SOY UN BAD BOY Lyrics (English Translation) – El Alfa Ganlyrics

[Intro: Luar La L & El Alfa]
You know who we are, baby (What?)
Tre’ Letra’
Eighteen years of controlling, I’m going on a robbery
You’re clear that I’m a fool
Don’t look at me too much because I rub it in your face
I applied it to you and stole your consumption trick

[Chorus: The Alpha]
For the bad one a playboy, for the greti a bad boy
For the bad one a playboy, for the greti a bad boy
For the bad one a playboy, for the greti a bad boy

For the ‘bad’-bad’-bad’ (Yeah, yeah, me’)

[Pre-Chorus: The Alpha]
The tiger goes to the Caribbean and the woman goes to the gynecologist
The ‘scream’ is heard harder than the ‘musician’
Let no one publish the video of where I am
So that the DICRIM does not arrive and take away the ‘bad boy’

[Chorus: The Alpha]
For the bad one a playboy, for the greti a bad boy
For the bad one a playboy, for the greti a bad boy
For the bad one a playboy, for the greti a bad boy
For the ‘bad’-bad’-bad’-bad’ (Yeah, yeah, me’)
For the bad one a playboy, for the greti a bad boy
For the bad one a playboy, for the greti a bad boy
For the bad one a playboy, for the greti a bad boy
Pa’ la’ mala’-mala’-mala’ (A ti se-, a ti se-, a ti se-)

[Verse 1: The Alpha]
Did you forget all the messages you sent?
You put your mouth in the DM and sucked me
You push your dad and mom ahead
You do whatever it takes to make it sound
I am Héctor Lavoe, Pacheco’s hotshot
The owner of this pod, catching everything’ fresh’

I turn on the private jet and leave everyone to die
She dreamed of me on the plane killing herself
Ah-ah-ah (The ‘pilot’), ah-ah-ah (They’re moving the plane)

[Saying: The Alpha]
You spit up and it fell on your brain
‘The whole world wanted to dream of you, now you with it’
(You spit up and it fell on your brain
The whole world wanted to dream of you, now you with it’)
Everything I wear is a kilombo
Everything I wear is a kilombo

[Pre-Chorus: The Alpha]
Let no one publish the video of where I am
So that the DICRIM does not arrive and take away the ‘bad boy’
(Nobody publish the ‘video’ to where I am
So that the DICRIM does not arrive and take away the ‘bad boy’)

[Chorus: El Alfa & Luar La L]
For the bad one a playboy, for the greti a bad boy
For the bad one a playboy, for the greti a bad boy
For the bad one a playboy, for the greti a bad boy
Pa’ la’ mala’-mala’-mala’.mala’ (Yeah, yeah, me’)
For the bad one a playboy, for the greti a bad boy (Hey)
For the bad one a playboy, for the greti a bad boy (***)
For the bad one a playboy, for the greti a bad boy (*** bad)
Pa’ la’ mala’-mala’-mala’-mala’ (Three’ Letra’, what?)

[Bridge: Luar La L]
Today I’m going to the disco, I want to see romo
Rolls Royce, if you see it braking you already know that they are the ‘bad boy’
Hey, do you know who the bad boys are?

[Verse 2: Luar La L]
I-I-I’m playing, I just have to wait for them to tie him up, call if I’m there
I’m not missing one ’23 fifth’, I’m going to play Floyd
When I step on paint my closet looks white
I don’t know if dressing blood red goes with all the ‘fake’
I am melted, and in a bullet he wants me to detonate submerged
Below ‘the water without mentioning it, we are ‘cold’
Let her pay for the blow between the extension and her husband
That’s up to him
The riso’ I skin you, I put water in you like a diver
Infiltra’o like an intruder
Acapella, I never use yours
If I put it inside you, I don’t warn you and I excuse myself (I’m going-going-going, what?)

[Bridge: Luar La L]
I’m going-I’m going to the disco, I want to see romo (Hehe)
Rolls Royce, if you see it braking you already know that they are the ‘bad boy’
Hey, do you know who the bad boys are? (***, that?)

