“REAL DEMON” Lyrics by Glizzy Gvng, YOVNGCHIMI is a latest Spanish song in the voices of Glizzy Gvng, YOVNGCHIMI. Its music too is composed by singer while brand new “REAL DEMON” song lyrics are also written by Glizzy Gvng, YOVNGCHIMI. This is a popular song among the people of United States of America. “REAL DEMON” by Glizzy Gvng and YOVNGCHIMI is a hard-hitting track that emphasizes street life, loyalty, and dominance. The song is filled with references to gangs, violence, and power, with the artists presenting themselves as “”REAL DEMON”s” who control the streets and aren’t afraid to confront their enemies. There’s a strong sense of pride in their lifestyle, with shout-outs to designer brands, luxury, and firearms. The track also touches on loyalty to their crew and disrespect towards anyone who crosses them, maintaining an aggressive and confrontational tone throughout.
Letra de REAL DEMON – Glizzy Gvng
[Letra de “REAL DEMON”]
[Intro]
Yecko on the beat
Gang, gang, gang, gang
Ah-ah-ah
Dímelo, Yecko
La Ganga ‘e las Glizzy, hijueputa
Glizzy Gvng, Glizzy Gvng (Ah-ah)
Los Diablo’, hijueputa
[Verso 1]
En carabana salimo’ to’ los demonio’ de camino al show (Los Diablo’)
El R tiene el sistema del AK, peine ‘e caracol, Ñengo Flow (Dímelo, chivo)
La mafia siempre va primero, LFNM con (??)
6 mil la Air Force LV, camino designer, 4 mil el coat (Gang, brr)
Dile a tu novio que acabe y te suelte, que ya tú ere’ mi rehén (Mi rehén)
Controlamo’ la calle, la Metro ‘e Santurce, toa’ quieren Los Diablo’ ‘e Llorens (Los Diablo’ ‘e Llorens)
La skimask adentro ‘e la disco y tengo la corta en el Saint Laurent
La Glock con el switch, fulete, la teta ‘e 50 y de 30 el extend (Glizzy Gvng)
Los tiro’ en el piso, cambio siete peine’, tu cara te va a dar asco (A dar asco)
Ando modo ninja, diablo como Luisda, pero cazando flow casco (Free Ele D)
Los ticke’ ‘e la calle en caleta, los ticke’ ‘e la music metido’ en el banco (That’s on gang)
300 Blackout, el negro Changó, cabrone’, el palo te arranco (Rra, rra, rra)
Estoy como Midnvght, Slayter y Pressure, cabrone’, yo nunca me tranco (Yo nunca me tranco)
Decapito do’ gallina’, comida en la tierra, le doy vida al santo, yeah
Hermano ‘e Changó, hijo ‘e Obatalá, cabrone’, estoy vestido ‘e blanco (On gang)
Te pillamo’ el Rolex jangueando, lo secuestramo’ y lo tiro en tu canto (Real demons, hijueputa)
Real demons, yeah, real shooters, yeah (Real demons)
‘Tamo balling, yeah (Los Diablo’), real hoopers, yeah (Yeah, we balling, b!tch)
That’s how I maneuver (You dig), la Glock, Freddy Krueger (Freddy Krueger)
Glizzy Gvng los Ruger (Glizzy Gang, Los Diablo’, hijueputa)
Sigo comprando prenda’, toa’ en hielo y no soy Gucci Mane (Y no soy Gucci; ah-ah-ah)
Tengo dos AK, micro gemelo, Undertaker y Kane (Undertaker)
‘Ta-‘Tamo dominando el juego como Birdman y Lil Wayne (Cash Money)
Bebiendo codeína como Future cuando Purple Reign (Purple Reign, Purple Reign, b!tch)
Entro pa’ Booby Trap con to’ Los Diablo’ and I make it rain (Ah-ah)
Tengo los baguette’ en flower setting, dancing on my chain (Rra, rra; on gang)
El más que quiere coger la poli, flow Saddam Hussein (Me mama el bicho; ah-ah)
Y yo tranquilo fumando un Backwood en el Bentley Mulsanne (That’s on gang, b!tch)
