Meaning and Lyrics of Baby Demon by Anuel AA
Song Lyrics meaning of Baby Demon by Anuel AA
About Anuel AA
Anuel AA: The Trailblazer of Latin Trap
Emmanuel Gazmey Santiago, globally recognized as Anuel AA, is a Puerto Rican reggaeton and Latin trap artist who has been a revolutionary force in the urban music scene. Born on November 26, 1992, in Carolina, Puerto Rico, Anuel AA’s roots in the industry are entwined with his unique ability to merge the gritty realities of street life with melodious hooks and hard-hitting beats. Anuel’s rise to fame was hardly a linear path. His early career was peppered with legal troubles, culminating in a 30-month prison sentence for gun possession charges in 2016. Far from a setback, this period served as a catalyst for his creative output. While incarcerated, he released his groundbreaking mixtape, Real Hasta La Muerte, which dropped on the day of his release in July 2018. The mixtape featured seismic hits like “Sola” and “Ella Quiere Beber,” firmly establishing him as a dominant player in the genre.
Anuel’s discography reads like a roadmap of Latin America’s musical evolution, seamlessly blending reggaeton, hip-hop, and trap elements. His debut album, also titled Real Hasta La Muerte, was a tour de force, featuring collaborations with luminaries such as Ozuna, Zion, and Wisin. His subsequent release, Emmanuel (2020), further solidified his prowess, boasting tracks like “Hasta Que Dios Diga” with Bad Bunny and “Futbol & Rumba” featuring Enrique Iglesias.
One of the standout tracks that encapsulates Anuel’s distinct style is “Baby Demon.” This song concocts a potent cocktail of intense beats, stark lyrical narratives, and Anuel’s unmistakable vocal timbre. “Baby Demon” is emblematic of his ability to straddle the line between raw street authenticity and mainstream appeal. The track delivers a pulsating rhythm that’s met with lyrical dexterity, reflecting the dualities and struggles that Anuel has faced throughout his life and career.
Anuel AA isn’t just an artist; he’s a cultural phenomenon. His outspoken, often controversial persona has made him a polarizing figure, but there’s no denying his impact on Latin trap and beyond. As a vanguard of this genre, Anuel AA continues to push boundaries, setting the stage for a new wave of urban artists influenced by his uncompromising approach to music.
Emmanuel Gazmey Santiago, globally recognized as Anuel AA, is a Puerto Rican reggaeton and Latin trap artist who has been a revolutionary force in the urban music scene. Born on November 26, 1992, in Carolina, Puerto Rico, Anuel AA’s roots in the industry are entwined with his unique ability to merge the gritty realities of street life with melodious hooks and hard-hitting beats. Anuel’s rise to fame was hardly a linear path. His early career was peppered with legal troubles, culminating in a 30-month prison sentence for gun possession charges in 2016. Far from a setback, this period served as a catalyst for his creative output. While incarcerated, he released his groundbreaking mixtape, Real Hasta La Muerte, which dropped on the day of his release in July 2018. The mixtape featured seismic hits like “Sola” and “Ella Quiere Beber,” firmly establishing him as a dominant player in the genre.
Anuel’s discography reads like a roadmap of Latin America’s musical evolution, seamlessly blending reggaeton, hip-hop, and trap elements. His debut album, also titled Real Hasta La Muerte, was a tour de force, featuring collaborations with luminaries such as Ozuna, Zion, and Wisin. His subsequent release, Emmanuel (2020), further solidified his prowess, boasting tracks like “Hasta Que Dios Diga” with Bad Bunny and “Futbol & Rumba” featuring Enrique Iglesias.
One of the standout tracks that encapsulates Anuel’s distinct style is “Baby Demon.” This song concocts a potent cocktail of intense beats, stark lyrical narratives, and Anuel’s unmistakable vocal timbre. “Baby Demon” is emblematic of his ability to straddle the line between raw street authenticity and mainstream appeal. The track delivers a pulsating rhythm that’s met with lyrical dexterity, reflecting the dualities and struggles that Anuel has faced throughout his life and career.
