{"id":5492,"date":"2011-04-12T11:24:48","date_gmt":"2011-04-12T15:24:48","guid":{"rendered":"http:\/\/wayneandwax.com\/?p=5492"},"modified":"2016-04-04T14:04:40","modified_gmt":"2016-04-04T18:04:40","slug":"lambada-is-a-feeling","status":"publish","type":"post","link":"https:\/\/wayneandwax.com\/?p=5492","title":{"rendered":"Lambada Is a Feeling"},"content":{"rendered":"

I’m happy to report, just in time to soundtrack that new spring in your step, that I’ve cooked up a new mini-(mega)-mix<\/a>! This one follows the circulation and permutation of a song I’ve tracked here<\/a> before<\/a>, “Llorando Se Fue” — better known to the world as “Lambada.”
\n[audio:http:\/\/wayneandwax.com\/wp\/audio\/moments-in-lambada.mp3]<\/p>\n

<\/p>\n

You can get some sense of the history here<\/a>, but that Wikipedia page only scratches the surface (for now; here’s hoping this bit of mixxage can help aid expansion). I’ve been hearing the tune turn up in some unexpected places over the years — in hardcore dancehall reggae, for instance, which despite a certain capaciousness still surprises with what seem to be far-flung<\/a> borrowings. As with similar projects<\/a>, I’ve grown fascinated by the way such a spreadable<\/a> song can draw attention to the inflections of individual interpreters as well as the very conventions that give genres their ability to uniquely address an audience.<\/p>\n

What I’ve put together here is hardly comprehensive, but I’m not sure that’s a bad thing. For one, 15+ renditions is already pushing the limits of monotony, I suspect, despite the subtle twists and turns the tune takes in new settings; moreover, it would be quite impossible to catalog the song in full, especially given how it continues to spread. (I’m sure that J Lo’s global<\/s> imperial club version will inspire many more.) <\/p>\n

So, like Nguzunguzu’s magisterial Moments in Love<\/em><\/a>, which I think of as offering another bit of inspiration for this effort, Moments in Lambada<\/em> is simply an attempt to give a sense of the shape-shifting the tune undergoes. Who knows? Perhaps someday there will be a part two. (Feel free to bring to my attn any versions that seem conspicuously absent; only learned this morning that I left out a new Don Omar take<\/a>!) <\/p>\n

<\/p>\n

Whirling together a world of Lambadas is something I’ve been wanting to do for a while, but the impetus finally came in the form of an invitation to contribute to a new online magazine devoted to creative engagements with contemporary music and arts, Cluster Mag<\/a><\/em>. <\/p>\n

Go check out the post to grab the mix<\/strong><\/del><\/a> and scan the tracklist — and don’t miss my little write-up, which concludes thusly:<\/p>\n

[Update<\/strong> (April 2016): alas, Clustermag seems to be down; you can find the archived post here<\/a>, and the audio is here<\/a> (or via the button below). I have reposted the entirety of the original text at the bottom of this post.]
\n[audio:http:\/\/wayneandwax.com\/wp\/audio\/moments-in-lambada.mp3]<\/p>\n

Over the course of the mix, we dip into forr\u00f3, UK funky, dancehall, reggaeton, lambahton, lambow, norte\u00f1a, global guettatech, panpipe pop, and other club-ready confections that may or may not have real or invented genre tags, with some delightful, surprisingly recurrent nods to vintage house. Palimpsests push their way through the texture, as when J Lo seems to retrace phonemes from “Llorando Se Fue” before singing along with Vakero’s everyman adaptation (“la la la la la”). Her zigzag jetset cartography in “On the Floor” could as easily be following the circulation of “Lambada” — Brazil, Morocco, London to Ibiza, straight to LA, New York, Vegas to Africa — but the earthy sentiments that Vakero expresses in a local tongue — “vamo a beber, vamo a joder” — are just as global.\n<\/p><\/blockquote>\n

Finally, after giving a listen, I challenge you to dispel the wriggly earworm embedded in this sweet song of a thousand dances, forbidden like fruit. Lambada is a feeling. Enjoy<\/a>! (<-- MPfree<\/strong>)<\/p>\n

<\/p>\n

Originally printed at Cluster Mag<\/a> (April 2011):<\/em><\/p>\n

Nodding to Nguzunguzu\u2019s magisterial Moments in Love<\/em> mix, which knits together countless covers and echoes of a seminal Art of Noise track, I\u2019ve threaded along a similarly diverse collection of related riffs. Moments in Lambada<\/em> retraces the flexible but familiar contours of one of the most popular melodies of the last 30 years. A 1981 Andean pop song (\u201cLlorando Se Fue\u201d by Los Kjarkas), popularly translated for Brazilian audiences in 1986 (M\u00e1rcia Ferreira\u2019s \u201cChorando Se Foi\u201d), and transformed three years later into a worldwide worldbeat hit by French group Kaoma, \u201cLambada\u201d was the unauthorized anthem that inspired and propelled The Forbidden Dance<\/em>, a film which opened on the same day in 1990 as a rival bit of bandwagon-hopping, the less salaciously titled Lambada<\/em>. In the years since, the tune has hardly receded from earshot, cropping up in both predictable and unexpected quarters over and over again.<\/p>\n

