<P> The track is built on a recreation of electronic musician Aphex Twin's piano composition "Avril 14th". The song begins with a minute long introduction sung by Legend . "Blame Game" has a lush, cello - driven production with predominant piano . After Legend's introduction, West raps his verses in a highly melodic manner, almost singing his lines . West's forceful delivery expresses hurt and contempt . The song's soulful sound juxtaposes West's angry lyrics: "been a long time since I spoke to you in a bathroom, ripping you up, fuckin' and chokin' you". He subsequently raps less antagonistically and repeatedly confesses "I can't love you this much". </P> <P> West's vocals are substantially manipulated throughout the song from "naturally clear - sounding and ominously pitched - down as it pans back and forth", as they are slowed down, sped up, edited substantially, and altered in various ways, giving the song a brooding, ominous mood . Pitchfork Media's Ryan Dombal wrote that this effect "bottoms out with a verse in which Kanye's voice is sped up, slowed down and stretched out...The effect is almost psychotic, suggesting three or four inner monologues fighting over smashed emotions ." AbsolutePunk's Drew Beringer commented that the vocal altercations gives the sense of the "multiple personalities and paranoia he tries to overcome ." </P> <P> On "Blame Game", West attempts to call his past lover, but he receives a call back instead and he hears a conversation between her and Chris Rock, who begins an extended monologue approximately five minutes into the song . Chris Rock performs a vulgar, profanity - ridden sketch in which he compliments his lover's dress sense and sexual technique, and asks her who taught her these skills . Each time he asks, the answer is the same: "Yeezy taught me .". Andy Gill of The Independent commented that a similar "alliance of aristocratic piano and cello with less rarefied elements underpins' Blame Game', a brutal rumination on West's sexual appetite". </P> <P> "Blame Game" generally pleased contemporary critics . The Village Voice's Sean Fennessey said that it is "not the flashiest or most forward - thinking song on the album, but certainly the most earthbound . And therefore the most important ." Chicago Sun - Times writer Thomas Conner complimented Rock's "hilarious, X-rated spiel" and cited the song as the best example of West's ability "to contrast the light and dark pieces against each other, the profane and the sacred", writing that it utilizes "Legend's soft, pretty voice to sing a smooth, troubling refrain ." Rolling Stone writer Rob Sheffield called it one of the funniest of West's career, a "confessional" song where he "honestly struggles to figure out why he has to be such a douchebag ." Steve Jones of USA Today cited the song as the album's pièce de résistance that "plays out with growing hostility over John Legend's moody piano work ." Nitsuh Abebe of New York mused that the song successfully showcased a "gloomy and elegiac" presentation . </P>

Who is talking at the end of blame game