[Chorus: El Alfa, Luar La L & Jezzy]
For the bad one a playboy, for the greti a bad boy
For the bad one a playboy, for the greti a bad boy (Tre’ Letra’, eh)
For the bad one a playboy, for the greti a bad boy (Jezzy, the chef of the verses)
For the ‘bad’-bad’-bad’-bad’ (Yeah, yeah, me’)

[Verse 3: Jezzy]
I disappear, number one I appear
It’s not that I’m overweight, I’m wearing a vest
This is so that the doll and the doll can dance
The first one he invested was the table and I thank him for it.
And from below, and there are people further down
They are my ‘little enemy’ and they gave me a job
The neighbor keeps complaining ‘the bass
From the smoke, from the grass, from the noise and from the relaxation
Snoring outside my house, the *** stopped me
I was doing it guilla’o, it seems like they are snitching on me
‘They were ripping a pound that the ‘boy’ gave me
When I went inside, they almost destroyed me
Villa Agrico block, the cramp like prieto
I sew it, we nail it in the retro box
Free ***, doing time for a kidnapping
We ride a cold route to get to the subway
I’m sorry, I can’t tell you
Nama’ I’m happy when I have it inside
I have not signed with anyone, they are mine’ all my’ percent’
And it’s not that El Alfa sare, that they have no talent

[Chorus: The Alpha]
For the bad one a playboy, for the greti a bad boy
For the bad one a playboy, for the greti a bad boy
For the bad one a playboy, for the greti a bad boy
Pa’ la’ bad’-bad’-bad’-bad’ (Yeah, yeah, me’)
For the bad one a playboy, for the greti a bad boy
For the bad one, a playboy, for him
O’ greti a bad boy
For the bad one a playboy, for the greti a bad boy
For the ‘bad’-bad’-bad’ (Yeah, yeah, me’)

[Outro: The Alpha]
(You’ve never matured neither to puya’ nor carbide
Pu-Pu-Puya’ no carbide, pu-puya’ no carbide
You’ve never matured neither with puya’ nor carbide
Pu-Pu-Puya’ neither carbide, pu-puya’ nor carbide)
You’ve never matured neither with puya’ nor carbide
That’s why they stayed being tough’

[Intro]

The intro sets the stage with a bold declaration of identity and authority. Addressing someone directly, they assert that their reputation precedes them. The mention of “Tre’ Letra’” hints at a nickname or symbolic reference that carries weight within their circles. By mentioning “eighteen years of controlling,” they imply a long history of dominance or influence, perhaps in their neighborhood or lifestyle. Despite acknowledging their own folly, they exude confidence, warning against underestimating them, and implying consequences for doing so.

[Chorus]

The chorus serves as a rallying cry, repeatedly affirming their embrace of the “bad boy” persona. By juxtaposing the labels of playboy and bad boy, they draw a distinction between superficial charm and genuine toughness. This repetition emphasizes their pride in this identity, underscoring their defiance against societal norms and expectations. The inclusion of “greti,” a colloquial term, adds a layer of authenticity and regional flavor to their assertion of rebellion and nonconformity.

[Pre-Chorus]

In the pre-chorus, vivid imagery is employed to illustrate their mindset and circumstances. They liken themselves to a powerful tiger, symbolizing strength and ferocity, while emphasizing the need for secrecy to evade legal repercussions. The contrast drawn between the public perception (“scream”) and their reality (“musician”) highlights the complexity of their situation, where appearances can be deceiving. The mention of DICRIM adds a touch of realism, suggesting a fear of law enforcement and the consequences of being caught.

[Verse 1]

This verse delves into the dynamics of relationships and power struggles. They call out someone for their manipulative behavior, detailing instances of deception and exploitation. By comparing themselves to revered figures in Latin music, they assert their own status and authority, signaling their position of influence within their community. References to luxury, such as the private jet, serve to underscore their wealth and status, further enhancing their portrayal of dominance.

[Saying]

In this segment, they revel in their superiority over those who have wronged them. They mock the downfall of their adversaries, emphasizing their own sense of style and flair. The repetition of “kilombo” conveys a sense of chaos and disorder, suggesting that they thrive in situations where others falter.

