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Hott Tonight - Canibus



     
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Hott Tonight Lyrics


[female]
Oh Germaine, can you please tell me one of your
Hollywood Stories?Oooh..ahhh..exciete merjemon[Chorus]
When it's hot it's hot, when it's hot it's hot (I'm so hot tonight)
When it's hot it's hot, when it's hot it's hot (So hot)
When it's hot it's hot, when it's hot it's hot (Caliente)
When it's hot it's hot, when it's hot it's hot (I'm so hot tonight)[Canibus]
Aiyyo.. c'mere girl, gimme a kiss
Tell the truth, you know you like hangin with Canibus
I know you can't commit but at least try a sample
Who knows, I might be too much man to handle
If I'm attracted to you, I'ma make a long pass at you
Come after you and capture you
Put a platinum GPS bangle around ya ankle
To keep track of you incase I decide to marry you
We can be friends till death do us part
Kiss ya left breast 'cause it's next to ya heart
Don't be a mermaid, open up ya legs

If you can't spread eagle, just gimme some head
Whatever the outcome, I just wanna come
Beat it up real good, bust one and run
I believe in abstenence, just not tonight
I can't help myself you look hot tonight[Chorus][Female singer & Canibus]
Chupa chupa, boca chula
Whatchu gon' do when I walk up to ya?
Chupa chupa, boca chula
Whatchu gon' do when I walk up to ya?
Chupa chupa, boca chula
Whatchu gon' do when I walk up to ya?
Chupa chupa, boca chula
Whatchu gon' do when I walk up to ya?[Chorus][Canibus]
"Wild On C" with Brooke Burke in the Visa
Steamin like I'm dreamin on the couch with my feet up
I'm not a playboy, I'm a hustler, wait till I touch ya
I'ma do somethin to getchu "burnin" from my Bunson
Clitoris rubbin, sperm pumpin, nerve numbin, humpin in public
The whole world could probably hear you cummin
The way I grab your pumpkin, caress your dumplings
I ain't never leave me girl, so stop frontin
You never wanted a Yes man, you wanted and Arabesque man
With biceps and a chest imprint
Not a skeleton with hardly any skin
I know it's irrelevant but his penis is probably very thin
I'm hung like the trunk of an elephant
Or the trunk of the tree the serpent wrapped around in Genesis
with the same devilish melevolence
Tryin to get you to bite in the food, I injected with seditives
How many orgasms have you had already?
Let's have a shag-a-thon; tell me when you past twenty
When I introduce you to Grand Marye, act friendly
She'll get envious if I ever rub your ass gently
Tonight I'm being a pimp baby, not an emcee
Invite a couple friends, I'll reserve ten seats
After we eat, we can check a couple spots tonight
Gimme kiss, you look hot tonight[Chorus]Oooh.. papi..
Oooh.. caliente..
Oooooh...
Song Discussions is protected by U.S. Patent 9401941. Other patents pending.

Enjoy the lyrics !!!
Born Germaine Williams in 1974 in Jamaica, Canibus moved to the United States with his mother at a young age. Because his mother's career required constant relocation, the family moved frequently and the soon-to-be rapper found solace within himself. His rhetorical abilities blossomed later, once hip-hop became the guiding force in his life. He began rhyming and in the mid-'90s joined a group called T.H.E.M. (The Heralds of Extreme Metaphors.)

This group consisted also of his partner Webb. Following a fallout with his partner, Canibus pursued a solo career and began infiltrating the mix-tape circuit. By 1997, he had approached the brink of the major-label rap game, guesting regularly on high-profile releases: He contributed to "Uni-4-orm," an inclusion on the Rhyme & Reason soundtrack also featuring Heltah Skeltah and Rass Kass; "Love, Peace & Nappiness," an inclusion on the Lost Boyz's Love, Peace & Nappiness also featuring Redman and A+; "Making a Name for Ourselves," an inclusion on Common's One Day It'll All Make Sense; the non-album remix of Wyclef Jean's "Gone Till November."

And most famously, "4, 3, 2, 1," an inclusion on LL Cool J's Phenomenon also featuring Redman, DMX, and Method Man.

Of the several guest appearances, "4, 3, 2, 1" certainly meant the most, as it brought together many of New York's preeminent hardcore rappers and thus ushered Canibus into that same elite class. At the same time, however, Canibus lashed out shortly afterward with the Mike Tyson-featuring "Second Round K.O.," where he rhymed, "So I'ma let the world know the truth, you don't want me to shine/You studied my rhyme, then you laid your vocals after mine."

In fact, the entirety of the song directed barbed rhymes at LL: "You walk around showin' off your body cause it sells/Plus to avoid the fact that you ain't got skills/Mad at me 'cause I kick that sh*t real niggaz feel/While 99 percent of your fans wear high heels," and so on. Shortly thereafter, LL sought his revenge, releasing "The Ripper Strikes Back" on the Survival of the Illest soundtrack (1998) and thus channeling even more attention toward Canibus.

From the track's chorus ("Can-I-bus? Yes you can!") to practically every line of the verses ("You soft as a newborn baby takin' a nap/Make my dick hard with that bitch-ass track/Where you at? smokin' in some one-room flat/Suckin' on Clef's dick hopin' to come back"), LL unleashed a fury of insults and threats. The media, of course, elevated the battle to grand heights, as even MTV gave the story headlines. In the aftermath of 2Pac's and Biggie's deaths, such confrontations fascinated the rap community, and Canibus certainly capitalized on his newfound publicity.

As for his debut full-length, Can-i-bus (1998), though, the response was sobering. Critics expressed little support, and sales quickly dropped as listeners also felt genuinely disappointed. Executive produced by Wyclef, the album suffered on many levels, both production-wise and rhetorically as well (critics targeting Canibus' delivery more than his lyrics or themes). The momentum that "Second Round K.O." had generated simmered almost immediately, and it didn't help that LL's "Ripper Strikes Back" found substantial acceptance at the time as well.

In the two years following the release of Can-i-bus, the rapper maintained an extremely low profile, much in contrast to the regular guest appearances he had made leading up to his debut. As a result, when he finally did return with his follow-up album, 2000 B.C. (2000), few noticed, it came and went generally unheard, and Canibus returned to the underground after parting ways with Universal. He continued to record albums and release them on the independent circuit (including 2002's Mic Club, 2003's Rip the Jacker, and 2005's Mind Control); furthermore, he retained a small base of fans as well, yet his days as the next-big-thing had clearly come and gone, as they similarly had for so many other talented rappers.

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