In Ricardo Lemvo we find a truly unique individual. He was born in the democratic Republic of the Congo, formerly known as Zaire. In Kinshasa his family lived next to a bar where he was bombarded day and night with Congolese Rumbas and Cuban music from the bar’s loudspeakers. Although exposed to Cuban music since childhood, his formal introduction took place during school breaks when his cousin would allow him to listen to this type of music from his huge record collection. At the time he didn’t understand the lyrics, but the rhythms, the melody and the spirit of the music touched him deeply. In this music he heard the voices of Africa. He was overcome by emotion when it became clear to him that this was the music that his enslaved ancestors took with them to the Americas.

  His first job as a singer, that occurred during a break from his boarding school, was with a band called Mira Mira where he was assigned the duties of a rock/rhythm and blues singer. He got the job because his cousin told the leader of the band that he could speak fluent English.

  Nothing could have been farther from the truth. He was assigned two songs: James Brown’s "Papa’s Got a Brand New Bag," and Otis Redding’s "Direct Me." His burgeoning career ended when he had to go back to school. Ricardo joined his father in the United States in the summer of 1972. It was there that he met with many French speaking Africans who shared his passion for Cuban music. The influence of Cuban music in Africa is immeasurable. When Cuban music traveled back to Africa it was instantly recognized and embraced.

  In 1990, Ricardo formed Makina Loca (this loosely translates into Crazy Machine) in order to combine the two schools of music he adores; Congolese rumba and Cuban son montuno. With Makina Loca his goal is to Africanize the soul of Cuban music-son montuno. The introduction of Congolese guitar, and singing in Kikongo, Lingala, and Spanish enabled him to create a mosaic or sounds.

  The namesake of the CD "Mambo YO YO" introduces us to the story of Eleggua, the messenger of the other orishas (gods of Santeria). Eleggua is the guardian of homes against danger, and no one messes with him. He proudly boasts that he could be your worst MAMBO (this is the Congolese word for trouble) if you misbehave. To those who conduct themselves properly, he rewards them accordingly. "RINKINKAYA" is about this big, bad dude from the neighborhood. The real rumba runs through his veins, his flammable drums can set the legendary tenements and colonial alleys on fire, without prior notice. He is dressed to kill and has a way with the ladies of the night. One word of advise - if you wish to die of old age, don’t mess with Rinkinkaya! "Aquella Bendita Foto (That Lovely Picture)" is the story of such a lovely photo of the love of his life that whenever he looked at it, it paralyzed him. One day out of the blue, she picked up her belongings, and left without any explanation. Now, she is demanding that he return her picture. This song has such a beautiful harmony created by the masterful playing of the trumpets on the part of Ron Blake and Steve "Mofongo" Giraldo and piano by Nino Jesus Perez that you would not even surmise that the song is about a sad story. "El De La Rumba Soy Yo (I Am A Party Animal)" is a mellow flowing rumba about a spurned lover who decides to become a party animal to forget his pain. In "El Aguacero (Heavy Rain)" like Ray Charles and many others, the composer encountered the muse when raindrops kept falling on his head. When it is raining heavily, for some mysterious reason, one always thinks about an absent lover and hopes that the heavenly water will obliterate such affliction. "Africa Havana Paris" is an easy flowing song whose melody is carried to a great extent by the tres (a small guitar of Latin America with three courses, which are sometimes double or triple). The rhythms of Mayombe in the Congo reach out to the hills of El Monte Manigua in Cuba, then on to Paris and the world. The background vocals of Nino Jesus Perez and Eric Francis give this song a most noteworthy two-part harmony which not only enrich the song but also complement it. The final song of the CD, "Manuela" is perfectly suited for dancing with its flowing rhythm and soothing lyrics. Once again, Ricardo hides the true meaning of this song with such mellow flow because this song is actually about a man whose obsession with his paramour is driving him insane.

  Moat of the Latin rhythms that we hear on the radio or television have a strong foundation in Cuban music. This is because it is such a rich musical environment from which the artists can pick and choose what kind of message they want to deliver to their audiences. Ricardo Lemvo has masterfully tapped into this musical source to deliver a musical ensemble that appeals to all generations and is not stopped by language barriers. Rhythm is the universal language that Ricardo Lemvo & Makina Loca have used to deliver a cohesive cross cultural fusion of African and Latin music.