Anuel AA isn’t just an artist; he’s a cultural phenomenon. His outspoken, often controversial persona has made him a polarizing figure, but there’s no denying his impact on Latin trap and beyond. As a vanguard of this genre, Anuel AA continues to push boundaries, setting the stage for a new wave of urban artists influenced by his uncompromising approach to music.
Meaning of Baby Demon by Anuel AA
“Baby Demon” by Anuel AA: A Dark Descent into Lust and Danger
There’s a raw, unfiltered energy that Anuel AA consistently brings to his music, and “Baby Demon” is no exception. Teaming up with YOVNGCHIMI, Anuel AA crafts a visceral narrative drenched in the nightlife’s vice and excess. The song is a brutal exploration of impassioned, illicit love, punctuated by street sensibilities and a relentless pursuit of hedonistic thrills.
Introduction: Setting the Scene with Sinister Undertones
The intro immediately anchors the listener in a world where danger and allure intermingle. The invocation of “La ganga de las Glizzy” is a testament to the street gangs wielding Glock pistols, setting a tone of precarious power dynamics. Anuel AA’s trademark phrase “Real hasta la muerte” further solidifies the authenticity and danger that underpins the track. The phrase connotes a devotion to street loyalty and integrity, but there’s an irony as it transitions into the song’s theme of lust-driven antics.
Refrán: The Mechanics of Forbidden Desire
Anuel AA’s refrain serves as the pulsating heart of “Baby Demon”. The imagery of clandestine meetings at the witching hour—“Ella siempre me llama tarde / Como a las 3 de la mañana, bien bellaca”—paints a picture of secret, almost ritualistic encounters. The language is stark and explicit, underscoring the carnal urgency that characterizes their interactions. This insistence on physical connection, devoid of emotional entanglement, is a recurring motif.
Estribillo: An Anthem of Sinful Indulgence
The chorus, shared between Anuel AA and YOVNGCHIMI, is a brazen celebration of their exploits. The phrase “Fornicando en el calor del infierno” is almost Biblical in its invocation of hellfire, aligning their carnal activities with eternal damnation. Yet, far from seeking redemption, they revel in their choices, marking their locations—whether a house, a hotel, or a car—as temples of forbidden pleasure. This thematic embrace of sin is punctuated with the blunt admission of emotional detachment: “Chingando no mezclamo’ los sentimiento'”.
Verso 1: Anuel AA’s Poetic Pornography
Anuel’s first verse dives deeper into their dynamic, blending pop culture references with stark imagery. Comparing his swift approaches to various women to legendary athletes (“Te lo meto bien rápido como Bari”), and invoking comedians (“Te hago reír como Jim Carrey”), Anuel crafts a narrative that’s lurid yet poetically rich. The documentary analogy—filled with sex tapes and coded messages—adds layers to their illicit romance, while asserting his dominance and control.
Verso 2: YOVNGCHIMI’s Ice-Cold Diablery
YOVNGCHIMI’s verse contrasts Anuel’s with a colder, yet equally intense, passion. The mention of “tanta’ prenda’ encima que estoy como en el invierno” highlights a decadent lifestyle, replete with riches and a sense of untouchability. The transformation into Lucifer incarnate, with a promise to become the lover’s demonic partner, furthers the devilish imagery. There’s a sense of inevitability in their union—if governmental betrayal equates to the way he wishes to “clavarte,” then this love is as tumultuous as it is fated.
Verso 3: The Dark Poetry of Anuel’s Second Verse
Anuel’s second verse expertly mixes violence, pop culture, and visceral imagery. Here, the women are graded like possessions, the raw nature of “Se la echo en la boca y ni una gota se le sale” offensively yet vividly marking sexual dominance. The juxtaposition of religious and violent metaphor—”No te suelto como un asesino no suelta su corta”—reflects a commitment as fierce as it is toxic. There are even nods to iconic characters, comparing himself to Tony Montana and her to Elvira Hancock. It’s clear this relationship is as fantastical and destructive as a crime saga.
Concluding Flourish: A Symphony of Sin
The outro loops back to the recurring theme of “Real hasta la muerte,” underscoring an unwavering commitment to an unrepentant, decadent lifestyle. The diabolic imagery and the reiteration of loyalty—even unto death—create a final, chilling resonance.
