Aaa kotki dwa sare bure łobydwa
Nic nie bedu robiły aby Janka bawiły
Oj lululululu siedzi baba w ulu
A dziad koło ula witojze babula
Oj lalala...
Lulajze mu lulaj siwe łocka stulaj
Siwe łocka stulis do mnie się przytulis
Kołysze sie kolys kolibeńko sama
Bo ci Cyganecka poduszeczke wziana
Kołysze się kolys łod ściany do ściany
Uśnijze mi uśnij syneczku kochany
Uśnijze mi uśnij albo mi urośnij
Bende myć wygode bendziesz nosił wode
Bendziesz pasał wołki krowy i krowiny
Bendziesz se wykroncał fujarki z wirzbiny
Lulajze mi lulaj siwe łocka stulaj
Siwe łocka stulis do mnie sie przytulis
Kołys mi sie kołys kołysejko z wierzby
Żebyś mi dziecino niepłakało nigdy
Kołys mi sie kołys kołysejko sama
Bo ja dzisiaj pójda do dworskiego pana
Zarobię ja żyta i w żarnach umiela
A upieka chleba jesce na niedziela
Oj lululu...

***

About Kapela Ze Wsi Warszawa:
Warsaw Village Band (Polish: Kapela ze wsi Warszawa) is a band from Warsaw, Poland, that plays traditional Polish folk music tunes combined with modern elements.
According to the band's manifesto, it was formed as a response to mass culture and narrow-mindedness, "which in fact leads to [the] destruction of human dignity." After the fall of the Berlin Wall and the expansion of the European Union to most of the former Warsaw Pact countries, Poland's economy has grown dramatically, as has investment by multinational corporations, raising concerns about the loss of Poland's cultural identity under globalism.
Warsaw Village Band was conceived as a response to this trend that would explore Poland's musical traditions and make them relevant to its new capitalist economy. Member Wojciech Krzak has stated that "after the nightmare of Communism, we still have to fight for our identity, and we know that beauty and identity are still in our roots." Krzak has further stated that the band are "trying to create a new cultural proposition for the youth in an alternative way to contemporary show-biz." The band's very name appears to evoke what troubles Krzak about Poland's new capitalism: many large Polish cities do not have suburbs in the traditional sense, leading to unsettling transitions directly from city to field. To this end, in Wykorzenienie (Uprooting), the band traveled throughout Poland to find and record older musicians who still played almost-forgotten styles of music, thereafter incorporating those melodies into new songs and expounding upon them.
The band also incorporate socially conscious folk lyrics in their songs. The song "Kto się żeni" ("Who is Getting Married") on their second album, Wiosna Ludu (People's Spring), discusses a young country girl who refuses to be married off, opting instead to "sing, dance, and be free rather than being dependent on someone."
Warsaw Village Band have appeared at several international music festivals, including the 2005 Roskilde Festival in Denmark, the 2004 Masala Festival in Hanover, Germany, and the 2000 International Ethnic Music Fest in Germany.
Notably, Warsaw Village Band have revived several musical traditions that were all but lost in Poland. The band use instruments rarely heard in modern music: frame drums, the hurdy-gurdy and the suka, a Polish folk fiddle from the 17th century stopped with the fingernails rather than the fingers, similar to the Bulgarian gadulka, the sarangi, or the rebec. The suka was practically unknown to the Polish people until member Sylwia Świątkowska began to play it in the band's concerts, and, later, on their albums. Additionally, many of the band's vocals are sung in a loud and powerful style remarkably like the "open-throated" singing styles in Bulgarian music, called biały głos (white voice). This style of singing was used by shepherds in the Polish mountains to be heard for long distances.
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