Shake that thing Miss Kana Kana
Shake that thing Miss Annabella
Shake that thing yan Donna Donna
Jodi and Rebecca

Woman Get busy, Just shake that booty non-stop
When the beat drops
Just keep swinging it
Get jiggy
Get crunked up
Percolate anything you want to call it
Oscillate you hip and don't take pity
Me want fi see you get live 'pon the riddim when me ride
And me lyrics a provide electricity
Gal nobody can tell you nuttin'
Can you done know your destiny

Yo sexy ladies want par with us
In a the car with us
Them nah war with us
In a the club them want flex with us
To get next to us
Them cah vex with us
From the day me born jah ignite me flame gal a call me name and its me fame
Its all good girl turn me on
'Til a early morn'
Let's get it on
Let's get it on 'til a early morning
Girl it's all good just turn me on

Woman don't sweat it, don't get agitate just gwaan rotate
Can anything you want you know you must get it
From you name a mentuin
Don't ease the tension just run the program gals wan pet it
Just have a good time
Gal free up unu mind caw nobody can dis you man won't let it can
You a the number one gal
Wave you hand
Make them see you wedding band

[Chorus]
Yo sexy ladies want par with us
In a the car with us
Them nah war with us
In a the club them want flex with us
To get next to us
Them cah vex with us
From the day me born jah ignite me flame gal a call me name and its me fame
Its all good girl turn me on
'Til a early morn'
Let's get it on
Let's get it on 'til a early morning
Girl it's all good just turn me on

Woman Get busy , Just shake that booty non-stop
When the beat drops
Just keep swinging it
Get jiggy
Get crunked up
Percolate anything you want to call it
Oscillate you hip and don't take pity
Me want fi see you get live 'pon the riddim when me ride
And me lyrics a provide electricity
Gal nobody can tell you nuttin'
Can you done know your destiny

[Chorus]
Yo sexy ladies want par with us
In a the car with us
Them nah war with us
In a the club them want flex with us
To get next to us
Them cah vex with us
From the day me born jah ignite me flame gal a call me name and its me fame
It's all good girl turn me on
'til a early morn'
let's get it on
let's get it on 'til a early morning
girl…it's all good just turn me on

Yo, Shake that thing
Miss Kana Kana shake that thing
Yo, Annabella shake that thing
Miss Donna Donna
Yo Miss Jodi yu'r di one and Rebecca shake that thing

Yo shake that thing
Yo Joanna shake that thing
Yo Annabella shake that think
Miss Kana Kana

[Chorus]
Yo sexy ladies want par with us
In a the car with us
Them nah war with us
In a the club them want flex with us
To get next to us
Them cah vex with us
From the day me born jah ignite me flame
gal a call me name and its me fame
Its all good girl turn me on
'Til a early morn'
Let's get it on
Let's get it on 'til a early morning
Girl it's all good just turn me on
[x2]

Let's get it on 'til a early morning
Girl it's all good just turn me on

No wonder dancehall hitman Sean Paul can flow — he has an aptitude for aquatics in his blood.

"I remember being a bathtub singer. You know, the type that sings and everybody's like, 'Shut up,' " says Sean Paul Henriques, whose parents were swimmers on the Jamaican national team in the 1960s.

These days Paul, who also swam in his fair share of water polo and swim competitions as a teen, still has everybody talking with a mix of reggae DJing and singing that Jamaicans have dubbed "sing-jay" (think of the reggae equivalent to Ja Rule on "Rainy Dayz"). But it's not water that's finally making him a recognizable name after six years of coming up with smashes. It's fire.

"The words I use in this song, we don't usually use those terms in Jamaica — 'Gimme the light, pass the dro,' " he said of his surprise hit "Gimme the Light" and its stimulant-friendly lyrics. "I did it so [American] heads can pick up on it. It's a party song. I'm glad people take that in that context. I'm not telling kids to go do this."

As a youth in Kingston, it was music that filtered in from the U.S. that would be one of Paul's greatest life influences.

"[I'm a] big hip-hop fan since being a kid," he said. "It was the first music that spoke to me and made me feel like, 'Yeah.' They were expressing something like how I would express myself, in hip-hop music and dancehall music. Hip-hop and dancehall bought me more into [other kinds] of music. My flow follows sometimes what's going on in the hip-hop industry even though I'm speaking Jamaican patois."

Paul's aspiration to follow in the paw prints of rap/reggae hybrid expert Supercat wouldn't come to fruition for a few years — he had to get the blessings of his mother first.

"I begged my mama," Paul remembered. "I had them buy me a keyboard, and that's where my whole music genesis came from."

But even with the equipment supplied by his parents, Paul still had to convince his mom that the money he was bringing in as a chef and a bank teller would be nothing compared to his dream profession as DJ extraordinaire (not to be confused with a DJ in the U.S. — dancehall DJs rock the mic like hip-hop MCs.)

"I said to her, This is what I want to do,' " said Paul, a graduate of Kingston's UTECH University. "Let me try to do this. Give me a year after school."

He didn't even need that long. His first try at putting out a song, "Baby Girl," became a radio hit in Jamaica. Two years later he started to flood the Caribbean with smashes like "Infiltrate" and "Deport Them," both of which made it onto his U.S. debut, Stage One (2000).

"By the time my first album was out, I had been out in Jamaican three or four years, but I had hits out at that time that were bona fide hits," Paul explained. "Coming out with my first album, I didn't want these songs to be left out, so I included them."

With the U.S. market being difficult for many reggae artist to break through, Stage One suffered from meager sales, even though "Deport Them" became a club staple. Paul, who can be caught on upcoming albums by Mya and Beenie Man as well as the Clipse's remix to "Grindin'," said he's studied and found the perfect formula for his follow-up, Dutty Rock.

"This album, I'm trying to show growth where my music is spread out to more than just the dancehall riddims," he said. "Sometimes in the biz, there's a lot of kids that do stuff the same ways. Sometimes you have to do things different from that mainstream and just make your music the way it feels. A lot of people in Jamaica won't use the words I did in ['Gimme the Light']. But it's not only my lyrics, it's the way I say it.

"I been doing some different things," he continued. "Doing some of my songs in Spanish. I don't really speak Spanish, but I was taught by this dude that's from Cuba. I'm trying to stick out in different ways."

Dutty Rock's "Punkie" finds the rude boy flexing his bilingual linguistics while waiting on a girl's love. The Neptunes-produced "Bubble" shows Paul lusting for loins.

" 'Bubble,' it's basically another party song," he explained. "I'm talking to a girl. In Jamaica, [when] you say 'bubble' you're talking about a girl, how her shape is — nice and round. 'Girl, give me your bubble.' "

Besides the Neptunes, Tony Touch and Roots affiliate Rahzel also collaborated with Paul on the LP. The co-stars Paul holds closet to his heart, however, are members of his Dutty Cup Crew, who are all basically "doing their own thing" now.

"Dutty Cup Crew is a crew I been firing with from 1995," he said, explaining the album's title. " 'Dutty yeah' means 'Yaaayyy, we in the house. Sean Paul and the crew is in here.' At first we were telling people it meant we work hard. How you may say, 'That's dirty,' we work hard at what we do. Dutty is also a chalice pipe. We graduated from that kind of vibe, but we shout out to each other."

-- Shaheem Reid