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Mr. Sandman - Marvin Gaye



     
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Mr. Sandman Lyrics


This is
(Mr. Sandman bring me a good dream)
Serious, the craziest d-da
(Mr. Sandman bring me a good dream)
Day-da danger, dangerous style
Lyrical shots from the glock
Bust bullet holes on the chops
I want the number one spot
With the science, of a giant
New York defiant, brutal like domestic violence
Silence of the Lambs, occurred when I slammed in
Foes grab their chairs
To be mad as Ralph Cramden
Others come with shit, as silly as Art Carney
But my Tetley triplies, more kids than Barney
Nobody must stress there's three bags of sess
A damn I rest, playing chess, yes
My thoughts be sneaky like a crook from Brooklyn

When you ain't lookin', I take the queen, with the rook then
I get vexed, layin' phat trax on Ampex
Amorphous God, gettin' drunk, off a triple X
Violent time, I got more love than valentines
The violent mind, I blast with a silent nine
My hazardous thoughts to cut the mic's life support short
Brains get stained like tablecloths when I let off
Powerful, poetry pushed past the point of no return
Leavin' mics with third degree burns
Let me at 'em, I cramp your style like a spasm
Track em through the mud then I bag 'em
We're screaming hardcore, hip-hop drips out my balls
And I be raw, for four score plus seven more
I strike like a bowling ball, holding y'all hostage
Like jail, electrifying the third rail
Peep the smash on paragraphs of ruckus
Wu-Tang
(Clan ain't nuttin' ta fuck wit)
Hot time, summer in the city
My people represent, get busy
The heat seeker, on a mission from Hell's kitchen
I gets in where I fits in for head touchin', listen
Enemy, is the industry got me flippin'
I don't give a fuck tell that bitch and a nigga
I'm killin', snipin', catchin' murder cases
Desert stormin', I be searchin' for Oasis
As I run a mile with a racist
Pullin' swords, hit the Billboard with a bullet
Peace to the number seven
Everybody else get the fo' nine three eleven
(Mr. Sandman bring me a good dream)
I don't know what's going on
If you can take us there
Yo, watch me bang the headpiece there's no survival
My flow lights up the block like a homicidal
Murder, underground beef for the burger
P L O, criminal thoughts you never heard of
I switch, the city never sleeps, life's a bitch
I shit, runnin' through bitches like Emmitt Smith
Caution, niggaz best to be careful crossin'
The street, before they end up layin' in a coffin'
Don't sleep, niggaz tend to forget, however
Peep this, my nigga, case lives forever
What evil lurks in the heart of men?
It be the shadow, street life, flowin' again
I had a plot, scheme, that I knew for sure
Only one kick would knock the hinges off the door
The jerk tried to jet, Sabrina at his neck
Thirteen pounds on the table plus a tec
Just when I said, "Where the fuck's the cream?"
Another jerk came out the kitchen with the M 16
He tried to cock it, blast these shots like, rockets
Crushed his collarbone, ripped his arm out the socket
My move for the table was swift, I got my hostage
(The nigga tried to stab you God)
But I dodged it
Niggaz said, "Carlton youse a ill motherfucker"
'Cause I made it look like they both killed each other
And I'm out
(Mr. Sandman bring me a good dream)
(Mr. Sandman bring me a good dream)

Enjoy the lyrics !!!
Marvin Pentz Gay, Jr. (2 April 1939 - 1 April 1984) was an American soul and rnb singer, songwriter, producer, and multi-instrumentalist, known as "The Prince of Soul", or "The Prince of Motown." Originally a member of the doo-wop group The Moonglows, he pursued a solo career after the group disbanded and released many successful solo hits including "I Heard It Through the Grapevine", "Let's Get It On" and "What's Going On". His best albums are still held in extremely high regard, and he is often cited as one of the finest singers of his era.

Marvin Pentz Gay, Jr. was born in 1939 to Marvin Gay, Sr. and Alberta Gay in Washington, D.C.. Gaye began his career in Motown in 1958, and soon became Motown's top solo male artist. He scored numerous hits during the 1960s, among them "Ain't That Peculiar", "Stubborn Kind of Fellow", and "How Sweet It Is (To Be Loved By You)", as well as several hit duets with Tammi Terrell, including "Ain't No Mountain High Enough"" and "You're All I Need To Get By", before moving on to his own form of musical self-expression.

Along with Stevie Wonder, Gaye is notable for fighting the hit-making—but creatively restrictive—Motown record-making process, in which performers, songwriters and record producers were generally kept in separate camps. Gaye forced Motown to release his 1971 album What's Going On, which is today hailed as one of the best albums of all time. Subsequent releases proved that Gaye, who had been a part-time songwriter for Motown artists during his early years with the label, could write and produce his own singles without having to rely on the Motown system. This achievement would pave the way for the successes of later self-sufficient singer-songwriter-producers in African American music, such as Luther Vandross and Babyface.

During the 1970s, Gaye would release several other notable albums, including Let's Get It On and I Want You, and released several successful singles such as "Come Get to This", "Got To Give It Up" and "Sexual Healing". By the time of his shooting death in 1984, at the hands of his clergyman father, Gaye had become one of the most influential artists of the soul music era.

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Marvin Gaye