Mas que nada
"Mas que nada" (Brazilian Portuguese for "no way" or "come on") is a Brazilian samba song written and originally recorded by musician Jorge Ben in 1963 on his debut album Samba Esquema Novo, blending traditional samba rhythms with emerging jazz influences.[1][2] The track's upbeat melody and repetitive chorus, featuring the chant "Obá! Obá! Obá!," celebrate joy and dance, reflecting Ben's innovative style that defied strict bossa nova conventions during Brazil's 1960s musical renaissance.[1] The song achieved global breakthrough through Sergio Mendes & Brasil '66's 1966 bossa nova adaptation, with vocals by Lani Hall and released on their self-titled album via A&M Records, peaking at number 47 on the Billboard Hot 100 and number 4 on the Adult Contemporary chart. This version, produced by Herb Alpert, bridged Brazilian music with American pop audiences, appearing in films like Austin Powers: International Man of Mystery (1997) and becoming a staple of the bossa nova wave.[3][2] In 2006, Mendes revived the track with a hip-hop-infused remix featuring the Black Eyed Peas for his album Timeless, incorporating rap verses and electronic beats that propelled it to number 6 on the UK Singles Chart, number 1 in the Netherlands and Hungary, and widespread airplay worldwide.[4] This collaboration highlighted the song's enduring versatility, earning a Latin Grammy nomination[5] and reinforcing its status as a cross-generational anthem in Latin pop and international music.[3]Composition and origins
Melody origins with José Prates
The melody that became central to "Mas Que Nada" originated in the 1958 recording of "Nanã Imborô" by Brazilian musician and composer José Prates, featured on his album Tam... Tam... Tam...! released by Polydor Records.[6][7] This track served as the musical foundation for the later song, providing its core melodic line and vocal phrasing. Prates, who wrote the music for the album, drew from Afro-Brazilian traditions, incorporating ritualistic elements inspired by Candomblé, where "Nanã" refers to an orixá (deity) associated with the earth and ancient wisdom.[8] Prates' style as a bandleader emphasized deep, raw Brazilian rhythms designed to accompany dance, as the album was created for the international touring production Brasiliana produced by Miecio Askanasy. His work featured infectious, driving percussion patterns rooted in samba and northeastern Brazilian folk influences, blended with exotic, multicultural sounds that predated the full emergence of bossa nova in the late 1950s. This approach positioned Prates' compositions as a bridge between traditional Afro-Brazilian music and the evolving urban sounds of Rio de Janeiro, where he was active during the recording.[6][7][9] The specific similarities between "Nanã Imborô" and the chorus of "Mas Que Nada" lie in the shared melodic structure—a sinuous, ascending-descending phrase built on a simple, repetitive motif—and the scat-like vocalizations that evoke call-and-response chanting. Rhythmically, both employ a syncopated 2/4 samba groove with prominent bass lines and layered percussion, creating an upbeat, danceable pulse. Harmonically, the track relies on minor-key progressions with modal inflections typical of Afro-Brazilian rituals, including dominant seventh chords that add tension and release, elements directly mirrored in the borrowed section. These unique features, including the vocal "na-na" improvisations, distinguish Prates' version as the primary source.[7][10] Jorge Ben later adapted these melodic and vocal elements into his 1963 composition.[8]Jorge Ben's creation
