My Favs (Global)

Here are some of my favorite songs from all over. I have put the lyrics  hoping you might also develop some fascination for them or you already know them.  Just enjoy…

Korean – Fate by Lee Sun-hee and 12 Girls Band

약속해요 이 순간이 다지나고 다시보게 되는 그날
모든걸 버리고 그대곁에 서서 남은 길을 가리란걸
인연이라고 하죠
거부할 수 가 없죠
내 생에 이처럼 아름다운날
또다시 올 수있을까요
고달픈 삶의 길에 당신은 선물이걸
이 사랑이 녹슬지 않도록 늘 닦아 비출게요.

취한듯 만남은 짧았지만 빗장열어 자리했죠
맺지못한데도 후회하지 않죠 영원한건 없으니까
운명이라고 하죠.
거부할 수 가 없죠.
내 생에 이처럼 아름다운날.
또 다시 올 수 있을까요
하고픈 말 많지만 당신은 아실테죠.
먼길돌아 만나게 되는날 다신 놓치말아요

이생에 못다한사랑. 이생에 못다한 인연
먼길돌아 다시만나는 날 나를 놓지말아요

Chinese – The Moon Represents My Heart (Yue Liang Dai Biao Wo De Xin / 月亮代表我的心）by Teresa Teng (邓丽君)

Hanyu Pinyin

你问我爱你有多深我爱你有几分            ni wen wo ai ni you duo shen, wo ai ni you ji fen

我的情也真我的爱也真                           wo de qing ye zhen, wo de ai ye zhen

月亮代表我的心                                         yue liang dai biao wo de xin

你问我爱你有多深我爱你有几分           ni wen wo ai ni you duo shen, wo ai ni you ji fen

我 的 情 不 移 我 的 爱 不 变                wo de qing bu yi, wo de ai bu bian

月亮代表我的心                                         yue liang dai biao wo de xin

轻 轻的一个吻已经打动我的心              qing qing de yi ge wen, yi jing da dong wo de xin

深深的一段情教我思念到如今                shen shen de yi duan qing, jiao wo si nian dao ru jin

你问我爱你有多深我爱你有几分           ni wen wo ai ni you duo shen, wo ai ni you ji fen

你去想一想你去看一看                            ni qu xiang yi xiang, ni qu kan yi kan

月亮代表我的心                                         yue liang dai biao wo de xin

轻轻的一个吻已经打动我的心               qing qing de yi ge wen, ji jing da dong wo de xin

深深的一段情教我思念到如今                shen shen de yi duan qing, jiao wo si nian dao ru jin

你问我爱你有多深我爱你有几分           ni wen wo ai ni you duo shen, wo ai ni you ji fen

你去想一想你去看一看                             ni qu xiang yi xiang, ni qu kan yi kan

月亮代表我的心                                          yue liang dai biao wo de xin

 

Dutch – Een beetje verliefd by Andre Hazes

In een discotheek , zat ik van de week; en ik voelde mij daar zo alleen
‘t was er warm en druk,ik zat naast een lege kruk; ik verlangde zo naar jou hier aan m’n zij
ja ik denk nog steeds hoe het was geweest; toen je naast me zat hier aan de bar
ik vroeg drink je mee, dat vond jij ok; toen je proostend naar me keek werd ik zo week

refrein:
EEN BEETJE VERLIEFD
IK DACHT EEN BEETJE VERLIEFD
ALS IK WIST WAT JIJ TOEN DACHT
HAD IK NOOIT OP JOU GEWACHT
ALS EEN KIND ZAT IK TE DROMEN
DEZE NACHT BEN JIJ VOOR MIJ
MAAR DIE DROOM GING SNEL VOORBIJ

jij stond op en zei , hou m’n plaatsje vrij; ik moet even weg maar ben zo terug
ach die kruk bleef leeg tot ik in de gaten kreeg; dat je wegging zonder mij , ik was nu alleen

Hindi – Aaja Nachle by Sunidhi Chauhan

Mera jhumka utha ke laaya re yaar ve, jo gira tha bareli ke bazaar me
Main to thumka lagaake sharma gayi
Boli ghoongar bandha denge mein aa gayi
Mujhko nachaake nachle, aaja nachle nachle mere yaar tu nachle
Jhanak jhanak jhankaar
O nachle nachle mere yaar tu nachle, abb to luta hai baazar
Sabko bhulaake nachle, aaja nachle nachle mere yaar tu nachle
Jhanak jhanak jhankaar
O nachle nachle mere yaar tu nachle, abb to luta hai baazar

(nachle nachle jara nachle nachle, chhat pe bulaake nachle
Nachle nachle jara nachle nachle, jhat se uthaake nachle) – 2
Maine galati kari thi, meri nathani padi thi – 2
Ke sone mein usako ranga gayi, mein rangaake atariya pe aa gai
Mohalhe mein kaisi maara maar hai, bole mochi bhi khud ko sonar hai
Sab ko nacha ke nachle, aaja nachle nachle mere yaar tu nachle
Jhanak jhanak jhankaar
Ho o o nachle nachle mere yaar tu nachle, abb to luta hai baazar
Sab ko bhula ke nachle
Aaja nachle nachle mere yaar tu nachle, jhanak jhanak jhankaar
O nachle nachle mere yaar tu nachle, abb to luta hai bazaar