Cultural and Artistic Reflections
Anuel AA and YOVNGCHIMI have achieved a dark anthem that resonates with the raw, untamed energy of reggaeton and trap. Despite veering into explicit territories, the track’s relentless beat and lyrical ferocity make it an essential examination of the modern reggaeton landscape. Today’s listeners, especially those entwined in or curious about street cultures and transgressive love narratives, will find “Baby Demon” both captivating and confrontational. It stands as a testament to Anuel AA’s ability to create music that is not just for dancing, but also for delving into the darker recesses of human desire and morality.
There’s a raw, unfiltered energy that Anuel AA consistently brings to his music, and “Baby Demon” is no exception. Teaming up with YOVNGCHIMI, Anuel AA crafts a visceral narrative drenched in the nightlife’s vice and excess. The song is a brutal exploration of impassioned, illicit love, punctuated by street sensibilities and a relentless pursuit of hedonistic thrills.
Introduction: Setting the Scene with Sinister Undertones
The intro immediately anchors the listener in a world where danger and allure intermingle. The invocation of “La ganga de las Glizzy” is a testament to the street gangs wielding Glock pistols, setting a tone of precarious power dynamics. Anuel AA’s trademark phrase “Real hasta la muerte” further solidifies the authenticity and danger that underpins the track. The phrase connotes a devotion to street loyalty and integrity, but there’s an irony as it transitions into the song’s theme of lust-driven antics.
Refrán: The Mechanics of Forbidden Desire
Anuel AA’s refrain serves as the pulsating heart of “Baby Demon”. The imagery of clandestine meetings at the witching hour—“Ella siempre me llama tarde / Como a las 3 de la mañana, bien bellaca”—paints a picture of secret, almost ritualistic encounters. The language is stark and explicit, underscoring the carnal urgency that characterizes their interactions. This insistence on physical connection, devoid of emotional entanglement, is a recurring motif.
Estribillo: An Anthem of Sinful Indulgence
The chorus, shared between Anuel AA and YOVNGCHIMI, is a brazen celebration of their exploits. The phrase “Fornicando en el calor del infierno” is almost Biblical in its invocation of hellfire, aligning their carnal activities with eternal damnation. Yet, far from seeking redemption, they revel in their choices, marking their locations—whether a house, a hotel, or a car—as temples of forbidden pleasure. This thematic embrace of sin is punctuated with the blunt admission of emotional detachment: “Chingando no mezclamo’ los sentimiento'”.
Verso 1: Anuel AA’s Poetic Pornography
Anuel’s first verse dives deeper into their dynamic, blending pop culture references with stark imagery. Comparing his swift approaches to various women to legendary athletes (“Te lo meto bien rápido como Bari”), and invoking comedians (“Te hago reír como Jim Carrey”), Anuel crafts a narrative that’s lurid yet poetically rich. The documentary analogy—filled with sex tapes and coded messages—adds layers to their illicit romance, while asserting his dominance and control.
Verso 2: YOVNGCHIMI’s Ice-Cold Diablery
YOVNGCHIMI’s verse contrasts Anuel’s with a colder, yet equally intense, passion. The mention of “tanta’ prenda’ encima que estoy como en el invierno” highlights a decadent lifestyle, replete with riches and a sense of untouchability. The transformation into Lucifer incarnate, with a promise to become the lover’s demonic partner, furthers the devilish imagery. There’s a sense of inevitability in their union—if governmental betrayal equates to the way he wishes to “clavarte,” then this love is as tumultuous as it is fated.
Verso 3: The Dark Poetry of Anuel’s Second Verse
Anuel’s second verse expertly mixes violence, pop culture, and visceral imagery. Here, the women are graded like possessions, the raw nature of “Se la echo en la boca y ni una gota se le sale” offensively yet vividly marking sexual dominance. The juxtaposition of religious and violent metaphor—”No te suelto como un asesino no suelta su corta”—reflects a commitment as fierce as it is toxic. There are even nods to iconic characters, comparing himself to Tony Montana and her to Elvira Hancock. It’s clear this relationship is as fantastical and destructive as a crime saga.
