DamnLyrics - The center provides all the lyrics

Curriculum 101 - Canibus



     
Page format: Left Center Right
Direct link:
BB code:
Embed:

Curriculum 101 Lyrics


Intro: Claims are being made
That for me go far beyond the available evidence,
And in fact in many cases are often contradictive evidence,
And that bothers me.Forensic psychologist Samual Dubois explains,
"You'll probally never understand Germaine",
Incoherant speaches, puzzles in pieces,
The subchemichal deepness, of his glandular excretions,
Realms of Heaven and Hell,
Glowin angelic gel, spliced wit' bovine leukemia cells,
Demons in Hell, they call to me
I scream "What can you offer me?" they reply "technosorcery"
They tell me the meek will never inherit the world, Cause they weak,
Standin of two 12 inch feet,
I dream quasi-Draconian dreams when I sleep,
Peyote leafs mixed with the blood of a priest
In a room where the ceiling leaks of crimson grease,
Where the living eats the dead, and the dead reek,
Rock bottom transforms human beings to beasts,

Why the fuck you think we got canine teeth?,
It's the optical stimuli, of watching men cry,
I hope I have time to repent before I die,
Bury me at the beach, if the sea is outta reach,
Cause when I speak, what's fluid becomes concrete,
Like a falcon up in the sky, Ten-thousand feet,
Looking down at you bitches, lookin at me,
Phase shiftin to 45 degrees,
I'm too crooked to see, I memorize the books that I read,
Sucking from the breasts of knowledge, constantly weaning,
Unbeseemingly a genious without meaning,
Trying to visualize what Harry Houdini was feeling,
Hand-cuffed under water, without breathing,
Near death, on a fatal quest for air,
But why should anyone care, he put himself there,
His career was based on facing his fears,
To take destiny from the hand of the man upstairs,
He didn't mind the cold stares he got from his peers,
they couldn't tell him where he was going, or how to get there,
It's better to be prepared and fail,
Then to be scared and unsure of yourself, and still get killed,
Don't rhyme like I used to, but I still got skills,
More than a couple confirmed kills, under the belt,
Huntin emcees like huntin elk,
Camoflaged in the dense brush for stealth, determined as Hell,
I don't do this for anybody, except my self,
stuff a muthafucka like a trophy on my shelf,
Fuck the promo nigga, i do this for dolo,
Flow from the first hour to 24 oh oh,
round the clock, long as I cup of cocoa,
But I be a no-show, If my girl cries "don't go",
And if she gimme blow more than two times in a row,
I'd rather chill with her, than kill you wit' a rhyme that I wrote,
Count how many mics I smoked, minus the goat(ll cool j diss)
Bus is dope, my battlin' average higher than most,
When I'm on the mic, I release fire from throat,
If you disagree, please do it quietly folks,
Anybody better than Bis, Must be a hoax,
Black man? No, what about the great white hope?,(eminem diss, start)
What? Man you must be sniffin great white coke,
Don't you know that's like Gary Coleman fightin the Hulk?
Still not even quite that close,
I'm great white bitin you're rubber dingy boat, 50 miles out from the coast,
What the fuck is the Mathers with you?
I'll beat you black and blue, Then I'll get a tat of you too,
matter fact I'll put a tatoo of me on you,
A 10 by 10 C-logo, neon blue,
The most theatrical emcee battle of all time,
I rip jackers like you, you know the call sign,(eminem diss, finish)
Killa cobras, that hover over Jehova,
In motorized autogiros, and sycamore rotors,
Hydrogen proxide, gaseous vapours,
Technically these words shouldn't even rhyme off paper,
In theory, for every soul that can hear me, I'ma blaze em,
In practical practice, my style's even greater,
Can't you see what I'm spittin, Can't you hear the difference,
Compared to me, you're energetically inefficient,
You need ten times the enzymes, to process one of my rhymes,
You got to rewind every one of my lines,
Do you know how to paraphrase?,
Do yo even understand what the narrorator is tryin to say?,
The climax explodes, nobody can foreshadow my flow,
Figuratively the language is too dope,
Acedemic journals print my lyrical quotes,
they show parralellism in all the albums I wrote,
In any track, I come off strong automatically,
Whether I write in an active, or passive capacity,
Poetry that I spit, is synonymous to a glyph,
Written on tablets of clay mortar mix,
Super, truly superb, analyze the words,
It's like observing the birds, flying above the earth,
The Eye of Horus, the miniture tauri within a great torus,
With singularity on the chorus, I still sound enormous,
Borderlin insanity, tryin' to break through humanity's border,
With a new cirriculum every quarter,
I'm the porter, of the portal, of the secret Mic Club Order,
Baptize you wit' Jamaican white rum and water,
If you got a hundrd bars, than I know you a warrior,
I'll be the one that awards you, and pins the metal on you,
Dedicate a song to you, cause now you honorable,
You want a record deal?,
Explain the lyrical grand unified field,so I can test your skill,
Do it in front of the class, chart diagram it,
And write in Latin, not Spanish god-dammit,
Step back so I can look at it, (speaking in spanish)
Huh?, what the fuck is that whack shit?
You're clumsy and dumb, like a hand with five thumbs,
Welcome to MicClub, Cirriculum 101
Song Discussions is protected by U.S. Patent 9401941. Other patents pending.

