Mame su se napusile
Target · Other Songs - Target
djojint svaki dan
pa me zovu u stan
pa mi vicu na mene
Baca na mene kreme
i sjajila i ostala mazala
cak i trubu pogadja
i ne voli da gubi u bubi
Ja nisam pastor u tubi
kad me ljubi cmok, cmok
pa se prosecem na dok na brod
prek puta gusari plesu subi dubi
Ref.
I mame vole s nama spalit ga
nego zovu tatu da razvali ga
na okupu obitelj sva
brijemo do ibera
i mame vole s nama spalit ga
S mamama spalim
djojint svaki dan
pa nas je vise
kad upadnemo u stan
Na duj duj i tebi
(nezz) do skulture
umjetnost od ruke uzbudjen cvili
i velkome ekranu se mili u svili
I spili, spili, zivi bili, a mi svi
poker na skidanje uz rep
uz kidanje u smijeh moze pitanje
jest za, duji duji
Ref.
S majkom spalim svaki
djojint svaki dan
pa nas je vise kad smo u stan
a brija u planu duj nesto ulit
Ili upit kupit oputit
pristupit na upit
al' kupit porno materijal sal
Za ovu vecer dar, za sex dar mar
kaj roka par tref su hercu
karte u rukavu sverc
ko picke kaj caga subi dubi
Ref.
Majkom spalim svaki
djojint svaki dan
odzvanja stan, zidovi se tresu na
furam rep punu kesu na gensu
u presu
Ko da sam u presu repo
tepo mikrofone na flowe
ovo je stvar kaj vrtis ponovno
Slobodno pristupim
ponosno spravi ko da
karta na kavi
i sprzim na tavi
Stavi ovo gore
ona dolje draga naga
ja ponovim volimo se
kad je moderno duj duj
Ref.
About Mame su se napusile
"Mame su se napusile" 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.