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More we want (ft. Tanto Metro & Deveonte) - Beenie Man



     
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More we want (ft. Tanto Metro & Deveonte) Lyrics


Tanto metro:
introducing virgin recording artist beenie man
'longside tanto metro and devonte
holla
yes, she got me in the mood got the singer, sing it
long time man a wait 'pon a gal like this
the way she walk you know me can't resist
long time gal a wait 'pon a man like this
you see
you a hear me shorty
tickle me naughty
it's for real the way you touch my body
oh ladi-dadi
head for the party
here is the deal
go and get the bacardi
cause i'm a yardie,
man a gonie

it's not for me
i love nuff punani
tell tishani
to call tasani
and bring denise
cause i'm feelin horny
d: doo doop doo doop doo doop dah
tm: more gal we a request a more we want
d: doo doop doo doop doo doop dah
beenie man: and beenie man, me a de girl dem sugar pot
d: doo doop doo doop doo doop dah
tm: more gal we a request a more we want
hot hot hot like a lava
young girl you got me burning up
man a make pay
but you still not turning up
independent woman
you money you been earning up
lesson you been learnin up
nah twist and wormin up
you no sell a market
so they can't feel feelie up
you no licky-licky
so them can't meal mealie up
you no turn tables
so them can't wheel wheelie up
contract you want
me will sign and seal yuh up
d: doo doop doo doop doo doop dah
tm: more gal we a request a more we want
d: doo doop doo doop doo doop dah
bm: and beenie man, me a de girl dem sugar pot
d: doo doop doo doop doo doop dah
tm: more gal we a request a more we want
oh, oh, oh, oh, how, oh, oh, oh how
long time man a wait pon a gal like this
the way she walk you know she can't resist
long time gal a wait pon a man like this
you see
you a hear me shorty, tickle me naughty, it's for real the way you touch my body
ladi-dadi, head for the party, here is the deal, go and get the bacardi
cause i'm a yardie, nah no gormie, it's not for me, i love nuff punani
tell tishani to call tasani and bring denise cause i'm feelin horny
d: doo doop doo doop doo doop dah
tm: more gal we a request a more we want
d: doo doop doo doop doo doop dah
bm: and beenie man, me a de girl dem sugar pot
d: doo doop doo doop doo doop dah
tm: more gal we a request a more we want
long time me log on to the girl dem channel
interview a run, a pure girl 'pon me panel
ginelle, chenelle, shanelle, and janelle
a pop off me joe boxer and me country fannel
long like a train run through de girls dem tunnel
my oil the girls dem wan' measure wit funnel
work 'pon de girl dem site me no left me level nor me showel
women a bathe me down and a dry me wit towel
d: doo doop doo doop doo doop dah
tm: more gal we a request a more we want
d: doo doop doo doop doo doop dah
bm: and beenie man, me a de girl dem sugar pot
d: doo doop doo doop doo doop dah
tm: more gal we a request a more we want
Song Discussions is protected by U.S. Patent 9401941. Other patents pending.

Enjoy the lyrics !!!
Anthony Moses Davis (born August 22, 1973 in Kingston, Jamaica), better known by the stage name Beenie Man, is a well established reggae artist and DJ. He was involved in the music industry from a young age when he won the Tastee Talent contest in 1981. Only one year later, when he was eight years old, he recorded a single, "Too Fancy", with record producer "Junjo" Lawes. By 1983, Beenie Man was recording with heavyweight DJs, such as Dillinger and Fathead and released his debut album, The Invincible Beenie Man: The Ten Year Old DJ Wonder and the single "Over the Sea".

He was booed off stage at a show celebrating the visit of Nelson Mandela. In 1993 at the very popular show Sting he accused fellow deejay Bounty Killer that the elder artist had stolen his catchphrase, "people dead". This triggered a lyrical battle which continued on the air with each artist counteracting the other's songs. Finally, in 1995, Beenie Man and Bounty Killer settled their differences on the air by actually signing a peace treaty and the two recorded an album together, Guns Out. This was followed by a single, "No Mama No Cry", a rehash of the Bob Marley classic "No Woman No Cry", speaking out against violence and inspired by the murder of Pan Head, another popular Deejay.

Partially as a result of prodding from his producers, Sly and Robbie, Beenie Man soon converted to the Rastafari movement.

In 1994, he was signed by Island Records and released the critically acclaimed album Blessed.

In 1995, Beenie Man released a remix of Barrington Levy's "Under Mi Sensi" in the United Kingdom, and collaborated with Dennis Brown and Triston Palma to release Three Against War and Lt. Stitchie on Mad Cobra Meets Lt. Stitchie & Beenie Man. He took another step up the ladder in 1996, releasing the seminal Maestro, produced by Patrick Roberts and shot him to UK fame. During the period from the mid to late '90s, Beenie Man dominated the Jamaican charts to the extent that he perhaps had a good claim to the crown of "Dancehall King", a title only bestowed previously on Yellowman in the early 1980s.

In 1998, Beenie Man signed to Virgin Records to release albums in the United States. His first American offering was The Doctor (1998). In 2000, Beenie Man teamed up with Arturo Sandoval and Wyclef Jean (The Fugees) to release The Art & Life. During the late 1990s, Beenie Man began his conquest of America with the hits, "Romie", "Who Am I" and "Girls Dem Sugar", which featured American R&B singer, Mya.

In 2002, he had a sizeable hit with a duet with Janet Jackson called "Feel It Boy", but his biggest break in America came in early 2004 with the release of a remix of "Dude", featuring guest vocals by fellow Jamaican Ms. Thing, as well as rhymes by Shawnna.

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Beenie Man