Tri-Triple fire en un dashed out (You dig), te dejo el carro volca’o (That’s on gang)
Cazando en carros robao’ (Carro’ robao’), yo te entierro y vas quema’o (Los Diablo’)
Yo he mata’o, yo he tarjetea’o, ahora los venue soldout (Soldout)
Tengo demonio’ firmao’ (El Demon), los maleante’ están pegao’ (La Ganga ‘e las Glizzy)
[Interludio]
I’m not ashamed to be a killer, I’m proud of it
It’s not and addiction, it is a choice
And it is not something that you should have to hide in the closet
[Verso 2]
De lejos se nota la envidia, si salen los ninja’, te dejamo’ ‘e día (Rra, rra)
Cabrón, ustede’ no me llegan, mis maleanteo’ están todo’ en la RIAA (‘Tán todo’ en la RIAA; ah-ah-ah)
To’ los mío’ ‘tán al día, to’ el mundo con chavo’ y toa’ las prenda’ brillan (Las prenda’ brillan; gang, gang, gang)
Un par de casa’ en PR, la mía, la base, hasta la de mi hija (Rra, rra)
Cabrone’, yo sí ‘toy vola’o (Vola’o), tengo veinte palo’ y el banco vira’o (Y el banco vira’o; rrr, rrr)
Me meto a to’ lao’ emprendao’, la glope en la disco y el peine marca’o (Las Glizzy)
Si quiero el contrato te firmo, yo tengo un millón y ustede’ clavao’ (Y ustede’ clavao’)
Los Lambos los tengo en PR, no como ustede’ en Miami, cagao’ (Cagao’; ah-ah)
Que los mío’ corren, a ti se te olvida que esto es Llorens Torres
Los último’ dos que faltaron, la cara les borré (Shh)
Yo voy pa’l indictment flow Casper en Torres
Yo no voy con la hipocresía, controla la babymama, ‘tá lucía’ (Shh, ah; ‘tá lucía’)
Estoy cansa’o de que nos falten, de ahora pa’ abajo lo que hay es partía’ (Lo que hay es partía’)
Compramos más palo’, más bala’, yo salgo en el Lambo y atrá’ ‘tán los KIA
Real, no me importa un carajo, perdí el respeto cuando murió mi tía (Gang, gang, gang)
Soy el favorito de to’ los OG (Los OG), y si oye’ los tiro’, pregunta por mí
Quince preso’ en el corillo y ninguno chotea como RobGz (Ah, ah)
Las cosa’ clara’ o las cosa’ están rara’
Vestío’ Prada te disparo en la cara (Glizzy Gvng)
Les advertí que no me mencionaran, brr, brr
Estoy loco de que me falte’, el palo te parte y no juego básquet (Nah; no juego básquet)
Yo no soy shooter, cabrón, si me da la gana yo te mato por máster (Rra, rra)
En la music ya no existen gángster, mienten en los temas, son falsos maleante’ (Son falso’ maleante’; gang, gang, gang)
Nosotro’ estamo’ en guerra y yo estoy loco de matar a un cantante (Los Diablo’ ‘e Llorens)
Bájame suave, yo sí soy un diablo (Gang; diablo), si vas a la— (Shh), saben lo que hablo
En Santurce me muevo flow Pablo, el 300 que los deja calvo
Yo soy de Llorens, cabrón, no de Morovis (Shh), dentro ‘e Santurce con el Batimóvil
19X con el peine ‘e Kobe, Hade’ e’ un bobo, cabrón, como Ovi (Rra, rra, rra)
Mamándome el bicho pa’l máster, yo lo cancelé, tú a mí no me bajaste
En el business ustede’ están ni en kinder, empeña la casa y sal de Rancho Humilde (Gang, gang; ah, ah)
No quiero saber de ninguno, tanto que mamaban cuando estaba El Father (Ah)
El brother dijo que se cuiden, vamo’ a quitar prenda’ cuando Ele D sale (Gang, gang, gang; sl)
No se equivoquen con nosotros, Los Diablo’ ‘e Llorens no son Los Anormale’ (Los Anormale’)
