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The album did not commence with a song, but rather like most mainstream LPs with a spoken Intro. It featured Bis typing on the computer trying to decipher a program to hack into a system and downloads this album, which fit Bis's personality well since he loves technology and computers. After this, the album kicks off to a lively start with Patriots,which actually did not have such an unfitting beat and featured Fugees member Pras and Free from 106 & Park. With a flamboyant piano loop added with violin synthesizers that pounded each note heavily along with the hard beat, Canibus delivers his signature battle raps that are nothing short of classic. From album to album, it seems his style of rhymes alters just a little bit, but this kind, the braggadocio delivery and rhymes, seems to be my favorite out of all. For an example of what I mean, check this out: "Don't even talk about guns The only "nine" you got is a five dollar bill and four ones So I don't give a f*ck what none of y'all n*ggaz say Cause anything that can't penetrate ricochets Rhymin with me on a record? You might as well have died and went to hell Instead of heaven cause my rhyme weapon Is like a medieval torture method Your four limbs tied to four horses all pulling in different directions In this profession I get busy without a question Seein me is like seein a vampire's reflection" Get Retarded was another great addition of masterful rhymes. However, I didn't like the beat as much as others would praise it so. I didn't find it even a bit catchy to harmonize with his hardcore lyrics, with the weird synths that made it sound like whining noises, though the sample of the yelling, "G-G-G-G-Get Retarded!" was a bit interesting. Bis was raw and blazing the track as always; it's just the strange beat that lagged it down a bit. But hey, this is just my opinion; the only thing I think that everyone can come to an agreement on is Bis's illness. Finally, the battle rapping ceases for the duration of one track, unique for the fact that Bis breaks out his mold of fierce lyrically equipped lyrics to craft the creative Niggonometry. And yes, you guessed it; this does play around with the concept of math, and in a witty and rational manner. Each segment of rhyme schemes addresses of a different state of affairs, and keeping in mind that someone as intellectual as Canibus being behind this, you will find some very intricate topics tackled, as well as some funny yet logical matter. In every division of rhymes that he separates, he ends it with a question, leaving the listener to have the idea lodged in his brain or at least ponder the subject for a while. The only thing flawed was the exceedingly soft and relaxing beat that barely matched his lyrics. Taking into account that it samples off of Sesame Street on both the beat and chorus, which consists of half of the letters spelled by people in that kids' educational show and the other with Bis shouting in defiance, "Nometry!" It ended at a funny note nonetheless, with a man asking what to do with the letter L, which follows, "F-U-C-K L-L!" This fits very well, considering the next track was... The notorious Second Round Knockout, Bis's battle track against his arch enemy LL Cool J. This really shouldn't need any introduction, considering how big this single was, as well as the hype that built up surrounding it, so I don't think it is neccessary for me clarifying how the beef between the two went down. All I need to inform you of is that only at this particular time should you believe in the hype, because this sure lives up to it. The beat this time was not bad, though still fairly simplistic. The main features of it was two divisions of three-noted low basslines, opera/choir-like singing that haunts the scenario and makes it more vivid for the listener's ear, and the nice hit snare altogether with dope hi-hats. But what of course steals the show is Bis's display of venomous lyrics, and exactly why he is the illest battle rapper alive. His two long verses explicate perfectly just how battle verses are meant to be written: accurate punches filled with hard personals. I'm not sure if I'm the only one, but these lyrics are also very memorable, as I assure you that as soon as you hear it just a couple of times, or perhaps just once, that you will be hooked into it and momentarily begin to chant the formidable lines with him. From the beginning to the end, he stopped at nothing to attack LL for all that he was worth, pinning the veteran down with his battle-styled lyrics, "You walk around showing off your body, cuz it sells/ Plus to avoid the fact that you ain't got skills/ Mad at me cuz I kick that sh*t real n*ggaz feel/ While 99% of your fans wear high heels...I'll let you kick a verse, f*ck it, I'll let you kick them all/ I'll even wait for the studio audience to applaud (*crowd cheers*)/ Now watch me rip the tat from your arm/ Kick you in the groin, stick you for your Vanguard award/ In front of your mom, your first, second, and third born/ Make your wife get on horn, call Minister Farakhan/ So he can pursuade me to squash it/ I say, nah he started it, he forgot what a hardcore artist is/ A hardcore artist is a dangerous man, such as myself/ Trained to run twenty miles in soft sand." Canibus once again educates the listener touching upon an intelligible topic on the Martin Gaye-sampled What's Going On, in which you find Bis applying knowledge of the plethora of gunplay encircling the life of a rap artist, showing the large sectors of clubs being targeted for someone to shoot up the place for the mere purpose of going at the performer, who in this case is Canibus. I agree with him whole-heartedly that it should be put away. It was interesting to see him giving the viewpoint that the government wants this to happen so they can use it as an excuse to shut down rap, because he just may be right; this is something we will never know, especially with so many conspiracies and lies we are given by the American government. The beat was slow and solemn, which corresponded with Bis pretty accurately for this track. On I Honor U, Bis drops a thoughtful ode to his mother. However, it was so unorganized that I couldn't possibly give it a 5. I mean, the lyrics were straight fiyah, but there were too many