TIM MAIA-1972 AND 1973.

TIM MAIA-1972 AND 1973.

After the success of his sophomore album Tim Maia 1971, the Brazilian singer-songwriter headed to London to celebrate his newfound success. He had just enjoyed two successful albums, after six years of struggling to make a breakthrough. Tim wanted to celebrate, and enjoy the fruits of his labour. It was during this trip to London, that Tim first discovered his love of the rock ’n’ roll lifestyle. 

Realising that he was only here for a visit, Tim Maia embraced the rock ‘n’ roll lifestyle. Almost defiantly, Tim Maia lived each day as if it was his last. He hungrily devoured copious amounts of drugs and alcohol. They became part of Tim Maia’s daily diet. Fortunately, his new found lifestyle didn’t seem to affect Tim’s ability to make music. That was until Tim discovered a new drug that would prove to be his undoing.

In London, Tim Maia discovered L.S.D. He became an advocate of its supposed mind opening qualities. He took two-hundred tabs of L.S.D. home to Brazil, giving it to friend and people at his record label. Little did Tim know that he had just pressed the self destruct button. 

Somehow, Tim Maia was still seemed able to function normally on his daily diet of drink and drugs. He continued to be one of the rising stars of Brazilian music over the next two years. Just like Tim Maia’s first two albums, they too were entitled Tim Maia. Nowadays, they’re known as Tim Maia 1972 and Tim Maia 1973. Both album were reissued by Oficial Arquivos at the end of 2016, and document the rise of Tim Maia.

1972.

Having returned from London, Tim Maia began work in his third solo album. It was important to build on the momentum that had been built over the last two years. Tim Maia realised this, and began to write his third album.

Eventually he had written ten of the twelve tracks that would find their way onto Tim Maia 1972. This was a far cry from his first two album. Tim only wrote two and cowrote three songs on his debut album. On his sophomore album, Tim wrote seven and cowrote two of the twelve tracks. It seemed Tim was maturing as a songwriter. 

Tim Maia had written Idade, My Little Girl, O Que Você Quer Apostar, Canário Do Reino, These Are The Songs, O Que Me Importa, Sofre?, Razão De Sambar,Pelo Amor De Deus and Where Is My Other Half. They tracks were joined by  Carlos Dafé and Rosana Fiengo’s Já Era Tempo De Você and Cury’s Lamento. These twelve tracks were recorded at studios in two Brazilian cities.

Recording of Tim Maia 1972 took place Estúdios Eldorado in São Paulo and Studio Somil in Rio de Janeiro. Just like Tim’s two previous albums, he employed a vast cast of musicians and backing vocalists. This included string, woodwind and horn sections. However, using two separate studios increased the amount of musicians that featured on Tim Maia 1972. By the time the twelve tracks were completed, over forty musicians had played on the album. It must have been the most expensive album of Tim Maia’s career. Failure wasn’t an option.

Going by Tim Maia’s track record, that seemed unlikely. And so it proved to be. Critical acclaim preceded the release of Tim Maia 1972. Critics called Tim Maia 1972 his third masterpiece. Record buyers agreed and Tim Maia 1972 reached the upper reaches of the Brazilian album charts. The rise and rise of Tim Maia continued as Tim Maia combined disparate musical genres. That was the case from the get-go.

Tim Maia 1972 gets off to a storming start with the joyous, soulful and funky Idade. Continuing in a similar theme is the beautiful ballad My Little Girl. It’s a fusion of soul, funk and jazz where Tim Maia showcases his vocal prowess. This continues when the strings usher in Tim’s heartfelt, hopeful vocal on O Que Você Quer Apostar. It gives way to the forro-pop ballad Canário Do Reino. After this, it’s all change.

Against Já Era Tempo’s jazz-tinged arrangement, Tim sings call and response with his backing vocalists. They help him reach new heights of soulfulness. This continues on These Are The Songs. The tempo drops on this beautiful string-drenched, ballad. Accompanied by harmonies and Latin percussion, Tim delivers one of his most tender, heartfelt vocals. However, ballads have always been Tim Maia’s speciality. So it’s no surprise that the balladry continue on Tim Maia 1972. 

On O Que Me Importa, Tim delivers a tender, heartfelt vocal against an understated arrangement. It’s a similar case on Lamento, where Tim’s soul-baring vocal takes centre-stage. Then on Sofre, Tim combines power and passion as the arrangement builds and his band fuse elements of soul, funk and rock. It gives way to Razão De Sambar is a dreamy, genre-melting track where strings accompany Tim. The quality continues on the wonderfully wistful ballad Pelo Amor De Deus. This leaves just Where Is My Other Half, where a heartbroken Tim delivers a hurt filled vocal. Tim had kept one of the best until last on Tim Maia 1972. 

It ensured that the success continued for Tim Maia. He had just released a critically acclaimed album that some critics were calling a masterpiece. Tim Maia 1972 sold well, reaching the upper reaches of the Brazilian album charts. Belatedly, Tim Maia was one of the biggest names in Brazilian music. He was determined to enjoy his newfound fame and fortune. The party continued. 

