![]() Si tengo un momento, me gustaría capturar ese momento Que estaría aquí a mi lado Si yo tuviera el secreto, el secreto de su amor Me gustaría plantar el tesoro debajo de mi corazón Bloqueo de todo y tirar la llave Yo nunca le daría todos los Porque yo era un tonto, un tonto para usted Cuando yo te amaba como un niño. Now everything isn't everything If everything, everything isn't with you, yeahĪnd I want it all back I want it all, I want it all Girl, I want it all back I want it all back I want it all, I want it all Girl, I want it all You never miss a good thing 'till it's gone I want it all, now I want it all (back) Now I want it all back Now I want it all back Now I want it all back If there's a green light And it's starts to turn yellow Pedal to the floor, cause I know your heart is turning red If I have the minutes I would turn 'em into hours And make love to your mind and not your body instead I was just a fool A fool for you That didn't know what I had until I lost you Now, every single moment That your not here, yeah It's evident to me that everything just seems so clear He's a refreshing presence, a high-schooler who's neither as family friendly as Will Smith nor as comically vulgar as Pretty Ricky.If I have a moment I'd capture that moment You would be right here next to me If I had the secret The secret to your love I would plant the treasure beneath my heart Lock it all up And throw away the key I would never give it all Cause I was just a fool A fool for you When I loved you so childishlyĪnd I want it all back I want it all, I want it all Girl, I want it all back I want it all back I want it all, I want it all Girl, I want it all You never miss a good thing 'till it's gone I want it all, now I want it all (back) While Brown's audience will be almost exclusively 18 and under, few of his fans will feel sheepish in owning this album. Toughness comes instead from the beats, whether they're provided by the Underdogs, Dre & Vidal, Cool & Dre, or the overworked Storch. He doesn't often try to sound harder or more demonstrative than necessary, unlike a lot of singers his age who have sprouted during the late '90s and early 2000s, and he rarely oversteps the kind of romantic territory that most teens find relatable. Dre - might've produced him and Prince - not Luther Campbell - might've assisted, which just goes to show how much R&B has changed in 15 years.) Chris Brown, a durable debut album, almost always involves an even push-and-pull between what appeals to kids who don't consider street credibility and those who do, all the way down to the visuals: check the album cover, featuring the singer's strained "Don't mess with me!" face, and compare it to the photo spread inside, featuring Brown's natural "Pinch my cheeks!" face. (Had Brown been coming up in the early '90s, Quincy Jones - not Dr. ![]() The song's way of tempering Brown's small-town innocence with hard-edged backing and a guest spot from an MC of ill repute is clearly a strategy to make the singer appeal to more than tween girls. That's no slight feat, especially for a reheated version of Usher's "Yeah!" made by a fresh-faced teenager who reps a little town in Virginia that rhymes with "grab a hammock." On "Run It!," Chris Brown is boosted by production from Scott Storch and an appearance by Juelz Santana. The week "Run It!" was released, it went straight to the top of the Billboard Hot 100 and became the first single from a male artist to debut at that spot. ![]()
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