transitions of the production and everything else. See, the chorus has a heart-filled piano loop and an R&B hook, but when the verse starts, it automatically changes into a weird beat consisting of strange synths that was completely unfitting. In my opinion, the piano loop should have been the supply for the instrumental instead of the synth-contained beat and probably would have done the song a lot more good than the current one that you will hear. The lyricism was great, with each verse about a different yet chronological subject. The first was about his mother getting acquainted with his father, who he seems to detest for all he is worth. The second was very creative, as he personifies himself as the sperm that makes her mom pregnant and basically creates him, explaining the process of creation. The third tops it off with affectionate lines about his mom while he personfiies about still being inside of her, sad that he cannot hug her in his arms because they aren't developed yet. But even then, he still swears under the Almighty God that he will be there for her. And by the emotions expressed and the insightful lyrics, it was obvious to tell that he was not lying when he made his statements. Canibus' creativity shines on Hype-Nitis, a song in which he metaphorizes hype as a disease, breaking it down with four dope eight-bar verses. The beat gave the song an empty feeling, with the lack of heavy instrumentation, but this still fit pretty well considering the tempo and mood of this track. Also, the chorus matched this feeling exactly with the slow whisper crooning of Jenny Fujita, which sounded very sinister and sly. Canibus breaks the cycle of creative songs without utilizing battle raps on How We Roll, but he demonstrates that this is not bad at all. His lyrics were nothing short from sublime, and what was even more interesting was his vocal delivery. Instead of rapping straight-forwardly with his raspy voice, he enunicated heavily on certain words to emphasize his point and is very entertaining to listen to. This was straight braggaodcio/battle rap at the fullest, though the played-out chorus by Panama P.I. and the beat needed some work. The same problem occurred on Let's Ride, only it suffered a worse outcome. The overly laid-back beat did not fit Bis whatsoever; neither did the ridiculously minimal chorus by Pras, Wyclef, and Product that had too many unncessecary pauses and seem to only consist of two words, "just ride". However, Bis's lyrics once more were subpar, especially a reference to Bone Thugs 'N' Harmony and emulating their style of flow precisely, "Spittin like Bone-Thugs like, "N*gga-what? I'm-fin-to-get-a-gun and stick-em-up"/ Then crush a Thug's Bones with a chrome slug." Want to hear a Canibus classic without it being a battle track? Please avert your attention to the omnipotent Channel Zero, which displays not only Canibus' logic and knowledge, but also his virtuoso lyricism that has him so highly ranked in terms of lyrical ability. Bis will surely avert your attention to his as he raps about political issues in American history, a fault stated in the Bible, and others that will keep your mind thinking and working. The beat is intricate as well, this time with fast-paced plucking synthesizers to benefit Bis more than damage the song's quality. "I'm talkin bout the grand deception, of 1947 When our souls were sold to the heavens For technologically advanced weapons Crystal enhanced, brain implants, and mind control methods MJ-12 is not majestic, and the focal point Of our problems on this planet are not domestic You can accept it or be stupid and be a skeptic And fail to recognize the secret society's deathwish Ninety-seven percent of our Presidents were Masons Responsible for launderin trillions of dollars from the nation For the construction of underground military installations Abductions and cattle mutilations, experiments on human patients Can take place in several subterranean bases A hundred and fifty stories below a basement With knowledge of genetic information You need to fear science not Satan" At number 12, we have arrived at Buckingham Palace, another lyrically-energized track without a good backing production. The beat's use of frequent kicks matched Bis' hardcore punches, but everything else fell apart from there. The beat was too eerie and unusual to be enjoyable, especially with the haunting and droning-like melody that sounded so unplesant. The chorus, also, is the most rnadom I have ever heard from Bis. Cmon, "when I say, Can I, you say Bus?" Does that even have a little relativity or even creativity? That sounds something he would do with the crowd at the concert. The hook was whack, period. However, this is where Canibus stops at no cost to drop quotable after quotable of ill punchlines. Showing every potential line would take up the whole page, so I will just show this vital piece of art that Bis rips during the third verse that made my jaw drop: "Canibus is the ultimate executioner's dream Swingin the guillotine, cuz whenever the head is severed From the human body with a sharp enough weapon The brain remains conscious for ten seconds Long enough for me to give you one last message And when you get to Hell you can tell Lucifer I said it" The album closes off with the unfitting and unneccesary Rip Rock. I understand that Bis was attempting the concept of mixing hip-hop with a little rock-and-roll, i.e the definition of "Rip Rock", but Wyclef completely ruined it with the uninspired and terrible rock-driven beat. First of all, the guitar riff was idiotic in my ears; the production should have sampled from a critically-acclaimed rock band with nice guitar solos as the loop instead. It was also a bit off-putting to hear Canibus singing with his grimy voice almost like a rocker, "We got it, got it, we got it got it got it". Above all of the negativity, Bis' lyrics save the day as he dominates yet again. I highly advise you to buy this album. I know some of the beats and terrible, but if you are a fan of Canibus and dope lyrics, then you will not regret it for sure. Canibus is top-notch lyrically here, with absolutely no flaws in word choice, metaphors, wordplay, or flow. This is truly an album that carried itself on by lyricism. This...is Can-I-Bus. |
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