Due to his military obligations, Canibus himself only managed to review the album after having acquired a copy. Whatever the subject, the rappers’ brains activated differently during the improvised flow versus the memorized lyrics.
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During his prime, Canibus was regarded as one of the elite lyricists in all of rap. People who use large quantities of cannabis may become sedated or disoriented and may experience toxic psychosis – not knowing who they are, where they are, or what time it is. High doses may also cause fluctuating emotions, fragmentary thoughts, paranoia, panic attacks, hallucinations and feelings of unreality.
With Bis back to his old self, he is flexing all the lyrical muscles he has and he is very impressive on the mic. Too bad the production on this album can’t always keep up. It’s not the beats are weak or anything, but it’s just not as good as it could have been, as there are a few good samples what this release could have been, if all the beats were up to par. This is still one of the better Canibus releases and for fans or people who want to know what Bis is about, this is a very good listen.
With that in mind, we’ve handpicked the best five tracks from Canibus’ often forgotten LP. What were your favorite songs from the album? Tell us in the comments below. Various concentrations of THC, cannabidiol (CBD), or hybrid products exist in products found cannabis dispensaries in states that have legalized recreational marijuana use.
Canibus had a feud with LL Cool J over a verse that Canibus gave on LL’s track ” 4,3,2,1 ” from his album Phenomenon The track featured Canibus, Method Man , Redman , and DMX Canibus’s verse began with the line “Yo LL, is that a mic on your arm? Let me borrow that,” referring to the microphone tattoo on LL Cool J’s arm which LL Cool J interpreted as Canibus insulting him. When the final cut of the song came out it featured LL Cool J‘s verse after Canibus’s, mocking an unspecified person believed to be Canibus.
A track entitled “Spring Training” was released by Joe Budden two days after “Lyrical Law VS Joey Cupcakes” containing lines directed towards Canibus. To many, the track appears to be a response. This is untrue however, as the track was recorded prior to having a conflict with Canibus. As of June 2011, an official response from either Royce or Budden (aside from brief messages on Twitter) has yet to surface.
List Rules Vote for your favorite Canibus songs, not just singles and hits. In the late ’90s, Jamaican-American battle rapper Canibus seemed poised to make a mark in the game with his aggressive, snarling rhymes and hardcore posturing.
Despite dropping one of his best albums, For Whom The Beat Tolls was hard to find. Not many stores carried it. Yet, sources close to Canibus stated that the album sold 60,000 copies. Which is an incredible amount for an independently release album, especially considering the weak distribution.
LL Cool J was on top of his game, a legend who was still selling records by the millions. No rapper really had gone at LL in a while since LL Cool J was infamous for lacing rappers.? Canibus kicked a rhyme on “4,3,2,1” that was taken as a direct attack against LL, “I snatch your crown witcha head still attached to it”. LL Cool J ended up recording a subtle diss right back at Canibus on the same track!? After a few bad words, the beef’s effect on Canibus’s career would change him forever.
I can’t imagine any of the four emcees being satisfied that this music saw a release. The mic performances are good with some real tight lyrics, as one would expect. Everything else is just quickly thrown together and meant to make a quick buck or something. This was not an official release and I don’t think there ever will be real HRSMN release. At least this is a short ride with only 9 tracks at 38 minutes.
On the mic Bis is still micnificent, even though he is only spitting battle rhymes. It’s still very good stuff, but some people might want a little bit more out of there albums. The production is not going to win any prizes for Best Produced Album Of The Decade or anything, but it really serves it’s purpose and is miles better then Bis’ debut. Unfortunately for Bis the sales for 2000 B.C. were rather underwhelming (as far as I know Can-I-Bus is still his best selling album) and he was eventually dropped by the label.
