WHO CAN MAKE THE DANCE RAM?
By Edwin “STATS” Houghton

“Top ranking” is a phrase so common in the lexicon of dancehall reggae, it could almost be punctuation. That’s not to mention related terms like “highly rated,” “strictly the best,” and “tougher than tough.” It is doubtful, in fact, whether there has ever been another musical genre or subculture so uniquely focused on rankings, ratings, and constantly updated scorekeeping of who is king, queen, or even “don of all dons.”

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Competition may accelerate innovation in dancehall; it’s what makes the culture such a bottomless wellspring of new rhythms, choreography, fashion, and slang. But in celebrating the best of the best, separating the tangled ingredients that make dancehall so consistently brilliant—a fearless approach to sexuality, an experimental approach to sound technology, a military approach to lyrical wordplay, a joyful approach to resistance—is like cutting open the drum to see what makes it go bang.

Dancehall became a subgenre distinct from other styles of reggae around 1977, a time in Jamaica when deejays (equivalent to stateside MCs) were becoming as prominent as singers. In turn, the singers began adopting the call-and-response hooks and improvised couplets of deejays, creating a whole new hybrid style of singing they called “sing-jay.” Those vocals became a defining feature of dancehall, along with harder, sparer rhythm sections and an emphasis on “slackness” (raunch or decadence).

Another major driver of dancehall’s development, as a culture and artform, has been the competitive sport of soundclash. Soundclashes are gladiatorial face-offs between rival soundsystems, or mobile DJ crews who vie for the biggest crowd reactions (or “forwards”). Each attempts to fortify their position with higher walls of custom-built speaker boxes. Song selections are delivered with taunting microphone commentary in a war of words—something like a cross between a hip-hop DJ battle and a playground game. Some soundsystems are also record labels, and may bring affiliated singers or deejays to represent them.

Occasionally, notorious artists go head-to-head. Beenie Man’s 1993 face-off with Bounty Killer at Jamaica’s long-running Sting festival may be the single most infamous onstage clash, but the history books will also forever record epic match-ups like Super Cat versus Ninja Man and Vybz Kartel versus, well, everybody.

A global phenomenon that stretches from New York to Tokyo, clashes are planned as meticulously as any heavyweight bout or Olympic heat. Clashes have a clear winner and loser—which should make it easy to tell who is objectively, quantifiably the best, surely? All you have to do is follow the stats, add up the forwards that certain songs and artists get time after time to figure out who are the MVPs..just like any other sport, right?

Wronger than wrong.

Ferocious competition and constant upsets are, in fact, only two of several factors that make dancehall even harder to represent with a top 50 than other styles. Sheer mass also plays a part. Forty years of music is a lot to meaningfully assess, even before you consider that, for most of those years, Jamaica has possibly released more music per capita than any other place on earth. Literally a hundred thousand vinyl 45s have to be sifted through to arrive at a list of the “top ranking.”

Then there’s the more opened-ended question of “best” in what context? Even judging the best song on a riddim—or individual beat, on which multiple artists voice their own songs—can be a near-impossible feat. Clashes may provide clarity in the moment, but they are not the only space where dancehall comes to life. Before soundsystems clashed, they existed to make people dance. (Mostly outdoors, ironically; despite the name, instances when Jamaicans dance in an actual hall are vanishingly rare.) The spontaneous headtop gyration of a dancehall queen is just as valid an affirmation as a forward in a clash. And the clashes and dances of downtown Kingston are just the heliocentric core of a whole universe of interlocking circles that make up dancehall culture across a pan-Caribbean audience, a West Indian diaspora, and a global touring circuit. To truly be rated as one of the best dancehall anthems of all time, a boom tune must echo through all these worlds—and in some cases, rearrange their orbit, shifting the center of gravity and starting a whole new wave of dancehall evolution. This evolution is constant and, even now, the tonality of dancehall is being transformed again as Auto-Tune replaces echo chamber and digital files replace vinyl as the unit of meaning.

This is why we went out of our way to assemble a panel of dancehall experts who represent not just Jamaica, but also New York, Toronto, and Miami—not just journalists and critics, but also selectors, producers, musicians, and scholars with fluency in all the various eras and movements of dancehall. These are not just judges (though they know their forwards from their rewinds, trust) but also, in their own way, participants in dancehall’s body politic. So this is our top of the top ranking: the 50 Best Dancehall Songs of All Time.

