Categories
BLOG

mama number 5

Lou Bega – Mambo Number 5 текст песни

One, two, three, four, five, everybody in the car so come on let’s ride.
To the liquor store around the corner.
The boys say they want some gin and juice but I really don’t wanna.
Beerbust like I had last week.
I must stay deep ’cause talk is cheap.
I like Angela, Pamela, Sandra and Rita.
And as I continue, you know they’re getting sweeter.
So what can I do? I really beg you my Lord.
To me flirting is just like a sport.
Anything fly, it’s all good let me dump it.
Please set it in the trumpet.
Chorus
A little bit of Monica in my life,
A little bit of Erica by my side.
A little bit of Rita’s all I need,
A little bit of Tina’s all I see.
A little bit of Sandra in the sun,
A little bit of Mary all night long.
A little bit of Jessica here I am,
A little bit of you makes me your man.
Mambo number five.
Verse 2
Jump up and down and move it all around.
Shake your head to the sound, put your hands on the ground.
Take one step left and one step right.
One to the front and one to the side.
Clap your hands once and clap your hands twice
And if it look like this then you’re doing it right.
Chorus
A little bit of Monica in my life,
A little bit of Erica by my side.
A little bit of Rita’s all I need,
A little bit of Tina’s all I see.
A little bit of Sandra in the sun,
A little bit of Mary all night long.
A little bit of Jessica here I am,
A little bit of you makes me your man.
Bridge
Trumpet, the trumpet.
Mambo number five, ha, ha, ha.
Chorus
A little bit of Monica in my life,
A little bit of Erica by my side.
A little bit of Rita’s all I need,
A little bit of Tina’s all I see.
A little bit of Sandra in the sun,
A little bit of Mary all night long.
A little bit of Jessica here I am,
A little bit of you makes me your man.
Outro
I do all to fall in love with a girl like you.
Cause you can’t run and you can’t hide.
You and me gonna touch the sky.
Mambo number five.

Lou Bega – Mambo Number 5 текст песни One, two, three, four, five, everybody in the car so come on let’s ride. To the liquor store around the corner. The boys say they want some gin and juice

Lou Bega Knows Why You’re Still Dancing to “Mambo No. 5”

To revist this article, visit My Profile, then View saved stories.

To revist this article, visit My Profile, then View saved stories.

Lou Bega knows exactly why “Mambo No. 5” has endured. “There’s two levels. The superficial level that we all enjoy. We dance to it—it’s joyful,” Bega says of his 1999 megahit documenting a series of trysts with Monica, Rita, Sandra, Tina, and so on. “Then there’s a deeper level. When you actually listen to it as a song, the first verse is about repentance, actually.”

I’m receiving this textual analysis of “Mambo No. 5” while backstage in Eisenhüttenstadt, Germany, a small town near the Polish border, where Bega has just performed at an open-air ’90s concert in the pouring rain. This summer marks the 20th anniversary of Bega’s debut album, A Little Bit of Mambo, which reached No. 3 on the Billboard Hot 100 and sold 3.3 million copies in the U.S. The song “Mambo No. 5” topped the charts across most of Europe, including in Germany, which Americans might be surprised to learn is Bega’s home country (“Rammstein and Lou,” jokes Bega, who lives with his wife and daughter in Munich).

Bega performed “Mambo” twice this evening—during his set and as an encore—so I hear it for the third time as Bega recites the lyrics to theorize on their relevance. Beyond the list of women’s names and the trumpet hook sampled from mambo legend Pérez Prado, the song is really about the sloppy, mistake-prone journey of finding love as a young adult. “So what can I do?” he sings. “I really beg you, my Lord. To me, flirting is just like a sport.”

“We all enjoy ourselves. We have our hangovers, and we know it’s not really good for us,” Bega says now. “That song is speaking about it—but in such a cool way that you don’t feel blamed for it.”

Two decades on, “Mambo No. 5” is still a banger. The song is a well-earned karaoke staple, a wedding dance floor energizer, arguably the most notable innovation on how to count to five since the abacus. “Everybody in the car, so come on let’s ride!” It’s a novelty song, sure, but one that has aged better than other gimmicky hits of the same era, like the “Thong Song” or “Who Let the Dogs Out.”

But there’s a darker, little-known backstory behind the track, a summer bop that led to years of litigation, backbiting over credit, and the eventual ending of a musical friendship. And that’s before you even get into how different it feels now to listen as Bega euphemistically rattles off the names of his sexual conquests. “A little bit of Sandra in the sun. A little bit of Mary all night long.” For his part, Bega thinks the song is not problematic, but it’s clear he’s thought about it.

