HE WANTED SUM ELSE AND HE WANNA BE SELFISH

WHEN I MADE A LIL MESS ON IT HE TOLD ME TO CLEAN MY ACT UP.👅

STOP SINGING WHEN THE LYRICS HAVENT EVEN STARTED YET YALL PMO

this what imma be listening to when im swallowing him down okay? okay.

"freaky ass comments" under a song.. called freak💔

he NEEDS a good boy that does bad things to him(me)

why are like.. so many freaky songs stuck in my head

aahh

CANDY - 50 Cent X Foxy Brown remix

attention- doja 🎶

Soaked

This Is How Tomorrow Moves

Real Man

DON'T TAP THE GLASS

Sugar On My Tongue

CRY BABY AVAILABLE NOW
iTunes: http://smarturl.it/MelanieCryBaby
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Amazon: http://smarturl.it/A_MelanieCryBaby

Get Official Melanie Martinez Merch Here: http://smarturl.it/Visit_MMstore 

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Facebook: http://www.facebook.com/MelanieMartinez

Cry Baby

Play Date

Lyric >

Freak like me 
You want a good girl that does bad things (to u)
You never been with no one as nasty (as me)
Spice up ya life come n get a freak 


Tie him down to my queen bed 
Tease him just enough to hate me 
Tie it tight enough he cant break free 
Keep him waiting till he try 


This could go one of two ways 
We could flip the coin
I’ll be your slave 
Call ya daddy 
Give me a nick-name
I aint afraid of a little pain



He wanted some’n else and 
He wanna be selfish 
He wanted them 3 rounds DC 
Had to come help him 
I know your position try
Squeeze in a full nelson though
Beat on it beat beat on it 
Mercy like a black belt give 
Daddy the grand master 
Daddy ya wan it fasta 
Them bitches you fuckin with I know that they gon need some practice so
Bring em along wit ya
I’ll teach em how to smash ya 
When I made a little mess on it he told me to clean my act up  



I could take a big bat 
Bet that he thinking Issa game 
Hey batter batter swing 
You could put it on a swing 
Freak like a triple xxx flick 
Put her on a chain 
this pussy off the chain
This kitty insane 


I could fuck him in the rain 
I could fuck him in the range
I could fuck him ery day 
Ima fuck him till he sang 

Milkshake bring boys to the yard
I’ma need the whip cream 
I aint ever been vanilla honey
 just wait until ya get a taste 


Skirrt off fuck in the back seat 
Take that shirt off baby put it on me 
Got me like 
Yeehaw ride it like a horsey 
Kinda like seesaw 
Up down on the D 
give it to him

Freak

y u gotta be like that - audrey mika

K-12

Teacher's Pet

For more information about ABSOULUTELY or upcoming tour dates, please visit CC’s website and social media pages via: www.cc2000music.com or https://cc2000music.bandcamp.com

To order ABSOULUTELY on digital services please visit: https://smarturl.it/CCAbsoulutely
 
To order the ABSOULUTELY CD please visit: http://bit.ly/2mVorE1

For Press and Interview inquiries, please contact Billy James at Glass Onyon PR: (828) 350-8158 or glassonyonpr@gmail.com

Cornell “CC” Carter has been gracing stages and entertaining thousands of fans with his signature sound around the world for many years. He is known for his phenomenal stage presence, his high-powered audience engagement, and his extraordinary and dynamic vocal skills. CC is now set to announce his brand new 2019 album ABSOULUTELY, scheduled for release by Izipho Soul Records on CD October 4 and then worldwide on all digital formats on October 18, 2019!

The album’s first single “I See Love” was released August 9 and has received rave reviews. CC describes ABSOULUTELY as an album full of “songs that came through my Soul and out of my Heart!” It includes two classic cover tracks delivered in CC’s signature soulful style, “We’re A Winner” by Curtis Mayfield, and “Come Live With Me Angel” by Marvin Gaye. Cornell and his main Producer Kirk Crumpler received tremendous contributions from other talented musicians including his Mentor and Grammy winning Producer Narada Michael Walden, Eddie M (Sheila E) on Saxophone, Rich Armstrong (Tony Toni Tone, etc.) on Trumpet, Brian Braziel on drums, James Henry on Percussions, Dave Shul, and Larry White (Bobby Brown) on Guitar along with Cam Perridge who also was the Engineer for ABSOULUTELY! Additional vocals were provided by featured artist Naté Soulsanger (on the song “Morning Touch” produced by James Day), Niecey Robinson, and mentor Larry Batiste.