All Canibus did was write and spit. It was up to Stoupe to complete this album. For the first time in his career, Canibus was given the beats he deserved. The beats kind remind of the stuff that he did on Visions Of Ghandi and Legacy Of Blood (though I personally think it sounds more like the latter), but with a twist to it. For this album he gave the beats something extra, that give them a bit of a mystical feel. It’s hard to put your finger on, but it’s something that works incredibly with Canibus (and just wouldn’t fit as well with Vinnie Paz). Each track is incredible, as Stoupe keeps making heat. ‘Poet Laureate II’ deserves some special attention, not just because it’s one of, if not the, most celebrated Canibus song. Not only does Bis killed with one big ass verse, but Stoupe also kills it with an ever changing beat. Mindfuckingly good.
Yet someone on Wikipedia kept track of him all the same, and chronicled his professional ups and primarily downs, like when he humiliated himself by pulling out a notebook during a battle rap and rattling off his pre-written verses in a battle in Canada, at a length and with an exhaustiveness more befitting a World War or the career of The Beatles.
An underground hip-hop fan in my opinion stays by his artist as opposed to your run of the mill mainstream hip-hop groupie who just tends toward what is pop at that particular time. Artists come and go in the mainstream, but in the underground, I find that artists get a fan base that’s solid. Canibus needed that after releasing the independent “C” True Hollywood Stories in 2001. Canibus showed his resiliency against mainstream standards for the first time. He wasn’t Wyclef’s signee anymore, he was his own artist. Sadly, this album wasn’t good at all. It was abstract Canibus that I wasn’t used to. I was a fan of his fresh lyrics and insane flow. Canibus again takes a shot at a hip-hop mainstay, this time Eminem. He acts like Stan, Eminem’s fictional fan, and starts dissin Em. I’ll be honest, the diss was pretty weak. Eminem was on the top of his game, a frail diss by Canibus had no chance of stopping his momentum. Luckily, within a year Canibus rebounded with a dope independent release.
Canibus raps on the aggressive salvo, “Canibus Man,” which cooks up a pulverizing track dominated by steady drum kicks, snares, and electric-guitar riffs. The rapper rips it to shreds – lyrically – with his relentless stream of quotables while coming at the neck of all possible contenders with an 100-bar challenge. Canibus gets especially vivid on the third verse. Overall, the song displays why he was considered an elite lyricist by many of his peers during his prime.
C of Tranquility was released on Oct. 5, 2010. Producers include DJ Premier , Irv Gotti , Jake One , Scram Jones , Tha Bizness and J-Zone 14 Originally recorded in 2008, it was sent to Interdependent Media for track mastery and release. Many of the beats were changed, and a few of the tracks were shortened.
That is really all there is to it. You can argue about what influenced Rap, whether it be the Blues, Jazz, Jamaicans, The Beatniks, the late 60’s civil rights feel, UK Punk, all that stuff, and you would be right. All of those elements were mixing in the culture in NYC and even in the LA and Oakland areas back then. Those elements developed into what was considered Black Music”, funk, groove, disco, and it just so happened that Rap developed out of what was popular at the time.
Listening to this album is a very intense experience to me, when I ever put this on, the whole album seems to come to life. Canibus is at his very rawest and Stoupe just brings it home with beautiful beats. Funny thing is that Canibus himself didn’t hear the finished project, until he ordered a copy of his own album (obviously because he was somewhere in the Middle East most likely). I think he must have been very pleased when he first popped this in. I know I was and still am. This is the one album everbody expected in the first place.
His very next album, Mind Control, would receive him no acclaim whatsoever and was seen as a huge step backwards 11 for the rapper, and would be the start of what is considered to be a downward slope for him.
The researchers also found that the medial prefrontal cortex lit up at the same time as language and motor areas of the brain — no surprise given that rappers had to think of words and produce them with the muscles of the mouth and jaw. This network of brain areas also communicated heavily with the amygdala during freestyle rapping, likely indicating emotional activity, a function of this deep-brain almond-shaped structure.
He began rhyming in the early ’90s and by 1992 under the name Canibus Sativa, and formed a duo called T.H.E.M. (The Heralds of Extreme Metaphors) with Atlanta rapper Webb (now called C.I., also known as Central Intelligence). In 1996, T.H.E.M. split and Canibus teamed with businessman Charles Suitt. That same year Charles Suitt introduced Canibus to platinum producer Frankie Cutlass and the two collaborated on a song. Canibus also appeared on the Music Makes Me High remix by the Lost Boyz featuring Tha Dogg Pound making it Canibus’ first official appearance on a record.
