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"Hello Good Morning" is a song by American musical trio Diddy – Dirty Money, released on March 30, 2010 as the second single from their debut studio album, Last Train to Paris. The electronic dance song incorporates an acid squelch section in the middle eight , and was written by Marcella Araica , Richard "Rico Love" Butler , Clifford "T.I ...
Both tracks, which sample songs by Jay-Z, were not considered successful. The album's second single, "Hello Good Morning" features T.I., was released on March 30, 2010, and spawned several official remixes including versions featuring Rick Ross & Nicki Minaj, Tinchy Stryder & Tinie Tempah (UK Remix), Rick Ross & T.I. and a Grime mix with Skepta ...
Lamb compared the song to Diddy's early releases, saying that "'Coming Home' [welcomes] Diddy back to the upper ranks of pop-oriented hip hop artists". [2] Additionally, Diddy told MTV that although the track had autobiographical elements, it was part of the album's "conceptual love story narrated by his character". [8]
When it comes to era-defining soirées, few rival Diddy's lavish White Parties. For more than a decade, from 1998 to 2009, the annual extravaganza over the Labor Day holiday was pop culture's ...
But, Spinelli notes that since Combs’ arrest, whenever he spins Kesha’s 2009 hit “TiK ToK,” the song’s opening line – “Wake up in the mornin’, feelin’ like P. Diddy ...
Diddy – Dirty Money was an American musical trio, composed of R&B singers Dawn Richard and Kalenna Harper, and rapper Sean Combs. The group, formed and introduced by the latter in July 2009, [ 1 ] refers to their billing with Combs, while the "Dirty Money" act refers solely to Richard and Harper.
Diddy didn't disappoint fans when he dropped his music video for "Gotta Move On" on Wednesday. The visual for the hit single takes viewers into the world of “Club Love," according to the press ...
The song marks Diddy's first record to not be released by his label, Bad Boy Records, for which he was the flagship artist and founder.After a lukewarm commercial and critical response from his previous decade of material, the song finds Diddy in a less-braggadocious state of vulnerability as he laments on unrequited love. [5]