Baccara were a very popular Spanish dance-pop duo in the late seventies. Th… Read Full Bio ↴Baccara were a very popular Spanish dance-pop duo in the late seventies. The group consisted of Mayte Mateos (7 March 1951), and María Mendiola (4 May 1952, died 11 Sept 2021 in Madrid aged 69). Their music was a blend of pop and disco, with lyrics in English sung with the peculiar Spanish accent of the two singers.
Baccara's most famous hits were "Sorry I'm a lady" and "Yes sir, I can boogie", both of which topped the charts during 1977 in some European countries, including the United Kingdom. In 1978, their song "Parlez-Vous Français?" got the seventh place at the Eurovision Song Contest. Curiously, the duo were representing Luxembourg. After releasing four albums, Baccara ceased to exist in 1982. Up from this moment, María and Mayte have followed their musical careers separately, either solo or with new reformations of the duo like Baccara 2000 or New Baccara.
Mayte Mateos graduated as a teacher from the Royal Spanish Academy for Arts, Drama and Dance in Madrid and then joined Spanish Television's Ballet Company. While there she met fellow performer María Mendiola. In 1976 the two women formed a singing and dancing duo (using the title Venus) and left the Ballet Company. Initially the duo's act was simply that of variety show dancers. Their first television appearance was on the Palmarés light entertainment programme[1] and they were engaged at a nightclub in the Aragon city of Zaragoza, but their contract was cancelled when the club manager decided that they were "too elegant" for the style of show.[2] Mateos and Mendiola relocated to the Canary Islands in search of work. Here they found that there was an audience for the performance of traditional Spanish music and dance in a form that was adapted to suit international tastes.
The duo were spotted by Leon Deane, manager of the German subsidiary of record company RCA, whilst performing flamenco dance and traditional Spanish songs for tourists (mostly German) in the Tres Islas Hotel on the island of Fuerteventura. He invited them to Hamburg in order for them to meet the 30 year old Dutch producer/composer Rolf Soja.[3] Soja was the prime mover behind what became Baccara.
He developed their stage performance and recruited their instrumental support. Mateos and Mendiola were retitled Baccara, after the name of the black rose, in reference to the women's dark Spanish appearance.
Together with fellow writer Frank Dostal, Soja penned their début single “Yes Sir, I Can Boogie” and most of their other 1970's hits. Recorded in Holland and released in 1977, “Yes Sir, …” proved to be a huge success, reaching the top of the charts in Germany, the Netherlands, the UK, Sweden, Belgium, Israel, and Switzerland, and number three in France.[4] Later that year a self-titled album, written and produced by Soja and Dostal, was released. Soja is generally credited with the Baccara formula - consisting of breathy lyrics, lush backing, a disco beat and the striking image of two women (one dressed in black and the other in white) dancing. While drawing lightly on Spanish flamenco song and dance tradition, the formula was very much rooted in 1970's disco music. Soja's song arrangements generally used Mateos as the lead singer while Mendiola contributed with backing and refrains.
“Yes Sir, I Can Boogie” was an enormous pan-European hit and was a prime example of the phenomenon that is known as the "summer hit".[5] The song was heard everywhere over the summer of 1977 and it is still evocative of that moment in time. It is also one of the best known examples of the Eurodisco genre : “[…] this mind-bending Common Market melding of foreign accents, bad diction, bizarre arrangements and lightweight production, usually top-heavy with strings” - The Independent, 10th April 1999.
Baccara sold more than 16 million copies of “Yes Sir, I Can Boogie” and featured in the 1977 edition of the Guinness Book of Records as the highest-selling female musical group to date. They were the first female duo to reach number one in the UK, and had the only number one by a Spanish artist in the UK until Julio Iglesias, four years later. A follow-up single, “Sorry, I'm A Lady”, was also an international hit, peaking at the top of the charts in Germany, the Netherlands and Belgium and reaching the top ten in the UK, Sweden and Switzerland.[4] Most of Baccara's recordings were sung in English although they did also record in Spanish, German and French. They recorded different language versions of some songs (see Discography below).
Touring in Europe during the late 1970's helped the band establish a firm fan base in Germany (where their records continued to be produced) and the Scandinavian countries, and their Spanish-flavoured interpretation of the disco sound also brought them recognition in Japan and Russia. Baccara represented West Germany at the eighth World Popular Song Festival held in November 1977 – until it ended in 1989 the largest such contest in the world. Their song, “Mad In Madrid”, came 14th out of 37 participating countries.