Edwin STATS Houghton is the former editor-in-chief of Questlove's music site Okayplayer and a noted music journalist, cultural commentator, and dancehall selector.

  • VP, 1998
  • Sasha

“Dat Sexy Body”

Originally released in 1998, on Tony Kelly’s “Bookshelf” riddim, Sasha’s “Dat Sexy Body” was not an immediate hit. Sean Paul’s “Deport Them,” also on the riddim, had all dancehall ears at the moment. By comparison, Sasha was still only somewhat known for one raunchy 1992 underground hit, “Kill the Bitch,” which featured her DJing and rapping rather than singing. But as the “Bookshelf” riddim continued to grow, and as Sean’s song became a bonafide hit, “Dat Sexy Body” took on a life of its own, crossing over into the mainstream mix show market. Lyrically lusting after an elusive lover, Sasha leaves her DJ days behind, finds her groove, and boasts her way to international recognition: “I will rock you to the rhythm of the rain/And ride you like a getaway train,” she sings. This success led to multiple re-releases of the song along with several remixes, most notably one featuring reggaeton artist Ivy Queen and another with the international party starter Fatman Scoop. In 2008, Sasha turned her focus to gospel, and stopped performing her past hits, but you can still hear her dancehall come-to-Jesus on any good floor. –Max Glazer

Listen:Sasha: “Dat Sexy Body”

  • VP, 2006
  • Tony Matterhorn

“Dutty Wine”

Tony “Mentally Ill” Matterhorn first gained his appetite for dancehall while playing the western Kingston-based soundsystem Inner City, and went on to gain his footing with the Brooklyn crew King Addies. After being endorsed by the godfather of dancehall, Bounty Killer, he went solo. His flirtatious, dirty lyrics, coupled with his hardcore dancehall style, has made him one of the most entertaining and sought-after selectors around.

Upon its release in 2006, “Dutty Wine”’s accompanying head-rotating and hip-gyrating dance, became such a global phenomenon, it was banned in several countries for its potential neck and spinal damage. The British Virgin Islands took this one step further when they banned the song and Matterhorn from performing altogether. But the song has remained unstoppable: Nicki Minaj shouts it out in her “Monster” verse, and it continues to pop up on dance floors, the ultimate expression of women embracing their dancehall queendom. –Treasure Aaron

Listen:Tony Matterhorn: “Dutty Wine”

  • Universal, 2005
  • Damian “Jr. Gong” Marley

“Welcome to Jamrock”

This song’s initial line, the Ini Kamoze sample of, “Out in the street, they call it murder,” always elicits a huge response from crowds. It’s followed by the intensity of Damian Marley’s “Welcome!”—a boom that sounds like a radio finding the right frequency. The “World Jam” riddim (so named for Kamoze’s World a Reggae) pairs deep bass with echoed chords and the dub flourishes of straight reggae—and at the height of its popularity, this song could run a dance singlehandedly.

On the song, Marley sings about “tourists on the beach with a few club sodas” who spend their time in the walled-off resorts of Jamaica’s north coast. (Sandals is called out by name.) To these folks, Marley offers an alternate description of the country as a place where “Poor people ah dead at random/Political violence, can't done/Pure ghost and phantom/The youth dem get blind by stardom.” After its immense global popularity, “Welcome to Jamrock” has grown, ironically, into an entire reggae music cruise. –Erin MacLeod

Listen:Damian Marley: “Welcome to Jamrock”

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  • Digital-B/VP, 1990
  • Shabba Ranks

“Dem Bow”

Released in 1990, “Dem Bow” may be the most danceable tune from Shabba Rank’s term as king of the hill. Employing a stripped-down version of the “Poco Man” riddim—an insistent marching beat augmented by clattering Afro-Caribbean percussion—it was a natural source of inspiration for the burgeoning reggaespañol scene in the Latin Caribbean. Found in translation, so to speak, “Dem Bow” became the DNA of several whole new scenes, including Puerto Rican reggaeton and its counterpart in the Dominican Republic (where the entire genre is known simply as “dembow”).

The substance of the song is the wordplay of Shabba’s homophobia (the “bow”ing of the title) with the bowing implicit in racist colonialism.Freedom fi black people, come now/Dat mean say the oppressors dem: Just bow.”Love it or hate it, this is dance music with a lot on its mind. –Eddie “STATS” Houghton

Listen:Shabba Ranks: “Dem Bow”

  • Rude Boy, 1994
  • Lady Saw

“Hardcore”

Whether profane or sacred, Lady Saw is a woman who’s passionately beholden to extremes. Born Marion Hall in the Saint Mary Parish of Jamaica, Lady Saw adopted her now-infamous rugged moniker and brash sexual persona in hopes of keeping pace with the best and bawdiest male deejays. Then she ran laps lyrically around her competition, both male and female.