No estamo’ respetando a nadie, cáguense en su madre la administración vieja del case
Traten de matarno’ de nuevo, cuando salga bestia va a sonar los trueno’
Nosotro’ sí estamo’ probao’, ya fuimo’ al infierno y viramo’ de nuevo (Rra, rra, rra)
A ningún hombre le temo, el que quiera guerra lo prendemo’ en fuego (Lo prendemo’ en fuego)
Los Diablo’, los dueño’ del juego, te doy un jumpazo y vuelvo y me encuevo (Rra, rra)
Cabrón, tú ere’ Pablo, pero Picapiedra (Gang, gang), te vamo’ a dar como al de Montehiedra (Gang)
Tus maleanteos ya son una mierda, matamo’ a los runner, trancamo’ las tienda’ (Rra, rra)
Tengo una baby blanquita flow Kendall, pregúntale al Russo cuánto hay en mis prenda’ (Ja; pregúntale al Russo, cabrón)
Gasto en diamante’ y no estoy en ofrenda, si tú pai es guardia, cabrón, no te ofenda’ (Jaja)
Y ahora esto e’ en tu memoria, yo ‘taba tranquilo por la probatoria
Les muerde que entramo’ y cambiamo’ la historia (Los Diablo’), si muero mañana, mi vida es notoria
Salieron Los Diablo’ ‘e misión, no te cojo en serio, tú ere’ bugarrón (Tú ere’ bugarrón; ah, ah)
Blackinny ‘tá abajo ‘e un millón, Pepe está borracho con esa visión (De parte ‘e la cabra)
En serio, a ti no te matamo’, cabrón, porque El Chef te regaló un perdón (El Chef te perdonó; rra, rra)
Como el otro con la doña, Posi, no me llame’, que tú ere’ un mamón (Porque tú ere’ un mamón)
Si los ninja’ de Playa te prenden, cabrón, Los Diablo’ te secuestran (Shh, gang, gang)
Ustedes son unos pendejo’, las rede’ no saben to’ lo que demuestra’ (Gang, gang, gang)
Los teco muriendo con muestra’, ‘e que los matamo’ abran las apuesta’ (Abran las apuesta’)
Cabrón, te rompemo’ la puerta, tenemo’ tu casa, tus días se restan (Tus días se restan; shh)
Te pillan mis nene’ ‘e Loíza, los bolarrostro’ van pa’ la camisa (Rra, rra, rra)
Que me mame el bicho la Siete, Gemel, to’ eso’ cabrone’ dan risa (Tú sabe’ que dan risa)
Cabrón, nos vengaba tu hermano, cogiste pasaje, tú lo que da’ e’ risa (Cogiste pasaje, cabrón; ja)
Van torturao’ como Jigsaw, nos ven en la calle y todito se frisa (Jaja; todito se frisa)
Con Los Incorregible’ y con Sabana Bajo (Incorregible’), sale Dobleta y se acaba el relajo (You dig)
Tu jefe quería un verso pa’ su hijo y él sabe que lo mandé pa’l carajo (Ah-ah; lo mandé pa’l carajo)
Quita’era ‘e cadena’ en la alfombra y dale pa’l carajo (Dale pa’l carajo, cabrón; bling)
Yo sí que disparo pa’l casco y el casco te rajo (Rra, rra; yo sí que disparo pa’l casco)
Si quieren pegarse y ‘tar trending, tírale a Los Diablo’ (Tírenle a Los Diablo’, cabrone’; ah)
La cara ‘e la music, me quedé con el juego en dos año’ (Los bichote’ ‘e la music, cabrón, ¿oíste?)
Tú quiere’ mamarno’ el bicho y después tirarno’ (Yeah, yeah, yeah, ¿cómo? Mamón)
Estamos volao’, huelebicho, es difícil faltarno’ (Es difícil faltarno’; brr, brr)
Tuve que bajarno’ el moco despué’ ‘e mencionarno’ (En PR escuchan 47; gang, gang, gang, gang)
Despertaron al diablo, cabrón, el bicho tienen que mamarno’ (Rra; que me mamen el bicho, cabrone’)
[Outro]
Los Diablo ‘e Llorens hijueputa ((??) hijueputa, los bichote’ ‘e la music)
(Ah-ah)
Dime, Yecko (Los bichote’ ‘e la industria, cabrón)
Los Diablo’
Glizzy Gvng, hijueputa, ¿oíste, cabrón?