Concluding Flourish: A Symphony of Sin
The outro loops back to the recurring theme of “Real hasta la muerte,” underscoring an unwavering commitment to an unrepentant, decadent lifestyle. The diabolic imagery and the reiteration of loyalty—even unto death—create a final, chilling resonance.
Cultural and Artistic Reflections
Anuel AA and YOVNGCHIMI have achieved a dark anthem that resonates with the raw, untamed energy of reggaeton and trap. Despite veering into explicit territories, the track’s relentless beat and lyrical ferocity make it an essential examination of the modern reggaeton landscape. Today’s listeners, especially those entwined in or curious about street cultures and transgressive love narratives, will find “Baby Demon” both captivating and confrontational. It stands as a testament to Anuel AA’s ability to create music that is not just for dancing, but also for delving into the darker recesses of human desire and morality.
Lyrics of Baby Demon by Anuel AA
Letra de "Baby Demon"
Intro: YOVNGCHIMI & Anuel AA
La ganga de las Glizzy
Real hasta la muerte, ¿oíste, cabrone'?
La baby demon (Oh-oh-oh-oh)
Real hasta la muerte, ¿oíste, cabrón? (Uah)
Refrán: Anuel AA
Ella siempre me llama tarde (Tarde)
Como a las 3 de la mañana, bien bellaca (Bien bellaca)
Quiere que mi bicho adentro se lo guarde (Se lo guarde)
Enrolando ZaZa, el bolsillo lleno 'e paca'
Con el AK, que la calle está que arde (Arde; ¡brr!)
Yo soy un bando-bandolero, chillin' como Tego Calde (Oh-oh-oh-oh-oh, uah)
Insaciablе, no me canso 'e darte, uah, uah (Oh-oh-oh-oh-oh-oh)
Estribillo: Anuel AA & YOVNGCHIMI
Fornicando еn el calor del infierno (Del infierno)
Callao' nos escondemo' pa' verno'
En la casa, en el hotel o en el carro (Los Diablo')
Chingando no mezclamo' los sentimiento' (El Demon; uah)
Fornicando en el calor del infierno (Dime, baby)
Callao' nos escondemo' pa' verno'
Te lo metí antes de que ya nos conociéramo' (La AA)
Sin sentimiento'
Verso 1: Anuel AA
Blanquita de pelo lacio como Ari (Como Ari)
Te lo meto bien rápido como Bari (Como Bari)
Fresh vestío' 'e rojo 27 de la mata 'e mari (Brr)
Te gustan las película' (Uah, uah), yo te hago reír como Jim Carrey
Vídeo' chingando tenemo' un documentary (Documentary)
Tú me enamoraste como la canción de Lary (Lary)
Sé que quiere' bicho, yo te leo como un dictionary
Desde la primera ve', siempre chingamo' como si es 14 de February (Uah)
Pone indirecta' en los story (En los story)
Y deja gotita' bellaca' en los commentary (Commentary)
Yo te lo enchufo como el auxiliari (Auxiliar)
Me quedo preso adentro 'e ti como Drizmali (Uah, uah), brr, ¿ah?