In 1994, Saw made her album debut on VP Records with Lover Girl, and dropped the definitive single, “Hardcore.” She opens the track boasting about the numerous positions and ways in which she can please—and, really, intimidate—her lover. “Any way you want it baby/Gymnastic, acrobatic, slide back boogie…” To Saw, seeking pleasure was a calling that she sought brazenly and wholeheartedly. She’s made a successful career out of it for over 20 years, garnering a Grammy and numerous other awards in its lewd pursuit. These days, however, the pendulum has swung the other way for Saw: She’s given up her crown as the Queen of Dancehall, trading it in favor of the spiritual ecstasy of gospel music. –Deidre Dyer

Listen:Lady Saw: “Hardcore”

  • Skengdon,1987
  • Super Cat

“Mud Up”

“Mud Up” dropped in 1987, almost simultaneously with Admiral Bailey’s “Punanny”—so close, in fact, that some UK radio shows famously featured “Punanny vs. Mud Up” pick-your-favorite contests on air. Those songs can share the credit for rearranging the sound of Jamaican music for the following 10 years, at least. (And they share personnel credits, too: “Mud Up” was built by Steely & Clevie, who also ghost-built the “Punanny” riddim for King Jammy’s label.)

While “Punanny” has a surprising amount of space in its beat and four-note bassline, closely imitating the mixing board action of a live clash, “Mud Up” feels more like a missing link than a radical break. It employs lyrical Kumina guitars and a bouncing, constantly modulated digital bassline along the lines of “Sleng Teng,” but it’s punctuated by the same dotted crotchet drum pattern. Likewise, where Admiral Bailey’s chat is simple and staccato, Super Cat’s vocal on “Mud Up” is virtuoso, frenetic, unstoppable. It might, in fact, be the best example of Cat’s unique, never-take-a-breath flow, which consists less of verses or couplets than constantly mutating hooks. –Edwin “STATS” Houghton

Listen:Super Cat: “Mud Up”

  • Penthouse, 1993
  • Wayne Wonder

“Saddest Day”

Wayne Wonder is one of dancehall’s most enduring singers. He began his musical journey in the mid-1980s, under the tutelage of the legendary King Tubby, and sharpened his skills by singing live on soundsystems like Metro Media, making a name for himself throughout Jamaica. In the early 1990s, Wayne linked with Donovan Germain and recorded a string of hits for his Penthouse label—most notably “Saddest Day,” which helped define the sound of modern dancehall.

“Saddest Day” pairs Wayne’s pitch-perfect vocal and soaring bridge with a rugged riddim. His voice is full of pain as he belts out the heart-wrenching chorus: “The saddest day of my life, is when she left me with a broken heart/I was feeling the pain, the pain, the pain.” The result is a dancehall masterpiece that soothes the soul, and remains a landmark moment for Wonder. –Max Glazer

Listen:Wayne Wonder: “Saddest Day””

  • Jammy’s Records, 1991
  • Pinchers

“Bandelero”

“Hey gringos and pasero! I wan’ yuh to make way for the Bandelero!” These opening lines—sung in patois-inflected Spanglish by a melodic, bellowing, pitch-perfect voice—are amongst the most recognizable in dancehall. Released by the legendary producer King Jammy and the DJ Delroy “Pinchers” Thompson in 1991, “Bandelero” is one of the most influential songs done in the sing-jay style, before the hybrid approach to voicing influenced artists like Sizzla and Vegas.

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“Bandelero,” with its braggadocio lyrics and country-inflected guitar riffs, is a warm and rousing warning shot, equal parts bad boy and feel-good. The title is taken from a 1968 shoot-’em-up in which James Stewart and Dean Martin attempt to evade both the sheriff and Mexican bandits. True to character, Pinchers would often appear onstage wearing a sombrero and matching cape. Thompson grew up deejaying on the Intrepid soundsystem in the Barbican area of Kingston. After “Bandelero,” he wrote several more Western-themed tunes, including “How the West Was Won” for Bounty Killer, which inadvertently sparked a major clash that drew in both Super Cat and Beenie Man. –Rishi Nath

Listen:Pinchers: “Bandelero”

  • Anchor, 1988
  • Lady G

'Nuff Respect'

The “Rumors” riddim, with its insistent hoofbeat and sparse, haunting horn blasts, sounds like a hunting party slowly closing in on its elusive prey. Gregory Isaacs’ ominous “Rumors” and J.C. Lodge’s sensual “Telephone Love” both ride itand match the original’s mood. However, Lady G (born Janice Marie Fyffe in Spanish Town, Jamaica) takes a different approach: She sings “Nuff Respect” over the same riddim but pins her vocals to the rolling bassline, scuttling innuendo in favor of direct confrontation.

