Fischerīritish electronica duo Shaft covered the song and released it as a single in 2000. Shaft version "Mambo Italiano"īob Merrill, Frankie Laine, William S. Also in 1956, Renato Carosone, a singer and band leader from Naples, recorded a successful version that weaves in several fragments of Neapolitan song, of which he was a leading exponent. Mambo Italiano became popular in Italy when Carla Boni scored a major hit with her version of 1956. In 2006, the German Nu jazz and Lounge music act Club des Belugas officially released a remix of the Dean Martin version on their album Apricoo Soul, with official authorization on behalf of Capitol Records/EMI and Martin's estate. It was successfully covered in 1955 by the popular Italian-American star Dean Martin. US Billboard Most Played in Juke Boxes Ĭover versions Dean Martin version 10 (in a 10-song Hit Parade), and again in March 1956 when it went to No. In Sydney, it charted twice: in January, when it reached No. It entered the Brisbane charts in January 1956, and reached No. In Australia, the song charted regionally. 7 on Billboard 's Honor Roll of Hits, with Don Cornell and Nick Noble's versions listed as best sellers. Cash Box Top 50 Best Selling Records chart, in a tandem ranking of Don Cornell, Nick Noble, Kay Armen, and Roy Rogers & Dale Evans's versions, with Don Cornell and Nick Noble's versions marked as bestsellers. The word tiavanna is a malapropism for Tijuana.Ĭhart history Weekly charts
Other words are in Italiese ( goombah, from cumpà, literally godson/godfather but more broadly fellow countryman, and 'jadrool' or ' cidrule", a stupid person, closely related to cetriolo, Italian for "cucumber", but in Sicilian meaning jackass.
Although Clooney's own family background was Irish-American, she could perform such "Italianized" material with an entirely convincing accent, which she had readily picked up from Italian-American musicians and their families. It is also a late example of an American novelty song in a tradition started during World War II by the Italian-American jazz singer Louis Prima, in which nonsense lyrics with an Italian-American sound are used in such a way as to present a stereotyped caricature of Italian-American people (who had been classed with " enemy alien" status and discouraged from speaking Italian) as likable, slightly brash, pleasure-loving folk. Merrill's song provides an obvious parody of genuine mambo music, cashing in on the 1954 mambo craze in New York, while at the same time allowing Miller to set up a vehicle for Clooney's vocal talents. Alongside Merrill, 'Lidianni' and 'Gabba' are also listed as writers of the song, corresponding to the pseudonyms of the Italian lyricists Gian Carlo Testoni and Gaspare Abbate, respectively. Merrill reportedly wrote it under a recording deadline, scribbling hastily on a paper napkin in an Italian restaurant in New York City, and then using the wall pay-phone to dictate the melody, rhythm and lyrics to the studio pianist, under the aegis of the conductor Mitch Miller, who produced the original record. Writing and original Rosemary Clooney version
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