“It was a different time,” Bega says. “I never felt like a predator singing it. It has a cuteness about it. Even the last part of it says, ‘I do all to fall in love with a girl like you.’”

It’s no surprise Bega is introspective about the song’s legacy. “Mambo No. 5” is his livelihood; the inexorable first line of his obituary. At 44, Bega is a rather young embodiment of a well-worn music cliché—the aging singer performing at shows in which a decade is listed in the concert’s billing. But what can he do? Bega is not bitter, at least not in an interview setting. He’s chosen to make the best of it, singing “Mambo No. 5” to ’90s kids around the world.

“I admit, in 2001, when I was supposed to bring out the second album and 9/11 happened, nobody wanted fun songs for a long time,” Bega says. For some time he battled with whether “Mambo” was a curse, but ultimately came to another conclusion. “It can only be a blessing,” he says, “because it opened all the doors and changed my whole life.”

Bega performing in 1999, the year “Mambo No. 5” was released.

From Ullstein Bild/Getty Images.

Before he took on a mambo-fied stage name, Lou Bega was David Lubega, son of a Ugandan father and Sicilian mother raised mostly in Munich. As a teenager, Bega hoped to break into the music industry as a rapper, and his smooth, gravelly voice can be heard on the 1997 beachy dance track “Let’s Come Together” by Balibu. “Up and down, down and up / Yeah that’s a summertime cut for those who like to shake butt,” Bega rapped. It was a one-song project that quickly faded away.

“[Bega] had a good voice, and he is a kind person,” said Goar Biesenkamp, a German music producer and manager who worked with Bega beginning in the late ’90s. “At the time there were a lot of rappers who said, ‘No, I’m doing my thing.’ But Lou Bega said, ‘Okay, if I have any chance to make money in music, I will do it.’”

The instrumental “Mambo No. 5” was written 70 years ago, in 1949, by Cuban composer and bandleader Pérez Prado. Prado is regarded as a pioneer in the mambo wave that swept the United States in the early 1950s. “Mambo was one of the peak 20th-century cultural achievements, in any country,” said Ned Sublette, a musician and author of Cuba and Its Music: From the First Drums to the Mambo. Bega’s version, Sublette said, is not a mambo.

Still, a sample of the punchy brass riff from Prado’s mambo became a foundation for Bega’s pop hit, though how it was rediscovered is a matter of dispute. According to Michael Boettcher and Goetz von Einem, who both work for “Mambo No. 5” rights-holder Peermusic, the 1949 track was featured on a CD full of samples from their back catalog, a common way for music publishing companies to reintroduce their songs to producers and songwriters.

Biesenkamp told me that he didn’t find the sample on Peermusic’s promotional materials, but rather as he was developing a new Latin sound for Bega. In Biesenkamp’s telling, he discovered the Prado song in a carton of CDs from a German record executive who was looking for Latin tracks for the 1998 romantic-comedy film Das merkwürdige Verhalten geschlechtsreifer Großstädter zur Paarungszeit (English title: Love Scenes From Planet Earth). Biesenkamp said Bega’s song was not uptempo enough to be selected for the film.

But Bega, through a spokesperson, said that he first heard the original “Mambo No. 5” during a prior visit to Miami. In Bega’s account, his musical collaborator, Zippy Davids, “found [the Prado] record in a vinyl store in Munich, brought it to the studio showed it to me and I naturally and instantly recognized its beauty while freestyling the first verse on it. He sampled the right part, looped it and we rough-recorded the first demo of the hit,” Bega said. (The song later landed Bega in a seven-year legal battle with Prado’s estate; a German court ended it in 2008 with a ruling that declared Prado the cowriter of Bega’s “Mambo No. 5.”)

Both Bega and Biesenkamp agree, at least, that Biesenkamp then brought the idea to Peter Meisel, a late, well-known German record executive who recognized the new song’s potential to crack the Top 40.

The song was finally taken to Andy Selleneit, then the managing director for record label BMG Berlin. “I can tell you exactly my emotions after 10 seconds. I thought, Oh it’s swing. I don’t like swing,” Selleneit told me. “After 20 seconds, I thought it’s a hit. After one minute, I was sure it was a hit. After two minutes, I pressed the stop button and said, ‘That’s a huge hit.’”

The new “Mambo No. 5” was indeed a hit. The track rocketed to prominence in Europe, and in his native Germany, Bega celebrated his arrival with a rousing performance on the most popular TV show at the time, Wetten, Dass.

The German-born singer wondered for a time whether his 1999 novelty hit was a blessing or a curse—but the crowds still ask for it, and he’s happy to deliver.