Each day, Tim Maia continued to hungrily devour copious amounts of drugs and alcohol. They became part of Tim Maia’s daily diet. Still though, he was managing to function almost normally. There was always the chance that his lifestyle would catch up with him. However, having grown up in poverty and struggled for years to make a breakthrough, it was almost understandable that Tim Maia embraced the rock ‘n’ roll lifestyle. That was until the time came to record his next album.

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1973.

After the success of Tim Maia 1972, the pressure was on Tim to come up with a successful followup. So he began writing what would eventually became his fourth album Tim Maia 1973.

When Tim Maia returned from writing Tim Maia 1973, again, he had written most of the album himself. He had written nine of the tracks, including Réu Confesso, Compadre, Over Again, Até Que Enfim Encontrei Você, O Balanço, Do Your Things Behave Yourself, Música No Ar, Preciso Ser Amado and Amores, Tim also cowrote New Love with Roger Bruno. Just like last time, there were only two tracks Tim hadn’t played a part in writing. Gostava Tanto De Você was an Edson Trindade composition. A Paz Do Meu Mundo É Você had been penned by the veteran samba soul singer and percussionist Dom Mita. These cover versions were among the twelve songs Tim would record for Tim Maia 1973.

Just like previous recording sessions, Tim Maia was accompanied by some of the top  musicians and backing vocalists that Brazil had to offer. They joined Tim who produced  Tim Maia 1973, at two studios in Rio De Janeiro. This was very different to Tim Maia 1972.

It had been recorded in two studios in two different cities.  This time around, Tim Maia decided to record his fourth album in Rio De Janeiro. He chose Estúdios Da Seroma and Phonogram Studios. That was where he was joined by a much smaller band.

For the recording of Tim Maia 1973, Tim had scaled his band back. The rhythm section featured drummer Myro, bassist Barbosa and Tim Maia on rhythm guitar. They were joined by lead guitarist Paulinho; Neco on twelve-string guitar; pianist Cidinho Teixeira; organist Pedrinho; percussionist and conga player Ronaldo P. Leme and Dom Mita who played the cowbell. Just like previous albums, Tim brought in strings, horns and backing vocalists. This time though, they were helping him to record a very different album.

When Tim Maia 1973 was completed, advance copies of the album were sent to critics. They discovered what was a very different album. 

Tim Maia 1973 opens with the samba soul classic Réu Confesso.  This sets the bar high. It’s followed by the soul-baring Compadre, which is the first of the ballads. This gives way to the timeless sunshine soul ballad Over Again, which is without doubt, one of the highlights of the album. Following in its footsteps is Que Enfim Encontrei Vocêm a heartfelt ballad where Tim and band combine funk, soul and samba. After this, Tim heads in a new direction.

Balanço is the first of two swamp funk tracks. Just like Do Your Thing, Behave Yourself, it sounds as if it was recorded in Louisiana not Rio De Janeiro. This shows another side to Tim Maia as he he seeks to reinvent his music.

In between the two swamp funk tracks was the ballad New Love. It features one of Tim’s most heartfelt vocals on what’s a  beautiful paean. It’s followed by another ballad, and one that would give Tim one of the biggest hits of his career, Gostava Tanto De Você. As his band combine soul, pop and a variety of contemporary Brazilian genres, Tim delivers a hopeful, needy vocal. Adding the finishing touches are lush strings and stabs of blazing horns. The result is one of the finest moments on Tim Maia 1973. That isn’t the end of the balladry. Not by a long chalk. 

It continues on the Música No Ar, a soulful ballad where lush strings accompany Tim. Elements of Philly Soul combine with Latin, pop and even rock as he combines power and passion. It’s a similar case on A Paz Do Meu Mundo É Você. The only difference is the addition of gospel-tinged harmonies. By comparison, the ballad Preciso Ser Amado has a much more understated sound. This less is more approach works well, allowing Tim’s tender vocal to take centre-stage. However, the closing track, the instrumental Preciso Ser Amado marks another change of direction. Suddenly, Tim and his band are paying homage to Memphis’ very own Booker T. and The MGs on the smouldering Memphis funk of Amores. Again, it shows another side of Tim Maia. This won over the critics and record buyers.

Having had time to digest Tim Maia 1973, critics were won over by what was a mixture of the old and new. Sunshine pop, swamp funk and the smouldering Memphis funk of Amores rubbed shoulders with ballads and uptempo tracks. Just like previous albums, some critics hailed Tim Maia 1973 another masterpiece. There were a few dissenting voices who weren’t won over by the swamp pop sound. Mostly, though, Tim Maia 1973 was hailed a resounding success.

Record buyers agreed. Tim Maia 1973 climbed the Brazilian album charts, and eventually, reached the upper reaches. Then when  Gostava Tanto De Você was released as a single, it gave Tim Maia one of the biggest hits of his career. It seemed that he could do no wrong.

The two albums that Tim Maia had written, recorded and released since he returned from London in 1971, had been released to critical acclaim and commercial success. Now Tim Maia was one of the biggest names in Brazilian music. That was what he had worked towards throughout his career. Tim Maia, should’ve been enjoying his newfound fame and fortune. However, there was a problem.

