Category Archives: Tim Maia

The Soul Of Brazil Vol.1 – Lado b

Aumente o volume e perceba o Groove deste disco “alternativo” 12” do mestre Tim Maia, não sei se é impressão mas ficou pesado!

Com certeza vale conferir!


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Introduction to Tim Maia

Tim Maia, THE Brazilian Funk Soul Godfather was the real thing. His 1970 debut album introduced his audacious talent, as well as North American soul and funk musical influences, forever changing Brazilian popular music. His legendary appetites sought out carnal AND spiritual fulfillment in equal measure. He bought 100 hits of LSD and handed them out to the staff of his record label.

At the height of his mid-70s success he joined the Cult of Racional Energy; watching for spaceships while wearing only white clothes and playing only white instruments! Yet the two albums he recorded for the Cult are among his best. His songs search for love, and they dig into the existential. His own lyrics say it best: “I am so groovy now and I don’t care!”


An Introduction to Tim Maia from Luaka Bop on Vimeo.


Tim Maia

Falar de Tim Maia é o mesmo que chover no molhado, pelo menos no meu caso, então fui conferir sua cinebiografia e posso afirmar que é uma Obra Prima, nada como conhecer sua “carreira” e poder ver tudo ali na sua frente de forma espetacular, nada foi poupado, drogas, sexo e muito, mas muito SOUL FUNK BRAZUCA, mais que imperdível é requisito obrigatório a todos.

Entre “Bauretes” e “Mistos Quentes” assim se fez a lenda Tim Maia!
“Não fumo, não bebo e não cheiro. Só minto um pouco.”


“O Tim Maia é praticamente uma legenda: você coloca Tim Maia numa festa, todo mundo levanta, todo mundo conhece, todo mundo gosta”. Podia ser a fala de algum entrevistado na rua, mas a frase veio da boca de Mauro Lima, diretor de Tim Maia – Não Há Nada Igual. O subtítulo do longa-metragem talvez não seja um exagero, já que é difícil encontrar uma figura musical brasileira moderna com a dimensão mítica de Tim Maia, que reúne algo entre o imaginário desregrado roqueiro de Raul Seixas e o som e a postura de malandro-do-soul de Jorge Ben, transitando entre bailões suburbanos e festas de bacana.



Tim Maia Racional Rodesia Psicodelico



Set mix Brazuca em homengaem ao mestre Tim Maia!

Vale o confere no trampo!


Tim Maia Rules The World (1969 – 1975) – Soul Brasil Mixed by DJDvBz

01 Eduardo Araujo – A Mulher 0’00
02 Tim Maia – Jurema 1’54
03 Os Incríveis – Jurema 2’53
04 Erasmo Carlos – O Mundo Deserto de Almas Negras 4’18
05 Roberto Carlos – Não Vou Ficar/
Tim Maia – Não Vou Ficar 5’25
06 Fernando Mendes – Não Vou Mudar 7’00
07 Cassiano – Minister 8’51
08 The Fevers – O Amor 9’52
09 Tim Maia – Coroné Antonio Bento 11’29
10 Eduardo Araujo – Salve Nossa Senhora 12’53
11 San Papas – Festa do Santo Reis 13’55
12 José Roberto – Festa do Santo 15’28
13 Tim Maia – Padre Cícero/Tim Maia – João Coragem 16’50
14 Angelo Antonio – Já Faz Tempo 18’09
15 Elis Regina & Tim Maia – These Are the Songs/
Tim Maia – These Are the Songs 19’29
16 Tim Maia – I Don’t Know What To Do With Myself 20’59
17 Os Mutantes – Dune Buggy 23’05
18 MPB 4 – Agiborê 24’46
19 Di Melo – Kilariô 26’02
20 Marku Ribas – Meu Samba Reguê 27’26
21 Cassiano – Ela Mandou Esperar 29’20
22 Achados e Perdidos – Carimbó do Amor 30’27
23 Canarinho O Moleque Saci – Cheguei Pra Ver 31’29
24 Tim Maia – Canário do Reino 32’28
25 Hélio Matheus – O Livramento 33’59
26 Tim Maia – Amores 35’27
27 Banda Black Rio – Casa Forte 37’35
28 Tim Maia – O Caminho do Bem/
Tim Maia – Energia Racional 38’54


The Existencial Soul of Tim Maia – Nobody Can Live Forever


In the early 1970?s, Brazilian popular music was approaching a high water mark of creativity and popularity. Artists like Elis Regina, Chico Buarque and Milton Nascimento were delivering top-shelf Brazilian pop, while tropicalists Caetano Veloso, Gilberto Gil and Os Mutantes (see World Psychedelic Classics 1) were entertaining the college set with avant-garde fuzz-pop poetry.

