Bump Heads (feat. Tony Yayo, 50 Cent & Lloyd Banks)

1. 01

   Nigga, hahaha (Oh)

   02

   (Yeah) Yeah

   03

   (Here we go again)

   04

   Shady, haha (Shady Records Mixtape)

   05

   50 Cent (The Invasion)

   06

   G-G-G-G-G-Unit (Part II), haha (Here we go again)

   07

   Conspiracy Theory, International Version (Yeah)

   08

   Brown, hahaha, Evil Genius, Green Lantern

   09

   Let's go

2. 10

   Does it make you mad when I switch my flow?

   11

   You can't understand how I get my dough

   12

   50 Cent, I'm on fire 'cause Shady said so

   13

   I'm on fire (Here we go now)

3. 14

   Everybody's in a rush to try to get the throne

   15

   I just get on the track and try to set the tone (Come on)

   16

   I ain't tryin' to use nobody as a steppin' stone

   17

   But don't compare me, I'm better off just left alone (Exclusive)

   18

   And I ain't even tryin' to go there with record sales

   19

   I'm just tryin' to keep it humble and respect myself (Yeah)

   20

   Say, "What up?", keep steppin', and just rep D12

   21

   Keep my nose clean, stay away from weapons, jail and livin' reckless

   22

   But if you go check my belt, you may see something else I use to protect myself (Yeah)

   23

   A vest, to stop a Ruger and deflect the shells (Green Lantern)

   24

   And send 'em back at you faster than they left the barrel

   25

   And I don't even carry guns no more, I don't got to

   26

   Got undercover cops that'll legally pop you

   27

   And I done seen a lot of people cross the line (Uh-huh)

4. 28

   But this motherfucker Ja must've lost his mind (Woo)

   Multi-line diss block

   29

   That X got him thinkin' he was DMX

   30

   Then he switched to Pac, now he's tryna be him next

   31

   So which one are you? X, Luther, Pac or Michael?

   32

   Just keep singin' that same song, recycled

   33

   We'd all much rather get along than fight you

   34

   Me and Hailie dance to your songs, we like you

   35

   And you don't really wanna step inside no mic booth (Uh-huh)

   36

   Come on now, you know the white boy'll bite you

   37

   I hurt your pride, dog, and you know I don't like to

   38

   But I will if I have to

   39

   With syllable after syllable I just slap ya

   40

   Killin' you faster than you poppin' pill after little pill of them tabs of that shit you on

   41

   But if you want it, you got it

   42

   You'd bump this shit too, if we ain't diss you on it

   43

   But if we lock horns we can charge harder than Busta (Green Lantern)

   44

   We bump heads with any motherfucker that wants to (Woo; yeah)

   45

   So what's the deal? Where was all the tough talk?

   46

   When I walked up to you like, "Ja, what up, dog?"

   47

   How come you didn't say you had a problem then?

   48

   When you was standin' there with all your men

   49

   We could've solved it then

   50

   I'm a grown man, dog, come holla

   51

   All you did was slap hands, smile and swallow another one of them little X pills in front of me

   52

   And tell me 50 Cent was everything you wanna be

   Block noteAccuses Ja Rule of imitation, pill use, and private cowardice

   TargetJa Rule

   MeaningEminem says Ja lost perspective, copied DMX and then Tupac, and cannot decide whether his model is DMX, Luther Vandross, Tupac, or Michael Jackson. He sarcastically calls himself and Hailie fans, warns Ja away from the booth, mocks alleged ecstasy use, and says Ja privately smiled, took a pill, and praised 50 Cent instead of voicing the public problem.

   WordplayX means DMX and ecstasy; the rotating X/Luther/Pac/Michael list attacks Ja's singing and borrowed personas. Bite refers to both Eminem's battle ability and Ja's alleged copying; bump/lock horns/charge extends the title metaphor.

   ContextJa Rule's disputes with DMX, 50 Cent, and Eminem form the context. The encounter and pill use are artist allegations inside the song.

5. 53

   Come on

   Multi-line diss block

   54

   I know you don't want it with me

   55

   You know you don't want it with me

   56

   You can talk, but soon we gon' see

   57

   You don't wanna bump heads with me

   58

   I know you don't want it with me

   59

   You know you don't want it with me

   60

   You can talk, but soon we gon' see

   61

   You don't wanna bump heads with me (Tony)

   Block noteChorus says Ja's public talk will fail a real confrontation

   TargetJa Rule

   MeaningThe repeated lines insist Ja does not truly want conflict and predict that events will expose the gap between his words and willingness to confront the Shady/G-Unit side.

   WordplayBump heads means both clash physically and compete on a record; talk/see contrasts claims with proof.

   ContextJa is the continuous addressee from Eminem's verse, and Tony's tag hands the next response to Tony Yayo.

6. 62

   You couldn't son me if my father helped you

   Multi-line diss block

   63

   My punchlines is hot, my bars will melt you (What?)

   64

   Ja, you Stuart Little, shells'll lift you

   65

   Every other week, I'm buyin' a new pistol (Woo)

   66

   I clap at your ass with this chrome .38

   67

   And put six through your hats, a seven and 3/8s (Come on)

   Block noteTony Yayo threatens Ja and mocks his size

   TargetJa Rule

   MeaningYayo rejects any claim that Ja could dominate him, boasts that his punchlines melt opponents, compares Ja to the tiny Stuart Little, and uses gun imagery tied to a specific hat size.