In 1978 the second Baccara album, “Light My Fire”, was released across Europe, and whilst not matching the international success of the first, it spawned the single “Parlez-vous français?” which was selected as Luxembourg's entry in that year's Eurovision Song Contest.[6] Despite full marks from Italy, Portugal and Spain the duo finished in 7th place. However high sales, particularly in Denmark, Sweden and Belgium, meant that the single was a commercial success.
“Think what you like about Baccara, seen today their 1978 Eurovision performance has a certain style while their competition from that event looks dated and amateurish″ - New Musical Express, May 2002
Further recognition came in 1978 when Baccara was granted Germany's most prestigious media award, Burda Publishing Group's Bambi prize. This is offered annually to “celebrities whose abilities have impressed, moved and enthused the people in Germany”.[7] The duo made regular television appearances, becoming weekly guests on Sacha Distel's show in the UK, and on Musikladen in Germany. 1978 was the high point of Baccara's artistic and commercial success.
Late that year the duo released the single “The Devil Sent You to Lorado”[8] with “Somewhere in Paradise”[9] as its B side. Both of these Baccara recordings have become iconic. “Somewhere in Paradise” (with its allusions to life after death) is regularly played by Christian radio stations while “The Devil…” (with its background pistol shots) is sometimes identified with the gay community. A Spanish language version of the “The Devil…” (“El diablo te mandó a Laredo”) was released at the same time as the English one.
1979 saw the album “Colours” and the separately-recorded single “Eins plus eins ist eins”, released to mark the United Nations' International Year of the Child and celebrate the 20th anniversary of the UN adoption of the Declaration of the Rights of the Child.
Baccara's fourth and final album (in the band's original incarnation) was “Bad Boys”, released in 1981. By this time the disco sound had been overshadowed by newer music movements (such as punk, new wave and synthpop) in much of Europe and interest was largely confined to those countries where the duo had an established fan base, notably Germany. The album was not released in the UK or US.
Baccara have been (possibly unfairly) described as “one hit wonder” in the UK, while they never achieved any recognition in the US despite some of their songs being given significant airplay. One music critic suggested that the Baccara formula lacked artistic depth but had been “mined for all it was worth” over two years until public interest moved on to other things.[10] The same critic also drew attention to an element of “anti-feminist subservience” in the lyrics of some Baccara songs.
The 1980 single release of “Sleepy-Time-Toy” led to disagreement within Baccara over the vocal mix used. Mendiola complained that her voice was not given sufficient prominence in the song's arrangement and sued RCA for breach of contract.[11] A court hearing in Munich resulted in 250,000 records being recalled from dealers. The dispute fatally damaged relationships. One consequence of this was that Soja and Dostal were not involved with Baccara's final album. The duo recorded “Bad Boys” with Bruce Baxter and Graham Sacher. Neither the album nor its spin-off single “Colorado” were successful. In 1981, after RCA declined to renew their contract, Mateos and Mendiola ended their professional partnership and both launched solo careers.
By 1983 both artists had released albums of their own – Mateos with “Spanish Dreams” and Mendiola with “Born Again” – which saw moderate success amongst Baccara's original fan base. However there remained a demand for Baccara's music, particularly on the European television circuit, and by the middle of the decade both Mateos and Mendiola had formed their own versions of Baccara with new singing partners. Despite a series of name and line-up changes, both Baccara duos continue to perform around Europe and have released new albums. Both have also made re-recordings of their hits for various minor record labels, which are regularly re-packaged and re-issued under the original Baccara name. However, the original song versions (those recorded between 1977 and 1981) remain the property of Sony-BMG, which holds the rights to the RCA back catalogue.
On the occasion of Baccara's 30th Anniversary, Sony-BMG Germany released a very complete 3 CD box set on August 31 2007. This collection includes 50 RCA original recordings. Several songs such as “Mad In Madrid”, “Amoureux”, “Baila tú”, “En el año 2000”, “Eins plus eins ist eins” and “Candido” made their debut on CD.
Baccara's most famous hits were "Sorry I'm a lady" and "Yes sir, I can boogie", both of which topped the charts during 1977 in some European countries, including the United Kingdom. In 1978, their song "Parlez-Vous Français?" got the seventh place at the Eurovision Song Contest. Curiously, the duo were representing Luxembourg. After releasing four albums, Baccara ceased to exist in 1982. Up from this moment, María and Mayte have followed their musical careers separately, either solo or with new reformations of the duo like Baccara 2000 or New Baccara.
