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Showtime At The Gallow - Canibus



     
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Showtime At The Gallow Lyrics


This is Showtime at the Gallows
Rip The Jacker
Yo, I dialogue wit Amen-Ra 'til he gives me the nod
Or replaces me wit a supercomputer automaton
I don't barter for time I'm a martyr to rhymes
And a selfish soldier wit pride that was ordered to die
A burnin' star in the sky my heart is warped wit a drive
Expressin' thoughts through a rhyme my metaphors are alive
It's like I've been crucified they hate me now like Nas
They punctured me through my side the bleeding was cauterized
I was revived after I died
Only then I saw how I was truly admired and worshipped like a god
Shit'd mired up my mind they showed me a sign
I fell off the ocean liner someone throw me a line
Let the world know the truth but it became my demise
Mothafucka you know we even I don't owe you a dime
Sometimes I feel like killin' myself they've stolen my shine
I wanted to be the illest for a moment in time

From the ink to my pen to my pad to the ink in my arm
How can one diss song possibly last this long?
Tyson ain't the champ no more them days is gone
And Rip the Jacker ain't too stubborn to say when he's wrong[HOOK]I should get twenty dollars and go to Econolodge
And tie the sawed-off trigger around the doorknob
Call the police squad and tell them I'm in room one oh five
And that a dirty bomb's inside
Woke up in the cargo plane playin' Christy Lane
For some entertainment while I train in the misty rain
"One Day at a Time Sweet Jesus" is playin'
I'm sittin' there prayin' you prolly can't believe what I'm sayin'
But the voice in the back of my head keeps sayin' "Germaine
This is the real deal man this is not a dream this is not a game
The only sixteen you got from now on is locked
and loaded and in your hand
Deploy or detach on land you the man
And the pain is the weakness leavin' the body, understand?
I can reload wit a full pack call COMSAT
Tell them you need suppressive fire for troops in the back stat
Insurgence and counter-insurgence move wit a purpose
Absolutely mission critical you never get nervous
Applicate the shock tube to the surface
Standby blow it eyes open wit the scope on the terrorist
Tell him to go to hell in Arabic put a bullet through his narrow neck
Watch the wall behind him get wet
I'm an animal I'll murder you and stare at your pets
Get the tape I know where the surveillance cameras is kept[HOOK]If you want a confession? you got it
You want product? Gimme twenty dollars
You want gossip? I'll give you logic on any topic
Recordin' the positive data
Ripper's the best rapper go confirm the status
One million page dissertation written on paper
Cheap label from Pitney Bowes' tree curator
My purification process is greater
But thinly tapered verbatim
My album is equal to over fifty acres
Can-I-Bus before the Big Bang
And after the big crunch I only gotta say it once
Let there be light and I write a sentence
The greatest discovery since 'opethicus afarensis
Back to before Sumerians landed on the Cayman
In the Caribbean carryin' bacteria with antigens
And Nine-foot stone mannequins
The key to nuclear power and four delivered talaria
Showtime at the gallow the Age of Aquarius
And Space Harrier's life's last barrier[HOOK]

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