Bully

Mama's Favorite

Kanye West

Lyrics & Rhyme Analysis

8

End

53

Internal

19

Multi

69

Slant

4

Chain

Rhyme Groups — hover to spotlight
[Outro: Donda West & Kanye West]
Alright,✦ alright,✦ that's good, Kanye
This is so exciting, isn't it? I love it
Yeah, can you believe✦ it?
I can believe✦ it the way you are
Somebody✦ got it, though, you play tracks like Michael Jordan✦ shoots free throws
Anybody✦ does something✦ that much and that long and is that good, it's gotta✦ pay off
Can't go up there and do nothing✦ but go off
Yeah
Isn't that, son?
Yeah
The main thing is getting to do something✦ that you really✦ love to do
So do you, do you think, do you think I come off too arrogant?
No, come off just right 'cause it's what's inside✦ because you can't be a star and not be a star
You gotta✦ have some oomph about you
Don't wanna✦ just go say, "Oh, I'm just really✦ not all that, but thank you anyway"✦
Nothing✦ like that, I'm not saying come off like that
I think the way you are handling yourself is really✦ just perfect

Technical Breakdown

7.1
Multisyllabic Rhymes8.5

Complexity of rhyme schemes (data-driven)

Internal Rhymes9.5

Rhymes within a line (data-driven)

Wordplay / Double Entendres5.0

Clever language, metaphors, punchlines

Cadence / Rhythm7.0

Flow variation and timing (data-driven)

Vocabulary Complexity6.0

Range and depth of words used (data-driven)

Delivery / Breath Control7.0

Performance and control

Computed Score7.10

Production

— Ye, RaMu, 2 Vicious, André Troutman

Be the first to rate the production

Critic Analysis
RAPLEDGER BAROMETER™

The verse functions as a pedagogical dialogue rather than a technical rap performance, utilizing conversational cadence to establish the psychological framework of the 'arrogant star' persona.

B
8.5
Multisyllabic
9.5
Internal Rhymes
7
Cadence / Flow
6
Vocabulary
5
Wordplay
7
Delivery
Conversational cadenceStaccato vocal rhythmMeta-narrative commentaryCall-and-response dynamics
Rhyme Architecture: The passage relies on loose, conversational end-rhymes (e.g., 'throws'/'off'/'long'/'song' mapping) typical of spoken-word interludes rather than rigid AABB or ABAB structures.
Verified Doubles & Entendres

"you play tracks like Michael Jordan shoots free throws"

① A simile comparing the frequency and consistency of his music production to Jordan's proficiency at the free-throw line.② An allusion to the inevitability of success when talent is paired with high-volume repetition.

"you can't be a star and not be a star"

① A literal observation regarding the status and public expectations of a celebrity.② An existential affirmation that one cannot possess the inner quality of 'stardom' (oomph) and simultaneously deny it outwardly.

Authenticity and emotional grounding

Effective use of parent-child call-and-response

Strong character work that informs the broader album theme

Lack of dense lyrical density

Rhyme schemes are incidental rather than intentional

Performance is subordinate to the message

User Scores