Estribillo: Anuel AA & YOVNGCHIMI
Fornicando en el calor del infierno (Del infierno)
Callao' nos escondemo' pa' verno' (Pa' verno')
En la casa, en el hotel o en el carro (Los Diablo')
Chingando no mezclamo' los sentimiento' (El Demon; uah)
Fornicando en el calor del infierno (Dime, baby; uah)
Callao' nos escondemo' pa' verno'
Te lo metí antes de que ya nos conociéramo' (Baby, esto es real hasta la muerte)
Sin sentimiento', brr (Uah; Los Diablo')
Verso 2: YOVNGCHIMI
Fornicando en el calor del infierno (Del infierno; ah-ah)
Tanta' prenda' encima que estoy como en el invierno (El invierno)
Soy un diablo, baby, no es por ti que tengo cuerno' (Los Diablo')
Dile' a tus padre' que Lucifer va a ser su yerno (El Demon)
Baby, quiero clavarte como nos clavó el gobierno (Mera, baby)
Si yo te rompo to'a, yo sé que volvemo' a verno' (Yo sé que volvemo' a coger)
Siempre que kikeamo' lo que queremo' es comerno' (Comerno')
Estoy en Perco y lean, bebé, pero no estoy enfermo (Ah-ah)
Red bottles, el Dior, snakeskin (Red)
Three thousand on my feet and I got them racks on me
El brother bajó Amiri designer, estamo' on fleek ('Tamo on fleek)
Frenamo' en Lamborghini, SRT son toa' las Jeep (SRT son toa' las Jeep)
Yo soy un maleante y ella una baby de gym (Una baby de gym)
Un amor bien loco, tóxico, no tiene fin (No tiene fin)
Baby, soy tu Joker y tú ere' mi Harley Quinn (Mi Harley Quinn)
Alexander McQueen, gasté 3 mil en la Lanvin (Uh-uh; en la Lanvin)
Yo soy tu Tony y tú mi Elvira (Elvira)
Me encanta cómo me mira' (Mira') cuando te me trepa' encima (Ah-ah)
Tú baila' como Shakira (Shakira), extrañándote en toa' las gira'
Pensamiento' van y viran (Pensamiento') no te suelto flow las G-lock (Los Diablo')
Puente: YOVNGCHIMI & Anuel AA
Ella es mi diablita, le ruego que no me suelte (No me suelte)
Un matrimonio, no nos separa ni la muerte (Ni la muerte)
Una baby demon, manda el PIN, que quiero verte (La baby demon)
Frené con el Kel-Tec a tu casa pa' romperte (Brr, ¿ah?)
Verso 3: Anuel AA
Si estas puta' no son iguale' (Iguale')
Siempre la más rica sobresale (Sobresale)
Les metía cien de tre' de tre' como Ray Allen (Brr)
Se la echo en la boca y ni una gota se le sale (Se le sale)
Te pongo en cuatro y dale, Don, dale
Primero Dio' y mi familia, tercero tú por siempre será' mía
Guarda mi corazón, que Dio' me guarda de la envidia (De la envidia)
No te suelto como un asesino no suelta su corta (Brr)
Como un cristiano no suelta La Biblia, brr
Amén, fumando wax en pen (En pen)
Bebé, tú ere' mi Barbie y el cora amarillo e' el Ken (Es el Ken)
To' estos culito' son die', tu culo es un cien (Es un cien)
Si tú fuera' una Glock, bebé, tú fuera' quinta Gen (Brr)
Primero te quito el sostén (Sostén)
Ese panticito huele bien (Huele bien)
Yo tu Peter Parker, tú mi Gwen (Tú mi Gwen)
Brincando y me lo mama en la Cayenne (En la Cayenne)
Primero te quito el sostén (Uah)
Ese panticito huele bien (Huele bien)
Yo tu Peter Parker, tú mi Gwen (Tú mi Gwen)
Se la echo en la cara como LeBron James (Uah, uah)
Me rompieron el corazón una ve' pero como Deadpool regenero (Regenero)
Y vuelvo y mato a Cupido to' los 14 de febrero (Brr)
Amo meterte el bicho entero, pero no amo a ningún cuero (A ningún cuero)
Pa' no morir traiciona'o como Canserbero
Hierba, Perco, tussi, hongo'
Te lo meto en cuatro, a dos mano' te hago la Stone Cold (La Stone Cold)
Te chingo al la'o del R full platea'o, el Terminator (Brr)
Baby, te pongo a brincar como Vince Carter en Toronto (Jaja), brr
Estribillo: Anuel AA & YOVNGCHIMI
Fornicando en el calor del infierno (Del infierno)
Callao' nos escondemo' pa' verno' (Verno')
En la casa, en el hotel o en el carro (Los Diablo')
Chingando no mezclamo' los sentimiento' (El Demon; uah)
Fornicando en el calor del infierno (Dime, baby; uah)
Callao' nos escondemo' pa' verno'
Te lo metí antes de que ya nos conociéramo'
Sin sentiemiento'
Outro: Anuel AA & YOVNGCHIMI
Los Diablo'
Uah
Dime, AA
Uah
La ganga de las Glizzy
Oh-oh-oh-oh-oh
Real hasta la muerte, ¿oíste, cabrón?
Las baby demon, you dig?