Jorge Ben, born Jorge Duílio Lima Menezes on March 22, 1942, in Rio de Janeiro (though his birth year is sometimes given as 1939 or 1940),[11] composed "Mas que Nada" during his mandatory military service in the Brazilian Army around 1962-1963.[11] The lyrics, written in Portuguese, capture a sense of joyful exuberance and playful denial, with the titular phrase "Mas que nada" serving as slang for "no way," "whatever," or "come on," literally translating to "but that is nothing."[12] This expression underscores the song's theme of embracing samba's irresistible energy despite obstacles, positioning it as a tribute to happiness and rhythmic abandon.[11] Ben's creation marked an innovative fusion in Brazilian music, defining the "samba-esquema" genre—or "new scheme samba"—which integrated traditional samba rhythms with electric guitar riffs, rock elements, and a youthful vigor that diverged from the smoother bossa nova prevailing at the time.[13] This approach, evident in the song's structure, emphasized propulsive grooves and electric instrumentation, making "Mas Que Nada" a pioneering track that bridged samba's roots with emerging global pop influences.[14] The melody itself drew from an earlier instrumental composition by José Prates.[8] The song was finalized for Ben's debut album, Samba Esquema Novo, recorded in Rio de Janeiro and released on January 10, 1963, by Philips Records.[15] Clocking in at 2:59, the track featured Ben on vocals and guitar, with arrangements and conduction by Luiz Carlos Vinhas and João Theodoro Meirelles, highlighting the album's fresh take on samba through its lively ensemble.[16][17]Original and early versions
Jorge Ben's 1963 recording
Jorge Ben composed "Mas Que Nada" and made his first official recording of the song in 1963 for his debut album Samba Esquema Novo, released by Philips Records on January 10.[15] Ben handled vocals and guitar on the track, accompanied by the ensemble Meirelles e Os Copa 5, which featured J.T. Meirelles on flute and saxophone, Luiz Carlos Vinhas on piano, Manuel Gusmão on bass, Dom Um Romão on drums, and Pedro Paulo on trumpet.[15] The album Samba Esquema Novo received critical acclaim in Brazil for pioneering the "samba-esquema" style—a vibrant fusion of traditional samba rhythms with bossa nova harmonies and jazz improvisation—that distinguished Ben from the dominant bossa nova scene of the era.[1] "Mas Que Nada," positioned as the album's lead track, exemplified this innovative sound through its upbeat percussion, syncopated guitar lines, and Ben's playful scat-like vocals, helping to establish the record as a landmark in Brazilian popular music.[1] In its initial release, "Mas Que Nada" garnered strong airplay on Brazilian radio stations and contributed to solid domestic sales for the album, solidifying Ben's emergence as a key figure in Rio de Janeiro's music scene despite initial resistance from traditional sambistas who viewed the style as unconventional.[1] While it lacked widespread international exposure at the time, the song's boundary-pushing energy influenced the Tropicalia movement of the late 1960s by encouraging experimental blends of samba with global musical influences.[1]Early covers by other artists
One of the earliest covers of "Mas que nada" came from the Tamba Trio, who released an instrumental version in 1963 on their album Avanço. This rendition fused the song's samba roots with jazz and bossa nova elements, featuring piano, flute, and percussion to create a swinging, sophisticated sound that highlighted the melody's rhythmic potential in a trio setting.[18][19] In 1964, pianist Luis Carlos Vinhas included a piano-led interpretation on his album Novas Estruturas, adapting the track into a more intimate lounge style with elegant chord progressions and subtle rhythmic underpinnings. This version emphasized the song's melodic contours through solo piano and light accompaniment, appealing to audiences in Brazil's emerging bossa nova lounges.[20] Throughout the mid-1960s, "Mas que nada" saw numerous other covers by Brazilian artists, predominantly instrumental takes that helped embed the song in the domestic music scene. Notable examples include Walter Wanderley's organ-driven arrangement in 1964, Paulinho Nogueira's guitar-focused version from the same year, and Sivuca's accordion-infused rendition in 1968, all of which showcased varied instrumental interpretations and contributed to the track's growing popularity within Brazil before its international breakthrough.[21][22]Sérgio Mendes recordings
