Sérgio Santos Mendes (born Niteroi, 11 February 1… Read Full Bio ↴See Sérgio Mendes.
Sérgio Santos Mendes (born Niteroi, 11 February 1941) is a Brazilian musician. Born the son of a physician in Niteroi, 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 Antonio Carlos Jobim (regarded as a mentor), and many U.S. jazz musicians who toured Brazil.
Mendes formed the Sexteto Bossa Rio and recorded Dance Moderno in 1961. Touring Europe and the United States, Mendes recorded albums with Cannonball Adderly and Herbie Mann and played Carnegie Hall. Mendes moved to the U.S. in 1964 and cut two albums under the Brasil '65 group name with Capitol Records and Atlantic Records. When sales were tepid, he replaced his Brazilian born vocalist Wanda Sa with the distinctive voice of Chicago native Lani Hall (who learned Mendes' Portuguese material phonetically) and switched to Herb Alpert's A&M label and released Sergio Mendes and Brasil '66. (Hall would later marry Alpert). The album ultimately went platinum based largely upon the success of the single Mas Que Nada and the personal support of Alpert, with whom Mendes toured regularly. 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/Hal David song "The Look of Love" on the Academy Awards telecast in March 1968. Brasil '66's version of the song quickly shot into the top 10, eclipsing Dusty Springfield's version from the soundtrack of the movie, and 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." Though he continued to enjoy adult contemporary chart successes with Brasil '66 through 1971, he would not experience the mainstream chart hits he enjoyed in 1968 until his comeback album in 1983 generated the biggest single of his career, "Never Gonna Let You Go." However, 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 President Johnson and President Nixon.
Mendes' career in the U.S. stalled in the mid-70s, but he remained very popular in South America and Japan. (This disparity became a Seinfeld in-joke.) 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. 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. He has released over thirty-five albums, and still plays his bossa nova heavily crossed with jazz and funk. His newest album, Timeless released in 2006, featured Chali 2na of Jurassic 5, will.i.am of Black Eyed Peas, Q-Tip, Justin Timberlake, and Pharoahe Monch.
(Text taken in whole from the Wikipedia article at http://en.wikipedia.org/wiki/Sergio_Mendes on March 30, 2006)
Maracatudo
Sergio Mendes Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Maracatu, Maracatu, Maracatu
Eu vou, eu vou
Eu vou para Luanda
Mas eu vou, eu vou
Eu vou para Luanda
Pra saber como é que anda
É aquele baque
Do batuque da mocada
Que deu no côco
Que deu no côco
Maracatu, boi e ciranda
Nija moja hapa kwetu silika ndugu zangu
Heshima kwa wenzenu upendo la udugo
Mtindo ukitoka muungano kuchochea
Tuchese kwa umoja usalama na kwa raha
E tudo que eu sei
Ninguém me contou
Eu sei porque eu sei do valor
Wenyeji watoto Duniani tunaishi
Shikana kwa mikono na Maracatu
Maracatu, Maracatu
Maracatu, Maraca . . .
Eu vou, eu vou
Eu vou para Luanda
Amkeni Kumekucha matajiri maskini
Wadogo kwa wakubwa kila moja suluhishi
Waume na wakike Vijana na wazee
Weupe, weusi wajani kila rangi
Wenyeji watoto Duniani tunaishi
Shikana kwa mikono na Maracatu
Eu vou, eu vou
Eu vou para Luanda
E tudo que eu sei
Ninguém me contou
Eu sei porque eu sei do valor
E tudo que eu fiz
Eu fiz porque quiz
Feliz é quem bate o tambor
Maracatu, Maracatu, Maracatu
Maracatu, Maracatu
Maracatu, Maraca . . .
Eu vou, eu vou
Eu vou para Luanda
Mas eu vou, eu vou
Eu vou para Luanda!
The lyrics to Sergio Mendes's song Maracatudo are rich in cultural references and strong themes of unity and self-awareness. The first verse repeats the phrase "Maracatu, Maracatu," which refers to a traditional Afro-Brazilian music and dance style. The following verse is more focused on the singer's personal journey, as they declare their intention to travel to Luanda to experience the "baque" (rhythm) of the "batuque da mocada" (the percussion of the people), including "Maracatu, boi e ciranda" (other traditional Brazilian rhythms).
