Johnny歌曲歌词：
Lil Wayne Feat. Rick Ross
Album:Tha Carter IV(Deluxe Edition)
The LRC Maker:冬東咚东
@冬東咚东
{Verse 1: Lil Wayne}Fo’ fo’ bulldog, my **********ing pet
I point it at you and tell that ************ fetch
I’m ****ing her good, she got her legs on my neck
I get *****, mouth and ass, call that ***** triple threat
When I was in jail she let me call her collect
But if she get greedy, I’ma starve her to death
Top down, it’s upset been f-cking the world and n-gga and I aint cum yet!
You **** with me wrong, I knock your head off your neck
The flight too long, I got a bed on the jet
The guns are drawn and I aint talking bout a sketch
I pay these n-ggas with a reality check
Prepare for the worst but still praying for the best
This game is a ***** I got my hand up her dress
The money don’t sleep so Weezy can’t rest
An AK47 is my ****ing address, huh
{Rick Ross}I’m not a star, somebody lied I got a chopper in the car
I got a chopper in the car
I got a chopper in the car
{Lil Wayne}Load up the choppers like it’s December 31st
Roll up and cock it and hit them n-ggas where it hurts
If I die today, remember me like John Lennon
Buried in Louis, I’m talking all brown linen, huh
{Verse 2: Rick Ross}Big black n-gga, and an icey watch
Shoes on the coupe, ***** I got a Nike shop
Counts the profits you could bring ’em in a Nike box
Grinding in my Jordans kick em off they might high,
swish!
I’m swimming in the yellow *****, boss
In the red 911 looking devilish
Red beam make a ***** n-gga sit down
Thought it were bullet proof till he got hit the fifth time
Drop Palmolive in a n-gga ****
Make it come back even harder than before
Baby I’m the only one that paid your car notes
Well connected, got killers off in Chicago
I’m not a star, somebody lied I got a chopper in the car
I got a chopper in the car
I got a chopper in the car
{Lil Wayne}Load up the choppers like it’s December 31st
Roll up and cock it and hit them n-ggas where it hurts
If I die today, remember me like John Lennon
Buried in Louis, I’m talking all brown linen, huh
{Verse 3: Lil Wayne}Talk stupid get ya head popped
I got that Esther, ***** I’m red fox
Big bee’s, Red Sox
I get money to kill time, dead clocks
Your ****ing with a n-gga who don’t give a ****
Empty the clip than roll a window up
***** n-ggas sweet, you n-ggas center bun
I’m in a red *****, she said she finna cum
200 thousand on a chain, I don’t need a piece
That banana clip, let Chiquita speak
Dark shades, Eazy E
Five letters, YMCMB
***** ass n-gga, ***** ass n-gga
I see ya looking, what ya looking at n-gga
You know the rules, kill’em all and keep moving
If I died today it’d be a holiday
{Verse 4: Rick Ross}I’m not a star, somebody lied I got a chopper in the car
So don’t make it come alive
Rip yo ass apart than I put myself together
YMCMB, double M, we rich forever
The bigger the bullet the more that ***** gon bang
Red on the wall, Basquiat when I paint
Red Lamborghini till I gave it to my *****
My first home invasion, pocket gain and 40 bricks
Son of a *****, than I made a great escape
Aint it funny momma, only son be baking cakes
Pull up in the sleigh, hop out like I’m santa claus
N-ggas gather round, got gifts for all of y’all
Take it home and let it bubble that’s the double up
If you get in trouble that just mean you ****ing up
It’s a cold World I need a bird to cuddle up
I call the plays, ********** huddle up
{Lil Wayne}I’m not a star, somebody lied, I got a chopper in the car
JohnnyLRC歌词下载地址：
Suicide简介：
Although they barely receive credit, Suicide (singer Alan Vega and keyboardist Martin Rev) is the source point for virtually every synth pop duo that glutted the pop marketplace (especially in England) in the early 80s. Without the trailblazing Rev and Vega, there would have been no Soft Cell, Erasure, Bronski Beat, Yaz, you name em, and while many would tell you that thats nothing to crow about, the aforementioned synth-poppers merely appropriated Suicides keyboards/singer look and none of Rev and Vegas extremely confrontational performance style and love of dissonance. The few who did (Throbbing Gristle, Cabaret Voltaire) were considered too extreme for most tastes.
Suicide had been a part of the performing arts scene in New York Citys Lower East Side in the early/mid-70s New York Dolls era. Their approach to music was simple: Rev would create minimalistic, spooky, hypnotic washes of dissonant keyboards and synthesizers, while Vega sang, ranted, and spat neo-Beat lyrics in a jumpy, disjointed fashion. On stage, Vega became confrontational, often baiting the crowd into a riotous frenzy that occasionally led to full-blown violence, usually with the crowd attacking Vega. With their reputation as controversial performers solidified, what was lost was that Suicide recorded some amazingly seductive and terrifying music. A relationship with Cars mastermind Ric Ocasek proved successful, bringing their music to a wider audience and developing unlikely fans (Bruce Springsteen went on record as loving Suicides Vietnam-vet saga Frankie Teardrop), but after numerous breakups and reconciliations, Rev and Vega settled for being more influential than commercially successful.
Ironically, the 90s proved to be a decade of vindication for Suicide with the rise of industrial dance music, Chicagos Wax Trax! label, and the bands associated with it (Revolting Cocks, Ministry, 1000 Homo DJs, etc.). Although not a big part of the scene anymore, the profound influence of Suicide on a generation of younger bands was readily apparent. When the duo returned in 2002 with American Supreme, its first studio release in ten years, much fanfare resulted, no doubt considerably furthered by Vegas presence around this time as a heavily profiled exhibitionist of art in New York, where he had presented a show at the Jeffrey Dietch Gallery in New York earlier in the year.