Oh-oh-oh-oh-oh-oh
Mera, dime, ArKey-O
Bebecita (Bebe-bebecita)
(Uah, uah, brr)
Las baby demon que son real hasta la muerte
Intro: YOVNGCHIMI & Anuel AA
La ganga de las Glizzy
Real hasta la muerte, ¿oíste, cabrone'?
La baby demon (Oh-oh-oh-oh)
Real hasta la muerte, ¿oíste, cabrón? (Uah)
Refrán: Anuel AA
Ella siempre me llama tarde (Tarde)
Como a las 3 de la mañana, bien bellaca (Bien bellaca)
Quiere que mi bicho adentro se lo guarde (Se lo guarde)
Enrolando ZaZa, el bolsillo lleno 'e paca'
Con el AK, que la calle está que arde (Arde; ¡brr!)
Yo soy un bando-bandolero, chillin' como Tego Calde (Oh-oh-oh-oh-oh, uah)
Insaciablе, no me canso 'e darte, uah, uah (Oh-oh-oh-oh-oh-oh)
Estribillo: Anuel AA & YOVNGCHIMI
Fornicando еn el calor del infierno (Del infierno)
Callao' nos escondemo' pa' verno'
En la casa, en el hotel o en el carro (Los Diablo')
Chingando no mezclamo' los sentimiento' (El Demon; uah)
Fornicando en el calor del infierno (Dime, baby)
Callao' nos escondemo' pa' verno'
Te lo metí antes de que ya nos conociéramo' (La AA)
Sin sentimiento'
Verso 1: Anuel AA
Blanquita de pelo lacio como Ari (Como Ari)
Te lo meto bien rápido como Bari (Como Bari)
Fresh vestío' 'e rojo 27 de la mata 'e mari (Brr)
Te gustan las película' (Uah, uah), yo te hago reír como Jim Carrey
Vídeo' chingando tenemo' un documentary (Documentary)
Tú me enamoraste como la canción de Lary (Lary)
Sé que quiere' bicho, yo te leo como un dictionary
Desde la primera ve', siempre chingamo' como si es 14 de February (Uah)
Pone indirecta' en los story (En los story)
Y deja gotita' bellaca' en los commentary (Commentary)
Yo te lo enchufo como el auxiliari (Auxiliar)
Me quedo preso adentro 'e ti como Drizmali (Uah, uah), brr, ¿ah?
Estribillo: Anuel AA & YOVNGCHIMI
Fornicando en el calor del infierno (Del infierno)
Callao' nos escondemo' pa' verno' (Pa' verno')
En la casa, en el hotel o en el carro (Los Diablo')
Chingando no mezclamo' los sentimiento' (El Demon; uah)
Fornicando en el calor del infierno (Dime, baby; uah)
Callao' nos escondemo' pa' verno'
Te lo metí antes de que ya nos conociéramo' (Baby, esto es real hasta la muerte)
Sin sentimiento', brr (Uah; Los Diablo')
Verso 2: YOVNGCHIMI
Fornicando en el calor del infierno (Del infierno; ah-ah)
Tanta' prenda' encima que estoy como en el invierno (El invierno)
Soy un diablo, baby, no es por ti que tengo cuerno' (Los Diablo')
Dile' a tus padre' que Lucifer va a ser su yerno (El Demon)
Baby, quiero clavarte como nos clavó el gobierno (Mera, baby)
Si yo te rompo to'a, yo sé que volvemo' a verno' (Yo sé que volvemo' a coger)
Siempre que kikeamo' lo que queremo' es comerno' (Comerno')
Estoy en Perco y lean, bebé, pero no estoy enfermo (Ah-ah)
Red bottles, el Dior, snakeskin (Red)
Three thousand on my feet and I got them racks on me
El brother bajó Amiri designer, estamo' on fleek ('Tamo on fleek)
Frenamo' en Lamborghini, SRT son toa' las Jeep (SRT son toa' las Jeep)
Yo soy un maleante y ella una baby de gym (Una baby de gym)
Un amor bien loco, tóxico, no tiene fin (No tiene fin)
Baby, soy tu Joker y tú ere' mi Harley Quinn (Mi Harley Quinn)
Alexander McQueen, gasté 3 mil en la Lanvin (Uh-uh; en la Lanvin)
Yo soy tu Tony y tú mi Elvira (Elvira)
Me encanta cómo me mira' (Mira') cuando te me trepa' encima (Ah-ah)
Tú baila' como Shakira (Shakira), extrañándote en toa' las gira'
Pensamiento' van y viran (Pensamiento') no te suelto flow las G-lock (Los Diablo')
Puente: YOVNGCHIMI & Anuel AA
Ella es mi diablita, le ruego que no me suelte (No me suelte)
Un matrimonio, no nos separa ni la muerte (Ni la muerte)
Una baby demon, manda el PIN, que quiero verte (La baby demon)
Frené con el Kel-Tec a tu casa pa' romperte (Brr, ¿ah?)