Enjoy the lyrics !!!
Born Germaine Williams in 1974 in Jamaica, Canibus moved to the United States with his mother at a young age. Because his mother's career required constant relocation, the family moved frequently and the soon-to-be rapper found solace within himself. His rhetorical abilities blossomed later, once hip-hop became the guiding force in his life. He began rhyming and in the mid-'90s joined a group called T.H.E.M. (The Heralds of Extreme Metaphors.)

This group consisted also of his partner Webb. Following a fallout with his partner, Canibus pursued a solo career and began infiltrating the mix-tape circuit. By 1997, he had approached the brink of the major-label rap game, guesting regularly on high-profile releases: He contributed to "Uni-4-orm," an inclusion on the Rhyme & Reason soundtrack also featuring Heltah Skeltah and Rass Kass; "Love, Peace & Nappiness," an inclusion on the Lost Boyz's Love, Peace & Nappiness also featuring Redman and A+; "Making a Name for Ourselves," an inclusion on Common's One Day It'll All Make Sense; the non-album remix of Wyclef Jean's "Gone Till November."

And most famously, "4, 3, 2, 1," an inclusion on LL Cool J's Phenomenon also featuring Redman, DMX, and Method Man.

Of the several guest appearances, "4, 3, 2, 1" certainly meant the most, as it brought together many of New York's preeminent hardcore rappers and thus ushered Canibus into that same elite class. At the same time, however, Canibus lashed out shortly afterward with the Mike Tyson-featuring "Second Round K.O.," where he rhymed, "So I'ma let the world know the truth, you don't want me to shine/You studied my rhyme, then you laid your vocals after mine."

In fact, the entirety of the song directed barbed rhymes at LL: "You walk around showin' off your body cause it sells/Plus to avoid the fact that you ain't got skills/Mad at me 'cause I kick that sh*t real niggaz feel/While 99 percent of your fans wear high heels," and so on. Shortly thereafter, LL sought his revenge, releasing "The Ripper Strikes Back" on the Survival of the Illest soundtrack (1998) and thus channeling even more attention toward Canibus.

From the track's chorus ("Can-I-bus? Yes you can!") to practically every line of the verses ("You soft as a newborn baby takin' a nap/Make my dick hard with that bitch-ass track/Where you at? smokin' in some one-room flat/Suckin' on Clef's dick hopin' to come back"), LL unleashed a fury of insults and threats. The media, of course, elevated the battle to grand heights, as even MTV gave the story headlines. In the aftermath of 2Pac's and Biggie's deaths, such confrontations fascinated the rap community, and Canibus certainly capitalized on his newfound publicity.

As for his debut full-length, Can-i-bus (1998), though, the response was sobering. Critics expressed little support, and sales quickly dropped as listeners also felt genuinely disappointed. Executive produced by Wyclef, the album suffered on many levels, both production-wise and rhetorically as well (critics targeting Canibus' delivery more than his lyrics or themes). The momentum that "Second Round K.O." had generated simmered almost immediately, and it didn't help that LL's "Ripper Strikes Back" found substantial acceptance at the time as well.

In the two years following the release of Can-i-bus, the rapper maintained an extremely low profile, much in contrast to the regular guest appearances he had made leading up to his debut. As a result, when he finally did return with his follow-up album, 2000 B.C. (2000), few noticed, it came and went generally unheard, and Canibus returned to the underground after parting ways with Universal. He continued to record albums and release them on the independent circuit (including 2002's Mic Club, 2003's Rip the Jacker, and 2005's Mind Control); furthermore, he retained a small base of fans as well, yet his days as the next-big-thing had clearly come and gone, as they similarly had for so many other talented rappers.

User-contributed text is available under the Creative Commons By-SA License and may also be available under the GNU FDL.

View All

Canibus