Lady G’s voice rumbles through the speaker as soon as the record begins: “Lady G respect people dem every time/So don’t spread no rumor,” and she continues marching on the riddim straight through. Her brilliant, succinct chorus nonchalantly brushes off the pervasive classism in Jamaican society: “True me live inna di ghetto/Show mi nuff respect.” Her words make “Nuff Respect” a vibrant and hypnotic defense of dignity—and those unconvinced by Lady G’s argument will be won over by her flawless delivery. –Rishi Nath

Listen:Lady G: “Nuff Respect”

  • Volcano, 1981
  • Eek-A-Mouse

“Wa Do Dem”

Before the sing-jay style even had a name, Eek-A-Mouse exploded on the Jamaican reggae charts with his first big hit, “Wa Do Dem.” The easy beat and effortless flow of his lyrics appealed to both uptown and downtown listeners, launching the career of the eccentric artist and the advancing dancehall producer Junjo Lawes’ pre-digital-era hit-making streak. Its lyrics are simple: The 6'6' Eek-A-Mouse alludes to the amusement he generates when walking around Kingston with his much shorter girlfriend. “We take a walk, go a Kingston Mall/Whole heap’a people just a start to laugh, because she too short and a me too tall.”

These days, the sing-jay style is ubiquitous. But in 1981, when “Wa Do Dem” first came out, the song created a sensation. People in Jamaica were genuinely confused: What was Eek-A-Mouse? Some called him a singer, some a deejay. Radio announcers and newspaper columnists debated the question at length. Eek-A-Mouse just called the style his “Egyptian slur.” As the dancehall aesthetic spread into commercial releases, sing-jay just about replaced all other vocal styles on the dancehall circuit. Eek-A-Mouse carried his unique style through over a dozen albums and countless 45s and, with his wild costumes and extroverted antics, became an international sensation. –Beth Lesser

Listen:Eek-A-Mouse: “Wa Do Dem”

What?

Isn’t Taylor Swift No.1 on the Billboard 100?

The newest championship song is a Hip-Pop single!

Cardi B’s Bodak Yellow!

That’s right. The new singer Cardi B came to the top of the list with the first single Bodak Yellow.

Cardi B became the 5th female rapper to ever lead the Billboard chart.

What kind of music does she have that makes so many people like it?

Today, I’m going to share Top10 list of Cardi B songs on YouTube.

Now, let’s get started!

Who is Cardi B


Cardi B’s real name is Belcalis Almanzar. Born in October 11, 1992, Cardi B is an American rapper, singer, songwriter, and media personally. She is famous for her first debut catchy single Bodak Yellow, which will be introduced later. Besides, before her rising to fame, Cardi B was a stripper on social media at the age of 18.

Best Cardi B Songs


Next, I would like to share you my collection of best Cardi B songs. You can always free download any of them by clicking link below each song. It’s 100% safe and ad-free, don’t hesitate to try!

1. Bodak Yellow

“If I see you and I don't speak
That means I don't f**k with you
I'm a boss you a worker bitch
I make bloody moves”

In 2017, Cardi B debut single “Bodak Yellow”, reached No.1 on the US Billboard Hot100 chart for 3 consecutive weeks. The song won Single of the Year at the 2017 Best Hip Hop Awards. It is nominated for Best Rap Performance and Best Rap Song at the 60thGrammy Awards.

Listen to this song, Cardi sounds so sure of herself; if you like Hip-Pop then you can’t miss this unique sound.

2. No Limit

“If I hit it one time I’ma pipe her
If I hit it two times then I like her
If I fuck three times I’ma wife her
It ain’t safe for the black or the white girls”

'No Limit' is a song by American rapper G-Eazy, featuring American rappers ASAP Rocky and Cardi B. it ranked No.11 on the US Billboard Hot100.