Verso 3: Anuel AA
Si estas puta' no son iguale' (Iguale')
Siempre la más rica sobresale (Sobresale)
Les metía cien de tre' de tre' como Ray Allen (Brr)
Se la echo en la boca y ni una gota se le sale (Se le sale)
Te pongo en cuatro y dale, Don, dale
Primero Dio' y mi familia, tercero tú por siempre será' mía
Guarda mi corazón, que Dio' me guarda de la envidia (De la envidia)
No te suelto como un asesino no suelta su corta (Brr)
Como un cristiano no suelta La Biblia, brr
Amén, fumando wax en pen (En pen)
Bebé, tú ere' mi Barbie y el cora amarillo e' el Ken (Es el Ken)
To' estos culito' son die', tu culo es un cien (Es un cien)
Si tú fuera' una Glock, bebé, tú fuera' quinta Gen (Brr)
Primero te quito el sostén (Sostén)
Ese panticito huele bien (Huele bien)
Yo tu Peter Parker, tú mi Gwen (Tú mi Gwen)
Brincando y me lo mama en la Cayenne (En la Cayenne)
Primero te quito el sostén (Uah)
Ese panticito huele bien (Huele bien)
Yo tu Peter Parker, tú mi Gwen (Tú mi Gwen)
Se la echo en la cara como LeBron James (Uah, uah)
Me rompieron el corazón una ve' pero como Deadpool regenero (Regenero)
Y vuelvo y mato a Cupido to' los 14 de febrero (Brr)
Amo meterte el bicho entero, pero no amo a ningún cuero (A ningún cuero)
Pa' no morir traiciona'o como Canserbero
Hierba, Perco, tussi, hongo'
Te lo meto en cuatro, a dos mano' te hago la Stone Cold (La Stone Cold)
Te chingo al la'o del R full platea'o, el Terminator (Brr)
Baby, te pongo a brincar como Vince Carter en Toronto (Jaja), brr
Estribillo: Anuel AA & YOVNGCHIMI
Fornicando en el calor del infierno (Del infierno)
Callao' nos escondemo' pa' verno' (Verno')
En la casa, en el hotel o en el carro (Los Diablo')
Chingando no mezclamo' los sentimiento' (El Demon; uah)
Fornicando en el calor del infierno (Dime, baby; uah)
Callao' nos escondemo' pa' verno'
Te lo metí antes de que ya nos conociéramo'
Sin sentiemiento'
Outro: Anuel AA & YOVNGCHIMI
Los Diablo'
Uah
Dime, AA
Uah
La ganga de las Glizzy
Oh-oh-oh-oh-oh
Real hasta la muerte, ¿oíste, cabrón?
Las baby demon, you dig?
Oh-oh-oh-oh-oh-oh
Mera, dime, ArKey-O
Bebecita (Bebe-bebecita)
(Uah, uah, brr)
Las baby demon que son real hasta la muerte
Discography Anuel AA
LLNM2
Release: 2022-12-09
Label: Real Hasta La Muerte, LLC
Popularity: 👏👏👏👏
Las Leyendas Nunca Mueren
Release: 2021-11-26
Label: Real Hasta La Muerte, LLC
Popularity: 👏👏👏👏
Los Dioses
Release: 2021-01-22
Label: Real Hasta La Muerte LLC & Aura Music Corp.
Popularity: 👏👏👏👏
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