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| TRUCEThu, 08 Jan 2009 22:41:06 -0800 by KISHONC14TRUCE Performance at Brooklyn Tabernacle Related: truce | |
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| Charles Hamilton - Brooklyn Girls with lyricsThu, 08 Jan 2009 20:56:41 -0800 by TheM0dGuyCharles HamiltonBrooklyn GirlsLYRICSim an uptown boy with soho flavathe beat is D minor but im oh so majori do my own thing so i owe no favorscant do it now then i wont go laterhaters wanna see the boy get lost in the saucebut its gravy so boy get lostnah i aint cocky im just statin the obviousH.O. the boss and im makin his pockets richhated or not i am great and about to get greaterhit the peja like I play with Stojakovici keep it real and my ladies do the samehigh class chicks that be crazy in the brainstyle so mean, swag is vicioussmile O.D., ass deliciousstay gettin money no need for ebaymy heart is all world but im lovin BKi aint got no problem wit girls out in harlem butthey aint nuttin like a brooklyn girlsee i had a dope fling wit a girl on queens butthey aint nuttin like a brooklyn girlthe bronx is ly thats where my mom resides butthey aint nuttin like a brooklyn girldamn sure aint nuttin like a brooklyn girldamn sure aint nuttin like a brooklyn girlmy girl angie cant be a groupie or whoreshe bout gettin money in her juicy couturedo she get bored with the gucci of courseso the louis she sports til it aint new anymorethen she cop another one makin hoes gettin maddergettin more money so the price dont matterain't seen her in a minute know her ass got fatterand if you think she bad then her friends are way badderkenjels a christian never seen freakinin church every weekend she need to be deaconhad a model bitch name vida we aint speakinbut i had her screamin whenever i was beatinshe been callin, creepin, crawlinmaybe she would chill if i would beat it oftenand ronesha's fly and she sweeter than splendacause no one ever slows her agendai aint got no problem wit girls out in harlem butthey aint nuttin like a brooklyn girlsee i had a dope fling wit a girl on queens butthey aint nuttin like a brooklyn girlthe bronx is ly thats where my mom resides butthey aint nuttin like a brooklyn girldamn sure aint nuttin like a brooklyn girldamn sure aint nuttin like a brooklyn girlas we smoke da la la laBK gettin money no 9-5mamase mamasa mamakusai dont make sense but admit it, its kinda hotBK girls down wit that ride or dieso i always keep one right by my sidesee i love new york i aint gotta lieso if you messin wit my ladies its homicidei gotta friend named shaynashe like Bill Bellamy and how to be a playershorty is a player cant nobody play hercant nobody game her cause she aint a gamerbabygirl ballin kinda like the lakersif you would trade her like shaq then see ya laterplayer she do it so easy its kinda like a layupshe could lay up wit your boy wit no make upkeep doin her an ima keep doin meeven on the road ima keep 2 or 3bad BK chicks that speak fluentlyin the hamilton language girl speak to me pleasei remember when i couldnt get a girl for shitnow i cant get rid of any girl for shitso when they look at me i dont look awayi spread love its the brooklyn waynow let the hook playi aint got no problem wit girls out in harlem butthey aint nuttin like a brooklyn girlsee i had a dope fling wit a girl on queens butthey aint nuttin like a brooklyn girlthe bronx is ly thats where my mom resides butthey aint nuttin like a brooklyn girldamn sure aint nuttin like a brooklyn girlda'damn sure aint nuttin like a brooklyn girl Related: charles hamilton brooklyn girls with lyrics enjoy | |
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| The Del Vikings - Come And Go With MeThu, 08 Jan 2009 19:50:24 -0800 by JBauder1948The story of the Dell-Vikings is one of the most convoluted of any successful doo wop group in history. With two major national hits to their credit they had a jump on virtually all of their competition. Just as they began enjoying fame and success, however, internal maneuverings helped stunt and finally destroy their careers. They left behind two hits and a large body of very good records that weren't nearly as well-known, as well as a reputation as one of the few successful integrated vocal groups of their era. The group had its origins at the Pittsburgh Air Force Base, where five black enlisted men, Corinthian "Kripp" Johnson (first tenor), Clarence E. Quick (bass), Don Jackson (second tenor), Bernard Robertson, and Samuel Paterson, began singing together in 1955. They won a local talent contest in early 1956, and then competed nationally in New York and Bermuda, where they placed first and second, respectively. By that time, they were attracting local attention, most notably from disc jockey Barry Kaye, who wanted to record the Del Vikings, as they were then known. The Del Vikings' lineup was fairly fluid and by early 1956, Robertson and Paterson were gone. Their replacements were Norman Wright (lead tenor) and David Lerchey (baritone). This lineup was the version of the Del Vikings that Barry Kaye recorded. The resulting sessions yielded nine songs done a cappella, including early versions of Clarence E. Quick's "Come Go With Me" and Kripp Johnson's "How Can I Find True Love." The demos, which contained only the most rudimentary backing, were sent around to all of the major labels, attracting no interest. Finally, the group was signed by Joe Auerbach, the owner of a small Pittsburgh-based label called Fee Bee. A new recording session yielded a fully realized version of "Come Go With Me" with the lead sung by Norman Wright. The single, released in 1956, quickly grew too big for Fee Bee and Auerbach leased it to Dot Records. That version appeared in early 1957 and had a 31-week run on the charts, reaching #4 on the pop chart and #3 on the R&B chart. The group was now a national phenomenon and was booked on tours across the country, as well as a featured spot in one of Alan Freed's Brooklyn Paramount shows. Their lineup had already changed again, the group acquiring its second white member, Gus Backus, who replaced Don Jackson as second tenor. Even so, military obligations sometimes prevented all of the members from participating at once in these performances. They got their second hit, "Whispering Bells" (also written by Clarence Quick), in the summer of 1957, which reached #9 on the pop charts. Behind the scenes, however, maneuvers were taking place that were to nullify these two huge successes. With "Come Go With Me" storming the charts, the Del Vikings were suddenly in demand from many of the same major labels that had passed on them a year earlier. What made their interest possible was that the group's contract with Fee Bee was flawed. Some of the members were under 21 at the time it was signed. Faced with the chance to make big money for all concerned, their manager signed the group to Mercury Records under a contract that specifically covered the members who had been underage in 1956. Meanwhile, a version of the group had released "Whispering Bells" on Fee Bee and Dot. The result was that the group split into two rival outfits, one called the Dell-Vikings (the spelling of the outfit that released "Whispering Bells") on Dot Records, with Kripp Johnson and the returned Don Jackson; and the Del-Vikings, as their name was spelled, on Mercury, led by composer Clarence E. Quick and featuring Norman Wright, David Lerchey, Gus Backus, and new member William Blakely. Further complicating the situation were the demos they'd recorded for Barry Kaye. He sold these to Luniverse Records, a label whose co-owners included Dickie Goodman and George Goldner. In the midst of the chart run of Dot's "Come Go With Me," Luniverse redubbed the a cappella demo recordings with a full band and released eight of the nine songs in edited form on an LP, Come Go With the Del-Vikings, as well as issuing one 45 of "Over the Rainbow" and "Hey Senorita." There is a lot more that could be written but this was pretty much the end of the Del Vikings. Related: doo wop | |
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