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Alex Rose, Lil Cake - GFP (Video Oficial) Hotney 10 Görünümler • 3 yıl önce

Alex Rose, Lil Cake - GFP (Video Oficial)

Suscribirte: https://AlexRose.lnk.to/SubscribeYT

Disponible en todas las plataformas: http://alexrose.lnk.to/GFP

Otros Exitos de Alex Rose
Toda (Remix): https://youtu.be/lKDGxAHZt0E
Darte (Remix): https://youtu.be/RHGURdaK0sQ
Khalifa: https://youtu.be/0GLUcpPXXbk

Follow Alex Rose
Instagram: http://instagram.com/AlexRoseOficial
Twitter: https://mobile.twitter.com/YoSoyAlexRose
Facebook: https://www.facebook.com/Alexroseoficialmusic
Sound Cloud: https://m.soundcloud.com/AlexRoseOficial

Letra:
[Intro: Alex Rose]
(La Rosa)

[Pre-Coro: Alex Rose]
¿Tu mai te dejó solita?
Si quieres paso y te recojo
Tú estás bien hot
Le llegamo' al spot
Con los ojo' rojo' (Uh)

[Coro: Alex Rose]
Aquí somos del calentón (Yeh), yeh
Pero estamo' frío
Pide que yo pago to'
Que, que yo pago to'
Que yo pago to' (Yeh)

[Puente: Alex Rose]
La bellaquera subió, yeh
Y hay unos pales mordío' (Yeah)
Porque no deja que la toquen
Quiere que la toque solamente yo

[Coro: Alex Rose]
Aquí somos del calentón (Yeh)
Pero estamo' frío (Yeh)
Pide que yo pago to'
Que, que yo pago to'
Que yo pago to' (Yeh, yeh)

[Coro]
¿Qué es lo que desea'?
Guayar, fumar, perrear
Bailar, fumar, perrear
Guayar, fumar, perrear
Bailar, fumar, perrear
Guayar, fumar, perrear
Bailar, fumar, perrear
Guayar, fumar, perrear
Bailar, fumar, perrear
¿Qué es lo que desea'?

[Verso 1: LiL CaKe]
Pide que yo pague to'
Y le pago to' (To')
Lo de aquella noche es lo que te gustó
Me tenías ganas y eso se notó
(Encima mío ella rebotó), ay (Ay)
¿Y si no' vemo' en la night?
Siempre se me escapa un like
Baby, en serio me gusta'i
¿Para qué vamos a hablar?
Cuando podemos guayar, perrear, fumar
Yo no te voy a rogar
Tal vez el cora robar
Pero no más que eso
Mami, de tu amor soy preso (-so, -so)
(Te pienso en exceso)

[Intro: LiL CaKe]
¿Tu mai te dejó solita?
Si quieres paso y te recojo
Tú estás bien hot
Le llegamo' al spot
Con los ojos rojos

[Coro: Alex Rose]
Aquí somos del calentón, yeh
Pero estamo' frío
Pide que yo pago to'
Que, que yo pago to'
Que yo pago to' (To', to' to', to')

[Coro]
¿Qué es lo que desea'?
Guayar, fumar, perrear
Bailar, fumar, perrear
Guayar, fumar, perrear
Bailar, fumar, perrear
¿Qué es lo que desea'?

[Verso 2: Alex Rose]
¿La luz apaga'?, no
Ella la quiere prendí'a
Tiene la calle prendí'a
Sale de noche, pero llega de día
Ese culito e' platino por la RIAA
Tiene la vía, pero no la usa
Vo'a acelelarte como ella abusa
La baby e' swaggy de lo pie' a la blusa
Es de PR, pero vive en USA
Gatúbela, me engatusa
Lo que hay es tussi, no quiere tusa
Si quiere', después de aquí me usa'
Que tú eres mi musa, bebé

[Puente: Alex Rose]
La bellaquera subió, yeh
Y hay unos pales mordío' (Yeah)
Porque no deja que la toquen
Quiere que la toque solamente yo

[Coro: Alex Rose]
Aquí somos del calentón, yeh
Pero estamo' frío (Yeh)
Pide que yo pago to'
Que, que yo pago to'
Que yo pago to' (Yeh, yeh)

[Coro]
¿Qué es lo que desea'?
Guayar, fumar, perrear
Bailar, fumar, perrear
Guayar, fumar, perrear
Bailar, fumar, perrear
¿Qué es lo que desea'?

