Etc. - Philpot



     
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Etc. Lyrics


Chorus: (sampled from Black Moon's "How Many MC's Must Get Dissed")Pen predator
Pen predator, et cetera et cetera (7X)
Pen predator, et cetera, yeah right1st Pull:
Niggaz know it's about that time without a Schoolly D Gucci
I pop that pussy ass rapper and leave it up to Luke to Pop the Coochie
Truly a wretched steelo -- kept you Under Seige like Seagal
Cause I housed more niggaz than that faggot named RuPaul
Y'all all suffer the consequences
I dispense dope sentences without a prescription
prefixes asphyxiate bitches who flips linguistics
Representin the West, relevant to relentless sentences
If renegade rebels resent this wicked syntax (then jack)
Revert to revolution Ras reverse, reverberates
Revolvin with written retalliation, rate repetitious
Reflex flex, regret niggaz regress to less than recoup
When recording, I wreck, records
Reflect stupid, it's so much more than just another rap and sample
Cause I model more styles than Naomi Campbell

See we been burning idiots with lyrical syphillis
Since E.S.T. was Ackniculous, the nickle slick meticulous
ventriloquist when I throws my voice over the Western HemisFear
While my peers step over a Trail of Tears
Go get a job as a chandelier wit a glass jaw like dat
I brings the impact to fracture mandibles, and manhandle the youth
Since my mental exceeds every MC I've perceive credible
Now becomes edible, kid!
And yo, I'm D for wreckin when reputations collide
But zhoom dum da dum, dadada dum dum
Suicide it's a suicide("Pen predator, et cetera, et cetera") --> repeat 10X
("Yeah yeah yeah yeah yeah right")2nd Pull:I pull bitches like a lesbian and could come the fuck off
with a vasectomy, in depth I be deeper than Bosses' recipe
Incite recitation forever Ras Rock Steady like Buck when breakin on ducks
Who get props by association
Buy if ya lyrics suck, then fuck ya record label's juice
Ock, I rock hip-hop non-stop and got more juice than Snapple
Intricate to simplistic stylistics I solicit
It gets niggaz open like fallopian ovulation
Fuckin these kids like the Michael Jackson molestations
Sendin ya back as the U.S. Nation did AIDS infected refugee Haitians
Uhh, yeah niggaz so what's the haps
You could put up ya dukes but in the West they bust caps
So bulletproof fists is the only way I'm gone miss, but peep this
My mental's the bullet, my tongue's the finger that pull it
Check the method, soundtrack voodoo uh and bamboo like strapped
Come better you, oh sorry verbal dyslexic
You better come strapped like bamboo and a voodoo soundtrack
And make sure not even one bar sounds wack (bitch)
Cause we take the best shit and make it classic
Word to Guru, take two fuckin pulls, and pass it

Enjoy the lyrics !!!
Philpot sprouted from a flower shop in Dugger, Indiana (pop. 955), a town without a stoplight. In this blink-and-you'll-miss-it rural setting a couple of hours southwest of Indianapolis, Philpot front man Kentz Ward toils by day among the blossoms and, by night, is joined by his five band mates, who grow their, by turns, rocking, bluesy, and emotive music inside the musical laboratory of the shop.

Hard rocking but melodic, Philpot is anchored by Caleb Smith and Josh Kennedy’s deeply layered wall of guitars, AJ Boone's ambient keyboards, and the propulsive rhythm section of Arthur Ready and Tyler Evans. Kentz Ward’s growling vocals -- and brooding, pugilistic (yet hopeful) -- lyrics complete the tapestry.

Philpot first shook up the music scene in late 2004, with a head turning 3 AM set in front of celebs at a ritzy New York City night club owned by the members of Velvet Revolver and Fuel. The show created a buzz in the New York City media. Equal parts eagerness, confidence, naïveté -- and balls -- compelled the band to drive uninvited to Manhattan that night in the pouring rain and demand the owners give them the stage

A great New York story, especially for rocker wannabes from the boroughs, but Philpot (then teens) had come 800 miles from rural Indiana; a place checkered with farms and abandoned coal mines.

Since forming in 2000 on the way home from a concert, Philpot has recorded three albums. The latest, Hate Writes Better Than Love, (Toucan Cove /Universal Records) speaks well to Philpot’s musical evolution. HWBTL is a distinct amalgamation of the band’s roots, influences and unbridled talent, one that unleashes itself full throttle in their epic four hours shows in Indiana.

The story behind the new record fits this homespun American story like a glove. In 2006, a Los Angeles A&R executive from Toucan Cove journeyed the southeastern Indiana back roads to a Philpot show at the Ooodle Inn in Switz City, a gin mill/roadhouse worthy of a Tarantino film. Barely detectable on a GPS, the motto at the Oodle is “Walk In, Waddle Out.” Philpot stumbled out that night with a record deal.

This band has balls, and the musical prowess to back that up. Together they have penned nearly 200 songs in the flower shop. 2007 has seen them perform with Snoop Dogg, Kings of Leon, The Sick Puppies, Days of the New, Seven Mary Three, Drowning Pool and Flyleaf. Television appearances include CBS News. NBC News, Fox TV, and PBS. Their music is featured on The Speed Channel (Fox/NASCAR). NFL.com, The N (MTV Networks), and ESPN.

Hate Writes Better Than Love, was produced by Bill Klatt (Days of the New, QOTSA, Sneaker Pimps) with Philpot singer Kentz Ward. In late 2007, with typical DIY/Indiana bravado, the band sent an MP3 of “Girls Don’t Know” to the UK, and BBC Bristol threw it on the air immediately.

On its My Space page, Philpot has accumulated more than half a million plays. There the band asks its fans “Are You Ready For The Revolution”. Are you? Listen.
Read more on Last.fm. User-contributed text is available under the Creative Commons By-SA License; additional terms may apply.

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Philpot