ATLiens

Decatur Psalm

Outkast

Lyrics & Rhyme Analysis

19

End

104

Internal

44

Multi

150

Slant

3

Chain

Rhyme Groups — hover to spotlight
[Interlude: Big Boi]
Yeah, it won't be over,✦ check this out...
[Verse 2: Big Boi]
Can you see what I be hearing?✦ Talking✦ to spirits when I sleep
Peep this out real quick, slick, we gets on this beat and speak
About✦ that pimp shit, that walk-with-dat-limp shit, that Hemp' shit
Looking✦ up in your face, I see a coward and a dimwit✦
Looking✦ to run up in my private✦ home, just like you was the folks
Serving a warrant to a baby✦ daddy✦ who didn't come to court
On a Tuesday, April✦ Fool's Day, don't get caught slipping✦
Leaving the keys off in the ignition,✦ making✦ me guilty✦ by suspicion✦
Penny-pinchers, trying to stack for ninety-six✦
Buying another Fleetwood, Diamond took it, so now we's in the mix
I need to take my ass to the crib and drop the baby✦ off
'Cause them niggas✦ at the corner✦ sto' been looking✦ at me for too long
Staring✦ like accidents on highways, high days are better✦ than sober✦ ones✦
Don't be biased,✦ but I know it has to come (Uh)
So I put two in the sky to let them know I'm babysittin'
Y'all don't know nothin'✦ 'bout Big Boi, 'cause that nigga✦ steady✦ dipping✦
[Interlude: Big Boi & Big Gipp]
It ain't over✦ (Why that? Why that?)
'Til the bitch open✦ her mouth up
And sang (Yeah)
Took me a long time to get here
A long time, man
[Verse 3: Big Gipp]
I'm talking✦ about✦ – years, and years
Riding✦ past funeral fields, holding bodies✦ of my peers
If you don't educate✦ yourself
Now how the fuck you gonna✦ understand how you 'posed✦ to get paid?
Niggas✦ walk around, get with shade tree ass ways
Fuck a fade, let my hair drag
Back and forth like a see-saw
Jumping lily-to-lilypad – dag
Lookin'✦ to get my Goodie feel
I'm broke in like some old men
Who'd stop dem or would stop
I'm dropping lines✦ for the big plot
Sixteen is when I started this dream
It's ninety-six,✦ I'm in your face
Can you hear that bitch scream?
[Chorus: Cool Breeze]
Yo
It won't be over✦ 'til that big girl from Decatur sang...

Technical Breakdown

7.1
Multisyllabic Rhymes8.5

Complexity of rhyme schemes (data-driven)

Internal Rhymes9.5

Rhymes within a line (data-driven)

Wordplay / Double Entendres6.5

Clever language, metaphors, punchlines

Cadence / Rhythm6.0

Flow variation and timing (data-driven)

Vocabulary Complexity7.0

Range and depth of words used (data-driven)

Delivery / Breath Control7.5

Performance and control

Computed Score7.14

Production

— Organized Noize

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Critic Analysis
RAPLEDGER BAROMETER™

Big Boi demonstrates a masterclass in regional Southern narrative, utilizing internal rhyme density and conversational cadence to ground the listener in a specific urban paranoia, effectively blending high-tension storytelling with fluid technical execution.

B
8.5
Multisyllabic
9.5
Internal Rhymes
6
Cadence / Flow
7
Vocabulary
6.5
Wordplay
7.5
Delivery
Internal multi-syllabic rhymingConversational cadenceNarrative pacingVocal layeringEnjambment
Rhyme Architecture: The verse relies on a high frequency of internal multi-syllabic rhyme clusters (sleep/beat/speak/pimp/limp/Hemp) woven into a fluid AAAA/BBBB scheme that centers on shifting vocal stresses to keep the flow dynamic.
Verified Doubles & Entendres

"staring like accidents on highways"

① The literal act of people at the store staring at the speaker uncomfortably.② A metaphor for the morbid curiosity of onlookers who cannot look away from a potential disaster or confrontation.

"put two in the sky to let them know I'm babysittin'"

① Firing a gun into the air as a warning to those watching him.② Referencing the literal responsibility of having the baby in the car, where the 'two in the sky' implies a defensive posture to ensure the child's safety.

High density of internal rhyme chains that maintain narrative cohesion

Authentic, grounded Southern delivery that emphasizes regional inflection

Effective use of conversational pacing to build tension

Seamless integration of complex rhyme patterns into natural speech

Lacks deep metaphorical layering beyond the immediate street narrative

Some punchlines serve the narrative arc rather than providing high-level abstract wordplay

The concluding bars prioritize atmosphere over complex lyrical resolution

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