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Mad Cobra
Ewart Everton Brown (born 31 March 1968), better known by his stage name of Mad Cobra or simply Cobra is a Jamaican reggae musician.
He was born in Kingston, Jamaica, raised in the parish of St. Mary and relocated back to the place of his birth during his teenage years. He began performing under his stage name, taken from a character in the G.I. Joe comic books, while still in his teens. He honed his talents on several local sound systems before entering the studio. Read Full BioEwart Everton Brown (born 31 March 1968), better known by his stage name of Mad Cobra or simply Cobra is a Jamaican reggae musician.
He was born in Kingston, Jamaica, raised in the parish of St. Mary and relocated back to the place of his birth during his teenage years. He began performing under his stage name, taken from a character in the G.I. Joe comic books, while still in his teens. He honed his talents on several local sound systems before entering the studio. His first single, 1989's "Respect Woman", was produced by his uncle, Tuff Gong engineer Delroy "Spiderman" Thompson. His next single, "Na Go Work", featured Tricia McKay, giving him his first hit, and bringing him to the attention of producers Captain Sinbad and Carl Nelson. Together they released a string of hit dancehall singles, including "Shoot to Kill", "Merciless Bad Boy", and "Ze Taurus", which featured tough, gangsta rap-style lyrics in keeping with the current trends of that time.
In 1990, Cobra began working with producer Donovan Germain and songwriter Dave Kelly on the Penthouse Records label. This partnership spawned a series of major hits in Jamaica, including "Yush", "Gundelero", "Bad Boy Talk", and "Feeling Lonely" (with Beres Hammond). He released his first full-length album in 1991, entitled Bad Boy Talk, and over the next year worked with several different producers on yet more hit tracks ("O.P.P" with King Jammy, "Tek Him" with Bobby Digital, "Be Patient" with Sly & Robbie). In 1991 and 1992, Mad Cobra broke into the UK Reggae charts with five number one hits, bringing with it a backlash over concerns about the anti-gay sentiments of tracks such as "Crucifixion".
In the wake of his British success, Mad Cobra signed a deal in America with Columbia Records. His next LP was entitled Hard to Wet, Easy to Dry, and featured "Flex", a single which interpolated elements of The Temptations' "Just My Imagination". It was a smash hit, topping the US Rap Singles chart, hitting #7 on the R&B chart, and peaking at #13 on the Billboard Hot 100. The success of the single propelled the album to #125 on the Billboard Top 200, but the follow-up, "Legacy", failed to chart, and for the next several years Cobra's hit-making remained primarily in Jamaica with songs such as 1993's "Mek Noise" and "Matti Haffie Move". Around this time, Cobra became involved in rivalries with fellow reggae artists Ninjaman and Buju Banton. He also made a guest appearance on rap group Run-D.M.C.'s "What's Next" on their album Down with the King.
In 1994, Cobra returned with Venom, again recording with King Jammy. Jamaican hit singles from the 1994-1995 period included "Length and Bend", "Fat and Buff", and "Selassie I Rules", now adopting "conscious" lyrics. In 1996, Columbia Records released Milkman in the US market. The album peaked at #12 on Billboard's Top Reggae Albums chart and featured a minor hit, "Big Long John", which charted briefly on the US Dance and R&B Singles charts. In 1998, a track with Mr. Vegas entitled "Guns High" charted in some countries in Europe, and a number of re-releases of his Jamaican material were issued on VP. Further albums were issued in 2001 (Cobra) and 2004 (Words of Warning). Most recently, Cobra was heard on "Cobrastyle", a single from Teddybears' 2006 album, Soft Machine.
On the night of May 11, 2010, Mad Cobra was shot three times in the upper body near his home in Braeton, only a day after another dancehall artist, Oneil Edwards of the group Voice Mail, was also shot in Duhaney Park. He was carried to the Spanish Town Hospital for treatment. It was later ascertained that the vehicle Mad Cobra was traveling in had shone its light on a group of men and this had angered them. When Mad Cobra came out to appease the men, he was shot. He was released from hospital later that week. On the following Monday night, his house was shot up by unknown assailants but no one was injured during the incident.
He was born in Kingston, Jamaica, raised in the parish of St. Mary and relocated back to the place of his birth during his teenage years. He began performing under his stage name, taken from a character in the G.I. Joe comic books, while still in his teens. He honed his talents on several local sound systems before entering the studio. Read Full BioEwart Everton Brown (born 31 March 1968), better known by his stage name of Mad Cobra or simply Cobra is a Jamaican reggae musician.