Booking/ Contractaciones
E-mail: BookingAlexRose@gmail.com
Telefono: +1-407-462-2715

#AlexRose #LilCake #GFP

She Made Her Label $170M, All She Got Was $1900…. Hotney 17 Görünümler • 6 ay önce

The story of Alannah Myles, best known for the song Black Velvet

Podcast on Apple Podcasts
https://podcasts.apple.com/ca/....podcast/the-rock-n-r

My second YouTube Channel
https://www.youtube.com/@RockNRollTrueStories2

Title: The Tragic Story of The One-Hit Wonder Who Wasn't

Some songs are like time machines. In 1990, one of them was “Black Velvet,” a smoky, blues‑rock track that turned Canadian singer Alannah Myles into a global star. The song hit number one on the Billboard Hot 100, won a Grammy for Best Female Rock Vocal Performance, and helped her debut album sell millions worldwide. By all accounts, she should have been set for life.

Instead, the industry that finally embraced her nearly destroyed her. Behind the scenes, Myles had signed a brutal contract loaded with “recoupable” expenses for recording, videos, touring, and marketing — debts she had to pay back before seeing real royalties. She later estimated the label earned well over a hundred million dollars from her records, while she struggled to pay rent and took side jobs just to get by. She has said she didn’t receive a meaningful royalty check for “Black Velvet” until 2008, almost two decades after the song topped the charts.

Her path to that hit had been long and stubbornly independent. Born Alannah Byles in Toronto, she grew up comfortable but determined to make it on her own. She wrote songs as a teenager, played grimy Southern Ontario clubs, and rebranded herself as Alannah Myles while doing modeling, makeup work, and small acting roles to fund her music. Partnering with songwriter Christopher Ward and producer David Tyson, she chased a blues‑rock identity that Canadian labels repeatedly rejected. A three‑song demo to Atlantic in New York finally landed her a six‑album deal in 1987.

Her 1989 debut album was huge at home, producing multiple Top 40 hits and becoming the best‑selling debut album in Canadian history. “Black Velvet” – written by Ward and Tyson as an Elvis Presley tribute after Ward rode a fan bus to Memphis – was the track that broke her internationally. Released in the U.S. after “Love Is,” it climbed slowly before exploding to number one and going top ten in over a dozen countries. At the same time, her label angered her by commissioning a competing country version by Robin Lee, which muddied her ownership of the song in the public eye.

The pressure for a repeat was immediate. Her 1992 follow‑up, Rockinghorse, underperformed in the U.S. but went multi‑platinum in Canada, giving her another number‑one single and a second Grammy nomination. Still, label politics, media stories painting her as “difficult,” and the strain of constant touring took a toll. She cancelled tours for health reasons, cycled through managers, and watched as her momentum faded internationally.

Myles eventually left Atlantic in the late ’90s and signed with Miles Copeland’s Ark 21, gaining more creative control but far less commercial visibility. For years she survived through smaller‑scale releases, overseas deals, television work, and live shows, even as “Black Velvet” kept spinning on radio without truly enriching her. A libel suit against a major Canadian newspaper over claims of cocaine addiction was settled in 2001, reportedly with a substantial payout — ironically one of the biggest financial wins of her career.

When her contract finally allowed it, she re‑recorded “Black Velvet” for her independent album Black Velvet and later retooled it again on 85 bpm, finally owning versions of the song that paid her directly. Chronic health problems, including serious spinal damage and autoimmune issues, have since limited her ability to tour, but she continues to write and record on her own terms.

Calling Alannah Myles a “one‑hit wonder” misses the point. She had multiple Canadian hits, a second Grammy‑nominated album, and a career that’s lasted decades. “Black Velvet” was a phenomenon so huge it obscured the rest of her work — and a song that nearly ruined her even as it made her immortal. In 2021, it was inducted into the Canadian Songwriters Hall of Fame, cementing its place in rock history and her legacy as far more than a trivia‑question one‑off.

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