Turn Me On
Kevin Lyttle · Turn Me On (Online Music)
Is ah big dancehall song in know
Madzart alongside Kevin Little
You know how it is,
You Know how we go
You know
For the longest while we jamming in the Party
And you wining in on me
Pushing everything up
Right back on top of me
(tea - hey - ai)
But if you think you're gonna get away from me
You better change your mind
You're going home.......
You're going home with me tonight
Let me hold you
Girl caress my body
You got me going crazy
You turn me on
Turn me on ......
Let me jam you
Girl wine
All around me
You got me going crazy
You Turn me on
Turn me on ......
The girl ya nah go get way tonite
If she think madd man nah go fight
Me done feed her with popcorn and sprite
Now she whar come fly way like kite
Ooh yea yea
Ooh yea yea
Ooh yea yea yea
Ooh yea yea yea yea yea yea
Yea yea......
One hand on the ground and
Bumper **** sky high
Wining hard on me
Got my Python
Hollerin' for mercy - yea hey -ai
Then I whisper in her ear
So wine harder
And then she said to me
Boy just push that thing
Push it harder back on me
So .. Let me hold you
Girl caress my body
You got me going crazy
You turn me on
Turn me on ......
Let me jam you
Girl wine
All around me
You got me going crazy
You Turn me on
Turn me on ......
Girl just...
Hug me, hug me
Kiss me, squeeze me,
Hug me, hug me,
Kiss and caress me
Hug me, hug me
Kiss me, squeeze me,
Hug me, hug me,
Kiss and caress me
The girl ya nah go get way tonite
If she think madd man nah go fight
Me done feed her with popcorn and sprite
Now she whar come fly way like kite
For the longest while we jamming in the Party
And you're wining on me
Pushing everything up
Right back on top of me
(tea - hey - ai)
But if you think you're gonna get away from me
You better change your mind
You're going home.......
You're going home with me tonight
Let me hold you
Girl caress my body
You got me going crazy
You turn me on
Turn me on ......
Let me jam you
Go wine
All around me
You got me going crazy
You Turn me on
Turn me on ......
Yeah .....eahh ......
Nahnananana .... eahhh ..... yeahhh
Hug me, hug me
Kiss me, kiss me,
Hug me, hug me,
Kiss and caress me
Hug me, hug me
Squeeze me, squeeze me,
Hug me girl and
Kiss and caress me
Yeah ... Yeah .. Yeah ... eah ...
Ouhhhh ...Yeah ...
Kevin Lyttle’s ‘Turn Me On’ carried soca into the pop charts
‘Turn Me On’ turns a flirtatious dancefloor encounter into a song shaped by Caribbean party culture. Kevin Lyttle’s smooth vocal delivers the central invitation over a rhythm that moves between soca’s lilt and dancehall’s tougher edge; the repeated hook is designed to feel as physical as the dancing it describes. A contrasting deejay passage adds Jamaican patois and a different vocal texture, emphasizing the track’s cross-island character. The lyric is overtly sensual, but the recording’s crossover appeal came from how its Caribbean rhythmic identity stayed audible even as the production was polished for international pop radio.
The song was first released in 2003 and became Lyttle’s international breakthrough. In the United Kingdom it peaked at No. 2 on the Official Singles Chart, while in the United States it reached No. 4 on the Billboard Hot 100 in 2004. Its popularity helped bring soca-influenced music to audiences who might not otherwise have encountered the genre, though describing it simply as “soca” can understate the dancehall and R&B elements in the arrangement. A remix featuring Spragga Benz further underlined the connection to Jamaican dancehall.
The song’s chart history belongs to the original single version, not the later “Turn Me On (Online Music)” catalog wording attached to this lyrics page. The track’s success was substantial on both sides of the Atlantic, but its legacy is not only the numbers: it provided an international pop frame for the rhythms and vocal styles of the eastern Caribbean. The song’s catchy repetition made it easy to enter a club set or radio playlist, while its sound carried traces of the musical networks between St. Vincent, Jamaica and the wider Caribbean. That balance—pop accessibility without abandoning its regional roots—is central to why it remains Lyttle’s signature hit.