A stretchy bit of ear candy, the song has been reworked like so much tropical taffy, twisted and folded into an impressive array of styles, sometimes as part of the same release. To maximize exposure across club scenes, Kaoma\u2019s version was itself made available in remixed form, entering the world in several shapes and styles at once, including two \u201cDub\u201d mixes, an \u201cExtended\u201d mix, and a \u201cClub\u201d mix (all of which I\u2019ve worked into Moments<\/em>). Although we begin \u2014 after a brief Incan incantation and station identification \u2014 with Los Kjarka\u2019s 1981 recording, the mix doesn\u2019t proceed in chronological order. Instead, tempo and formal correspondences dictate the direction. Certain segues demanded creative, but not inapt, tweaking: to stay in key (loosely speaking), a cumbia version needed to be pitched down, a procedure resonant with rebajada tradition; likewise, I\u2019ve dubbled dub mixes and made club edits of club edits.<\/p>\n

Over the course of the mix, we dip into forr\u00f3, UK funky, dancehall, reggaeton, lambahton, lambow, norte\u00f1a, global guettatech, panpipe pop, and other club-ready confections that may or may not have real or invented genre tags, with some delightful, surprisingly recurrent nods to vintage house. Palimpsests push their way through the texture, as when J Lo seems to retrace phonemes from \u201cLlorando Se Fue\u201d before singing along with Vakero\u2019s everyman adaptation (\u201cla la la la la\u201d). Her zigzag jetset cartography in \u201cOn the Floor\u201d could as easily be following the circulation of \u201cLambada\u201d \u2014 Brazil, Morocco, London to Ibiza, straight to LA, New York, Vegas to Africa \u2014 but the earthy sentiments that Vakero expresses in a local tongue \u2014 \u201cvamo a beber, vamo a joder\u201d \u2014 are just as global.<\/p>\n

W&W, Moments in Lambada<\/a>
\n[audio:http:\/\/wayneandwax.com\/wp\/audio\/moments-in-lambada.mp3]<\/p>\n

Tracklist
\nLos Kjarkas, \u201cLlorando Se Fue\u201d
\nInca Son, \u201cLlorando Se Fue\u201d
\nJorge Rico, \u201cLlorando Se Fue\u201d
\nGrupo Chiripa, \u201cLlorando Se Fue\u201d
\nRed Foxx and Screechy Dan, \u201cPose Off\u201d
\nWisin y Yandel, \u201cPam Pam\u201d
\nKaoma, \u201cLambada (Dub Mix)\u201d
\nMax le Daron, \u201cLambahton Remix\u201d
\nKaoma, \u201cLambada (Extended Mix)\u201d
\nKaoma, \u201cLambada (Llorando Se Fue?) (Dub)\u201d
\nKaoma, \u201cLambada (Club Mix)\u201d
\nMetal de Durango, \u201cLlorando Se Fue\u201d
\nElephant Man, \u201cHate Mi\u201d
\nVakero, \u201cLa La La (Lambow)\u201d
\nKiko e As Jambetes, \u201cChorando Se Foi\u201d
\nTerror Tone, \u201cKaoma \u2013 Lambada (Terror Tone Remix)\u201d
\nJennifer Lopez (ft. Pitbull), \u201cOn the Floor\u201d<\/p>\n","protected":false},"excerpt":{"rendered":"

I’m happy to report, just in time to soundtrack that new spring in your step, that I’ve cooked up a new mini-(mega)-mix! This one follows the circulation and permutation of a song I’ve tracked here before, “Llorando Se Fue” — better known to the world as “Lambada.” [audio:http:\/\/wayneandwax.com\/wp\/audio\/moments-in-lambada.mp3] You can get some sense of the […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[300,406,10,12,408,421,249],"class_list":["post-5492","post","type-post","status-publish","format-standard","hentry","category-uncategorized","tag-aesthetics","tag-dance","tag-latin","tag-mixx","tag-reggae","tag-remix","tag-worldmusic"],"_links":{"self":[{"href":"https:\/\/wayneandwax.com\/index.php?rest_route=\/wp\/v2\/posts\/5492","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/wayneandwax.com\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/wayneandwax.com\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/wayneandwax.com\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/wayneandwax.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=5492"}],"version-history":[{"count":34,"href":"https:\/\/wayneandwax.com\/index.php?rest_route=\/wp\/v2\/posts\/5492\/revisions"}],"predecessor-version":[{"id":8991,"href":"https:\/\/wayneandwax.com\/index.php?rest_route=\/wp\/v2\/posts\/5492\/revisions\/8991"}],"wp:attachment":[{"href":"https:\/\/wayneandwax.com\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=5492"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/wayneandwax.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=5492"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/wayneandwax.com\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=5492"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}