Mayte Mateos graduated as a teacher from the Royal Spanish Academy for Arts, Drama and Dance in Madrid and then joined Spanish Television's Ballet Company. While there she met fellow performer María Mendiola. In 1976 the two women formed a singing and dancing duo (using the title Venus) and left the Ballet Company. Initially the duo's act was simply that of variety show dancers. Their first television appearance was on the Palmarés light entertainment programme[1] and they were engaged at a nightclub in the Aragon city of Zaragoza, but their contract was cancelled when the club manager decided that they were "too elegant" for the style of show.[2] Mateos and Mendiola relocated to the Canary Islands in search of work. Here they found that there was an audience for the performance of traditional Spanish music and dance in a form that was adapted to suit international tastes.
The duo were spotted by Leon Deane, manager of the German subsidiary of record company RCA, whilst performing flamenco dance and traditional Spanish songs for tourists (mostly German) in the Tres Islas Hotel on the island of Fuerteventura. He invited them to Hamburg in order for them to meet the 30 year old Dutch producer/composer Rolf Soja.[3] Soja was the prime mover behind what became Baccara.
He developed their stage performance and recruited their instrumental support. Mateos and Mendiola were retitled Baccara, after the name of the black rose, in reference to the women's dark Spanish appearance.
Together with fellow writer Frank Dostal, Soja penned their début single “Yes Sir, I Can Boogie” and most of their other 1970's hits. Recorded in Holland and released in 1977, “Yes Sir, …” proved to be a huge success, reaching the top of the charts in Germany, the Netherlands, the UK, Sweden, Belgium, Israel, and Switzerland, and number three in France.[4] Later that year a self-titled album, written and produced by Soja and Dostal, was released. Soja is generally credited with the Baccara formula - consisting of breathy lyrics, lush backing, a disco beat and the striking image of two women (one dressed in black and the other in white) dancing. While drawing lightly on Spanish flamenco song and dance tradition, the formula was very much rooted in 1970's disco music. Soja's song arrangements generally used Mateos as the lead singer while Mendiola contributed with backing and refrains.
“Yes Sir, I Can Boogie” was an enormous pan-European hit and was a prime example of the phenomenon that is known as the "summer hit".[5] The song was heard everywhere over the summer of 1977 and it is still evocative of that moment in time. It is also one of the best known examples of the Eurodisco genre : “[…] this mind-bending Common Market melding of foreign accents, bad diction, bizarre arrangements and lightweight production, usually top-heavy with strings” - The Independent, 10th April 1999.
Baccara sold more than 16 million copies of “Yes Sir, I Can Boogie” and featured in the 1977 edition of the Guinness Book of Records as the highest-selling female musical group to date. They were the first female duo to reach number one in the UK, and had the only number one by a Spanish artist in the UK until Julio Iglesias, four years later. A follow-up single, “Sorry, I'm A Lady”, was also an international hit, peaking at the top of the charts in Germany, the Netherlands and Belgium and reaching the top ten in the UK, Sweden and Switzerland.[4] Most of Baccara's recordings were sung in English although they did also record in Spanish, German and French. They recorded different language versions of some songs (see Discography below).
Touring in Europe during the late 1970's helped the band establish a firm fan base in Germany (where their records continued to be produced) and the Scandinavian countries, and their Spanish-flavoured interpretation of the disco sound also brought them recognition in Japan and Russia. Baccara represented West Germany at the eighth World Popular Song Festival held in November 1977 – until it ended in 1989 the largest such contest in the world. Their song, “Mad In Madrid”, came 14th out of 37 participating countries.
In 1978 the second Baccara album, “Light My Fire”, was released across Europe, and whilst not matching the international success of the first, it spawned the single “Parlez-vous français?” which was selected as Luxembourg's entry in that year's Eurovision Song Contest.[6] Despite full marks from Italy, Portugal and Spain the duo finished in 7th place. However high sales, particularly in Denmark, Sweden and Belgium, meant that the single was a commercial success.
“Think what you like about Baccara, seen today their 1978 Eurovision performance has a certain style while their competition from that event looks dated and amateurish″ - New Musical Express, May 2002
Further recognition came in 1978 when Baccara was granted Germany's most prestigious media award, Burda Publishing Group's Bambi prize. This is offered annually to “celebrities whose abilities have impressed, moved and enthused the people in Germany”.[7] The duo made regular television appearances, becoming weekly guests on Sacha Distel's show in the UK, and on Musikladen in Germany. 1978 was the high point of Baccara's artistic and commercial success.
