Majida al-Roumi - Love and Faithfulnessماجدة الرومي - الحب و الوفاءAl-Hob wal-Wafa'

A 2006 release with lyrics by Saudi poet Al Nasser and composition by Dr. Abdel Rab Idriss.


Majida el-Roumi - Love and Faithfulness

Go as you like,
And leave as you wish.
Don’t make any more promises.
Don’t wear yourself out for nothing.

You kept me in a palace,
You dressed me in silk,
You drowned my little wings in perfume
Oh, how I lost myself in the seas
Of your exciting world!
And you circled ‘round me
In your great prison

Oh, how I imagined for myself
Brightness in our nights
A flood of bliss,
For our happy dream.
And you built for me
A castle of misery

The bracelets are useless,
And the rose and the mirrors
And the velvet of the curtains
Dancing with the corners

And your holy silence
Stealing away my youth
And your unspeaking heart
Dwelling there without me.

Take your beautiful palace,
And the glory and the splendor,
And the fine marble,
And the desolation of the evenings.
I’m satisfied with little
Just love and faithfulness.

ماجدة الرومي - الحب و الوفاء

إِذهبْ كما تُريد وامضِ كما تشاء
إِذهبْ كما تُريد وامضِ كما تشاء
لا تُكثِر الوعيدْ لا تُتعِب الجفاء
لا تُتعِب الجفاء
إِذهبْ إِذهبْ إِذهبْ كما تريد
وامضِ امض إِمضِ كما تشاء
إِمضِ كما تشاء
أَسْكَنْتَني القُصورْ أَلبَسْتَني الحَريرْ
أغْرَقْتَ بالعطورْ جَناحِيَ الصَّغيرْ
كَمْ تُهْتُ في بحورْ عالمِكَ المثيرْ
وكُنْتَ بي تَدورْ في سجنكَ الكَبيرْ
كَمْ تُهْتُ في بحورْ عالمِكَ المثيرْ
وكُنْتَ بي تَدورْ في سجنكَ الكَبيرْ
كَمْ خِلْتُني أَزيدْ لِلَيلِنا الضِّياءْ
لحُلمِنا السَّعيدْ فَيضاً من الهناءْ
وَكُنتَ لي تَشيدْ كُنتَ لي تَشيدْ
صَرحاً مِنَ الشَّقاءْ
إِذهبْ إذهب إِذهبْ كما تريد
وامضِ امض إِمضِ كما تشاء
إِمضِ كما تشاء
ما نَفْعُها الأساورْ والوردُ والمرَايا
ومَخملُ السَّتائرْ يُراقصُ الزَّوايا
ما نَفْعُها الأساورْ والوردُ والمرَايا
ومَخملُ السَّتائرْ يُراقصُ الزَّوايا
وصَمتُكَ المُناورْ يَسلُبُني صِبايَ
وصَمتُكَ المُناورْ يَسلُبُني صِبايَ
والقَلْبُ لا يُحاورْ يَسكُنُهُ سِوايَ
ما نَفْعُها الأساورْ والوردُ والمرَايا
ومَخملُ السَّتائرْ يُراقصُ الزَّوايا
وصَمتُكَ المُناورْ يَسلُبُني صِبايَ
والقَلْبُ لا يُحاورْ يَسكُنُهُ سِوايَ
خُذْ قَصْرَكَ الجَميلْ والجاهَ والبهاءْ
آه آه آه
والمرْمَرَ الأصيلْ ووَحْشَةَ المساءْ
خُذْ قَصْرَكَ الجَميلْ والجاهَ والبهاءْ
والمرْمَرَ الأصيلْ ووَحْشَةَ المساءْ
قَنِعْتُ بالقَليل آه قَنِعْتُ بالقَليل
بالحبّ والوفاءْ الوفاء الوفاء
الحبّ والوفاءْ آه آه
الحبّ والوفاءْ

Lyrics transcription from La7oon.com

Sana Mousa - Your Eyesسناء موسى - عيونكOyounik

Sana Mousa is a Palestinian singer who sings mainly folk songs.