Enter Tim Maia with a massive cannonball into the pool. It was the only dive Tim knew. Standing just 5’7 (6? with the Afro) Tim Maia was large, in charge and completely out of control. He was the personification of rock star excess, having lived through five marriages and at least six children, multiple prison sentences, voluminous drug habits and a stint in an UFO obsessed religious cult. Tim is also remembered as a fat, arrogant, overindulgent, barely tolerated, yet beloved man-child who died too young at the age of 55.

Sebastiño Rodrigues Maia was born in Tijuca, Rio de Janeiro, on September 28, 1942. He was the 18th in a family of 19 siblings. At six he started to contribute to the family income by delivering homemade food prepared by his mother, Maria Imaculada Maia. Tim learned to play guitar as a child and was 15 when he formed his first band. They called themselves The Sputniks and were notable for also including Roberto Carlos, a neighborhood pal of Tim’s who would later become one of Brazil’s biggest stars. In 1957, at the age of 17, the singer went to America. He left home with $12 in his pocket and no knowledge of English. He adopted the name ‘Jimmy’ and lied to the immigration authorities, saying that he was a student.

Living with distant cousins in Tarrytown, New York, he worked odd jobs and committed petty crimes. Having a prodigious ear he quickly learned to speak, sing and write songs in English. He formed a small vocal group called The Ideals who even recorded one of Tim’s songs, “New Love.” Intent on starting a career in America, Tim never planned on going back to Brazil, but like a badass Forrest Gump, he also had a knack for being in the wrong place at the wrong time. In a 1964 early pre-cursor to Spring Break’s modern debauchery, Tim was busted in Daytona, Florida for smoking pot in a stolen car and served six months in prison. U.S. Immigration caught up with him and he was deported.

Back in Brazil, Tim told his friends that he hadn’t spoken a word of Portuguese for the last 3 years of his stay in the U.S. Not surprisingly, he was completely out of step with the prevailing mode of MPB and Tropicalia. Eventually he got a huge break when legendary singer Elis Regina fell in love with his song “These Are the Songs” which had been released as a single on the Fermata label. She invited him to sing a duet of it with her in Portuguese and English on her 1970 album “Em Pleno Verño”. This high profile debut forced people to take notice of the unknown singer/songwriter with a big voice, bigger afro and huge ambitions. Soon after, Philips signed Tim to a recording contract. In 1970 his first album spent 24 weeks on the charts, beginning a new chapter in Brazilian music.

His close friend, Nelson Motta, who was the A & R rep who signed Tim to the Philips label remembers Tim’s initial impact on the scene:

He was something absolutely new. Until then, Brazilian music was divided into nationalist MPB Tropicalia and international rock. All really white and really English. Tim Maia changed the game, introducing modern black music from the U.S. to national pop music, linking funk and baiño, bringing soul closer to bossa nova and opening windows and doors to new forms of music that were not Tropicalist, nor MPB, nor rock n’ roll: they were quintessentially Brazilian. They were Tim Maia. Prior to the 1970?s, the average white, urban Brazilian imagined him or herself living in a harmonious melting pot of European, African and indigenous heritage, but racism, despite being distinctly different than in North America, still permeated Brazilian society. There were no shortages of prominent Afro-Brazilian musicians, singers or composers, but black Brazilians were primarily typecast as nothing more than happy-go-lucky samba singers.

Tim wasn’t the first Brazilian artist under the sway of North American black music: Wilson Simonal and Jorge Ben experimented and synthesized different soul and funk rhythms into their styles, but Tim was the first to completely flip the equation, embracing soul and funk music wholeheartedly, adding indigenous Brazilian touches if and when they fit.

Tim’s first commercial records showed that a black Brazilian singer could assert his identity with confidence and power. His music helped to build the Black Rio movement, a new Afro-Brazilian music culture influenced by the U.S. civil rights struggle. As a result, Tim Maia’s soul music described a modern Black Brazilian identity that blew the doors off mass culture’s tightly circumscribed role for Afro-Brazilians.