He was born in Kingston, Jamaica, raised in the parish of St. Mary and relocated back to the place of his birth during his teenage years. He began performing under his stage name, taken from a character in the G.I. Joe comic books, while still in his teens. He honed his talents on several local sound systems before entering the studio. His first single, 1989's "Respect Woman", was produced by his uncle, Tuff Gong engineer Delroy "Spiderman" Thompson. His next single, "Na Go Work", featured Tricia McKay, giving him his first hit, and bringing him to the attention of producers Captain Sinbad and Carl Nelson. Together they released a string of hit dancehall singles, including "Shoot to Kill", "Merciless Bad Boy", and "Ze Taurus", which featured tough, gangsta rap-style lyrics in keeping with the current trends of that time.
In 1990, Cobra began working with producer Donovan Germain and songwriter Dave Kelly on the Penthouse Records label. This partnership spawned a series of major hits in Jamaica, including "Yush", "Gundelero", "Bad Boy Talk", and "Feeling Lonely" (with Beres Hammond). He released his first full-length album in 1991, entitled Bad Boy Talk, and over the next year worked with several different producers on yet more hit tracks ("O.P.P" with King Jammy, "Tek Him" with Bobby Digital, "Be Patient" with Sly & Robbie). In 1991 and 1992, Mad Cobra broke into the UK Reggae charts with five number one hits, bringing with it a backlash over concerns about the anti-gay sentiments of tracks such as "Crucifixion".
In the wake of his British success, Mad Cobra signed a deal in America with Columbia Records. His next LP was entitled Hard to Wet, Easy to Dry, and featured "Flex", a single which interpolated elements of The Temptations' "Just My Imagination". It was a smash hit, topping the US Rap Singles chart, hitting #7 on the R&B chart, and peaking at #13 on the Billboard Hot 100. The success of the single propelled the album to #125 on the Billboard Top 200, but the follow-up, "Legacy", failed to chart, and for the next several years Cobra's hit-making remained primarily in Jamaica with songs such as 1993's "Mek Noise" and "Matti Haffie Move". Around this time, Cobra became involved in rivalries with fellow reggae artists Ninjaman and Buju Banton. He also made a guest appearance on rap group Run-D.M.C.'s "What's Next" on their album Down with the King.
In 1994, Cobra returned with Venom, again recording with King Jammy. Jamaican hit singles from the 1994-1995 period included "Length and Bend", "Fat and Buff", and "Selassie I Rules", now adopting "conscious" lyrics. In 1996, Columbia Records released Milkman in the US market. The album peaked at #12 on Billboard's Top Reggae Albums chart and featured a minor hit, "Big Long John", which charted briefly on the US Dance and R&B Singles charts. In 1998, a track with Mr. Vegas entitled "Guns High" charted in some countries in Europe, and a number of re-releases of his Jamaican material were issued on VP. Further albums were issued in 2001 (Cobra) and 2004 (Words of Warning). Most recently, Cobra was heard on "Cobrastyle", a single from Teddybears' 2006 album, Soft Machine.
On the night of May 11, 2010, Mad Cobra was shot three times in the upper body near his home in Braeton, only a day after another dancehall artist, Oneil Edwards of the group Voice Mail, was also shot in Duhaney Park. He was carried to the Spanish Town Hospital for treatment. It was later ascertained that the vehicle Mad Cobra was traveling in had shone its light on a group of men and this had angered them. When Mad Cobra came out to appease the men, he was shot. He was released from hospital later that week. On the following Monday night, his house was shot up by unknown assailants but no one was injured during the incident.
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Flex
by Mad Cobra
Crying, moaning, just can't wait til morning
Waiting too long
Finally yuh come a long
Baby love
Explain yuhself, baby girl
Lead out! Lead out, lead out, lead out
Like a clock ticking on the wall
Seven days a week
So weak I need yuh body next to mine
Cyaan eat nor sleep
Like a club to a screw
Ohhh I do you
So neat
Spread your feet
Lord (Hear mi tell di girl!)
Girl flex, time to have sex
Long time yuh have di rude bwoy yah a sweat Girl, flex time to have sex
Look how long yuh have di rude bwoy a sweat
I rather wait out-a patience
Lovin she get that will be sufficient
I rather wait till I cyaan wait no more
X amount of lovin hardcore
Me a listen jus to hear she knock pon di door
Only to touch her me nuh want know no more
Girl, flex time to have sex
Look how long yuh have di rude bwoy a sweat
Girl, flex time to have sex
Look how long yuh have di rude bwoy a...
Before she reach
I could smell her perfume
I could not wait to get her inna di room
Before she reach I could smell her perfume
I could not wait to get her inna...
Feel like a surgeon
Prepare di surgery
But I hope di likkle girl no charge me fi perjury
Action wit di injection
Worky, worky girl, according to plan
Girl flex, time to have sex
Look how long yuh have di rude bwoy a wait
Girl flex, time to have sex
Look how long yuh have di rude bwoy a...