1966 version with Brasil '66
The 1966 recording of "Mas Que Nada" by Sérgio Mendes and Brasil '66 represented a pivotal bossa nova adaptation of Jorge Ben's original samba melody, catapulting the song to prominence beyond Brazil and establishing Mendes as a key ambassador of Brazilian music in the United States.[1] This version appeared as the opening track on the group's debut album, Herb Alpert Presents Sergio Mendes & Brasil '66, released by A&M Records in August 1966. Arranged by Mendes, it featured lead vocals by Lani Hall alongside an ensemble blending piano, acoustic guitar, bass, drums, and percussion in a signature bossa nova style that emphasized smooth harmonies and rhythmic subtlety.[23] Produced by Herb Alpert, co-founder of A&M Records, the track transformed the energetic samba origins into a gentler, more accessible bossa nova interpretation, simplifying the rhythm and incorporating jazz-inflected elements to broaden its pop appeal for American audiences. This softening of the samba's intensity—characteristic of bossa nova as a relaxed evolution of traditional Brazilian dance forms—helped bridge cultural gaps, making the song a staple on easy listening radio. The accompanying album played a crucial role in popularizing bossa nova internationally.[3][24][1]2006 version with Black Eyed Peas
The 2006 version of "Mas Que Nada" was recorded for Sérgio Mendes' album Timeless, released on February 14, 2006, by Concord Records. Produced by will.i.am of the Black Eyed Peas, the track features vocals from the group members—including will.i.am, apl.de.ap, and Taboo—alongside Mendes' piano and Brazilian percussion ensemble. It incorporates a sample from the Black Eyed Peas' 2004 single "Hey Mama," blending the original samba rhythm with hip-hop beats and electronic production to create a contemporary sound.[25] Released as the lead single in June 2006, the recording updates Mendes' 1966 arrangement by fusing bilingual Portuguese-English lyrics—retaining traditional chants like "Oriá raiô" with English rap verses—with modern hip-hop elements that contrast the original bossa nova style. The rap sections, improvised by will.i.am in a single take during sessions in Los Angeles, emphasize celebratory themes such as "Black Eyed Peas came to make it hotter," adding an energetic, party-oriented vibe.[26][27] The collaboration stemmed from will.i.am's admiration for Mendes, initiating contact in 2003 to propose a hip-hop reinterpretation after studying his records. Basic tracks were laid down in São Paulo with local musicians providing the samba-infused beat, before overdubs in the U.S. Mendes aimed to bridge generational gaps, revitalizing his classic hit for younger audiences through this fusion of Brazilian roots and urban pop. Background vocals were contributed by artists such as Debi Nova and Mendes' wife Gracinha Leporace, enhancing the track's layered, multicultural texture.[26][25]Release and commercial success
Track listings and formats
The original 1963 recording of "Mas Que Nada" by Jorge Ben was released as a 10-inch 78 RPM vinyl single in Brazil on Philips Records, catalog number P 61.208 H, with the A-side featuring the song at approximately 3:02 and the B-side "Por Causa De Você, Menina", in mono format.[28] It also appeared as the opening track on Ben's debut album Samba Esquema Novo, issued as a mono LP on Philips P 632.161 L, with a runtime of about 25 minutes across 12 tracks; stereo reissues of the album followed in subsequent years on various labels.[15] Sérgio Mendes & Brasil '66's 1966 version was issued as a 7-inch 45 RPM single on A&M Records, catalog number 807, pressed in styrene at the Terre Haute facility, with "Mas Que Nada" (2:37) as the A-side and "The Joker" (2:37) as the B-side.[29] The track served as the lead single from their debut album Herb Alpert Presents Sérgio Mendes & Brasil '66 (A&M SP-4116), a stereo LP containing 10 songs with a total runtime of 25:21.