((??), cabrón, ‘tamo afuego con las FARC)
¿Tú cree’ que faltarno’, es un chiste, cabrón?
(Pónganse (??) hipócrita’, también lo que hay e’ partía’, ¿oíste? Y prendía’)
Brr
La Ganga ‘e las Glizzy
(Los fuletazo’ también, ¿oíste, cabrón?)
One40Towers
(Y que cuida’o por ahí, que se dice mucho)
Money Wayy, hijo de puta
Llegaron Los Diablo’ aborrecío’ con hambre
Dime, Chef, brr
(Y que no les compre el contrato a toíto’, cabrone’)
Los Diablo ‘e Llorens, hijueputa
Dime, Yecko
(El cabrón de Posi los tiene clavao’)
Glizzy Gvng Songs
REAL DEMON Lyrics Meaning
[Intro]
The intro sets a raw, aggressive tone with shoutouts to Yecko and the gang. “Glizzy Gvng” and “Los Diablo'” represent a tough, rebellious crew, proud of their identity. It’s a declaration of loyalty and street dominance.
[Verse 1]
In this first verse, Glizzy Gvng describes their rise from the streets to success, using vivid imagery and references to violence, luxury, and power. The “caravana” of demons heading to a show symbolizes the gang’s movement through life, boldly flaunting their reputation. The reference to weapons like “El R” and AK-47 with custom clips hints at their readiness for violence, showing that they’re always prepared to defend themselves or attack.
He mentions mafia connections and designer clothes, underlining how even while staying true to their street roots, they’ve ascended to a higher, wealthier class. The Air Force LV sneakers and the expensive coat showcase their opulent lifestyle, highlighting the duality between their street hustle and newfound success.
There’s a clear sense of control in the line where he tells someone’s boyfriend to step back because the girl is now “his hostage.” This paints a picture of dominance, both in romantic relationships and in the streets. The gang controls not just their neighborhood (“Santurce” and “Llorens Torres,” tough areas in Puerto Rico) but also the nightlife, as they enter clubs with ski masks and armed, yet styled in luxury like Saint Laurent.
The switch from street violence to luxury continues as he describes his Glock with extended magazines and then jumps into a life of dealing with fame, money, and violence. The rapid-fire change from talking about guns to mentioning exclusive designer brands like Saint Laurent and iced-out chains with “baguettes” (diamonds) shows the contrast between their past life and their success. It reflects the complex world they live in, where survival and status are intertwined.
The verse repeatedly returns to the theme of violence. Glizzy talks about using multiple clips, leaving his enemies “disgusted” at the sight of their own injuries. He moves stealthily like a ninja but hunts down enemies like someone wearing a helmet in battle. He drops references to spiritual elements as well, invoking Changó, a powerful Afro-Caribbean deity of war and power, to reflect his fearlessness and almost divine confidence in his abilities.
In another transition, the verse touches on how they’ve infiltrated not just the streets but also the music industry, with “tickets from the street” in hiding (caleta) and music earnings safely in the bank. The 300 Blackout rifle is mentioned, emphasizing their firepower. His mindset is unbreakable (“yo nunca me tranco”), showing his mental resilience.
Then, there’s a dark twist as he decapitates chickens, a ritualistic offering giving life to his “santo” or spiritual protector, further blending his criminal life with spiritual reverence. The reference to Changó and Obatalá shows that even as they indulge in criminal activities, they’re also guided by spirituality.
The verse ends by emphasizing how much power and dominance the gang has over others. They’re real shooters, balling, and maneuvering in life like professional basketball players, making parallels to figures like Freddy Krueger (known for terror) and wrestling legends Undertaker and Kane. These references to pop culture signify their readiness for violence, while their frequent mention of weapons and designer brands illustrates a life that juggles between crime and luxury.
[Interlude]
The interlude expresses a chilling acceptance of violence, with the speaker unapologetically proud of being a killer. It’s not seen as an addiction but a deliberate choice, something that doesn’t need to be hidden.
