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Desperados - Canibus



     
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Desperados Lyrics


[nas escobar]
You ever dance with the devil under the pale moonlight?
Desperados, travellin
What the fuck's up son?
We could do this word up, we could do thisChrous: the firmSpend too many nights on the henny gettin right
Breakin big face bennies, bettin against the friendly dice
I can't call it, it's goin too good to spoil it
Tell it like it is, the raw shit never rewarded
(repeat 2x)[canibus]
At a thousand degree celsius I make mc's melt
Fuck my record label I appear courtesy of myself
Let me explain how I maintain thresholds to pain
I walk across the sun barefoot lookin for shade
I rearrange your rib cage like a twelve gauge at close range
And change the position of your brain
My hard raps penetrate through your hardhats and all that
Nigga, get ya wig peeled back
I scalp you like the indians on horseback

Running bull will hit you harder than runningback
Stunning man with brave and cunning rap
Swiftly running laps around 48 tracks
Like uncut crack you fiends keep coming back
Heads is flippin like acrobats on gym mats
From wax to analog tapes to digital dat's
It's critical black, that canibus is ill like that
In fact perhaps you should quit rap, instead of always
Tryin to diss back, cause niggaz keep tellin you that your shit's wack
I rip raps, hardcore raps rushin you to the floor mat
Put you in the figure four, break your thorax
Jump off the top turnbuckle and land on your back
Til I hear it snap or crackle, the ref says chill black
You get clapped bringin the wrong raps to combat
Like bringin a paint gun to a shoot out with real gats
Y'all niggaz is wack, rappin over microphone feedback
My intelligence begins where yours peaks at
From fox boogie in the see-through brasierre, to nasty nas here
My nigga nature'll explain it further if it's not clear[nas and foxy brown]
Millionaire look at the sky make sure it's still there
Ice grill stares and my jewelry is in every year
Pierre cardan back in a dapper dan time
Now flex, angle wrecks, foxy rock van klein[nas escobar]
Initiated to the firm shit, real thugs learn quick
Sit back and feel the ultimate hit
Initiated to the firm shit, real thugs learn quick
Sit back and feel the ultimate hit[az the visualiza]
Yo lock in, do the knowledge, follow the doctrine
We clockin, on your airwaves, keepin it rockin
Blaze up, make fire, light your purple haze up
Betcha tired, bitch ass niggaz need to be caged up
So raise up fuck the playin, I'm sick of layin
I can picture sprayin off an sk, shells ricochetin
Snatched up, in supreme court, eyes half shut
Co-defendant caught a life sentence, seem him crack up
React what, who will, bail two mill'
Nigga cool still bet I'll be home before the news will
Blast fuse and leave purple frank matthews
Perhaps you confuse the concept black, cash rules
Incog-ged, another had more deez involved
Known freeze condo seize seven keys dissolved
Daily routine, speakin up for niggaz who sling
Hand to hand on them street corners claimin you king
It's time to lock this, join with us, let your glock spit
Guzzle the toxic, only fake niggaz drop snitch
Get your guns out, it don't take much for me to dumb out
Play one route, lay ya shit down and run south[nature]
Here's the cause of this shit, more statistics
Deeper than the laws of physics, malibu sand ,the gorgeous bitches
Weed from 1-2-5, my whole crew live
A true desperado, one that never choose sides
And show sympathy, just qb, an entity
Stock exchange, top of the game, watch you mention me
Image is nothin just obey your thirst
I blaze the purple haze, sit in a daze, then display your birth
For those concerned or just eager to learn
I speak for the firm, was told to keep the cheeba to burn
Stashin my riches, past traditions, like olympics
Pass the torch flip shit so y'all could picture my thoughts, I'm driftin
It's type ill wakin up lookin like filth
Twenty years younger same hunger same ice grill
Genetically form grade a pedigree
Born to carve rhymes, a swift tongue helped to set it free
Theoretically peep how we bless this, young and restless
Guns and westins, learnin to connect through lessons
From cool feats to camps, niggaz shoot back
It's a proven fact, nine-seven's mine, y'all niggaz move backChorus

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.

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