Sana Musa - Your Eyes

My bird, you'd say (maybe "you'd swear" in English to convey the meaning of extreme impeccability) that her eyes are like cups
Cups full of coffee

Your beautiful, dark eyes
Oh your eyes

My bird, you'd say that her teeth were coral (whitish coral I'm assuming)
Coral mixed with pearl

Your beautiful, dark eyes
Oh your eyes

سناء موسى - عيونك

وعيونها يا طير وتقول فنجان
فنجانة بالقهوه ممتليه
يا عيونك سود وحلوه
يا عيونك

وسنونها يا طير وتقول مرجان
مرجانة على اللولو مختليه
يا عيونك سود وحلوه
يا عيونك

Soapkills - Corn on the Cobالصابون يقتل - عرانيسAranees

Soapkills (Soap Kills) is a band from Lebanon. They are heavily influenced by electronic and trip-hop styles. This song is made up of different sounds one encounters in Beirut. The words don't make so much sense except when explained in that context (the title is عرانيس after all), so I'll explain line by line for this one as best as I can, though I should say there's not total agreement on the correct lyrics for this song.

عرانيس
عرانيس
بويا ؟؟؟؟تيريله

These are examples of "sale calls" one might here along the Corniche in Beirut. "Aranis (عرانيس)" are corn cobs, and they are sold in baked or boiled form. "Boya (بويا)" is shoe polish, and she is imitating the call of a shoeshiner, though I must say I can't figure out what she says immediately after "boyaaaa."

تعا نركب اوتوبيس
دورة, متحف, كرنيش

"Let's get on a bus from Dawra/Dora to Museum-Corniche." Dora is a neighborhood in the suburbs north of Beirut and a huge hub for buses. The Museum is a landmark in the center, the corniche being the long stretch along the water. So she's describing getting on a bus and going downtown.

قرب عالطيب قرب
لمسات شفافة جرب

"Come to this nice smell," maybe the call of somebody selling purfume. If anyone understands what the other line here refers to please tell me. She says something like "try transparent/clear/innocent touches" I don't think I've understood correctly.

عالسكين يا بطيخ
ترمس, ترمس عرانيس

"On the knife, watermelon," the call of a guy selling watermelon. "Termos, termos, aranis." Termos is a kind of bean that you can buy as a snack, called Lupin in English. Aranis again is corn on the cob.

كله نظيف, كله نحيف
كله مهفهف, كله لطيف

"It's all clean, it's all slick, it's all cool, it's all fine." You can translate these words for describing something that's "cool" in a number of ways I guess.

اه يا لطيف, تطلطف بالصبايا, يا لطيف, يا لطيف

"ya latif (يا لطيف)" basically means "daaamn." I guess this might be something like "daaamn, look at all the girls."

هرج ومرج, سوق الفرنج

"harj wa marj (هرج ومرج)" is like "hustle and bustle." "Souq el-frenj" is a market

تاكسيات بتكرج كرج

"taxis parking"

كله نظيف, كله خلنج

"it's all clean, it's all brand new"

والاسواق زي الشطرنج

"and the markets are like chess"

نظيفة ظريفة زي الثلج

"clean and cool as ice"

فيها الشبان بتتمايل

"there's guys leaning/swaying," maybe this refers to walking with swagger. normally I would think "tamayul (تمايل)" describes the way girls walk but from the context it could be referring to the way guys walk to get attention, since the following line is:

والبنات بتغنج غنج

"and the girls are flirting/making eyes." "ghanj (غنج)" refers to the actions associated with being flirtatious.

Mashrou' Leila - Dressesمشروع ليلى - فساتينFasateen

Mashrou' Leila is a Lebanese band. This song is about a guy and a girl who agree to be together just for love's sake, without any of the traditional trappings of marriage and domesticity, but in the end she changes her mind and leaves him.