G-Eazy has a high degree of admiration for Cardi B. In an interview with Uproxx before the show, he explained the reason behind collaborating with Cardi B: 'I'm a super fan of her and everything she's doing right now is incredible. I think she represents where music is today.”

Cardi B has a good command of the song. Her tone is sharp and accurate, giving us another strong turn.


3. Motor Sport

“Motorsport, yeah, put that thing in sports (skrrt, skrrt)
Shawty bad (bad), pop her like a cork (pop it)
You a dork, never been a sport (dork, yeah)”

'Motor Sport' is a song recorded by American hip hop group Migos, in collaboration with fellow American rappers Nicki Minaj and Cardi B. The song reached No.14 on the US Billboard Hot100 and No.6 on the Hot R&B/Hip-Hop Songs.

The lyrics to this song are a bright spot. It references celebrities such as Criss Angel, Bill Belichick, Lil Boosie, and Lil Uzi Vert; and brands such as Bugatti, Chanel, Givenchy, Lamborghini, McDonald's, Percocet, Porsche, among others.

If you’re interested in lyrics, you might want to download this song.

4.Red Barz

“I swear to God, they ain't wanna see me leave the club
Got up on my shit and now they scared to show me love
They'd rather see me on the pole twerkin' it for dubs
I guess I really gotta show them what the fuck is up”

“Red Barz” was released on April, 5, 2017. It’s not long after the launch, but there’s a good lick-through rate on the web.

The song shows Cardi’s personality once again. Loud lyrics, unique voice, she’s leading us into a different Hip-Pop world.

This song made a lot of resonance with fans. In this song, Cardi expresses what they want to say with Hip-hop. Some fans said that they liked “Red Barz” more than “Bodak Yellow”.

Cardi B 'Red Barz' (WSHH Exclusive - Official Music Video)

5. Lick

“Lookin' like I caught a lick (lick, hey!)
Run up on me, you get hit
And all my bitches with the shits (yeah!)
Bronx, New York, gangsta bitch (woo, woo)”

“Lick” is a song recorded by Cardi B and Offset. They have been the internet’s favorite would-be couple ever since the duo was spotted together multiple times in New York City earlier this year.

Cardi has explained the meaning of “Lick” during an interview at The FADER FORT in March, “When you just make something that weren’t expecting to do, but it goes to your benefit. And that’s what happened with my life - I caught a lick.”

If you're a fan of her, you can't miss their chorus.

Cardi B - Lick (feat. Offset) [OFFICIAL MUSIC VIDEO]

6. Foreva

“Ran down on that bitch twice
Ran down on that bitch twice
You know me I be with whatever
If a bitch beef with me we gon’ beef foreva”

“Foreva” is from Gangsta Bitch Music, Vol.1 shows just how far she’s willing to take things.

Unlike other Cardi’s music videos, there’s a 1 minute conversation at the beginning of the video. As the drama was made, the music was more powerful and the story was clearer. If you’re curious about this song, click the link below.

7. Pull Up

“Hella fake, you better pull up on me
I hope you feel the same when you see my face; you better pull up on me
Ain't no backin' down, prepared to shake, you better pull up on me”

“Pull up” is a track from Cardi’s Gansta Bitch Music, Vol.2 project. The track is an aggressive call-out to her detractors, and the Bronx native is an imposing presence in her latest visual.

Surrounded by a large crew, she raps, “I used to kill their poles, now I kill them shows/ they don’t like my growth, well fuck ya hoes”

Want to enjoy more? Just watch the video below.

Cardi B 'Pull Up' (WSHH Exclusive - Official Music Video)

8. Washpoppin

“I need all my money makers bring that cash out
I need all my D boys to bring that cash out
I need all my scammer niggas bring that cash out
Don't you see these big ass titties and this ass out”

“Washpoppin” is from her debut Gamgsta Bitch Music, Vol.1 music project. It’s a song that lets people appreciate her unique voice and rebel lyrics.

The video is still the perfect balance of Cardi’s hot fingure and comedic talent. After listening to the song, you’re going to say: “That’s what Cardi B supposed to be.”

If you’re big fan of her, how could you miss this song?

9. Gimme Head Too

“Bend over, let me see, I just want some head bitch
Skip the draws, I can't get involved, give me head bitch
I'ma pass, you can keep the ass, give me head bitch
Ain't no simp, you know I'ma a pimp, that's how I play it bitch”

Elliot yamin wait for you mp3 download. Aio.how is not responsible for third party website content. Aio.how is Media search engine and does not host any files, No media files are indexed hosted cached or stored on our server, They are located on soundcloud and Youtube, We only help you to search the link source to the other server. It is illegal for you to distribute copyrighted files without permission.