   WordplaySon/father is a hierarchy pun; Stuart Little makes 'little' a size and status insult. Six bullets and a seven-and-three-eighths hat combine count and measurement.

   ContextThis guest verse continues the shared Ja Rule diss with Tony Yayo as performer.

7. 68

   Irv, you ain't Suge Knight, you Shook Knight

   Multi-line diss block

   69

   I'll put my knife in your windpipe and breeze on the turnpike

   70

   You know and I know who took your chain

   71

   You got robbed two times, so your ass a lame (Lame)

   Block noteAttacks Irv Gotti's toughness and robbery history

   TargetIrv Gotti

   MeaningYayo says Irv Gotti is not comparable to Suge Knight, changes 'Suge' to 'Shook' to call him frightened, threatens him, and invokes reported chain robberies as proof that his image is weak.

   WordplaySuge Knight/Shook Knight is the central name flip; windpipe/turnpike keeps the threat in a travel rhyme, while chain means jewelry and evidence of street status.

   ContextIrv Gotti led Murder Inc. and is directly named, so he is represented separately from Ja Rule.

8. 72

   I'm down to die for this shit, all I need is bail

   Multi-line diss block

   73

   You better stick to the movies with Steven Segal (Steven Segal, bitch!) (Come on)

   Block noteSends Ja back to acting instead of battle

   TargetJa Rule

   MeaningYayo boasts willingness to risk jail, then tells Ja Rule to remain in action films rather than continue the rap conflict.

   WordplayThe Steven Seagal reference treats movie violence as safer and less authentic than the threats in the verse.

   ContextJa Rule had acting credits, so the line attacks his gangster credibility through a career comparison.

9. 74

   I know you don't want it with me

   Multi-line diss block

   75

   You know you don't want it with me

   76

   You can talk, but soon we gon' see

   77

   You don't wanna bump heads with me

   78

   I know you don't want it with me

   79

   You know you don't want it with me

   80

   You can talk, but soon we gon' see

   81

   You don't wanna bump heads with me (Lloyd Banks)

   Block noteSecond chorus passes the confrontation to Lloyd Banks

   TargetJa Rule

   MeaningThe hook again says Ja's words exceed his willingness to clash, then names Lloyd Banks as the next crew member to answer.

   WordplayThe tag makes the repeated chorus a relay between G-Unit performers.

   ContextThe target remains Ja Rule from the surrounding verses.

10. 82

    Man, fuck that, I'm tired of waitin'

    Multi-line diss block

    83

    These industry niggas startin' to get outta hand

    84

    Like I won't find your whereabouts by stompin' 'em out your man (What?)

    85

    We killin' New York, even in Compton they understand

    86

    I'm on the block where you was raised blowin' chocolate up out the van, and (Break it, break it, break it down, uh)

    87

    They see me pop up more icy, 'cause I could (What?)

    88

    But you been gone so long you probably forgot your way around the hood, good (Haha)

    89

    'Cause when you paranoid it's hard to make a song

    90

    How you want it with us and half of your artists got makeup on?

    91

    Every magazine I open, you on your knees takin' prayer pictures (Yeah)

    92

    And you ain't even got shot yet, you scared bitches

    93

    You don't know nuttin' 'bout what pain is, sucker

    94

    I'll put your ass underground like a train conductor, motherfucker (Yeah)

    Block noteLloyd Banks attacks Ja Rule's camp as absent, cosmetic, and afraid

    TargetMurder Inc.

    MeaningBanks says the opponents are out of control, threatens to locate them through their associates, claims presence in Ja's old neighborhood, and says long absence has disconnected them from it. He mocks paranoia, artists wearing makeup, prayer-like magazine poses, fear before being shot, and ends with a burial threat.

    WordplayBlock/hood establishes territorial authenticity. Underground/train conductor converts burial into transit wordplay; makeup and prayer pictures attack Murder Inc.'s public image collectively.

    ContextJa Rule is the lead target, but the plural reference to his artists makes Murder Inc. the best principal target for this block.

11. 95

    I know you don't want it with me (That's my man Paul Rosenberg)

    Multi-line diss block

    96

    You know you don't want it with me (Marc LaBelle)

    97

    You can talk, but soon we gon' see (Shady Records)

    98

    You don't wanna bump heads with me (Don Robinson)

    99

    I know you don't want it with me (Interscope Worldwide)

    100

    You know you don't want it with me (Look out for the tour)

    101

    You can talk, but soon we gon' see (Anger Management)

    102

    You don't wanna bump heads with me (Europe and Japan)

    Block noteFinal chorus combines the Ja warning with label promotion

    TargetJa Rule

    MeaningThe core lines repeat that Ja does not want the confrontation, while DJ tags Shady Records personnel, Interscope, the Anger Management tour, and international markets to contrast Ja's position with the camp's reach.

    WordplayThe promotional ad-libs turn the hook itself into proof of institutional scale.

    ContextThe names in parentheses are allies and promotional references, not targets.

12. 103

    Yeah, nigga!

    104

    Yeah, Shady, Aftermath!

    105

    G-Unit!

    106

    Fuck you think they call us G-Unit for?

    107

    'Cause we move units

    108

    Uh-huh

    109

    And don't think we ain't billin' you for this motherfuckin' studio time

    110

    Matter a fact, keep promotin' 50, we call it even, ha

Content-rights boundary: these are original placeholder lines, not the commercial recording’s lyrics.