Bigger and Deffer

Ahh, Let's Get Ill

LL Cool J

Lyrics & Rhyme Analysis

48

End

141

Internal

56

Multi

159

Slant

17

Chain

Rhyme Groups — hover to spotlight
[Verse 2]
Lightning in the sky, L.L. don't lie
I can hold a larger✦ load than those other✦ little guys
My literature is the land's highest law
The man of the brand, one you look out for
I'm loose like the lace in your brand new sneaker✦
Release the bass in your face like a large Vega speaker✦
Li-li-lis-listen to my rhyme
Here to satisfy the listeners who stood on line
Bought tickets to see me kick it and wasn't late
The love every✦ little bit of the cuts he creates
First not last, leader✦ of the class, see
From London,✦ Long Beach, and down to Tallahassee
Ladies✦ are pleased, I'm not wearin'✦ Lee's
The Kangol is mine, the godfather is E
I bust your lip, my level won't slip
Clockin' crazy✦ dollars on the L.L. tip
Come on!
[Chorus]
(Ahh!)
(Let's get ill!)
Come on
(Ahh!)
(Let's get ill!)
Everybody✦
(Ahh!)
(Let's get ill!)
At the party✦
(Ahh!)
(Let's get ill!)
[Verse 3]
Loose with the ladies,✦ loud like a ref
When I die, there will be no lovers✦ left
I'm the little-girl-liker, legendary writer✦
Let's see, I never✦ lost cause I burn like a lighter
My love is long and my lyrics✦ rock loud
Lurkin'✦ shadow✦ in the shadows like Little McLoud
I'm the Ladies✦ Love, lyrical lord in the club
Ladies✦ Love, the man you dream of
[Chorus]
(Ahh!)
(Let's get ill!)
Come on
(Ahh!)
(Let's get ill!)
Everybody✦
(Ahh!)
(Let's get ill!)
At the party✦
(Ahh!)
(Let's get ill!)
[Verse 4]
Never✦ ever✦ lost, not lonely✦ or alone✦
You can call me the last Capone✦
Not a little kid playing with garbage can lids
Don't need a legal lawyer,✦ I ain't doin no bid
Cause the ladies✦ know my bass is low
Rockin✦ L after✦ L ever✦ since the intro✦
Liberacce couldn't rock it like the long-legged pro
Two legs, not four like Lassie, I don't eat Alpo✦
Come on
[Chorus]
(Ahh!)
(Let's get ill!)
Come on
(Ahh!)
(Let's get ill!)
Everybody✦
(Ahh!)
(Let's get ill!)
At the party✦
(Ahh!)
(Let's get ill!)
[Verse 5]
All over✦ the land they listen✦ to my jams
Like a cherry✦ lollypop when you're lickin✦ your hand
I'm poppin✦ and lockin,✦ so I can give you a list
All of my lyrics✦ are swift, so the losers✦ never✦ riff
I love givin✦ em bliss, havin✦ my name on the list
I'm the life of the party✦ and my rhymes✦ are priceless
Each jam is like a lesson✦ other✦ rappers must learn
Cold laugh cause they don't like it every✦ time I return✦
Come on
[Chorus]
(Ahh!)
(Let's get ill!)
Come on
(Ahh!)
(Let's get ill!)
Everybody✦
(Ahh!)
(Let's get ill!)
At the party✦
(Ahh!)
(Let's get ill!)

Technical Breakdown

8.3
Multisyllabic Rhymes7.5

Complexity of rhyme schemes (data-driven)

Internal Rhymes8.5

Rhymes within a line (data-driven)

Wordplay / Double Entendres5.0

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 Control8.5

Performance and control

Computed Score8.29

Production

— L.A. Posse

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Critic Analysis
RAPLEDGER BAROMETER™

LL Cool J demonstrates mid-80s dominance by prioritizing aggressive rhythmic propulsion and assertive charisma over dense lyrical complexity, leaning heavily on internal rhyme chains and rhythmic pockets.

A
7.5
Multisyllabic
8.5
Internal Rhymes
10
Cadence / Flow
6
Vocabulary
5
Wordplay
8.5
Delivery
Alliteration-heavy flowsInternal rhyme clustersRhythmic syncopationCommanding performance style
Rhyme Architecture: The verse utilizes a high-density AABB and AAAA mono-rhyme structure, heavily relying on the 'L' and 'ee' assonance to sustain momentum across the entire segment.
Verified Doubles & Entendres

"I'm loose like the lace in your brand new sneaker"

① A literal comparison to untied, dangling laces② A display of 'loose' flow and relaxed confidence while maintaining style

"My literature is the land's highest law"

① His written raps are superior to any other legal or social authority② Metaphorical claim that his influence dominates the musical landscape

Exceptional rhythmic consistency and pocket placement

High-energy, authoritative vocal delivery

Effective use of assonance to link diverse geographic references

Strong structural cohesion within the 1985 era context

Wordplay is largely surface-level and boast-centric

Limited metaphorical depth outside of self-aggrandizement

Reliance on simplistic rhyming targets

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