“Gimme Head Too” is a song recorded by Cardi B and J.R. This song has been presented as a new single hit in Hip-Hop music releases in 2016.

Through the song, we cannot deny that Cardi and J.R. make an amazing team. And their radio is an evidence of their chemistry. The male voice in front allows us to enjoy rhythmic hip-hop, and suddenly Cardi’s voice deepens the song’s layered feelings and gives the listeners better enjoyment.

If you want to get to know her, enjoy her song.

10. Cheap Ass Weave

“Cheap ass weave, Cheap ass weave
How everything on fleek when you got some cheap ass weave
Cheap ass weave, Cheap ass weave
Don't even step to me if you got some cheap ass weave”

“Cheap Ass Weave” was released in 2015. By listening to this song, it’s not hard to find out that she has developed her own characteristics in early music works. In the music video, she sings her hip-hop with exaggerated costumes.

In the album after that, it’s no hard to find her getting better and better.

If you just know about her recently, listen to her this old song, and it will give you a different kind of surprise.

Cardi B 'Cheap Ass Weave' (WSHH Exclusive - Official Music Video)

The above list is my Top 10 of Cardi B songs! While you might have your own favorites which I didn’t list above, please feel free to share with me. By the way, you can also download your favorites via Free MP3 Finder without registration.

Cardi B Discography

Cardi B has released 2 music video, 2 mixtapes, and 16 singles. Some of her singles were mentioned before, so I’m going to list her 2 mixtapes as follow. Just a reminder, you can always download a complete YouTube playlist at a time via AnyMusic. AnyMusic is an ad-free music downloader. It also features as a music converter and cutter.

1. Gangsta Bitch Music Vol 1 (Released in 2016)
>> YouTube Playlist

1. Trust Issues
2. On Fleek
3. Washpoppin
4. Her Perspective (Skit)
5. Selfish (feat. Josh X)
6. I Gotta Hurt You
7. Foreva
8. Trick (Skit) [feat. Haitian V]
9. Trick
10. Lit Thot
11. Sauce Boyz
12. Outro (Skit) [feat. Lisa Evers]

2. Gangsta Bitch Music Vol 2 (Released in 2017)

>> YouTube Playlist

1.Bronx Season
2.Lick (feat. Offset)
3.Hectic (feat. DJ Hardwerk)
4.Leave That Bitch Alone (Skit) [feat. Justvlad]
5.Leave That Bitch Alone
6.Rollin
7.Back It Up (feat. Konshens & Hoodcelebrityy)
8.Never Give Up (feat. Josh X)
9.Pull Up
10.Pop Off (feat. Casanova)

Here, I’m would like to take 1 minute and show you how to download ALL videos from a YouTube playlist.

For instance, I want to download all videos of Gangsta Bitch Music Vol 1 from YouTube.

● Firstly, I just need to copy and paste the URL of the playlist from YouTube to the search bar of AnyMusic.

● Then, by clicking “All” and select the quality of files, I can enjoy offline listening with ease!

Cardi B Concert 2018

In the coming April and May, Cardi B will have 2 concerts in the United States. Check tickets available here. You can also find more Cardi B Events 2018 in your area here.

Besides, Cardi B was listed in Coachella Music Festival 2018. The festival will begin on Friday, April 13 and ends on Sunday, April 22. If you’re in California or you plan to visit it, you don’t want to miss such an event!
>>> Get more Coachella 2018 information here.

More Information

Cardi B Official Site: http://iamcardib.com

Caidi B Wikipedia: https://en.wikipedia.org/wiki/Cardi_B

Cardi B YouTube channel: https://www.youtube.com/channel/UCxMAbVFmxKUVGAll0WVGpFw

Cardi B Facebook: @IamCardiB

Cardi B Twitter: @iamcardib

Cardi B Instagram: @iamcardib

Online contact and registration forms from Wufoo.

Conclusion

This is a list of top 10 Cardi B songs.

Lil Boosie In My Feelings Free Download Torrent 2017

It doesn’t matter whether you’re a fan or not.

It’s about whether you’re impressed by the song.

And don’t forget to get best Cardi B songs download by clicking the MP3 link.

Also, welcome to share your own Cardi B Top10 Songs list.

You can tell us by leaving a comment below and your any suggestion and question.

Thank you for your reading!

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