Back In Blood
Pooh Shiesty Lyrics

Smurk (hmm, hmm, big blrrrd, hmm, hmm-mmm, huh, uh-uh)
The artist starts the song with an ad-lib, suggesting that he is ready to go hard and get aggressive.

Long way, learned somethin' back from this shit (mmm, mmm)
The artist reflects on his journey so far and acknowledges that he has gained knowledge and experience from his past.

(Turn me up, YC, turn me up, YC, turn me up, YC)
The artist asks the audio engineer to increase the volume on his vocals, indicating that he wants his message to be heard loud and clear.

Yeah, I get in this shit in blood, homie (mmm, mmm-mmm)
The artist asserts that he is committed to his lifestyle and being a part of the streets, and that he is willing to go all-in for it.

Bitch, I got my own fire, don't need security in the club (no)
The artist boasts about his own strength and power, claiming that he does not require additional support or protection in public settings and venues.

All the woofin' on the net (net), nigga, I thought you was a thug
The artist calls out those who talk tough on social media but do not actually have any real street credibility or experience to back it up.

I ain't got nowhere to go, I shot up everywhere they was (blrrrd)
The artist reveals that he has been involved in violent confrontations and altercations and that he has left his mark everywhere he has been.

Yeah, you ain't know who took that shit from you (blrrrd, blrrrd)
The artist brags about committing a robbery and suggests that his victim did not even realize who had stolen from them.

Come get it back in blood, blrrrd, blrrrd, bitch, come get it back in blood (big blrrrd)
The artist challenges his enemies to come and retake what he has taken from them, indicating that he is not afraid of confrontation or retaliation.

We ain't mask up, no dodge your ex (no), niggas know who it was (fuck 'em)
The artist brags about not wearing a mask while committing crimes, further implying that he does not fear the consequences or being caught by law enforcement or others.

Extortin' shit just like the 80s, once I'm back, get it in blood (ayy, on God)
The artist suggests that he is carrying on the tradition of extortion and street hustles that were popular in the 1980s, indicating that he is an experienced and successful player in the game.

If yo' nigga killer ain't dead, you shouldn't wear no R.I.P. shirt (no)
The artist warns listeners that if they have not personally avenged the death of a friend or associate, they should not wear clothing or branding as a tribute to the deceased.

We had three hundred shots up in the car before we picked up Durk (three hunnid)
The artist reveals that he and his crew were well-armed and ready for violence before meeting up with fellow rapper Lil Durk.

Three niggas, who ain't got shit goin', go, grab a glizzy, get alert ('lert)
The artist suggests that even those who do not have a lot going on in their lives can still be useful by grabbing a gun and staying vigilant and aware of their surroundings.

Shiesty G, post, R.I.P. (blrrrd), wherever he is, he in the dirt (slime, blrrrd, blrrrd)
The artist references his own street name and pays respects to someone who has passed away, indicating that violence and death are a part of his reality and everyday life.

You gotta know I go too far (let's go)
The artist warns those who might underestimate him that he is willing to take things to the extreme and cross lines that others might not be willing to in order to protect himself or come out on top.

It's two O's up on this hunnied, one of them might stand for O'Block (blrrrd)
The artist references O'Block, a notorious neighborhood in Chicago, and suggests that he has a connection to or involvement with its gang culture and activities.

'Bout twenty some shots, left up in the K, fifteen still in the Glock (the glizzy)
The artist enumerates the number of bullets left in his weapons, further telling listeners that he is well-prepared and ready for violence.

Keep my door unlock, and stop (stop, stall)
The artist gives an instruction to his driver to leave the car doors unlocked as they pull up to a destination, implying that they might need to make a quick and immediate exit.

I like gettin' on feet, park the car, blrrrd (park the car, blrrrd)
The artist indicates that he prefers to make a quick exit and prefers to move on foot rather than relying on a vehicle, furthering the idea that he is always ready for a confrontation.

We gettin' up close, do him dirty, I ain't showin' love (no)
The artist states that when it comes to violence and revenge, he is willing to get up close and personal and will not hesitate to betray or hurt someone if it means getting what he wants.