Mashrou' Leila - Dresses

Do you remember when you told me that you'd love me (the way I am) without money or a house?
Do you remember that you used to love me even though I'm not from your religion?
Do you remember how it used to be like that?
Do you remember when your mom caught me sleeping in your bed, and she told me to forget you
And we agreed to continue this way without playing any roles or showing off, without any neckties or morning visits (from the ladies) (here we have some cultural things طنطنات is like putting on airs and صبحيات is when the ladies come over to visit and gossip in the morning over coffee. in short, they agree not to do any of the traditional stuff typical of marriage in middle class Lebanese society)

Without any millions
Without any dresses (I think wedding dresses here, i.e. not traditional)

You took my hand and promised me some revolution
How could you forget me?
You brushed my hair and sent me off to work
However you brushed, you brushed me the same

You took my hand and promised me some revolution
How could you forget me?

Do you remember when you told me that you intended to leave me with no money and no house

مشروع ليلى - فساتين

تتذكري لما قلتيلي
انك رح تتزوجيني
بلا فلوس وبلا بيت

تتذكري كنتي تحبيني
مع اني مش داخل دينك
تتذكري كيف كنا هيك

تتذكري لما امك
شافتني نايم بتختك
وقالتلي انسى عنك

واتفقنا نضلنا هيك
بلا ادوار وبلا طنطنات
بلا كرافات وصبحيات

بلا ملايين
بلا فساتين

مسكتيلي ايدي ووعديتيني بشي ثورة
كيف نسيتي كيف نسيتيني
ومشطتينيلي شعري وبعتيني عالدوام
كيف بتمشطي مشطيني

مسكتيلي ايدي ووعديتيني بشي ثورة
كيف نسيتي كيف نسيتيني

تتذكري لما قلتيلي
انك ناوية تتركيني
بلا فلوس وبلا بيت

Samira Tawfiq - Stop Coming to Our Neighborhoodسميرة توفيق - بسك تيجي حارتناBassek Tiji Haretna

Samira Tawfiq (also Tawfik, Toufic, Toufiq etc) is a Lebanese singer who became very popular in 70s and 80s (and was a minor obsession, for example, in Mohamed al-Maghout's "I Will Betray My Country سأخون وطني"). Her style is heavily influenced by the folk music and dialects of rural Lebanese society much like Najwa Karam in the following generation.



Samira Tawfiq - Stop Coming to Our Neighborhood

Stop coming to our neighborhood (my dear)
And looking all around us (oh God) (here titlaffat تتلفت describes the action of wandering around the neighborhood looking at everybody kind of turning the head when something interesting, like girls for example, pass by)
Are your eyes on our neighbor? (my dear)
Or are your eyes on us/me? (oh God)

What brought you to our neighborhood anyway (my dear)
You're hiding in the alleys (my God)
You won't find any brides here (my dear)
Waya 3awayd al-khizrani (my God) (عويد الخيزراني is apparently a beating stick, so she's saying that he won't find any girls that like you here, just a stick to beat you back)

Between Beirut and Damascus/Sayda/Hamra etc (the folk song allows for variations to mention different locations that the listeners might be familiar with or be from, this implies that the audience/speaker in the song is in a village somewhere along the road between two points)
A red car passed by (in other verses she says a white car or a green car for variation)
That was your car my dear
I knew it from the license plate

سميرة توفيق - بسك تيجي حارتنا

بسك تجي حارتنا (يا عيوني)
وتتلفت حوالينا (الله الله)
عينك على جارتنا (يا عيوني)
ولا عينك علينا (الله الله)

وايش جابك على حارتنا
وتتخبى بالقراني
وعرايس ماكو عندنا
ويا عويد الخيزراني

بين بيروت وبين الشام
مرقت سيارة حمرا
وهاي سيارتك حبيبي
وانا عرفتها من النمرة