[30] The 2006 remake by Sérgio Mendes featuring the Black Eyed Peas was released in multiple formats, including a CD single in Europe on Concord Records (catalog number 0602498596302), featuring the album version at 4:22 and a radio edit at 3:32.[31] It was also available as a digital download through platforms like iTunes and Spotify, alongside promotional CD singles containing remixes such as the Masters at Work remix and the Black Eyed Peas mix.[32] International variants included a European 12-inch vinyl single (33⅓ RPM) with extended mixes, such as the Justin Strauss & Will.i.am remix, pressed for club play.| Release | Format | Label/Catalog | Key Tracks | Region/Year |
|---|---|---|---|---|
| Jorge Ben - "Mas Que Nada" single | 10" vinyl, 78 RPM, mono | Philips P 61.208 H | A: "Mas Que Nada" (3:02) B: "Por Causa De Você, Menina" | Brazil / 1963 |
| Jorge Ben - Samba Esquema Novo | LP, mono (stereo reissues) | Philips P 632.161 L | A1: "Mas Que Nada" (3:02) Other tracks: "Tim Dom Dom," "Balança Pema," etc. | Brazil / 1963 |
| Sérgio Mendes & Brasil '66 - "Mas Que Nada" single | 7" vinyl, 45 RPM | A&M 807 | A: "Mas Que Nada" (2:37) B: "The Joker" (2:37) | US / 1966 |
| Sérgio Mendes & Brasil '66 - Herb Alpert Presents Sérgio Mendes & Brasil '66 | LP, stereo | A&M SP-4116 | 1: "Mas Que Nada" (2:37) Other tracks: "One Note Samba/Spanish Flea," "The Joker," etc. | US / 1966 |
| Sérgio Mendes feat. Black Eyed Peas - "Mas Que Nada" | CD single | Concord (e.g., European edition) | 1: Album version (4:22) 2: Radio edit (3:32) | Europe / 2006 |
| Sérgio Mendes feat. Black Eyed Peas - "Mas Que Nada" promo/remixes | CD single, promo | Concord Records | Includes: Black Eyed Peas mix, Masters at Work remix | US/Europe / 2006 |
| Sérgio Mendes feat. Black Eyed Peas - "Mas Que Nada" extended | 12" vinyl, 33⅓ RPM | Various (e.g., Concord/UMGI) | A: Extended mix (e.g., Justin Strauss & Will.i.am) B: Radio edit | Europe / 2006 |
| Sérgio Mendes feat. Black Eyed Peas - "Mas Que Nada" digital | Digital download | Concord/Universal | Album version (4:22), radio edit (3:32) | Global / 2006 |
Chart performance
The original 1963 recording by Jorge Ben achieved significant popularity on Brazilian radio stations following its release on the album Samba Esquema Novo, marking an early breakthrough for the artist despite the absence of formal international chart data.[33][1] Sérgio Mendes' 1966 version with Brasil '66 experienced moderate success primarily in the United States, peaking at number 47 on the Billboard Hot 100 chart in October 1966 and spending eight weeks on the ranking.[34][35] It performed stronger on adult contemporary formats, reaching number 4 on the Billboard Easy Listening chart.[34] International chart performance was limited, with no notable peaks reported outside the U.S. during this period. The 2006 re-recording by Sérgio Mendes featuring the Black Eyed Peas marked a substantial resurgence, achieving widespread international success across multiple markets. In the United States, it peaked at number 13 on the Billboard Hot 100, reflecting a crossover appeal bolstered by digital downloads and radio airplay.[4] The track debuted on the chart in July 2006 at number 71, climbing steadily through the summer months to its peak in August before descending over 20 weeks. Globally, it topped the Dutch Top 40 for two weeks starting in late July 2006, after entering at number 14 and spending 20 weeks on the chart.[36] In the United Kingdom, it reached number 6 on the Official Singles Chart, debuting at 29 and maintaining top-10 status for two weeks across a 12-week run.[37] Other European peaks included number 9 in Germany for one week (17 weeks total), number 8 in Austria for three weeks (22 weeks total), and number 1 on Hungary's Rádiós Top 40 airplay chart.[38][39][40]| Version | US Billboard Hot 100 Peak | Weeks on Chart |
|---|---|---|
| 1966 (Brasil '66) | 47 | 8 |
| 2006 (feat. Black Eyed Peas) | 13 | 20 |