Know me ready
Gal tickle up mi fancy
Skin to skin perform di surgery
Know me ready ain't wasting no time
Reach yuh climax girl anytime
Know me ready
Receive what me affi give
Good lovin every day that yuh live
Ready Gal lets go for it
Agony gal from start to finish
Girl Flex Time to have sex
Look how long yuh have di rude bwoy a sweat
Girl Flex Time to have sex
Look how long she have di rude bwoy a
Bet mi life
She not go late again
When she remember what where or when
Bet mi life she'll be always early
For me to perform a long-a surgery
Bet mi life I cyaan count on dat
Surgeon knife a slice it like a flechette
Girl flex, time to have sex
Look how long yuh have di rude bwoy a sweat
Girl flex, time to have sex
Look how long yuh have di rude bwoy a...
I rather wait
Out-a patience
Lovin she get
That will be sufficient
I rather wait
Till I cyaan wait no more
X amount of lovin hardcore
Me a listen
Jus to her she knock pon di door
Jus to touch her me nuh want know no more
Girl flex, time to have sex
Look how long yuh have di rude bwoy a sweat
Girl flex, time to have sex
Look how long yuh have di rude bwoy a
Know me ready
Gal tickle up mi fancy
Skin to skin perform di surgery
Know me ready girl ain't wasting no time
Reach yuh climax girl anytime
Know me ready
Receive what me affi give
Good lovin every day that....
Lyrics © BMG RIGHTS MANAGEMENT US, LLC , Sony/ATV Music Publishing LLC, Universal Music Publishing Group
Written by: JAMIE LEE BISSMIRE, JOHNNY O'CONNELL, LUCIAN THOMPSON
Lyrics Licensed & Provided by LyricFind
by Mad Cobra
Crying, moaning, just can't wait til morning
Waiting too long
Finally yuh come a long
Baby love
Explain yuhself, baby girl
Lead out! Lead out, lead out, lead out
Like a clock ticking on the wall
Seven days a week
So weak I need yuh body next to mine
Cyaan eat nor sleep
Like a club to a screw
Ohhh I do you
So neat
Spread your feet
Lord (Hear mi tell di girl!)
Girl flex, time to have sex
Long time yuh have di rude bwoy yah a sweat Girl, flex time to have sex
Look how long yuh have di rude bwoy a sweat
I rather wait out-a patience
Lovin she get that will be sufficient
I rather wait till I cyaan wait no more
X amount of lovin hardcore
Me a listen jus to hear she knock pon di door
Only to touch her me nuh want know no more
Girl, flex time to have sex
Look how long yuh have di rude bwoy a sweat
Girl, flex time to have sex
Look how long yuh have di rude bwoy a...
Before she reach
I could smell her perfume
I could not wait to get her inna di room
Before she reach I could smell her perfume
I could not wait to get her inna...
Feel like a surgeon
Prepare di surgery
But I hope di likkle girl no charge me fi perjury
Action wit di injection
Worky, worky girl, according to plan
Girl flex, time to have sex
Look how long yuh have di rude bwoy a wait
Girl flex, time to have sex
Look how long yuh have di rude bwoy a...
Know me ready
Gal tickle up mi fancy
Skin to skin perform di surgery
Know me ready ain't wasting no time
Reach yuh climax girl anytime
Know me ready
Receive what me affi give
Good lovin every day that yuh live
Ready Gal lets go for it
Agony gal from start to finish
Girl Flex Time to have sex
Look how long yuh have di rude bwoy a sweat
Girl Flex Time to have sex
Look how long she have di rude bwoy a
Bet mi life
She not go late again
When she remember what where or when
Bet mi life she'll be always early
For me to perform a long-a surgery
Bet mi life I cyaan count on dat
Surgeon knife a slice it like a flechette
Girl flex, time to have sex
Look how long yuh have di rude bwoy a sweat
Girl flex, time to have sex
Look how long yuh have di rude bwoy a...
I rather wait
Out-a patience
Lovin she get
That will be sufficient
I rather wait
Till I cyaan wait no more
X amount of lovin hardcore
Me a listen
Jus to her she knock pon di door
Jus to touch her me nuh want know no more
Girl flex, time to have sex
Look how long yuh have di rude bwoy a sweat
Girl flex, time to have sex
Look how long yuh have di rude bwoy a
Know me ready
Gal tickle up mi fancy
Skin to skin perform di surgery
Know me ready girl ain't wasting no time
Reach yuh climax girl anytime
Know me ready
Receive what me affi give
Good lovin every day that....
Lyrics © BMG RIGHTS MANAGEMENT US, LLC , Sony/ATV Music Publishing LLC, Universal Music Publishing Group
Written by: JAMIE LEE BISSMIRE, JOHNNY O'CONNELL, LUCIAN THOMPSON
Lyrics Licensed & Provided by LyricFind
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