[Pre-Chorus (Reprise)]

Reiterating the importance of secrecy, they emphasize the need to avoid detection and scrutiny. Their fear of exposure highlights the risks inherent in their lifestyle and activities, underscoring the consequences of being caught and the measures they take to evade detection.

[Chorus (Reprise)]

Once again, they proudly assert their identity as “bad boys,” defiantly embracing the label without reservation. The addition of “Pa’ la’ mala’” further reinforces their rebellion and nonconformity, signaling their willingness to challenge societal norms and expectations.

[Bridge]

The bridge paints a picture of indulgence and extravagance, with references to luxury cars and exclusive clubs. They assert their dominance and challenge others to recognize their status as the epitome of “bad boys,” further solidifying their reputation and authority.

[Verse 2]

In this verse, they elaborate on their experiences and bravado, boasting of their fearlessness and daring exploits. References to specific scenarios and locales add depth to their narrative, showcasing their street credibility and authenticity. The use of slang and local references further enhances their portrayal of toughness and resilience.

[Bridge (Reprise)]

Repeating the earlier bridge, they continue to assert their identity and defiance, inviting others to acknowledge their status as the ultimate “bad boys.” The playful tone serves to contrast with their earlier bravado, adding a layer of irony and complexity to their portrayal.

[Chorus (Final)]

In the final chorus, they join forces with another artist to reinforce their shared identity and camaraderie as “bad boys.” This collaboration adds depth and richness to the song, highlighting unity and solidarity among those who embrace this lifestyle and ethos.

[Verse 3]

In this final verse, they delve deeper into their experiences and challenges, showcasing their resilience and perseverance in the face of adversity. The detailed storytelling adds nuance to their portrayal of the “bad boy” archetype, offering insight into the complexities of their lives and the struggles they endure.

[Outro]

The outro concludes with a final assertion of toughness and resilience, mocking those who have not earned their respect or maturity. By emphasizing their own strength and endurance, they reaffirm their status as formidable individuals who have weathered hardships and overcome obstacles, cementing their legacy as true “bad boys.”

1. “You know who we are, baby”
This line establishes confidence and recognition, suggesting familiarity and a sense of authority. It’s a declaration of identity, implying that their reputation precedes them and that they are well-known and respected within their circle. The casual tone, addressing someone affectionately as “baby,” adds a touch of swagger.

2. “For the bad one a playboy, for the greti a bad boy”
This phrase reinforces their embrace of the “bad boy” image, contrasting it with being labeled a playboy. It suggests a preference for authenticity and toughness over superficial charm. The repetition emphasizes their pride in this identity, signaling defiance against societal norms and expectations.

3. “The tiger goes to the Caribbean and the woman goes to the gynecologist”
This metaphorical imagery depicts a scenario where different individuals or entities are in their respective elements. It conveys a sense of confidence and assertiveness, implying that they know their place and are comfortable navigating their environment. The contrast between the powerful tiger and the routine visit to the gynecologist adds humor and flair.

4. “Everything I wear is a kilombo”
This line suggests that their style is chaotic or flamboyant, attracting attention wherever they go. “Kilombo” can imply disorder or commotion, indicating that they stand out and draw interest with their fashion choices. It reflects a bold and unapologetic attitude towards self-expression and individuality.

5. “Let no one publish the video of where I am”
Here, they express a desire for privacy and discretion, likely to avoid unwanted attention or legal trouble. They are cautious about their public image and wary of potential consequences if their actions were to be exposed. It underscores the importance of maintaining control over their reputation and narrative.

6. “Today I’m going to the disco, I want to see romo”
This line portrays a scene of leisure and indulgence, indicating a desire for enjoyment and entertainment. “Romo” likely refers to a party or social gathering, suggesting a night of revelry and fun. It reflects their penchant for luxury and excitement, further enhancing their portrayal as carefree and adventurous.

7. “You’ve never matured neither to puya’ nor carbide”
This phrase employs colloquial language to mock someone’s lack of maturity or resilience. “Puya’ nor carbide” likely refers to two substances used in traditional crafts or construction, implying that they haven’t hardened or toughened up like these materials. It’s a playful yet biting insult, suggesting that they lack the strength or durability to withstand challenges.