Emeritus
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Scarface
Lyrics & Rhyme Analysis
20
End
171
Internal
63
Multi
165
Slant
8
Chain
Rhyme Groups — hover to spotlight
[Chorus]
Microphone✦ check, one, two, mic checka✦
Still pack that bladadah,✦ Subhan'Allah,✦ I pray to Mecca✦
All this gang shit in my vein, I got the rank, I got the blessin'✦
Take some extras✦ out the brick, we press a brick, it ain't no pressure,✦ yessir✦
Microphone✦ check, one, two, mic checka✦
Still pack that bladadah,✦ Subhan'Allah,✦ I pray to Mecca✦
All this gang shit in my vein, I got the rank, I got the blessin'✦
Take some extras✦ out the brick, we press a brick, it ain't no pressure,✦ yessir✦
[Verse 2]
Gangland✦ shit
Fuck around, get gangland✦ hit
I'ma✦ catch a little bitch while he's chillin' with his clique
Nigga,✦ where the whole gang at, bitch?
Where the watch and the chain at, bitch?
Set 'em up, yeah, I drained that bitch
I was fuckin'✦ in the A for like four days straight
But a nigga✦ never claim that bitch
I be talkin'✦ that shit like I'm bulletproof
Fuck a DM, I'm sendin'✦ them killers through
I be fuckin'✦ with the Gs, Crips, Bloods, BDs
Man, this shit get political✦
Hit the jar and I'm whippin' a miracle
Get the spoon and I'm scrapin' the residue
Man, I shop with Colombianos✦ and the Mexicanos✦
Man, this shit get political✦
Rock it up then blade that shit
Dog food, nigga,✦ slang that shit
Niggas✦ shot at me and miss with the whole damn clip
Yeah, the bitch couldn't aim that shit
A nigga✦ might get gangland✦ hit
That east side insane-ass shit
Niggas✦ shot at me and miss with the whole damn clip
Yeah, the bitch couldn't aim that shit, fuck nigga✦
[Chorus]
Microphone✦ check, one, two, mic checka✦
Still pack that bladadah,✦ Subhan'Allah,✦ I pray to Mecca✦
All this gang shit in my vein, I got the rank, I got the blessin'✦
Take some extras✦ out the brick, we press a brick, it ain't no pressure,✦ yessir✦
Microphone✦ check, one, two, mic checka✦
Still pack that bladadah,✦ Subhan'Allah,✦ I pray to Mecca✦
All this gang shit in my vein, I got the rank, I got the blessin'✦
Take some extras✦ out the brick, we press a brick, it ain't no pressure,✦ yessir✦
[Outro: Biz Markie]
Yo, yo, I'd just like to say, you know
My man Kane smoked him, you know?
But it's good to be original when you diss somebody✦
Don't use somebody✦ else's✦ shit
[Interlude: Gil Scott-Heron]
The thing that's going to change people
It's something✦ that no one will be able to capture✦ on film
It'll just be something✦ that you see and all of a sudden✦ you realize
"I'm on the wrong page"
Or, "I'm on the right page but I'm on the wrong note
And I've got to get in sync with everyone✦ else to understand what's happening in this country"
Technical Breakdown
8.5
Multisyllabic Rhymes9.5
Complexity of rhyme schemes (data-driven)
Internal Rhymes9.5
Rhymes within a line (data-driven)
Wordplay / Double Entendres6.5
Clever language, metaphors, punchlines
Cadence / Rhythm9.0
Flow variation and timing (data-driven)
Vocabulary Complexity7.0
Range and depth of words used (data-driven)
Delivery / Breath Control8.5
Performance and control
Computed Score8.52
Production
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Critic Analysis
RAPLEDGER BAROMETER™
Scarface utilizes a high-octane, aggressive cadence that prioritizes percussive vowel placements and street-level vernacular, favoring rhythmic momentum over dense, complex wordplay.
A
9.5
Multisyllabic
9.5
Internal Rhymes
9
Cadence / Flow
7
Vocabulary
6.5
Wordplay
8.5
Delivery
Aggressive syncopationStreet-vernacular internal rhymingVowel-heavy assonanceCadence shifts
Rhyme Architecture: The verse relies on AAAA and AABB rhyme structures, heavily utilizing end-rhyme chains with recurring 'itch' and 'it' phonemes, punctuated by internal rhyme clusters in the later segments.
Verified Doubles & Entendres
"Take some extras out the brick, we press a brick, it ain't no pressure"
① Physical act of distributing/compressing narcotics.② A display of nonchalance regarding the danger/risks of the trade ('no pressure').
"Hit the jar and I'm whippin' a miracle"
① The literal cooking of crack cocaine in a container.② The metaphorical transformation of low-value ingredients into a high-value commodity, mimicking a 'miracle'.
Exceptional command of rhythmic pocket
Consistent intensity and vocal presence
Strong use of enjambment within the rhyme scheme
Limited metaphorical depth
Vocabulary choices are functional rather than expansive
Punchline mechanics are somewhat predictable for the subgenre