Eleven thousand, all ones, left my right pocket in the club (on God)
The artist brags about having a lot of cash in his pocket, further emphasizing his wealth and status in the community.

These blue faces up on me, dirty, I went, got it out the mud (let's go)
The artist indicates that he has earned his success and money through hard work and dedication, using the phrase 'got it out the mud' to suggest that he has faced and overcome significant obstacles.

If I took some, get it in blood (blrrrd), I don't give a fuck what we was (blrrrd, blrrrd, blrrrd)
The artist suggests that if he has taken something that does not belong to him, he is willing to fight and kill to protect it, demonstrating a ruthless and cutthroat attitude.

All that woofin' on the net (net), nigga, I thought you was a thug (what happened?)
The artist challenges those who talk tough on social media but do not have real street credibility to step up and prove themselves, suggesting that they might not be as tough or skilled as they portray themselves to be.

Yeah, you know who took that shit from you (blrrrd, blrrrd)
The artist brags about stealing from someone and implies that his victim knows exactly who was responsible for it.

Extortin' shit just like the 80s (gang), once I'm back, get it in blood (on God)
The artist asserts his commitment to his criminal lifestyle and suggests that he is continuing the legacy of old-school gangsters and hustlers who engaged in extortion and illicit activities to earn money and gain power.

Yeah, you know who took that shit from you, come get it back in blood (big blrrrd, blrrrd)
The artist issues a challenge to his enemies, daring them to try and reclaim what he has taken from them through violent means.

Kilt yo' mans, you keep on talkin', better get that shit in blood
The artist warns those who might talk badly about him or his associates that they must be prepared to deal with the ultimate consequences of their harsh words.

Give my shawty 'nem a dub (yeah), and they gon' walk inside this club (let's get it)
The artist indicates that he is well-connected and has people who will do his bidding for him, even if it means engaging in illegal or violent activities.

Hit his little ass with that switch (grrah), I bet that switch switch up his nerve
The artist describes using a weapon to intimidate someone and suggests that the mere sight of it will be enough to scare and weaken his opponent.

Fuck the opps inside my city, lil' bro put them in the mud (blrrrdah)
The artist expresses his disdain and disregard for his rivals and suggests that he and his crew have already eliminated or taken care of them, furthering his image as a powerful and feared player in the streets.

You can't come back to your hood, huh? (No)
The artist suggests that those who become enemies of his and his associates will be exiled from their own communities, furthering the idea that violence and conflict are inevitable consequences of gang culture and activities.

He was dissin' on my cousin, now his ass all in that 'Wood, huh? (Boom, boom, boom)
The artist reveals that someone has insulted or wronged someone close to him, and that they have now faced violence or retribution as a result of their actions.

Book his ass, I wish he would come (pussy)
The artist threatens anyone who might try to cross him or his crew, suggesting that they will be immediately targeted and dealt with if they attempt any kind of confrontation.

V. Roy pop up at that car with that new Glock (grrah, grrah), I wish he would run (grrah, grrah)
The artist references one of his associates, suggesting that they are well-armed and ready for violence, and that they are willing to chase down and confront anyone who crosses them.

His ass playin', bitch, I'm really icy (really icy)
The artist suggests that anyone who underestimates him or tries to disrespect him is naive and foolish, as he is always prepared and well-armed for any situation.

Pooh Shiesty, that's my dawg, but, Pooh, you know I'm really shiesty (my nigga)
The artist references one of his associates and jokes that while he is also shiesty and untrustworthy, they are still friends and allies in their common criminal pursuits.

You told all them OT niggas that you really slide? (Pussy)
The artist calls out someone who has claimed to be skilled or violent, suggesting that they are actually weak or inexperienced.

Tell the truth about your gang, bitch, they really dyin' (gang)
The artist challenges his rivals to be honest about the violence and casualties that are occurring as a result of their gang activities, furthering the idea that conflict and death are inevitable consequences of such lifestyles.

Come get it back in blood (blrrrd, big blrrrd)
The artist repeats his challenge to his enemies to come and attempt to reclaim what he has taken from them, furthering his image as a fearsome and powerful player in the streets.