceptional use of internal rhyme density

Effective juxtaposition of high-stakes personal confession with casual, comedic interjections

Strong sense of vocal presence that carries the verse

Rhyme schemes occasionally feel subordinate to the stream-of-consciousness narrative

Some punchlines rely on niche celebrity references that require external context

Structural pivot into the chorus sequence feels slightly abrupt

User Scores