Mendes is married to Gracinha Leporace who regularly performs vocals for her husband and can also be heard on his 2006 version of the song Mas Que Nada with the Black Eyed Peas.
Early career
The child of a physician in Niterói, Brazil, Mendes attended the local conservatory with hopes of becoming a classical pianist. As his interest in jazz grew, he started playing in nightclubs in the late-1950s just as bossa nova, a jazz-inflected derivative of samba, was taking off. Mendes played with Antônio Carlos Jobim (whom he regarded as a mentor) and many U.S. jazz musicians who toured Brazil.
Mendes formed the Sexteto Bossa Rio and recorded Dance Moderno in 196. Touring Europe and the United States, Mendes recorded albums with Cannonball Adderley and Herbie Mann and played Carnegie Hall. Mendes moved to the U.S. in 1964 and cut two albums under the name Sergio Mendes and Brasil '65 with Capitol Records and Atlantic Records.
Brasil '66
When sales were tepid, he replaced his Brazilian born vocalist Wanda de Sa with the distinctive voice of Chicago native Lani Hall (who learned Mendes' Portuguese material phonetically), switched to Herb Alpert's A&M label, and released Herb Alpert Presents Sergio Mendes and Brasil '66, an album that went platinum based largely on the success of the single "Mas Que Nada" (a Jorge Ben cover) and the personal support of Alpert, with whom Mendes toured regularly.
The original lineup of Sérgio Mendes & Brasil '66 was Mendes (piano), vocalists Lani Hall and Janis Hansen, Bob Matthews (bass), Jose Soares (percussion), and Joao Palma (drums). John Pisano guested as guitarist. This lineup recorded three albums between 1966-1968 (including the best-selling Look Around LP), before there was a major personnel change for their fourth album Fool on the Hill.
Karen Philipp replaced Hansen as the second female vocalist, while veteran drummer Dom Um Romão teamed with Rubens Bassini to assume percussionist duties. Sebastiao Neto was the new bassist and Oscar Castro-Neves the guitarist. This lineup had a more orchestral and big band sound than their predecessors. Most significantly, in the early 1970s, lead singer Hall pursued a solo career and became Alpert's second wife. Some accounts claim that Mendes was upset with Alpert for years for "stealing" Hall away from his group.
Though his early singles with Brasil '66 (most notably "Mas Que Nada") met with some success, Mendes really burst into mainstream prominence when he performed the Oscar-nominated Burt Bacharach and Hal David song The Look of Love on the Academy Awards telecast in April 1968. Brasil '66's version of the song quickly shot into the top 10, peaking at #4, and eclipsing Dusty Springfield's version from the soundtrack of the movie, Casino Royale. Mendes spent the rest of 1968 enjoying consecutive top 10 and top 20 hits with his follow-up singles, "The Fool on the Hill" and "Scarborough Fair". From 1968 on, Mendes was arguably the biggest Brazilian star in the world, enjoying immense popularity worldwide and performing in venues as varied as stadium arenas and the White House, where he gave concerts for both Presidents Lyndon B. Johnson and Richard Nixon.
Middle career
Mendes' career in the U.S. stalled in the mid-1970s, but he remained very popular in South America and Japan. His two albums with Bell Records in 1973 and 1974, followed by several for Elektra from 1975 on, found Mendes continuing to mine the best in American pop music and post-bossa writers of his native Brazil, while forging new directions in soul with collaborators like Stevie Wonder, who wrote Mendes' R&B-inflected minor hit, "The Real Thing".
In 1983, he rejoined Alpert's A&M records and enjoyed huge success with a self-titled album and several follow-up albums, all of which received considerable adult contemporary airplay with charting singles. "Never Gonna Let You Go", featuring vocals by Joe Pizzulo and Leza Miller, equalled the success of his 1968 single "The Look of Love" by reaching #4 on the Billboard Hot 100 chart; it also spent four weeks atop the Billboard adult contemporary chart. In 1984, Mendes worked with singer Lani Hall again.
By the time Mendes released his Grammy-winning Elektra album Brasileiro in 1992, he was the undisputed master of pop-inflected Brazilian jazz. The late-1990s lounge music revival brought retrospection and respect to Mendes' oeuvre, particularly the classic Brasil '66 albums. His stature in his native Brazil is reflected by "Cantor de Mambo", a song by fellow Brazilians Os Mutantes, which they regularly dedicate to Mendes in concert.
Later career
Timeless features a wide array of neo-soul and alternative hip hop guest artists, most prominently will.i.am and the Black Eyed Peas. It was released February 14, 2006 by Concord Records.
The album features the Black Eyed Peas, Erykah Badu, Black Thought, Chali 2na of Jurassic 5, India.Arie, John Legend, Justin Timberlake, Q-Tip, Stevie Wonder and Pharoahe Monch.
The 2006 re-recorded version of "Mas que Nada" with the Black Eyed Peas had additional vocals by Gracinha Leporace (Mendes' wife); a version that is included on his album Timeless. In Brazil, the song is pretty well-known for being the theme song for the local television channel Globo's Estrelas.
The Black Eyed Peas' version also contains a sample of their 2004 hit "Hey Mama". The re-recorded song became popular on many European charts. On the UK Singles Chart, the song entered at #29 and rose to and peaked at #6 on its second week on the chart.