Late that year the duo released the single “The Devil Sent You to Lorado”[8] with “Somewhere in Paradise”[9] as its B side. Both of these Baccara recordings have become iconic. “Somewhere in Paradise” (with its allusions to life after death) is regularly played by Christian radio stations while “The Devil…” (with its background pistol shots) is sometimes identified with the gay community. A Spanish language version of the “The Devil…” (“El diablo te mandó a Laredo”) was released at the same time as the English one.
1979 saw the album “Colours” and the separately-recorded single “Eins plus eins ist eins”, released to mark the United Nations' International Year of the Child and celebrate the 20th anniversary of the UN adoption of the Declaration of the Rights of the Child.
Baccara's fourth and final album (in the band's original incarnation) was “Bad Boys”, released in 1981. By this time the disco sound had been overshadowed by newer music movements (such as punk, new wave and synthpop) in much of Europe and interest was largely confined to those countries where the duo had an established fan base, notably Germany. The album was not released in the UK or US.
Baccara have been (possibly unfairly) described as “one hit wonder” in the UK, while they never achieved any recognition in the US despite some of their songs being given significant airplay. One music critic suggested that the Baccara formula lacked artistic depth but had been “mined for all it was worth” over two years until public interest moved on to other things.[10] The same critic also drew attention to an element of “anti-feminist subservience” in the lyrics of some Baccara songs.
The 1980 single release of “Sleepy-Time-Toy” led to disagreement within Baccara over the vocal mix used. Mendiola complained that her voice was not given sufficient prominence in the song's arrangement and sued RCA for breach of contract.[11] A court hearing in Munich resulted in 250,000 records being recalled from dealers. The dispute fatally damaged relationships. One consequence of this was that Soja and Dostal were not involved with Baccara's final album. The duo recorded “Bad Boys” with Bruce Baxter and Graham Sacher. Neither the album nor its spin-off single “Colorado” were successful. In 1981, after RCA declined to renew their contract, Mateos and Mendiola ended their professional partnership and both launched solo careers.
By 1983 both artists had released albums of their own – Mateos with “Spanish Dreams” and Mendiola with “Born Again” – which saw moderate success amongst Baccara's original fan base. However there remained a demand for Baccara's music, particularly on the European television circuit, and by the middle of the decade both Mateos and Mendiola had formed their own versions of Baccara with new singing partners. Despite a series of name and line-up changes, both Baccara duos continue to perform around Europe and have released new albums. Both have also made re-recordings of their hits for various minor record labels, which are regularly re-packaged and re-issued under the original Baccara name. However, the original song versions (those recorded between 1977 and 1981) remain the property of Sony-BMG, which holds the rights to the RCA back catalogue.
On the occasion of Baccara's 30th Anniversary, Sony-BMG Germany released a very complete 3 CD box set on August 31 2007. This collection includes 50 RCA original recordings. Several songs such as “Mad In Madrid”, “Amoureux”, “Baila tú”, “En el año 2000”, “Eins plus eins ist eins” and “Candido” made their debut on CD.
Cariño
Baccara Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Carino
Fuerte carino
Carino
Fuerte carino
I'll miss your smile
Your loving eyes.
The way you look at me
Just make me realize
Now that you wave
Your last goodbye
Deep in my heart I feel
Our love will never die.
I call your name
But you're walking away.
Carino to make you stay
With me forever and ever.
Carino
How am I to carry on,
How can I hold on so long?
Fuerte carino
Stay with me oh carino
To let me my summer love.
I pray to the skies above
Carino
Carino
Fuerte carino
Carino
Fuerte carino
Through sleepless nights
I'll think of you.
I know I'll never find
Another love so true.
I call your name
But you're walking away.
Carino to make you stay
With me forever and ever.
Carino
Fuerte carino
Carino
Fuerte carino
Carino
How am I to carry on,
How can I hold on so long?
Fuerte carino
Stay with me oh carino
To let me my summer love.
I pray to the skies above
Carino
Carino
Fuerte carino
Carino
Fuerte carino
Carino
How am I to carry on,
How can I hold on so long?
Fuerte carino
Stay with me oh carino
To let me my summer love.
