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Shove This Jay-Oh-Bee - Canibus



     
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Shove This Jay-Oh-Bee Lyrics


Yo six o'clock every morning you waking up yawning
To the sound of your alarm clock alarm
About an hour from now
You should be at the place of employment
Which is annoying cause it's so boring
Your co-workers are talking too loud for you to ignore them
It affects your occupational performance
You wonder why your work load is so enormous
Because your boss just laid off three quarters of the whole office
People get depressed, they get ulcers
From the stress that the corporate environment causes
Regardless of how you ultimately want to solve this
Seems to me like you've got one of four choices:
You could take a new job offer for more chips
Stick it out a little longer or forfeit
But my advice to anybody that wants to quit
It'll feel much better if you say it like this:Take this job and shove it
I ain't workin' here no more

Take this job and shove it
I ain't workin' here no more
Take this job and shove it
I ain't workin' here no more
Take this job, take this job, take this job and shove itYo, if your boss is a S-O-be
Tell him to S-H-O-V-E the J-O-be
Put your middle finger up slowly
Put it close enough to his face so he can examine it closely
Say I ain't workin' here no more
Who do you think you are?
Rip your apron off, throw it on the floor
Run to the door, to the payphone
Make a toll-free call
Tell your spouse what happened and where you are
So they can come and get you in the car later on
And help you search for a new nine to five job
If the unemployment line ain't that long
You can take your time printin' out W-9 forms
Eventually, you'll get on if you try hard enough
And you'll get money if you keep punchin' your time card enough
Maybe you hate it, maybe you love it
But if you hate it all you gotta do is get mad and tell the boss toTake this job and shove it
I ain't workin' here no more
Take this job and shove it
I ain't workin' here no more
Take this job and shove it
I ain't workin' here no more
Take this job, take this job, take this job and shove itYo, some occupations are like slave gigs
The boss is favored and get placed in something spacious
While the most hated get placed in some small cubicle spaces
Or get thrown down in the basement, get your stapler confiscated
You constantly waitin' for a paycheck
Twelve months passed by and you still ain't get paid yet
Here's a optimistic motto
If you ever late for today you could say you early for tomorrow
Most nine to five's are hard
'Cause the description in the job ain't no picnic in the park
People get hired
Drink coffee to stay wired
So they don't get tired, sleep late, and get firedYou came in late, you already ate,
Nowww, you want to take a lunch break!??!Ay, yo bust it, ain't no need to discuss it
Just take this job and shove it, right between your buttocksTake this job and shove it
I ain't workin' here no more
Take this job and shove it
I ain't workin' here no more
Take this job and shove it
I ain't workin' here no more
Take this job, take this job, take this job and shove itTake this job and shove it
I ain't workin' here no more
Ah Ah ah ah ahahah ah
I ain't workin' here no more
Take this job and shove it
I ain't workin' here no more
Ay Ay Ay ayee ay
I ain't workin' here no moreCanibus and the Biz
It's comin' from Canibus and the Biz
It's comin' from Canibus and the Biz
From, from Canibus and the Biz
Songwriters
REMI, SALAAM/WILLIAMS, GERMAINE/COE, DAVID ALLANPublished by
Lyrics © Sony/ATV Music Publishing LLC, Warner/Chappell Music, Inc. 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.

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Canibus