More importantly, as Tim basically says in “Let’s Have a Ball Tonight:” ‘Fuck politics! Let’s make love and party!’ According to Nelson Motta, the impact of his music was felt where it mattered the most: on the dance floor and in the bedroom: With his thundering and sultry voice he enchanted and seduced legions of dancers and lovers along his explosive and turbulent career of 40 years. Sweetening and adding velvet touches to his voice, then downing the lights, he crooned his ballads and inspired hot romances and lots of sex, like a tropical Barry White (one of his idols, together with Isaac Hayes and James Brown). Like no other pop star – including most of the best comedians in the land – he made the people laugh. “I don’t burn, I don’t snort, and I don’t drink. My only problem is that sometimes I lie a little.” (Often said with a joint in hand). He was the funniest (and smartest) man in the Brazilian music scene. With hit after hit, he started his brilliant career, cheered by critics and adored by the big audiences, rich and poor, black and white, rockers and bossanovistas as well.

A funny thing happened when Tim Maia launched his career in Brazil: he kept on writing and recording songs in English. Every album (all titled Tim Maia with only the copyright years to differentiate) included at least one, if not a few songs in English. Obviously, Tim “Jimmy” Maia’s teenage dreams of international soul success didn’t die when he was deported from the U.S.

As Motta notes:
He always dreamed of coming back to America to be successful. But, in Brazil none of his songs in English, not even “These Are the Songs” were hits. Critics and musicians loved it, but nobody else cared. The songs never played on the radio and he rarely sang them in his shows. He had so many huge hits in Portuguese, there was no point in any one listening to songs in English. He always did whatever he wanted, so the record label people, who were basically afraid of him, would take whatever he gave them.

In 1971, fresh from the big hit of his first album, Timwent to London and spoiled himself. He smoked, inhaled, drank, traveled on acid, listened to music, argued with his wife and returned to Brazil with 200 doses of LSD to distribute amongst his friends. As soon as he arrived, he went to (recording company) Philips’ offices, which he called “Flips,” where he visited various departments, beginning with those he considered most “square,” like the accounting and legal departments, where he acknowledged the boss and repeated the same introduction, in a calm and friendly voice:
“This here is LSD, which will open your mind, improve your life, and make you a better and happier person. It’s very simple: there are no side effects. It is not addictive and only does good. You take it like this . . . “

He would place the acid in his mouth, swallow it and leave another at the front desk. Since he was one of the best-selling artists for the company, everyone thought it humorous. In the production and journalism departments, the gifts were a success. Even Andre Midani, the president of the company, received his.

Tim returned home in his jeep, certain that he had saved “Flips’” soul.

It’s hard to believe, considering the tossed off brilliance of his songs, that Tim Maia did not care much for lyrics (or lyricists for that matter). Motta says, “Tim would ‘fill-up’ the music with good sounding words and that was that.” His English lyrics were so spontaneous and off the cuff that they sound more like Tim is having a conversation, with whomever was around, about his own tumultuous life. One line that seems to sum up his restless feelings after his initial success is “I am so groovy now and I don’t care.” Considering Tim’s sense of largess, not to mention his largeness, it’s not surprising he would quickly grow jaded and continued to search for new sensations.

In 1974, touched by who knows what, he converted to a religious sect, the cult of Racional Engergy. The sect was based in the faith that we are perfect beings from a distant planet, exiled on Earth to suffer but able to purify through the reading of a single book and to finally be rescued by flying saucers of our original home. It was a perfect fit for someone like Tim.

At the moment of his illumination, he was finishing his fifth solo album with what would later become known as the Vitória Régia Band, the band that would be with him the rest of his life, almost. When he joined the cult, he dressed in white, shaved his ever-present facial hair, he quit alcohol, drugs and red meat and always kept a strange book in-hand. He would say things that, for him, were completely out of character, like “Pot and booze are the devil’s stuff.” He decided that all the songs he recorded and sang would be in celebration of his new faith in the Superior Rational from outer space. He rewrote the lyrics and recorded the funky devotional albums Tim Maia Racional I (1974) and II (1975). Philips had no interest in these bizarre and uncommercial songs, but that did not stop Tim Maia. Always a pioneer, he started the first independent music label in Brazil, called Seroma, and arranged for the albums to be produced and distributed by his company. The label name was taken from his initials: S E bastiao RO drigues M A ia.

Having given up smoking and drinking, he had lost a lot of weight and his voice had never been so clean and strong. His singing on the Racional albums is unrivaled, but to most the lyrics didn’t make any sense. Radio refused to play the Racional albums, which were mostly purchased by fellow cult members.