I pray to the skies above
Carino
Fuerte carino
Carino
Fuerte carino
I'll miss your smile
Your loving eyes.
The way you look at me
Now that you wave
Your last goodbye
Deep in my heart I feel
Our love will never die.
I call your name
But you're walking away.
Carino to make you stay
With me forever and ever.
Carino
How am I to carry on,
How can I hold on so long?
Fuerte carino
Stay with me oh carino
To let me my summer love.
I pray to the skies above
Carino
Carino
Fuerte carino
Carino
Fuerte carino
Through sleepless nights
I'll think of you.
I know I'll never find
Another love so true.
I call your name
But you're walking away.
Carino to make you stay
With me forever and ever.
Carino
Fuerte carino
Carino
Fuerte carino
Carino
How am I to carry on,
How can I hold on so long?
Fuerte carino
Stay with me oh carino
To let me my summer love.
I pray to the skies above
Carino
Carino
Fuerte carino
Carino
Fuerte carino
Carino
How am I to carry on,
How can I hold on so long?
Fuerte carino
Stay with me oh carino
To let me my summer love.
I pray to the skies above
Carino
The song Carino by Baccara is a longing ballad about a love that is slipping away. The lyrics describe a deep affection for someone who is leaving, and the pain and confusion that comes with trying to let go. The word "carino" is repeated throughout the song, which means "darling" or "honey" in Spanish, adding to the emotional resonance of the lyrics.
The verses describe the singer's feelings of loss and heartache as they watch their lover walk away. They express a sense of disbelief that their love could come to an end, and a desire to keep their beloved close. The chorus then reinforces the message of the song, with the singer beseeching their lover to stay with them and expressing the strength of their love.
The lyrics of Carino are simple but powerful, and the melody perfectly captures the mood of the song. The song was a hit for Baccara when it was released in 1977, and has since become a classic of the disco era. Its enduring popularity is a testament to the emotional resonance of its lyrics and its timeless message of lost love.
Line by Line Meaning
Carino
The singer is expressing strong love and affection
Fuerte carino
The singer emphasizes the strength of their love
I'll miss your smile
The singer will miss the joy and happiness they experienced with their loved one
Your loving eyes.
The singer will miss the affection and care they receive from their loved one
The way you look at me
The singer cherishes how their loved one admires them and expresses their love
Just make me realize
The singer understands and appreciates how much their loved one means to them
Now that you wave
The singer is saying goodbye to their loved one
Your last goodbye
This is the final goodbye between the singer and their loved one
Deep in my heart I feel
The singer is expressing the depth of their love for their loved one
Our love will never die.
The singer believes that their love will last forever
I call your name
The singer is trying to get their loved one's attention
But you're walking away.
Their loved one is leaving, and the singer is feeling helpless
Carino to make you stay
The singer wants to express their love to persuade their loved one to stay with them forever
With me forever and ever.
The singer desires to be with their loved one for eternity
Through sleepless nights
The singer is unable to sleep due to the pain of separation
I'll think of you.
The singer constantly remembers their loved one
I know I'll never find
The singer believes they will never find another love as true as their loved one
Another love so true.
The singer acknowledges the uniqueness of their love
Stay with me oh carino
The singer pleads with their loved one to remain with them
To let me my summer love.
The singer wants to experience the love they had in the summer again
I pray to the skies above
The singer laments and wishes for their loved one's return
Lyrics © O/B/O APRA AMCOS
Lyrics Licensed & Provided by LyricFind
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Rodrigo Viegas
WOW! Full marks, ladies! Love you, Mayte!
jose antonio Vazquez
¡¡BRAVISIMAS!!, MAYTE ESTA COMO SI JAMAS PASARA EL TIEMPO POR ELLA..¿OS HABEIS FIJADO EN SU VIENTRE?..PLANO COMO UNA ADOLESCENTE....BELLISIMA
charles lindbergh
LOVE IT!!!! ONLY BACCARA...:)
jerzy jureczek
Fantastic girls !!!!!!!!!!!!
Bigbangboogie
You are right ,they say "vuelve cariño".
Olya Drizhay
super song
Mishxoxo
do they sing - ' fuerte carino ' or, as i think 'vuelve carino' everywhere in lyrics over the internet its 'fuerte carino' but i guess its wrong
Mishxoxo
YAY, I knew it ! haha thanx for the answer
João Carlos Nogueira
Yes my frind. She´s the must beautiful girl in the word. Fantastic. thank you. By by.