981 T
Target · Other Songs - Target
presli granicu
pospremali tram na spavanje
u Ljubljanicu
Pa nije potrebno
da zoves mamicu
moras sam svoju osobnoscu
uvelicat si stanicu
I kaj ti to prestavlja
nepoznanicu ak mi vjeruje
muk uzimam prirodu ko pranicu
prevari disem zdravicu
Prednju vodim na kavicu
smrt je ziva pa ju
pozdravim bok uz stanicu
ne glumim taticu
Za sve imam karticu
i ak' me zelis poslusat beat
namlatit cu s rimom
svratit cu u najdublje svjetove
pljunut repove
kaj spremas na tejpove ko epove
Ja poznam bogatstvo
praznim sefove
ne trudeci se sprehom
udobrovoljim sefove
Brijem ko psi i macke
tvrdo ko kamen bracke
a skupa ko glupaca
brijem edavacke
Ref.
Za sve reper hej
zovite plesacice na 981 T
za sve igrace hej
zovite igracice na 981 T
Za sve domace hej
zovite domacice na 981 T
za sve gospare hej
zovite gospodje na 981 T
Da li razumijes fakat
ono o cemu umujes
ja mama 1000 repova
koji koje kupujes
A znam soma
rajtera po tegu
ajd' i znam soma klinaca
kaj su u bijegu
I soma reper kaj
drze mic kak treba
kaj ti daju kaj ti treba
da zivis ispod neba
Moras vjerovat u ono
kaj ti sprema
kad u nasem dijelu
svijeta razumijevanja
Jos nema, a ja hocu
da raskuzis spiku
i da skuzis spiku
a ne da te gledam kako
pusis liku
I znam da pusis kliku
sa kojom se druzis aha
kada toku ju ne prokuzis
zakaj sebi to ne pruzis
i trajanje produzis
kaj oces vrucinu asfalta
da se sprzis
Pogledaj mene ja gledam
sam spreman
sam zjeban tok na mic
kao grom sjevam
Ref.
About 981 T
"981 T" finds Target in a pop-minded frame, where a clear central idea and emotional directness carry the song. The song works best when its main melodic and rhythmic ideas are allowed to speak plainly, without being crowded by unnecessary decoration. There is a welcome sense of proportion in the way the music presents itself: the hook has room to land, while the surrounding moments support it instead of competing for attention. That restraint gives the performance room to breathe and makes the emotional color feel earned rather than imposed. For listeners returning to Target, the song offers a compact example of how mood, pacing, and a recognizable point of view can meet in one place. It is a track for focused listening, especially when the details around the main idea begin to reveal their own quiet pull. The clarity of that approach is its own strength, because it lets the feeling come through without turning every moment into a dramatic demand. Even when it aims for immediacy, the track avoids feeling disposable because its atmosphere remains distinct after the final note. Its emotional center stays firmly in view throughout.