The second verse shifts the language to Swahili, a nod to the international nature of the song's message. The lyrics emphasize the importance of respecting and loving one's fellow human beings, in all their diversity ("weupe, weusi wajani kila rangi" - "white, black, young, every color"). The line "shikana kwa mikono na Maracatu" ("hold hands with Maracatu") represents a call to action, urging everyone to join in the music and dance, using it as a unifying force.
The song's bridge brings us back to the idea of self-awareness and personal value. The singer declares that everything they know, they know from experience, not from being told. They have made their own choices and followed their own path, finding happiness in playing the drums. Overall, the song's message is one of celebrating cultural diversity, respecting and loving others, and finding joy and unity through music and dance.
Line by Line Meaning
Maracatu, Maracatu
This song is about Maracatu, a traditional music and dance style from northeastern Brazil.
Maracatu, Maracatu, Maracatu
The repetition of the word Maracatu emphasizes the significance of this music and dance form.
Eu vou, eu vou
The singer speaks in Portuguese, saying 'I'm going, I'm going.'
Eu vou para Luanda
He is going to Luanda, the capital of Angola.
Pra saber como é que anda
He is going to find out what's going on there.
É aquele baque
He is interested in the rhythm of the music there.
Do batuque da mocada
He references the percussion instruments used in Maracatu.
Que deu no côco
He refers to the sound produced by the instruments hitting the coconut shells.
Maracatu, boi e ciranda
He mentions other traditional Brazilian music and dance styles, such as Boi and Ciranda.
Nija moja hapa kwetu silika ndugu zangu
Halfway through the song, the lyrics switch to Swahili, expressing a message of unity.
Heshima kwa wenzenu upendo la udugu
He speaks of respecting and loving one another like brothers and sisters.
Mtindo ukitoka muungano kuchochea
He suggests that this music can bring people together and create a sense of community.
Tuchese kwa umoja usalama na kwa raha
He encourages everyone to come together and find safety and joy in unity.
E tudo que eu sei
The song switches back to Portuguese, and the singer states that he knows the value of this music.
Ninguém me contou
The knowledge he has is not something he heard from someone else, but something he feels within himself.
Eu sei porque eu sei do valor
He knows the value of this music because he has experienced it firsthand.
Wenyeji watoto Duniani tunaishi
The Swahili lyrics return, speaking of the fact that we are all living in this world together.
Shikana kwa mikono na Maracatu
He encourages people to come together and dance to the rhythm of Maracatu.
Amkeni Kumekucha matajiri maskini
The song continues to convey a message of unity and encourages people of all backgrounds to come together.
Wadogo kwa wakubwa kila moja suluhishi
Everyone, regardless of age or status, has the power to solve problems and contribute to unity.
Waume na wakike Vijana na wazee
Men and women, young and old, are all included in this call to unity.
Weupe, weusi wajani kila rangi
All races and ethnicities are included in this call to come together.
E tudo que eu fiz
The singer switches back to Portuguese and states that everything he has done in life.
Eu fiz porque quiz
He did it because he wanted to do it.
Feliz é quem bate o tambor
He concludes that happy are those who play the drums, embodying the spirit of Maracatu.
Maracatu, Maracatu, Maracatu
The song ends with the repetition of the word Maracatu, once again emphasizing the importance of this music form.
Maracatu, Maracatu
Maracatu, Maraca . . .
Mas eu vou, eu vou
Eu vou para Luanda!
Contributed by Chloe B. Suggest a correction in the comments below.
Guijerme
Aqui para vcs a letra:
Maracatu, Maracatu
Maracatu, Maracatu, Maracatu
Eu vou, eu vou
Eu vou para Luanda
Mas eu vou, eu vou
Eu vou para Luanda
Vou pra Luanda
Pra saber como é que anda
É aquele baque
Do batuque da mocada
Que deu no côco
Que deu no côco
Maracatu, boi e ciranda
Nija moja hapa kwetu silika ndugu zangu
Heshima kwa wenzenu upendo la udugo
Mtindo ukitoka muungano kuchochea
Tuchese kwa umoja usalama na kwa raha
([do suaíli] Uma maneira aqui para nós é incutir em meus irmãos e irmãs Respeito um pelo outro, amor pelo udugo Moda da união para inspirar os tucheses na unidade, segurança e conforto).
E tudo que eu sei
Ninguém me contou
Eu sei porque eu sei do valor
Wenyeji watoto Duniani tunaishi
Shikana kwa mikono na Maracatu ([do suaíli]Crianças indígenas ao redor do mundo vivemos em Shikana de mãos dadas com o Maracatu)
Maracatu, Maracatu
Maracatu, Maraca . . .