Official website of Sérgio Mendes: http://www.sergiomendesmusic.com
Bim Bom
Sérgio Mendes Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Bim bom bim bim bom bim bom
Bim bom bim bim bom bom
Bim bom bim bim bom bim bim
If the words sound slightly wrong
That's the way they wrote the song
Bim bom bim bim bom bom
Bim bom bim bim bom bim bom
Bim bom bim bim bom bom
Bim bom bim bim bom bim bim
Bim bom bim bim bom bom
Bim bom bim bim bom bim bom
Bim bom bim bim bom bom
Bim bom bim bim bom bim bom
Bim bom bim bim bom bom
Bim bom bim bim bom bim bim
If the words sound slightly wrong
That's the way they wrote the song
Safe to say that that's the way it goes, so
Bim bom bim bim bom bom
Bim bom bim bim bom
Bim bom bim bim bom bim bom
The lyrics to Sérgio Mendes's song Bim Bom are deceptively simple, repeating the same nonsensical phrase throughout. However, the song is not focused on conveying any profound meaning but rather providing a carefree and joyful escape. The repeated "Bim Bom" is meant to be a playful and catchy chorus that invites the listener to dance and sing along without any specific expectations of meaning or interpretation. The line "If the words sound slightly wrong/That's the way they wrote the song/Safe to say that that's the way it goes, so" emphasizes the song's casual and happy-go-lucky nature, and also acknowledges the possibility of misunderstandings in communication.
Overall, the song is a celebration of music and rhythm as a universal language that transcends language barriers and cultural differences. It is an ode to the joy and freedom that can be found in simply letting oneself be carried away by the beat and melody, without needing to analyze or overthink the lyrics. The song's infectious energy and carefree spirit remain a hallmark of Mendes's music, which continues to inspire and uplift people around the world.
Line by Line Meaning
Bim bom bim bim bom bom
Repeating sounds meant to evoke the Brazilian musical style of samba, with a lighthearted and cheery tone.
Bim bom bim bim bom bim bom
Continuing the rhythmic pattern of the first line, adding a sense of momentum and excitement.
Bim bom bim bim bom bom
Repeating sounds that emphasize the joy and spontaneity of music.
Bim bom bim bim bom bim bim
Changing the rhythmic pattern slightly, adding a sense of playfulness and variation.
If the words sound slightly wrong
Acknowledging that the nonsensical syllables may not make sense in a literal sense.
That's the way they wrote the song
Recognizing that the lyrics are intentionally nonsensical, capturing the spirit of samba music with simple, repeating sounds.
Safe to say that that's the way it goes, so
Affirming that the repetition and simplicity of the lyrics are an essential part of the song's charm and appeal.
Bim bom bim bim bom
Repeating the joyful sounds, inviting listeners to join in the fun and dance along.
Bim bom bim bim bom bim bom
Adding to the rhythm and momentum of the song, keeping the energy high and upbeat.
Bim bom bim bim bom bom
Continuing the playful sounds that do not need any literal meaning to make an impact emotionally.
Bim bom bim bim bom bim bom
Creating a sense of movement and liveliness, encouraging listeners to let go and enjoy the music.
Bim bom bim bim bom bom
Renewing the joyful and playful qualities of the song while keeping it simple with basic, repeating syllables.
Bim bom bim bim bom bim bim
Adding variation to the rhythmic pattern, keeping the music fresh and exciting throughout.
Bim bom bim bim bom bom
Re-emphasizing the fundamental elements of the song - joy, spontaneity, and rhythmic repetition.
Bim bom bim bim bom bim bom
Concluding the song with jubilant sounds, evoking the lively and carefree spirit of Brazilian samba music.
Bim bom bim bim bom bom
Ending the song with the same repeating, joyful sounds that have been present throughout, leaving a fun and lighthearted impression on listeners.
Lyrics © Peermusic Publishing
Written by: Giuseppe Piccolo, Joao Gilberto
Lyrics Licensed & Provided by LyricFind
@rr7firefly
Thank you, João Gilberto, for writing this great song. It comes from the very early dawn of Bossa Nova. The song originated at least 10 years before Sergio Mendes recorded it for this Equinox album.
@mysteriomartinez8239
Thanks for the info. Have you seen the Seinfeld episode when they goof on Sergio Mendez. Constanza & Kramer want to sell some Sergio Mendez albums to a vendor. "Who's Sergio Mendez? He's so famous in South America he can't even take a pee in peace."
@ClassyCuber
So beautiful, I will play it to all my friends! It gives off such beautiful happy vibes!
@josephconsoli4128
They, and Burt Bacharach, are absolutely the sound of late '60's contemporary music.
@sergiopolo8915
Love it BOSSA AMAZING... IT'S SO WONDERFUL
@SunnyIlha
If this came out tomorrow
It would sell 100 million
@ericseal4453
So cool!!! Puts me in a great mood!
@scdevon
Seeing that early album cover with Janis and Lani puts a lump in my throat.
@beverlymoses3659
Vacation, beach, drinks, and samba!!!
@FJ.Soultrax
Adorable Bossa and rhythms - love the arrangement by Sergio and the male & lovely female vocal adds much to the interpretation. Plus that E7(b9)(b5) adds a special touch going into the bridge.👍