On Ghetto Supastar’s token rap-rock track Can’t Stop The Shining,” Pras is upstaged by Canibus—and really, he’s upstaged by everyone on the album. (Compared to Pras, a minor West Coast gangsta veteran like Mack 10 is 2Pac reborn.) For a while there, Canibus didn’t just upstage rappers like Pras; he upstaged good rappers as well.
I have the album where “Poet Laureate II” from. It has some dope beats and nice rhymes, but about 80% of Canibus’s lyrics on it are about himself, what a great rapper he is, and how he’s been unfairly dismissed by others. Even in a self-centred genre like rap that’s too much too swallow. Whenever he talks about something else than himself, it gets interesting, but then he always returns to his favourite subject. Also, I think his flow is too monotonic and pauseless, it gets kinda boring after a while.
That’s what the club was chanting last night as they waited for Canibus to hit the stage Saturday night, sometime after midnight. Eventually the rapper appeared and immediately launched into his performance. Just one track in, he had to clear the sweat from his brow. The perspiration indicated the level of intensity with which Canibus would work his way through his heady music all night.
On 2000 B.C. Canibus battled his ass off and remained without a label. The next year Canibus was ready to show he could do more then just spit battle rhymes, as he released his new album, C True Hollywood Stories on an independent label.
To sum up, it is unfortunate that Canibus lost the battle but the fact of the matter is Bis is not not built for that type of forum anymore. We all know Bis is a lyrical monster and his entire catalogue of tracks and albums is proof of that. Vendetta: Battle Royale was the first time since as far back as I can remember that Canibus has availed himself to an actual battle” of this magnitude and guess what…he lost to a guy who is considered the ‘KOTD Champion’ and only writes battle raps specifically for this arena at an event held in his hometown. Obviously the odds were against us.
I will say that Lyrical Law is a little rough around the edges though. At first I was just struck by this release and I was certain this was Canibus’ second best effort to date. After the wow-effect subsided a little, I was still satisfied with the album, but I noticed a few problems with the album, like the aforementioned ‘Rip Vs. Poet Laureate’ track. However there are a few more minor problems, like the intro, which is just a bogus track and the album just stutters a bit to the end with that acapella outro. I think the album is pretty dope, but there are times where I feel that the album just plays a bit too long.
Canibus intended the line as a tribute, but LL took it as a diss and delivered a ferocious rebuke to the young MC that briefly reignited Cool J’s career and passion for rap. Meanwhile, Wyclef took the red-hot battle rapper under his wing, and together they created something tepid and lukewarm: Canibus’ underwhelming 1998 debut, Can-I-Bus.
Canibus released his latest CD, Rip the Jacker, in 2003 to acclaim. He takes his lyrics to another level, to the point where you need a Ph.D. just to understand what Canibus is spittin’. Most artists dumb down their topics so they can get a large fanbase, but Canibus isn’t about that anymore. He spits what he wants on this record, not what a mainstream artist like Wyclef would have wanted. He even describes the creation of the weak “C” True Hollywood Stories and disses to Eminem, due to depression. The creation of this album is truly original. You see, Canibus decided to join the army, and actually recorded this whole album accapella. Stoupe of Jedi Mind Tricks then matched beats with Canibus’s lyrics, a style of hip-hop that is rarely ever seen. This just goes to prove how ill and original of a lyricist Canibus is.
To sum up, it is unfortunate that Canibus lost the battle but the fact of the matter is Bis is not not built for that type of forum anymore. We all know Bis is a lyrical monster and his entire catalogue of tracks and albums is proof of that. Vendetta: Battle Royale was the first time since as far back as I can remember that Canibus has availed himself to an actual battle” of this magnitude and guess what…he lost to a guy who is considered the KOTD Champion” and only writes battle raps specifically for this arena at an event held in his hometown. Obviously the odds were against us.
