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(King of Punjabi rap - Pioneer of Desi Hip-Hop - Music Producer) Ra Raja aka Bohemia is a Punjabi Rapper and Music Producer from California, USA. Bohemia quickly gained popularity in 2002 with his in. 58887 Followers. Download: 'D E S I.mp3' Assa wadeyan shikariyan da rab rakhwala gali gali jiven bohemia da bol bala ve munde punjabi rapper daa na pachande ve kudiya. Hey aman nice lyrics and songs of bohemia.i think u personally know bohemia i am his biggest fan please can u do something that i can alk with.

The city of Paris – and all the magnificent cultural baggage that goes along with it – has always been a hot topic of debate across every artistic medium, so it’s no surprise that there have been so many thousands of pop and jazz songs written about the French capital. Which is all well and good, but very few such songs have managed to stick their heads above the crowd and capture the real essence of life in the city, nor what it actually is that makes it such a magnet for tourists. From wide-eyed foreign visitors to nostalgic, subversive and even angry locals, here are the twenty best Paris songs according to us. You can use the comments box below to tell us all the classics that we missed. First recorded in 1965, this classic of the chanson genre is both a tribute to the Armenian-French singer’s upbringing in Montmartre and a lament to the changing face of his beloved neighbourhood.

Aznavour’s signature song – which would become an international hit, thanks to, and re-recordings – is an adieu to the long-gone days of real, villagey, bohemian Montmartre. In it, he remembers a hungry yet contented childhood spent toiling away at artworks in this northern area of Paris, which has today, in parts, become a victim of its own success. Although it has nothing on the original, also check out from Chilean composer-producer Nicolas Jaar, which does a decent job of transposing Aznavour’s nostalgia and melancholy to the dance floor. The hip-hop duo comprising JoeyStarr and Kool Shen – who some consider the Godfathers of French rap – showed real signs of genius on their third album, the provocatively titled ‘Paris Sous les Bombes’ (‘bombes’ being a reference to the Aerosol cans used by the duo’s graffiti artist friends). Notorious for rubbing the authorities up the wrong way, the two rappers tackle gang life in the Seine-Saint-Denis banlieues. On the title track, they reminisce about adrenaline-fuelled nights spent spray-painting their neighbourhood walls, with plenty of shout-outs to graffiti gangs like the Funky COP and the 93 crew.

Working in an ingenious sample of Eric B and Rakim’s, renowned hip-hop producer Lucien lays down a sinister, infectious funk of a beat, while Starr and Shen fire creepy whispered rhymes over the top. Vincent Cotto and Jean Rodor wrote the original way back in 1913, but the song only really came into its own when English verses were added by lyricist Dorcas Cochran four decades later. Although recordings were subsequently taped with the likes of and Vera Lynn (among others), it’s Eartha Kitt’s exquisitely recorded version that really stands out. Set to a backing of accordion-mimicking orchestral flourishes and a swaying nursery-rhyme lilt, Kitt’s quirky yet soulful voice is at its most striking. Lyrically, couplets like ‘How would you like to be / down by the Seine with me’ are timeless, and have no doubt inspired countless real life lovers to head to the quais.

In 2006, American musician Annie Clark was busy leading a double life as touring guitarist extraordinaire for the likes of Sufjan Stevens and the Polyphonic Spree and as mysterious solo artist under the moniker St. Vincent, making dark indie-pop out of her bedroom on rudimentary DIY software. A good six or seven years before she became the critical art-rock darling and massive crossover star she is today, debut album ‘Marry Me’ was a dark, brave and ornately composed work that contained many of the hallmarks of her later material but that was largely overlooked at the time. At its centre lies ‘Paris is Burning’, a downbeat waltz with a martial vibe and a dizzying array of guitar sounds that describes an underclass revolt in the city – perhaps in reference to the Paris Commune of 1871. The image of such a wondrous city in flames also works as a metaphor for something more relatable, like struggling to get out of a destructive relationship. Following his lengthy 1999 world tour, the late, great Elliott Smith settled down in Paris for a few months.

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Every so often, B-sides and ‘lost songs’ of Smith’s seem to appear out of nowhere – most likely stored away on personal four-track recorders or in mysterious record label vaults – and one of the best of these forgotten demos stems from his time spent in Paris. The 9th arrondissement square at the foot of Montmartre – the ‘Place Pigalle’ – provides the charming setting and the subject is a fleeting relationship he had with a French girl on this ‘temporary half-holiday’. Recorded just before the release of his final and most successful album ‘Figure 8’, the track is a tender, string-laden rumination on love in a foreign city. ‘Je rappe so easily’, he says in a fluid Franglais. It’s exactly the kind of self-aggrandising remark we’ve come to expect from the biggest star in contemporary French rap, who in this song imagines himself watching over the sprawling city and its western suburbs.

Referred to familiarly as ‘Paname’, Paris is Booba’s dominion, and on this track he exalts the city, himself and his lifestyle, while also not forgetting to ridicule his critics. With bits of Arabic and Senegalese dropped in here and there, the profoundly dark lyrics are shot through with braggadocio, comparing his flow to a gunshot and boasting that he’s so rich you’d think he's a narco-trafficker. But it’s not just a personal display of power – the chorus, after all, contains a very explicit political message. For him, Front National leader Marine Le Pen represents the scourge-like ‘racaille’ (‘trash’ or ‘vermin’) of the French state, which is his response to a heinous comment the politician once made about immigrants.

Though never mentioned by name, entertainment mogul David Geffen is the subject of this highlight from Mitchell’s jazzy ‘Court and Spark’ album. A friend of hers in the early 1970s, ‘free man’ Geffen was the top dog at Asylum Records at the time and he had made his thoughts and feelings about the job perfectly clear when the pair holidayed together in Paris. It was only when travelling around the French capital that he felt free from the constraints and demands of his role, as Mitchell’s trilling refrain describes: ‘I’m a free man in Paris / I felt unfettered and alive / there was nobody calling me up for favours / and no one’s future to decide’. Sung from Mitchell’s lips but from Geffen’s perspective, many consider the song to convey a strong message of empowerment for young women. The best version is this live rendition from the ‘Shadows and Light’ show, which has Jaco Pastorius doing his mesmerising jazz bass thing in the background.

This straightforwardly-named songbook standard was written by famed songwriter Cole Porter in 1953 and later performed by names as diverse as, and. But nothing tops Ella Fitzgerald’s magical take, which appears on her 1956 album ‘Ella Fitzgerald Sings the Cole Porter Songbook’. The song is as simple as homages go, with Paris simply a symbol of enduring beauty: ‘I love Paris every moment / every moment of the year / I love Paris, why oh why do I love Paris / because my love is near’. Fitzgerald’s brilliantly produced session puts her impeccable phrasing and clarity of tone at the fore, while the between-verse big band passages are as sweet as they are stately.

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Back in 1973, following turns as a producer for the likes of the Stooges and Nico, a couple of iffy solo albums, and having just co-founded one of the world’s most important ever rock bands in the Velvet Underground, legendary avant-gardist John Cale put out possibly the most accessible album of his career. Met with shamefully little fanfare, ‘Paris 1919’ was the classically trained musician’s first and only foray into sweetly melodic baroque pop, packed full with luscious horns, strings and simple piano phrasings. In stark contrast to the upbeat feel of the arrangements, his playful, Dada-inspired lyrics were far from straightforward, with the whole album being described by many as a bizarre reimagining of the Paris Peace Conference of 1919. Kicking off side B, the astonishing title track is best read as merely impressionistic, Cale’s musings intended to evoke an atmosphere and not to be taken at face value.