Main to kamsin kali thi, zara tanke chali thi – 2
Aage jaake gali pe balakha gayi, koyi jaane jawaani kab aa gai
Mere sadke zamane ki kamaayi re, mujhe deta udhaari halwaayi re
Sab ko nacha ke nachle, aaja nachle nachle mere yaar tu nachle
Jhanak jhanak jhankaar
O nachle nachle mere yaar tu nachle, abb to luta hai bazaar
Sab ko bhula ke nachle, aaja nachle nachle mere yaar tu nachle
Jhanak jhanak jhankaar
O nachle nachle mere yaar tu nachle, abb to luta hai bazaar
(nachle nachle jara nachle nachle, chhat pe bulaake nachle
Nachle nachle jara nachle nachle, jhat se uthaake nachle) – 2

Hindi – Chand Shifarish Jo Karta Hamari by Shaan

Punjabi – Mahi Kyon Nahi Aaya by Sahotas

Sahotas is a U.K. based Bhangra/Rock/World music band. The band, started in Wolverhampton in the mid-1980s, is comprised of five brothers with additional talent assisting in projects/albums. The band maintains a distinct style of musical arrangement and performance. The Sahotas band has a very fine and exclusive quality of music, which is very different from conventional Punjabi music. They have released both in English and Punjabi. The last album released as band was their 7th bhangra album, ‘Revolution’ back in 2001. Recently the band have ventured out to produce individual albums instead of working as a band, Mukhtar Sahota being the most significant with groundbreaking albums as: 4 The Muzik, Unpredictable & The 21st Century Jugni.

Takni han chadh ke banere, Takni han chadh ke banere,
Mein sham sawere
Hadha ni mahi kyun nahin aaya, Hadha ni mahi kyun nahin aaya
Hadha ni mahi kyun nahin aaya, Hadha ni mahi kyun nahin aaya

Takni han mahi da main chira, Takni han mahi da main chira,
Jo mere layi heera
Akhan nu main choom choom laya, Akhan nu main choom choom laya
Akhan nu main choom choom laya, Akhan nu main choom choom laya

Ni main ambran ch udhdi jawan, Ni main ambran ch udhdi jawan,
Main hath na awan
Mahi da mainu supna aaya, Mahi da mainu supna aaya
Mahi da mainu supna aaya, Mahi da mainu supna aaya

Yaad teri aayi ho ohhh

Ohdi ranwah ch taliya rakha, Ohdi ranwah ch taliya rakha,
Vichawan main akha
Oh bagha wali maa da jaya, Oh bagha wali maa da jaya
Oh bagha wali maa da jaya, Oh bagha wali maa da jaya

Sufi – Moko Kahan Dhoondhey Re Bande (Kabir Das) by Mitali Banarjee Bhawmik

Kabir, 1440–1518, Indian mystic philosopher and poet. A Muslim by birth, he was a weaver in Benares (Varanasi) and early in life may have become the disciple of the famous Hindu saint Ramananda. Kabir opposed caste practices, ritual, image-worship, and all forms of religious sectarianism; he taught the brotherhood of Hindu and Muslim under one God. Because of his anti-institutional ideas he was subject to persecution and banished from Benares c.1495. Thereafter he traveled from one N Indian city to another and died at Maghar near Gorakhpur. His songs in Hindi show the fusion of Muslim and Hindu devotional traditions.

Moko Kahan Dhundhere Bande Mein To Tere Paas Mein
Na Teerath Mein, Na Moorat Mein Na Ekant Niwas Mein
Na Mandir Mein, Na Masjid Mein Na Kabe Kailas Mein
Mein To Tere Paas Mein Bande Mein To Tere Paas Mein
Na Mein Jap Mein, Na Mein Tap Mein Na Mein Barat Upaas Mein
Na Mein Kiriya Karm Mein Rehta Nahin Jog Sanyas Mein
Nahin Pran Mein Nahin Pind Mein Na Brahmand Akas Mein
Na Mein Prakuti Prawar Gufa Mein Nahin Swasan Ki Swans Mein
Khoji Hoye Turat Mil Jaoon Ik Pal Ki Talas Mein
Kahet Kabir Suno Bhai Sadho Mein To Hun Viswas Mein

Translation

Where do you search me? I am with you
Not in pilgrimage, nor in icons, Neither in solitudes
Not in temples, nor in mosques Neither in Kaba nor in Kailash
I am with you o man, I am with you
Not in prayers, nor in meditation, Neither in fasting
Not in yogic exercises, Neither in renunciation
Neither in the vital force nor in the body, Not even in the ethereal space
Neither in the womb of Nature, Not in the breath of the breath
Seek earnestly and discover, In but a moment of search
Says Kabir, Listen with care, Where your faith is, I am there.

Urdu Ghazal – Koi Samjhe Ga Kya Raze Gulshan by  Jagjit and Chitra Singh

The ghazal is a poetic form consisting of rhyming couplets and a refrain, with each line sharing the same meter. A ghazal may be understood as a poetic expression of both the pain of loss or separation and the beauty of love in spite of that pain. The structural requirements of the ghazal are similar in stringency to those of the Petrarchan sonnet. In its style and content it is a genre which has proved capable of an extraordinary variety of expression around its central themes of love and separation. It is one of the principal poetic forms which the Indo-Perso-Arabic civilization offered to the eastern Islamic world. The ghazal spread into South Asia in the 12th century under the influence of the new Islamic Sultanate courts and Sufi mystics. Although the ghazal is most prominently a form of Persian and Urdu poetry, today it is found in the poetry of many languages.