Tim Maia became unhappy at the royalty rate he was receiving from his publisher. So Tim founded his own publishing company Seroma. This coincided with Tim signing to RCA Victor.

They offered Tim Maia the opportunity to record a double album for his fifth album. Tim excited by this opportunity, agreed to sign to RCA Victor, and began work on his fifth album. Somehow, Tim was still seemed able to function normally on his daily diet of drink and drugs. He had already recorded the instrumental parts. All that was left was for Tim to write the lyrics. 

Seeking inspiration for the lyrics, Tim Maia decided to visit Tibério Gaspar. They had previously written together. That was where Tim found a book that would change his life, and sadly,  not for the better. That book was the Universo em Desencanto (Universe in Disenchantment), which revolved around the cult of Rational Culture. They didn’t believe in eating red meat or using drugs. Considering Tim had a voracious appetite for drink and drugs, it seemed unlikely that he would join the cult. However, he did.

Straight away, the cult’s beliefs affected Tim Maia and his music. Ever since he joined cult of Rational Energy, who fixated on UFOs, Tim was now clean-shaved, dressed in white and no longer drank, ate red meat, smoked or took drugs. Always in his hand was a mysterious book. Even his music changed.

The lyrics for his fifth album, and RCA Victor debut, were supposedly about his newly acquired knowledge. This came courtesy of Universo em Desencanto. With the ‘lyrics’ complete, Tim’s vocals were overdubbed onto what became Tim Maia Racional, Volumes 1 and 2. With the album completed, Tim took it to  RCA Victor. They who promptly rejected the album. 

Tim Maia Racional, Volumes 1 and 2 it appears, wasn’t of a commercial standard. To make matters worse, the lyrics made absolutely no sense. The only small crumb of comfort was that Tim’s voice was improving. That hardly mattered for RCA Victor, who weren’t going to release the album. For RCA Victor, it was huge disappointment. 

They thought they had signed an artists who would become one of the biggest names in Brazilian music. Instead, their star signing had joined a cult, and handed over the worst album of his career. Tim and RCA Victor found themselves at an impasse. There seemed to be no way forward. 

That was until decided to buy the master tapes from RCA Victor. Tim then released the album independently. However, it failed to match the commercial success of his four previous albums. For his many fans, Tim Maia was no longer the artist he once was. Then in 1976, Tim quit the cult.

When Tim quit the cult, after Racional Volume 2, he’d fallen out with its leader. He felt duped and wanted Tim Maia Racional, Volumes 1 and 2 destroyed. That was the past. Now Tim wanted to move forward.

Tim Maia’s music changed after Tim Maia Racional, Volumes 1 and 2. He released a new album in 1976, entitled Tim Maia, released in 1976. This was the start of the most prolific period of Tim’s career.

From 1976 right through to 1998, Tim Maia continued to release albums. He released another twenty-five albums between 1977 and 1998. By then, Tim had released around thirty-four albums. Just like his live shows, the albums were hit and miss affairs. 

Sometimes Tim would turn up, play an outstanding set. Other times he would play a mediocre or shambling set. On many occasions, he’d fail to turn up. He returned to is rock and roll lifestyle, living life to the fullest. 

The last album Tim released was Nova Era Glacial in 1995. Other albums were released bearing Tim’s name right up until 1998. However, Nova Era Glacial is regarded as Tim Maia’s swan-song He passed away on March 15th 1998, aged just fifty-five. Sadly, by then Tim’s shows and behaviour had become predictable. That had been the case since his 1976 post-Racional comeback. Tim Maia was never the same man or musician after his dalliance with the cult of rational behaviour.

It’s fair to say that the four album Tim Maia released prior to joining the cult were the highlights of a career that spanned three decades and thirty-four albums. Tim Maia 1970 introduced Brazilian record buyer to one of their most talented sons. He returned a year later in 1971, with his second genre classic, Tim Maia 1971. Two became three when Tim Maia 1972 was released. It was another genre-melting album where Tim fused and soul with samba and Baião. There were even hints of jazz and rock on Tim Maia 1972. A year later, Tim Maia released what many regard as his fourth genre classic, Tim Maia 1973. This was a very different album.

Sunshine pop and swamp funk joined smouldering Memphis funk on Tim Maia 1973. They rubbed shoulders with where funk, soul, jazz pop and rock. The addition of sunshine pop was a welcome addition to Tim Maia’s musical armoury. He was reinventing his music to ensure that his music remained relevant. However, Tim Maia was at his best on the ballads. This had been the case throughout his four album career. It’s the ballads that are among Tim Maia 1973’s finest moments. Sadly, this was the final instalment in Tim Maia’s golden quartet of albums. 

Never again did Tim Maia reach the same heights as he had between the release of Tim Maia 1970 and Tim Maia 1973. For three short years, Tim Maia’s star shawn the brightest. A reminder of this period are Tim Maia’s golden quartet, which include Tim Maia 1972 and Tim Maia 1973.

TIM MAIA-1972 AND 1973.

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