[Verse 2]
Verse 2 delves deeper into the gritty street life, highlighting the constant threat of violence and the lifestyle surrounding it. Glizzy Gvng speaks of envy from others, making it clear that if the gang’s “ninjas” are called out, they’ll retaliate fiercely, leaving their enemies in the daylight, exposed and vulnerable. This represents their confidence in winning any battle and their awareness that others envy their success.
There’s a strong sense of loyalty among their crew, as he points out that all his people are “on point,” wealthy, and adorned with shining jewelry. Success isn’t just personal—it’s shared across the group. The pride in their achievements is evident as he mentions owning multiple homes, including ones for his family, indicating that their rise from the streets has allowed them to secure a stable and comfortable life for their loved ones.
The rapper contrasts his success with others, claiming that while he’s flying high with millions in the bank, his enemies are stuck, unable to keep up. His cars, like Lamborghinis, are a sign of wealth and status, emphasizing that his luxury isn’t just a Miami thing but deeply connected to his Puerto Rican roots, particularly his area, Llorens Torres.
Violence remains a central theme, as he recalls erasing the faces of the last two who disrespected him, underscoring his brutal retribution against anyone who crosses him. The mafia-like language, combined with references to Pablo Escobar, hints at the high level of organized crime they’re involved in. There’s no room for hypocrisy or fake loyalty, as he demands control over personal relationships and warns others that his patience is wearing thin—hints of more violence to come.
The verse explores a deep-rooted disregard for life and law, stating that after his aunt’s death, he lost all respect for life. This indicates that personal loss has further hardened him, making him even more dangerous and disconnected from conventional morals. He describes his status with the OGs (Original Gangsters), showing that he’s respected by the older, more experienced criminals. Even when they get caught up in legal trouble, no one in their crew snitches, highlighting a code of silence and loyalty.
As he reflects on the fake gangster image in the music industry, Glizzy expresses frustration with rappers who pretend to live the life he truly leads. He distinguishes himself as someone who’s genuinely involved in the streets, eager to eliminate fake tough guys, including rappers. This is reinforced by a desire to go to war with rivals, illustrating how violence and music are deeply intertwined in his world.
References to specific weapons, like the 19X with a “Kobe” magazine, continue to emphasize their readiness for war. The use of specific places like Santurce and the Batimóvil shows a strong connection to his local roots, and the vivid imagery of breaking into homes, burying enemies, and returning from hell after defeating challenges paints them as nearly unstoppable.
Despite the bravado, there’s also an underlying warning to enemies. He calls out fakes and emphasizes that his team has already been through hell and returned, proving their resilience. The constant references to killing, burning, and taking lives reflect a cold, calculated approach to maintaining power. He also shows disdain for people in the music business who are not genuine, referring to them as kindergarten-level compared to his business acumen.
By the end of the verse, Glizzy Gvng establishes their dominance in the music game as well. They’re not just “street,” but they control the industry too. Anyone who disrespects them will face violent consequences. They own the streets, and no one can challenge them without paying a steep price.
[Outro]
The outro solidifies Glizzy Gvng’s position as the dominant force in the music and street world. “Los Diablo ‘e Llorens” is used to emphasize their notorious reputation. The speaker mocks others who think they can challenge their power, reminding everyone that their enemies are hypocrites and they are fully prepared for any confrontation. The mention of the FARC, a Colombian guerrilla group, adds another layer of intensity, associating themselves with larger, dangerous forces.
They reference their dominance again, even saying they’ve been “clawing” at their enemies. There’s a clear message: they are the “bichote,” the big bosses of the music and the streets. Even their contracts, their way of doing business, are on fire, showing that they’re successful in every realm they enter, from street warfare to the music industry.
FAQs
Q. Who has sung REAL DEMON song?
A. REAL DEMON song is sung by Glizzy Gvng, YOVNGCHIMI.
Q. Who wrote REAL DEMON lyrics?
A. REAL DEMON lyrics are penned by Glizzy Gvng, YOVNGCHIMI.
Q. Who has given the music of REAL DEMON song?
A. REAL DEMON music is composed and produced by Glizzy Gvng, YOVNGCHIMI.
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