He left the sect one year later, broke, disillusioned and fed up with the hypocrisy of the cult leader. He ordered the destruction of all the Racional recordings and forbade anyone to record the songs. As someone who prided himself on being street smart and prison wise, Tim may have felt a bit ashamed of having been duped by a charlatan in a white robe preaching about UFO’s.

On his first post-Racional album Tim Maia 1976, Tim made sure to include a couple of ‘answer’ songs, possibly to assure fans that he was no longer under the sway of extra-terrestrials. Leaving Racional ism behind, Tim once again embraced the earthy reality of life. In “Nobody Can Live Forever,” he confronts human loneliness (“Nobody will know how I feel”) alongside the absence of God (“There’s no heaven / there’s no god / there’s no devil / there’s no hell), and concludes with existential resolve. “Play your music,” he chants.

As his career carried on through the 70s, 80s and 90s Tim became more like the folkloric characters he liked to 
sing about – the malandros – someone you had to be careful about trusting. He was famous for not showing up at his own shows and for sometimes appearing so drunk that he was not able to perform. When he did show up, he would terrorize the sound guy with demands for “More Bass! More Treble! More Volume! More EVERYTHING!”

Four months before his death, at his own cost, he played a chaotic show at a hotel lounge in Miami attended by 50 Brazilian nuts. He then filmed a fabulous road trip from Miami to New York, including the Daytona pen, New York City and Tarrytown, all the places he visited 40 years earlier, talking to people along the way. It was a like a wrap-up of his unfinished history.

He died on March 15, 1998, at the age of 55.

“I am bicão,” he used to say about himself, which is slang for people who go to a party without an invitation. He may have crashed the party, but he never failed to warm it back to new levels of fun and decadence.

– Allen Thayer, Paul Heck and Nelson Motta

An Introduction to Tim Maia from Luaka Bop on Vimeo.


Tim Maia Canta em Inglês

Tim Maia Canta em Inglês:

Maltratado em vida por tudo que é gravadora possível, Tim Maia virou vítima destas mesmas corporações – que volta e meia reempacotam o que o síndico fez de relevante e de irrelevante numa mesma fornada. Não é o caso deste curioso These Are the Songs, que vem a ser uma coletânea de canções compostas em inglês por Tim e gravadas entre 1971 e 1976 (quer dizer, mais ou menos no auge da criatividade do cara). Que Tim sempre encanou de ser um soulman legítimo, isso é até sabido. Agora, quem não conhece na prática esse lado mais ianque do cantor pode ter uma grata surpresa. Antenadíssimo com o que de melhor se fazia na música negra americana, Tim cantando em inglês não faria feio no cast da Motown ou da Stax (descontando a pronúncia às vezes capenga). Melhor: o bom Maia não se limitava a copiar as matrizes black importadas. Misturava, a seu modo, o soul e o funk com sua brasilidade inata. Essas 14 canções, de suingue impecável e charme meio bronco, são pérolas esquecidas do maior nome da história da música negra brasileira – e ainda há tempo de resgatá-las.

Tim em inglês soltava os cachorros em cima do puro soul, que vinha contagiante em canções como Broken Heart, I Don’t Know What To Do With Myself (esta com um balanço suavemente funkeado), ou My Little Girl. Caprichava no sotaque (musical) bem brasileiro, ao fazer a inimitável ponte samba-soul (da qual foi um dos pioneiros, afinal) presente em The Dance is Over, Over Again (esta com uma levada aparentada a do clássico Réu Confesso) e New Love. Malandro, quando o álbum chega ao ano de 1976 ele provava estar antenado com a fervilhante discothèque (lascando portanto Brother, Father, Sister and Mother). E até brinca com o blues, também misturado com samba, em Do Your Thing, Behave Yourself. No mais, este álbum vale a pena nem que seja pelo prazer inefável de ouvir a única canção soul do mundo com o singelo título de Jurema!

(Marco Antonio Barbosa)

Tim Maia Canta em Inglês: These Are The Songs


These are the songs

Broken heart

I don’t know what to do with myself

I don’t care

Nobody can live forever

Brother, father, sister and mother

The dance is over

Over again

New love

Do your thing, behave yourself

My little girl

Where is my other half

Tributo a Booker Pittman


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Já que o jornalista Nelson Motta não conseguiu dedicar mais do que meia dúzia de linhas de sua biografia sobre Sebastião ao absolutamente impecável LP “Tim Maia” – gravado no ano de 1976 e lançado, por problemas orçamentários da SEROMA, apenas em 78.