The Score, The Miseducation Of Lauryn Hill, and, if we’re being generous, Wyclef’s debut may loom large in the mythology of hip-hop, but so do albums that, at this point, have never been released: the third Fugees album and Hill’s official studio follow-up to Miseducation. What the trio didn’t go on to do seems nearly as important as what they did, if not more so. They didn’t go on to make albums together as the Fugees, or, in Hill’s case, make albums at all after a certain point.
At no point in time did I ever ask to hear Canibus’ bars prior to witnessing the event live like everyone else. Nothing in our work history or his career before I entered the picture would give me any reason to believe that his material would not be up to par and therefore why would I need to hear it.
I’m pretty sure most rappers who rap about demons and aliens are not expecting anyone to think they’ve actually met demons and aliens in real life. So yeah, it’s a bit different to talk about that stuff in a song than to put it in a blog post as an excuse for some IRL misbehaviour.
In 2001, Canibus released his third album, C True Hollywood Stories , the title and some of the content deriving from the television show E! True Hollywood Story It was released on Archives Music, an independent label owned by Williams’ future business partner, Louis Lombard III. It was a controversial release due to the album’s overall concept, which to this day remains quite unclear to some. Many listeners interpreted it as Canibus’ botched attempt at becoming a commercial and mainstream artist and wrote him off as a one-hit wonder , while others have called it a concept album in which the rapper satirized the mainstream hip-hop scene. Most explanations since the album’s release seem to lean towards the latter; when Canibus’ new official website, , appeared online towards the end of 2002, the summary of C True Hollywood Stories in the “Merchandise” section called it “an introspective look into the ultimate fan ” Stan ‘s” take on the current state of hip hop”.
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Though he was working at the Group Home Entertainment company, he still wanted to acheive his goal of becoming a rapper. Canibus began making moves in the underground mixtape circuit. In 1997 he hooked-up with California-based rapper Ras Kass , he invited Canibus to be on a track with himself and Heltah Skeltah , the artists were supposed to appear on the Rhyme & Reason soundtrack, but due to a conflict with Ras and Priority Records it never happened, but Ras Kass still wanted to work with Canibus so they recorded the song “Uni-4-Orm” for the soundtrack.
Canibus was always known as a smart cat, he used his position at Group Home to start recording freestyles and getting his name out.? Canibus immediately got love from the streets as his freestyles were commonplace on mixtapes by powerhouse DJ Clue. The first Canibus track I heard was a freestyle on a DJ Clue tape. He spits “Canibus is the lyrical version of German Engineering”. As soon as his metaphors started to hit my dome, I was sucked in and joined the forming Canibus fanbase. I wasn’t used to these kind of raw lyrics, I was an MTV junkie. I preferred my hip-hop videos with booze, honeys, and bling. Canibus opened up my eyes and ears to true hip-hop, which wasn’t about all that materialistic garbage, just about dope beats and ill lyrics. Canibus’s music inspired me to delve into the underground, and the rest is history.? As Canibus’s freestyles started to get more listens, more and more people wanted more music from him.
Not feeling good about the results of the album is fine, but severing ties with the former boss man in a openly confrontational way can never be good. Yes, the beats were bad, but ‘Clef still supported Canibus during their partnership. He even made a diss track against LL Cool J titled Retaliation (What’s ‘Clef Got To Do with It?),” to defend his artist. Maybe Clef and Jerry Wonda thought Canibus’ verbose rhyme schemes worked better with flavorless beats that way it makes the words stand out more. Who knows? It is, however, the genesis of Canibus’ feelings catching on to business.
Thanks to Canibus, I’ll always remember the date of the Notorious B.I.G.’s death. Not that it wouldn’t have stuck otherwise—back in 1997, I was desperately looking forward to the impending release of Biggie’s second album Life After Death, which arrived in stores two weeks after the man born Christopher Wallace was killed in a drive-by shooting in Los Angeles. Biggie’s death was the first time the passing of a famous person hit me really hard, as I was deeply invested in his incredible work despite the fact that as a suburban white kid from Connecticut, I had no real frame of reference for his tales of working crack spots in Fort Greene.