04 Come Live With Me Angel

<3 on HypeM: https://bit.ly/2pvgnvl
Spotify: https://spoti.fi/2NkG3Tg
Apple Music: https://apple.co/2Wn3mQw
Watch the lyric vid: https://www.youtube.com/watch?v=lhfs1CzzUPM

Lyrics:
Something chronic
Bit demonic 
I been on the late shift
All alone, staring at my phone 

Sin and tonic
Stupid promise
Something like a death wish 
All alone, stare into my soul

If I wanna stay alive
You should never cross my mind
Yeah I knew it 
I been through it

If I fall in every time
Wicked love will leave me blind
Yeah I knew it 
I been through it

Oh god
Can you make my heart stop
Hit me with your kill shot baby
I mean it so serious

God
Can you make my heart stop
Honey with your kill shot baby
I mean it so serious

Stolen nectar
Misadventure
Something like a death kiss
Growing cold, under your control

Knowing better
Twisted pleasure
Got me feeling breathless 
Growing cold, will you let me go?


If I wanna stay alive
You should never cross my mind
Yeah I knew it 
I been through it

If I fall in every time
Wicked love will leave me blind
Yeah I knew it 
I been through it

Oh god
Can you make my heart stop
Hit me with your kill shot baby
I mean it so serious
God
Can you make my heart stop
Honey with your kill shot baby
I mean it so serious

Come and get that honey
Sweeter than I ever knew 
Tell me that you love me
Love me till my lips turn blue

Walk into my bed like
How long
Gotchu in my head like 
How long, how long 

Come and get that
Come and get that, come and get that
Killshot baby
I mean it so serious

Killshot

Hot Pink out now! https://smarturl.it/xHotPink 

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Hot Pink

Won't Bite (feat. Smino)

Stream + Download

Suicide Boys - Antartica

doja cat - niggas aint shit

Excerpts from the album 'THE ULTIMATE BEE GEES'.
BUY THE DELUXE DOUBLE CD & DVD SET from Amazon <a href="http://amzn.to/1brkEjR">USA</a>, <a href="http://amzn.to/13m2yuv">Canada</a>, <a href="http://amzn.to/1aT2W9B">UK</a>, <a href="http://amzn.to/1auhjNU">France</a>, <a href="http://amzn.to/12yro7t">Germany</a>, <a href="http://amzn.to/12XkhoT">Italy</a>, <a href="http://amzn.to/12NLidu">Spain</a>, <a href="http://amzn.to/194AqQW">Japan</a>.
BUY THE DOUBLE CD from Amazon <a href="http://amzn.to/1brikth">USA</a>, <a href="http://amzn.to/13m1yqh">Canada</a>, <a href="http://amzn.to/11ZpOAr">UK</a>, <a href="http://amzn.to/194C3hv">France</a>, <a href="http://amzn.to/13zPNZf">Germany</a>, <a href="http://amzn.to/13Qm59C">Italy</a>, <a href="http://amzn.to/12JOv2f">Spain</a>, <a href="http://amzn.to/194AqQW">Japan</a>.
DOWNLOAD THE ALBUM from <a href="http://bit.ly/11ZocXv">iTunes</a>, or Amazon <a href="http://amzn.to/15oILcH">USA</a>, <a href="http://amzn.to/17ngCEb">UK</a>, <a href="http://amzn.to/15K92lE">France</a>, <a href="http://amzn.to/18pBX4E">Italy</a>,<a href="http://amzn.to/18mu506">Germany</a>, <a href="http://amzn.to/12XiWOL">Spain</a>, <a href="http://amzn.to/13zLJrN">Japan</a>.
LISTEN ONLINE on <a href="http://www.deezer.com/en/album/422914">Deezer</a>, <a href="http://grooveshark.com/#!/album/The+Ultimate+Bee+Gees/4657434">Grooveshark</a>, <a href="http://www.last.fm/music/Bee+Gees/The+Ultimate+Bee+Gees">Last.FM</a>, <a href="https://myspace.com/beegees/music/album/the-ultimate-bee-gees-14023661">MySpace</a>, <a href="http://www.rdio.com/artist/Bee_Gees/album/The_Ultimate_Bee_Gees/">Rdio</a>, <a href="http://www.rhapsody.com/artist/bee-gees/album/the-ultimate-bee-gees">Rhapsody</a>, <a href="http://slacker.com/r/lLHTB">Slacker</a>, <a href="http://open.spotify.com/album/3JXTUy5Ccdpe79HUgUiMF9">Spotify</a>.