Eu vou, eu vou
Eu vou para Luanda
Amkeni Kumekucha matajiri maskini
Wadogo kwa wakubwa kila moja suluhishi
Waume na wJá Vijana na wazee
Weupe, weusi wajani kila rangi
Wenyeji watoto Duniani tunaishi
Shikana kwa mikono na Maracatu
([Do suaíli] Despertai! Já amanheceu para os ricos e pobres jovens e velhos cada um resolve homens e mulheres Jovens e velhos branco,
preto verde todas as cores Crianças nativas Mundo em que vivemos
De mãos dadas com o Maracatu)
Eu vou, eu vou
Eu vou para Luanda
E tudo que eu sei
Ninguém me contou
Eu sei porque eu sei do valor
E tudo que eu fiz
Eu fiz porque quiz
Feliz é quem bate o tambor
Maracatu, Maracatu, Maracatu
Maracatu, Maracatu
Maracatu, Maraca . . .
Eu vou, eu vou
Eu vou para Luanda
Mas eu vou, eu vou
Eu vou para Luanda!
Cláudio Persa
Tema de abertura de A Indomada... inesquecível ❤
Guijerme
Aqui para vcs a letra:
Maracatu, Maracatu
Maracatu, Maracatu, Maracatu
Eu vou, eu vou
Eu vou para Luanda
Mas eu vou, eu vou
Eu vou para Luanda
Vou pra Luanda
Pra saber como é que anda
É aquele baque
Do batuque da mocada
Que deu no côco
Que deu no côco
Maracatu, boi e ciranda
Nija moja hapa kwetu silika ndugu zangu
Heshima kwa wenzenu upendo la udugo
Mtindo ukitoka muungano kuchochea
Tuchese kwa umoja usalama na kwa raha
([do suaíli] Uma maneira aqui para nós é incutir em meus irmãos e irmãs Respeito um pelo outro, amor pelo udugo Moda da união para inspirar os tucheses na unidade, segurança e conforto).
E tudo que eu sei
Ninguém me contou
Eu sei porque eu sei do valor
Wenyeji watoto Duniani tunaishi
Shikana kwa mikono na Maracatu ([do suaíli]Crianças indígenas ao redor do mundo vivemos em Shikana de mãos dadas com o Maracatu)
Maracatu, Maracatu
Maracatu, Maraca . . .
Eu vou, eu vou
Eu vou para Luanda
Amkeni Kumekucha matajiri maskini
Wadogo kwa wakubwa kila moja suluhishi
Waume na wJá Vijana na wazee
Weupe, weusi wajani kila rangi
Wenyeji watoto Duniani tunaishi
Shikana kwa mikono na Maracatu
([Do suaíli] Despertai! Já amanheceu para os ricos e pobres jovens e velhos cada um resolve homens e mulheres Jovens e velhos branco,
preto verde todas as cores Crianças nativas Mundo em que vivemos
De mãos dadas com o Maracatu)
Eu vou, eu vou
Eu vou para Luanda
E tudo que eu sei
Ninguém me contou
Eu sei porque eu sei do valor
E tudo que eu fiz
Eu fiz porque quiz
Feliz é quem bate o tambor
Maracatu, Maracatu, Maracatu
Maracatu, Maracatu
Maracatu, Maraca . . .
Eu vou, eu vou
Eu vou para Luanda
Mas eu vou, eu vou
Eu vou para Luanda!
Bernardo Barroso Neto
Sempre quis saber o que significava as partes que não estão em português. Obrigado
Victor Spezia
@Guijerme obrigado pela informação!
Guijerme
@Victor Spezia é uma lingua falada na africa oriental cobrindo uma grande regiao de falantes nos paises: Quenia,Tanzânia, Uganda,Ruanda,Burundi,Sudão do sul e Africa Central. Com mais ou menos 50 milhoes de falantes no mundo. Da uma pesquisada melhor 😉
Victor Spezia
Suaíli? Não conhecia esse idioma...
Guijerme
Ps: eu mesmo traduzi as frases do suaíli, espero que gostem 😊😉
José W. Veloso
O mais legal dessa música é o instrumental, muito bem aproveitado pelo Hans Donner na intro de A Indomada (1998)
Vinícius Kettes Lorensi
Música muito linda!
Janey Isaac's
WOW. Such a vibe. Hermosa.