"Lambada", also known as "Chorando Se Foi (Lambada)" or "Llorando Se Fue (Lambada)" (both meaning 'crying, he/she went away' in Portuguese and Spanish, respectively), is a song by French-Brazilian pop group Kaoma. It featured guest vocals by Brazilian vocalist Loalwa Braz, and was released as the first single from Kaoma's 1989 debut album, Worldbeat.
The song in Portuguese was a mix cover of the 1986 hit "Chorando Se Foi" by Márcia Ferreira (with lyrics translated to Portuguese) and the Cuarteto Continental hit "Llorando Se Fue" (the first upbeat version of the song introducing the accordion), released in 1984; both songs were adapted from the 1981 Bolivian song "Llorando se fue" by Los Kjarkas.
At the time of release, "Lambada" was regarded as the most successful European single in the history of CBS Records, with sales of 1.8 million copies in France and more than four million across Europe. "Lambada" became a worldwide summer hit and was part of the Lambada dance craze. It reached #1 in several European countries, as well as #4 on both the UK Singles Chart and Irish Singles Chart, #5 on the Australia ARIA Singles Chart, and #46 on the US Billboard Hot 100.
However, the Kaoma group did not credit the original song of Los Kjarkas, leading to successful plagiarism lawsuits by the original authors of the song, the Bolivian group and their Portuguese-language co-authors.
"Lambada" recieved a total of 78,5% yes votes!
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Alberto Maravi / Gonzalo Hermosa Gonzales / Jose Ari / Marcia Ferreira / Ulises Hermosa Gonzales
SongFacts:
The song Lambada is actually a plagiarism, because the music and parts of the text go back to the original title Llorando se fue (“She went crying”) by the Bolivian folklore troupe Los Kjarkas from the municipality of Cochabamba. She recorded the song written by Ulises Hermosa and his brother Gonzalo Hermosa-Gonzalez, to which Saya is danced in Bolivia, for their 1981 EMI LP Canto a la mujer de mi pueblo.
In 1974, the radio DJ Heraldo Caracciolo from Belém created a unified dance style for the various dance styles on his Latin American records – Merengue (Dominican Republic), Plena (Puerto Rico), Carimbó (Marajó Island), Salsa, Rumba and the other Brazilian dances Forró and Maxixe Names: Lambada. In Brazilian slang, the word means something like "slap" or "blow".
In 1976, Aurino Quirino Gonçalves, under his stage name Pinduca, released a song entitled Lambada (Sambão) as the sixth track on his LP No embalo of carimbó and sirimbó vol. 5. Another Brazilian record entitled Lambada das Quebradas was released in 1978.
At the end of 1980, a number of dance halls called Lambateria opened in Rio de Janeiro and other Brazilian cities. Márcia Ferreira recalled this forgotten Bolivian song in 1986 and recorded a legal cover version for the Brazilian market entitled Chorando se foi (same meaning as the original Spanish) with Portuguese lyrics; but this version was also without great success.
In 1988 in Porto Seguro, Brazil, the French producers Jean Georgakarakos and Olivier Lorsac (Olivier Lamotte d'Incamps) noticed a dance that was also relatively new in Brazil - the lambada. There were some songs for this dance that had the term lambada in the title or to which lambada could be danced. Among them was the 1986 song Chorando se foi by Márcia Ferreira, a Brazilian version of the Cuarteto Continental hit Llorando se fue, the first upbeat version with an accordion produced by Alberto Maravi, released in 1984 on the Peruvian record label Infopesa .
Back in France, Georgakarakos and Lorsac in Paris hire Brazilian singer Loalwa Braz (lead vocals) and acclaimed Argentine tango bandoneonist Juan José Mosalini, along with Jean-Claude Bonaventure (leader/producer, keyboards, synthesizers), Jacky Arconte (guitar ), Chyco Roger Dru (bass), Michel Abinssira (drums, percussion), Claudio Queiros (saxophone), Fania Niang and Monica Nogueira (backing vocals). The core of the group was made up of the Porto Seguro-born troupe Touré Kunda and was named after a provincial town in Zambia - Kaoma.
The song was then produced by Jean-Claude Bonaventure under the title Lambada, and a certain Chico de Oliveira was registered as the lyricist and music composer with the French collecting society SACEM, the pseudonym for Georgakarakos and Lorsac. The melody-carrying South American panpipe of the original was replaced by the bandoneon, played by Juan José Mosalini. The syncopated, ostinato-oriented rhythm emphasizes the rhythm-intensive form of the song edited by Alan Pype. This mixture finally adds up to an erotic-lascivious, dance-oriented recording. The song was presented at a music festival in Paris in June 1989 with great marketing effort and as a release from the LP Worldbeat in two size formats (single and maxi-single) on June 21, 1989 in Paris (CBS #655 011 7) and on a sampler published.
In France, the record stayed at the top of the hit parade for 12 weeks, in Germany for ten weeks. Lambada was also at the top in Scandinavia, Italy and Austria. On January 12, 1990, Kaoma wanted to transfer the Lambada dance fever to the United States in the New York Palladium, but this only succeeded in the US Latin charts (only number 46 on the pop charts).
As lambada music spread across the world in the hit parades, the composers of the original also took notice. The Hermosa brothers recognized their composition and hired a lawyer who mobilized GEMA. This confirmed a "strong agreement" with the original, whereupon a meeting between Hermosa and the French took place in Brazil in September 1989.[6] Legally inexperienced and confused by the complex copyright issues in a case that had gone international, the Hermosa brothers sued record label CBS for plagiarism in June 1990. The liner notes of the US LP version read: "Ulysse and Gonzalo Hermosa contributed to the realization", although Oliveira was still credited as the composer.
According to the French press, Lorsac had offered the Bolivians a settlement of $140,000 for the transfer of rights, but was turned down. An out-of-court settlement was reached in June 1990, whereby Lorsac, as publisher and promoter, would retain 25% of the royalties, while CBS, as record label, would receive 25% and EMI, as rightsholder of the original song, would receive 50%. Only with this comparison did the original composers gain recognition as legitimate authors. Ulises Hermosa didn't have much of the income because he died of leukemia in the USA on April 4, 1992.