ABOUT THE BEE GEES
Formed: 1958 in Brisbane, Queensland, Australia
Years Active: '60s, '70s, '80s, '90s, '00s

No popular music act of the '60s, '70s, '80s, or '90s attracted a more varied audience than the Bee Gees. Beginning in the mid- to late '60s as a Beatlesque ensemble, they quickly developed as songwriters and singers to create a style of their own that carried them from psychedelia to progressive pop. Then, after hitting a popular trough, they reinvented themselves as perhaps the most successful white soul act of all time. What remained a constant throughout their history is their extraordinary singing, rooted in three voices that were appealing individually and melded together perfectly.

The group was also music's most successful brother act. Barry Gibb, born on September 1, 1946, in Manchester, England, and his fraternal twin brothers Robin Gibb and Maurice Gibb, born on December 22, 1949, on the Isle of Man, were three of five children. The three of them gravitated toward music, encouraged by their father, who saw his sons at first as a diminutive version of the Mills Brothers. The three Gibb brothers made their earliest performances at local movie theaters in Manchester in 1955, singing between shows. The family moved to Australia in 1958, resettling in Brisbane. Now known as the Brothers Gibb — with Barry writing songs — they attracted the attention of a local DJ, and eventually got their own local television show. It was around this time that they took on the name the Bee Gees (for Brothers Gibb). The trio was astoundingly popular in the press and on television, but actual hit records eluded them.

By late 1966, they'd decided to return to England — which, thanks to the Beatles, was now the center of the world for rock and popular music. The group had sent demo recordings ahead of them, and "Spicks & Specks" — which became their first Australian hit while they were in mid-ocean — had attracted the interest of manager Robert Stigwood. The trio was signed by Stigwood upon their arrival, and began shaping their sound in the environment of Swinging London. Barry and Robin Gibb alternated the lead vocal spot, harmonizing together and with Maurice. Barry played rhythm guitar, while Maurice played bass, piano, organ, and Mellotron, among other instruments. Their first English recording, "New York Mining Disaster 1941," an original by the group with a haunting melody and a strangely surreal, almost psychedelic ambience, was released in mid-1967 and made the Top 20 in England and America. They had successful follow-ups with "Holiday" and "To Love Somebody," the latter actually written for Otis Redding to record, and "Massachusetts," which topped the U.K. charts.

After Bee Gees' 1st, the Gibb brothers took over producing their own records. It was easy, amid the sheer beauty of their recordings, to overlook the range of influences that went into their sound, which came from a multitude of sources, including American country music and soul music. At this point in their history, they were most comfortable deconstructing elements in the singing and harmonies of black American music and rebuilding them in their style.

In 1969, the trio split up in a dispute involving the Odessa album. A lushly orchestrated double LP, it was their most ambitious recording to date, but they were unable to agree on which song would be the single, and Robin walked out. Barry and Maurice held on to the Bee Gees name for one LP, Cucumber Castle, while Robin released Robin's Reign. Without a group to promote it, the Odessa album never sold the way it might have, even with a hit, "First of May." Cucumber Castle generated several successful singles in England and Germany, including the gorgeous, African-influenced "I.O.I.O.," while Robin had a hit with "Saved by the Bell."

In 1970, almost two years older and a good deal wiser, they decided to get back together. They related to each other better and had also evolved musically, now creating a progressive pop/rock sound similar to the Moody Blues. They came back on a high note with two dazzling songs: the soulful "Lonely Days," the group's first number one hit in America; and the achingly lyrical "Morning of My Life," which proved so popular with fans that the group was still doing it in concert decades later.

Their success began to ebb, however, after another huge international hit with "How Can You Mend a Broken Heart" in 1971. The single "Run to Me" made the Top 20 in 1972, but the album To Whom It May Concern was forgotten almost instantly after a brief chart run. Their fortunes continued in reverse during 1973 withLife in a Tin Can and the single "Saw a New Morning" — despite a move to America and a heavy promotional push, the song never made the Top 40 and the album stalled out.

