In “BULLY,” Kanye West (aka Ye) goes minimal, but not everything lands emotionally or sonically.
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TOP 5 SONGS
HONORABLE MENTION. FATHER (Ft. Travis Scott)
I’ll keep it a buck: the idea of this track hits harder than the song itself.
Seeing Kanye West and Travis Scott reunite warmed my black-ass heart. Aside from that, there are only a few pieces worth holding onto. The production never quite takes off, leaning into a slightly cheap, Mortal Kombat-style warmup fight scene vibe, but when it strips back and lets the homeless man sing, it actually clicks.
Ye comes through with a punchy, confident verse, talking his evolution into this bigger, more polished version of himself that has leveled up from the chaos of WorldStarHipHop to the polish of Newsweek.
Then Travis steps in and keeps that same energy, delivering one of his more direct, rap-heavy performances, flexing his status and making it clear he’s operating on a different plane.
In the end, it’s a cool track, just not the kind you frame and hang in the Hall of Fame.
5. KING
To really appreciate “KING,” you have to run through the whole project and then circle back to it.
Even though the beat isn’t quite my favorite, Kanye West’s performance is hard to ignore. He sounds fully in his bag, rapping with confidence, sharp flows, and bars that dig into how fame reshaped him.
His wordplay is strong, and the chorus sample sticks with you more than expected. Honestly, this feels like one of those tracks that could’ve slid right onto My Beautiful Dark Twisted Fantasy without feeling out of place (It kind of reminds me of “Dark Fantasy”).
4. ALL THE LOVE (Ft. Andre Troutman)
I’ve said it before, and I’ll say it again: Kanye West might be one of the best rap singers ever. It’s not about having the cleanest voice (Which he absolutely does not have), it’s about knowing exactly when and how to use it. What I love, in particular, is that he treats melodies like chess pieces, always landing them where they matter most.
That’s exactly what happens on “ALL THE LOVE.” The track rides on a synth-heavy beat that feels like it’s galloping forward, carrying a strong sense of soul with it. Ye doesn’t fight the production; he glides across it, sounding loose, almost weightless. There’s a sense that he’s untangling himself from the noise, focusing inward as he leans into themes of letting go of pain, embracing love, and finding peace.
It’s one of those records where the emotion does the heavy lifting. No overcomplication, no excess, just a clear message wrapped in a sound that lets it breathe. This one lands.
3. I CAN’T WAIT
Alright, let’s be honest. Is Kanye West’s singing on this track awful? Yeah (He sounds like a loopy French Montana). But the rapping? That’s where things click.
On “I CAN’T WAIT,” he taps back into that confident, bulldozing delivery that made him stand out in the first place. The production leans cold and dusty, built around a haunting flip of “You Can’t Hurry Love” by The Supremes, giving the track a worn, almost ghostly feel. Ye cuts through it with authority, landing punchlines that feel natural rather than forced.
Lyrically, he’s locked in. He touches on love, patience, and pushing past distractions while chasing growth and something real. It doesn’t feel overly polished, but that’s part of the appeal.
BTW: Don’t let someone tell you that Martin Luther King Jr. Day isn’t a holiday, or that Phil Collins made “You Can’t Hurry Love.”
2. PUNCH DRUNK/WHATEVER WORKS
This is the lane I want Kanye West cruising in at all times. On both “PUNCH DRUNK” and “WHATEVER WORKS,” he leans heavily into soul, pulling out those struggle samples that almost never miss.
“PUNCH DRUNK” feels chaotic in the best way, with a turbulent rhythm that mirrors the content. Ye sounds worn down but still swinging, pushing through fake love, pressure, and toxic situations without folding. It kind of reminds me of a postgame interview after a legit bar fight.
“WHATEVER WORKS,” on the other hand, steadies the ship. The beat carries a smoother bounce, and Ye sounds more locked in and calculated. He taps back into that defiant energy we’ve come to love, talking about turning setbacks into wins, tuning out the noise, and thriving regardless of the circumstances thrown his way.
Honestly, these two tracks feel like siblings that should’ve shared the same room. Blend that chaos from “PUNCH DRUNK” with the focus of “WHATEVER WORKS,” and you might’ve had something special on your hands.
1. PREACHER MAN
I don’t think “PREACHER MAN” is just good, it’s flat-out exceptional. Ye is one of the rare artists who can strip everything down and still make a track feel powerful. This is one of those moments.
The production is minimal and laidback, almost stepping out of the way so Ye’s thoughts can take center stage. And he makes the most of it. Lyrically, he digs into sacrifice, love, legacy, and growth, delivering it all with that unmistakable Ye cadence that feels both unfiltered and intentional.
What makes the track stand out is its quiet command. It doesn’t beg for attention; it earns it, slowly pulling you in and sticking with you long after it ends. This was one of the few songs I gave five stars back then, and I haven’t backed off that take at all.
SONG BY SONG RATING
1. KING (4/5)
2. THIS A MUST (3/5)
3. FATHER (Ft. Travis Scott) (3/5)
4. ALL THE LOVE (Ft. Andre Troutman) (5/5)
5. PUNCH DRUNK (4/5)
6. WHATEVER WORKS (5/5)
7. MAMA’S FAVORITE (3/5)
8. SISTERS AND BROTHERS (3/5)
9. BULLY (Ft. CeeLo Green) (3/5)
10. HIGHS AND LOWS (3/5)
11. I CAN’T WAIT (5/5)
12. WHITE LINES (Ft. Andre Troutman) (3/5)
13. CIRCLES (4/5)
14. PREACHER MAN (5/5)
15. BEAUTY AND THE BEAST (4/5)
16. DAMN (4/5)
17. LAST BREATH (2/5)
18. THIS ONE HERE (4/5)
RGM RATING
(C)
Kanye West will probably always be required listening. Yes, the headlines have been chaotic, but when the music drops, it still demands attention.
That said, his recent releases have felt a little unsatisfying. Projects like Donda 2 came off unfinished and scattered, and BULLY carries a similar energy: Raw, incomplete, and missing that final polish that ties everything together.
From a production standpoint, the instincts are still there. Across BULLY, you get flashes of soul samples, layered textures, and atmospheric synths that remind you why Ye’s ear is so respected. But unlike the grand, fully realized soundscapes of Graduation or My Beautiful Dark Twisted Fantasy, this project leans heavily into stripped-down ideas. The beats often lack major impact and variety, making the album feel more like a loose collection of thoughts than a cohesive statement. I will say this, though: the production is easily the best thing about this project.
As a rapper, Ye feels more muted than ever. There aren’t many verses that truly grab or linger. While the toned-down delivery might reflect personal growth, it also removes the urgency and presence that once made him feel unguardable. The themes are there: resilience, inner conflict, growth, but they never fully ignite. It’s almost like Ye was forced to rap by kidnappers, only finding happiness in doing so when they took a bathroom break.
The features don’t do much to shift that momentum. Travis Scott brings a brief spark, while voices like CeeLo Green and André Troutman add some well-needed texture. Nothing quite sticks. I mean, when it’s pouring outside, you can’t have fun at the playground.
For longtime listeners, there’s always a willingness to press play on a Ye album, no matter what. But BULLY doesn’t quite deliver. It lacks a serious punch, cohesion, and that unpredictable spark that once defined Ye’s best work. At times, it feels like every track is winding down instead of building up. Still, there’s something intriguing about how organically Ye approaches the art, even if the results don’t fully land.
Quincy is the creator of Ratings Game Music. He loves writing about music, taking long walks on beaches, and spaghetti that fights him back.
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