Baccara was a female vocal duo formed in 1977 by Spanish flamenco artists Mayte Mateos (, 1951, Logro?o) and Mar?a Mendiola (, 1952, Madrid). The pair rapidly achieved international success with their debut single ?Yes Sir, I Can Boogie?, which reached number one across much of Europe. A successful follow-up single (?Sorry, I'm A Lady?) and European tour led to a number of album releases, numerous television appearances and the duo's selection to represent Luxembourg in the Eurovision song contest in 1978.
Despite a substantial following in Spain, Germany and Japan, by 1981 the duo's distinctive blend of disco, pop and Spanish folk music was no longer fashionable, and by 1983 Mayte Mateos and Mar?a Mendiola were both working on solo projects. Achieving little success as solo artists, the two formed duos of their own: separate incarnations of the original Baccara appeared during the middle of the decade, with Mendiola fronting New Baccara and Mateos keeping the duo's original name. During the 1990s New Baccara was renamed back to Baccara; as a consequence both Mateos and Mendiola now head different duos with the same name. The original Baccara enjoyed meteoric but brief success in the late 1970s. Both principals have subsequently had prolonged but separate legacy careers based on nostalgia and their earlier fame.
Both later Baccara incarnations have continued to work, although Mendiola's Baccara has seen more international recognition, releasing a string of Hi-NRG club hits such as ?Fantasy Boy? and ?Touch Me? in the late 1980s and the later UK club hit ?Wind Beneath My Wings?. Mateos' Baccara has released few new recordings, but has remained in demand for television and live appearances in countries such as Spain and Germany where the original Baccara developed a loyal fan base, performing the duo's back-catalogue and modernised versions of traditional Spanish songs.
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 Mar?a 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 Palmar?s light entertainment programme 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. 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. 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 d?but single ?Yes Sir, I Can Boogie? and most of their other 1970s 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. 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 1970s 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". 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, 10 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. 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 1970s 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 fran?ais?? which was selected as Luxembourg's entry in that year's Eurovision Song Contest. 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?. 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? with ?Somewhere in Paradise? 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 mand? 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. 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. A court hearing in Munich resulted in 250,000 records being recalled from dealers. Mendiola's case was that the song should not have been released as a Baccara recording when it amounted to a Mateos solo. 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 t??, ?En el a?o 2000?, ?Eins plus eins ist eins? and ?Candido? made their debut on CD.
Mayte Mateos' Baccara (1983?present)
Re-forming as Baccara in 1983 with Marisa P?rez (who would later go on to partner Mar?a Mendiola), Mayte Mateos re-established the band on the European entertainment circuit. P?rez was followed by a succession of partners including ?ngela Muro, Sole Garc?a, Jane Comerford, Carmen, Cristina Sevilla, Paloma Blanco, Isabel Patton, Romy Abradelo, Rose, Francesca Rodrigues and Mar?a Mar?n. Mateos' current singing partner is once again fellow Spaniard Paloma Blanco. Although having no new hits to their name, Mateos' Baccara have remained in demand for television and live performances, performing the band's extensive back catalogue - versions of which have been released as compilations - as well as up-tempo interpretations of traditional Spanish songs.
In 2004, Mayte Mateos was once again involved with Eurovision, when her incarnation of Baccara took part in the Swedish Melodifestivalen preselection contest to represent Sweden with the song ?Soy tu Venus?. However, Baccara lost out to local star Lena Philipsson, who eventually placed 5th in the competition.
A new Baccara album with Mayte Mateos, entitled ?Satin ?In Black & White? and produced by the original Baccara team Rolf Soja and Frank Dostal, was released on May 30th, 2008.
Mar?a Mendiola's Baccara (1985?present)
Initially called New Baccara to distinguish it from Mayte Mateos' re-formed Baccara, Mendiola teamed up with vocalist Marisa P?rez and in 1987 reached the top five in Spain and top 40 in Germany with the single ?Call Me Up?, written by Ian Cussick. 1988 saw the duo release a series of euro-influenced Hi-NRG dance tracks on the Bellaphon recording label. ?Call Me Up?, ?Fantasy Boy? and ?Touch Me? were produced by Luis Rodr?guez, and were big club hits across Europe. A version of Bette Midler's ?Wind Beneath My Wings?, released on the Loading Bay label in the early 1990s, was also a hit in UK clubs. Towards the end of the decade New Baccara was renamed back to Baccara, and releases continued, although the group did not chart as their output was directed towards the club scene with singles pressed in strictly limited quantities.
In 2004, they appeared on British reality show Hit Me Baby One More Time.
In August 2005, Mendiola and P?rez were honoured with a memorial on Vienna's ?Musical Mile?, along its Hollywood-style ?Walk of the Stars?.
All Baccara lyrics
- Ay Ay Sailor
- Bady Talk
- By 1999
- Can't Help Falling In Love
- Cara Mia
- Don�t Play Me A Symphony
- Feel Me
- For You
- Gimme Gimme Gimme More
- Heart, Body And Soul
- Heart, Body & Soul
- Koochie Koo!
- La Bamba
- Light My Fire
- Made In Madrid
- Mucho Mucho
- Number One
- Parlez Vous Francais?
- Parlez-vous Francais ? - English
- Parlez-vous Francais ? - French
- Sorry I�m A Lady
- Stupid Cupid
- The Devil Send You To Laredo
- The Devil Send You To Lorado
- Woman To Woman
- Women To Women
- Yammy, Yammy, Yammy
- Yes Sir, I Can Boogie
All lyrics are property of their respective owners and are strictly for non-commercial use only.