The trio was falling into a deep creative and commercial hole. Rescue came from a suggestion by Eric Clapton, that they try recording at Criteria Studios in Miami, Florida, where he had just cut an album. The Bee Gees took his advice and came back with Mr. Natural (1974), produced by Arif Mardin. This record was a departure with its heavily Americanized R&B sound, and the following year they plunged headfirst into the new sound with Main Course — the emphasis was now on dance rhythms, high harmonies, and a funk beat. And spearheading the new sound was Barry Gibb, who, for the first time, sang falsetto and discovered that he could delight audiences in that register. "Jive Talkin'," the first single off the album, became their second American number one single, and was followed up with "Nights on Broadway" and then the album Children of the World, which yielded the hits "You Should Be Dancing" and "Love So Right." Then, in 1977, their featured numbers on the soundtrack to the Robert Stigwood-produced Saturday Night Fever, "Stayin' Alive," "How Deep Is Your Love," and "Night Fever," each topped the charts, even as the soundtrack album stayed in the top spot for 24 weeks. In the process, the disco era in America was born — Saturday Night Fever, as an album and a film, supercharged the phenomenon and broadened its audience by tens of millions, with the Bee Gees at the forefront of the music.

It was a profound moment although, ironically, there wasn't that much difference in their sound. Amid the dance numbers, the Bee Gees still did a healthy portion of romantic ballads that each offered memorable hooks. They'd simply decided, at Arif Mardin's urging, to forget the fact that they were white Englishmen and plunged into soul music, emulating, in their own terms, the funkier Philadelphia soul sounds that all three brothers knew and loved. In one fell swoop, the group had managed to meld every influence they'd ever embraced, from the Mills Brothers and the Beatles to early-'70s soul, into something of their own that was virtually irresistible. Spirits Having Flown was their crowning commercial triumph, topping 30 million in sales and yielding three more number one singles.

By the end of the '70s, however, the disco era was waning from a combination of the bad economy, political chaos domestically and internationally (leading to the election of Ronald Reagan), and a general burnout of the participants from too many drugs and profligate sex (which would precipitate an epidemic of sexually transmitted diseases and herald the outbreak of AIDS in the United States). There had already been an ad hoc reaction against the group's dominance of the airwaves, with mass burnings of Bee Gees posters and albums organized by DJs. The group itself helped contribute to the end of the party with their participation (at Stigwood's insistence) in the film Sgt. Pepper's Lonely Hearts Club Band, "inspired" (if that's the word) by the Beatles' album. The movie was a commercial and critical disaster, and an embarrassment to all concerned.

In America, the Bee Gees were virtually invisible for most of the '80s. Instead, Barry Gibb pursued work as a producer for other artists, creating hits for Barbra Streisand and Diana Ross. By 1987 and the E.S.P. album, their sales had rebounded everywhere but the United States, yielding a number one single (outside of the U.S.) in "You Win Again." Their 1989 album One got a good reception around the world and generated a Top Ten U.S. single. And in the '90s, Polygram Records released the four-CD anthology Tales from the Brothers Gibb, which sold well around the world. The trio's 1997 induction into the Rock & Roll Hall of Fame led to a resurgence of interest, which heralded the release of the live album One Night Only (1998), cut at their first American concert in almost a decade.

The Bee Gees remained active until the death of Maurice in January 2003, from cardiac arrest during surgery. Following his death, Robin and Barry decided to cease performing as the Bee Gees. Their recorded legacy, however, subsequently became more visible than it had been in decades with the move of their catalog to Warner/Reprise. The latter company began the long-awaited upgraded CD reissue of the Bee Gees' post-1966 library, including the first-ever release of outtakes and rehearsal versions of songs. Robin was diagnosed with and underwent treatment for cancer in 2011. He died in London in May 2012 due to complications from cancer and intestinal surgery; he was 62 years old. Given the previous deaths of Andy (who had several number one hits and who died of an inflammatory heart virus in 1988) and Maurice Gibb, Robin was the third Gibb brother and second member of the Bee Gees to pass away.


Music ℗ & © 2009 Barry Gibb, Robin Gibb and The Estate of Robin Gibb under exclusive license to Warner Strategic Marketing Inc. a Warner Music Group Company.


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Bee Gees - More Than A Woman (excerpt)

“Kiss Me More” feat. SZA Out Now! https://smarturl.it/xKMMx

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