Inteiramente cantado em inglês, este é o álbum com mais influência soul entre todos os produzidos pelo mestre, e isso por si só já demonstra o poder da pepita. No livro, Nelsinho cita rapidamente a existência da bolacha, apenas reproduzindo uma frase do jornalista Tárik de Souza a respeito do disco, que basicamente comparava sua sonoridade à de Sam Cooke “e outros mestres da soul music”. É muito pouco, se notarmos a qualidade do material que temos aqui. Dissecar esse LP não é tarefa fácil, as nove faixas são extraordinárias e minha recomendação é que o álbum seja ouvido em momentos de júbilo e euforia, relaxamento supremo e bem-estar incontestável – afinal de contas, se o Nelsinho não opinou, por que eu iria, certo? Algumas curiosidades acerca desse LP: 1-) Especialistas dizem que a bolacha estaria valendo trezentas pratas (valores em REAL) pelo índice DowJones; 2-) A primeira faixa, With No One Else Around, foi regravada em português para o álbum “Reencontro”, lançado em 1979, com o nome de Pra Você Voltar, com uma sonoridade mais quadrada mas não menos genial; 3-) As vendas desse LP foram o maior fracasso comercial da vida de Sebastião, e ele não teve poucos. Nelsinho alega em sua fábula impressa que Tim Maia guardava pilhas e pilhas desse álbum no quarto de empregada de seu apartamento na Barra. Você sabe onde estão esses LPs agora, Nelsinho?! 4-) Caso você possua um exemplar dessa pepita, e não sabe bem o que fazer com o item em questão, por favor, entre em contato comigo.

(Radiola Urbana)

Tim Maia ‘78 em inglês


1. With No One Else Around
2. I Love You Girl
3. To Fall in Love
4. Only a Dream
5. People
6. Let’s Have a Ball Tonight
7. I
8. Day by Day
9. Vitória Régia

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Tim Maia 1980

Tim Maia 1980

tim ma front 1980

1 Você e eu, eu e você [Juntinhos]
(Tim Maia)

2 Não vá
(Tim Maia – Lincoln Olivetti – Robson Jorge)

3 Tudo vai mudar
(Tim Maia)

4 Nissei linda, linda nissei
(Tim Maia)

5 Nossa história de amor
(Gastão Lamounier – Luiz Mendes Júnior)

6 Nosso adeus
(Paulo Zdanowski – Beto Cajueiro)

7 Não fique triste

8 Está difícil de esquecer
(Tim Maia)

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Tim Maia Reencontro 1979


Tim Maia Reencontro 1979

1 Até Parece Que Foi Sonho
2 Canção Para Cristina
3 Reencontro
4 Pará Isso
5 Chegou A Hora
6 Velho Camarada
7 Eu Só Quero Ver
8 Frente A Frente
9 Vou Com Gás
10 Foi Para Seu Bem
11 Vou Correndo Te Buscar
12 Boogie Esperto
13 Lábios De Mél
14 Para Você Voltar

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Tim Maia Disco Club 1978

Tim Maia 78


Lançado em 1978 para acompanhar a febre da disco music, esse álbum passou um bom tempo fora de catálogo. É um dos últimos suspiros de criatividade do cantor carioca. Ele se cercou da nata da soul music da época, sobretudo os integrantes da Banda Black Rio. Também fez experiências com vários subgêneros da música negra, encomendando arranjos caprichados que contam até com naipe de cordas. Entre as canções, duas pérolas da disco (A Fim de Voltar e Acenda o Farol), um dos melhores funks de Tim Maia (Sossego) e boas baladas (Se Me Lembro Faz Doer e Murmúrio).

1. A fim de voltar
2. Acenda o farol
3. Sossego
4. Vitória régia estou contigo e não abro
5. All I Want
6. Murmúrio
7. Pais e Filhos
8. Se me lembro faz doer
9. Juras
10. Jhony

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Alternative 1

Alternative 2


Tim Maia 1977


Tim Maia 1977

1. Pense Menos
2. Sem Você
3. Verão Carioca
4. Feito para Dançar
5. É Necessário
6. Leva o Meu Blue
7. Venha Dormir em Casa
8. Música para Betinha
9. Não Esquente a Cabeça
10. Ride Twist and Roll
11. Flores Belas
12. Let It All Hang Out

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