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Tim Maia

The daddy of Brazilian soul music, Tim Maia under no circumstances hid his true nature from his fans, his prospective employers, or regulations. Iconoclastic, ironic, outspoken, polemical (but often funny), and openly dependent on cocaine and weed, he was known for lightheartedly lacking appointments and also big-time gigs, and in addition to be boycotted by documenting companies, major Television networks such as for example Globo, as well as other mass media that didn’t swallow his troubling presence. Along with his powerful and versatile baritone shade, Maia could convey not just a content and lively dance experience, but was with the capacity of motivating sentiment in in any other case corny songs aswell, like his strike “Me dê Motivo” (Paulo Massadas/Michael Sullivan). Throughout his profession, this versatility was evidenced with the multitude of designs he embraced: spirit, funk, bossa nova (within the ’90s), intimate tracks, American pop, samba, baião, and MPB. Within the ’70s, Maia began to record albums and perform shows marketing his indigenous synthesis of American spirit and Brazilian music with components of samba and baião. The motion gradually required the working-class suburbs from the north part of Rio de Janeiro by surprise, exploding in 1976 using the dark motion. Within the ’90s, he was found out by more youthful pop celebrities who re-recorded many of his strikes. This was the situation with Skank, Lulu Santos, Ara Ketu, Paralamas perform Sucesso, and Marisa Monte, not forgetting Elis Regina, Gal Costa, along with other founded artists who’ve recorded his tunes. Maia began to create his earliest tunes at age group eight, with 14 (like a drummer) he created the group Operating-system Tijucanos perform Ritmo, which lasted twelve months. He then required acoustic guitar classes and was quickly teaching the youngsters in a nearby of Tijuca, in Rio, like the Matoso gang (Maia, Jorge Ben, Erasmo Esteves, later on Erasmo Carlos, and many others), named following the road where they utilized to hold out. For the reason that period, Maia was your guitar instructor of Esteves, so when Roberto Carlos became a member of the gang in 1958, he also got classes with him. Maia, Carlos, and Esteves (as well as Edson Trindade, Arlênio Lívio, and José Roberto “China”) shaped the group the Snack foods (afterwards the Sputniks), playing displays and executing on Television (including on Carlos Imperial’s Clube perform Rock on Television Continental, where Carlos had been a normal). The group quickly dissolved because of incompatibility between Carlos and Maia. After his father’s demise in 1959, Maia received a scholarship to review TV communications within the U.S., where he resided for four years. There he began like a vocalist, having became a member of the Ideals, however in 1963, he was caught for ownership of cannabis. Jailed for half a year and deported to Brazil, he missed any warmth for his aged comrades Esteves and Carlos, who have been beginning to benefit from the substantial achievement of Jovem Guarda, which would hold the entire nation in a couple of years. Shifting to São Paulo, he previously some support from Operating-system Mutantes rather. Having documented his first solitary (CBS) in 1968 along with his compositions “Meu País” and “Sentimento,” he became even more noticeable after 1969 with “THEY ARE the Tunes,” that was re-recorded by Elis Regina through the following 12 months in duet with him, and included on Regina’s Em Pleno Verão. In 1970, he documented his first LP, Tim Maia (Polygram), which include his classics “Azul da Cor perform Mar” (Maia), “Coroné Antônio Bento” (Luís Wanderley/João perform Vale), and “Primavera” (Cassiano), remaining for 24 weeks in the very best carioca charts. Within the next 12 months, Tim Maia, Vol. 2 brought two even more everlasting strikes: “Não Quero Dinheiro (Só Quero Amar)” (Maia) and “Preciso Aprender a Ser Só” (Marcos Valle/Paulo Sérgio Valle). Tim Maia, Vol. 4 (1973) experienced “Réu Confesso” (Maia) and “Gostava Tanto de Você” (Édson Trindade). Also within the ’70s, he founded his very own label, primarily Seroma and Vitória Régia Discos. Infatuated using the spiritual/philosophic sect Cultura Racional, in 1975 Maia separately released (through Seroma) two minimal albums, Racional, Vol. 1 and Racional, Vol. 2. 3 years afterwards, he had one of is own biggest strikes, “Sossego,” and another achievement with “Acenda o Farol,” both included on Tim Maia Disco Membership (Warner Bros.). In 1983, he previously strikes with “O Descobridor dos Sete Mares” (Gilson Mendonça/Michel) and “Me dê Motivo” (Paulo Massadas/Michael Sullivan), included on O Descobridor dos Sete Mares (Polygram). Another milestone of his profession during the 10 years from the 1980s was Tim Maia (Continental, 1986), which got the strike “Perform Leme ao Pontal (Tomo Guaraná, Suco de Caju, Goiabada Em fun??o de Sobremesa)” (Maia). In 1990, he interpreted bossa nova classics on the scarcely noticed record released through his Vitória Régia label, Tim Maia Interpreta Clássicos da Bossa Nova. Over time of no presence within the mass media, he was once again at the top after getting stated by Jorge Ben Jor in 1993 in his “W/Brasil.” Within the same period, Maia got another hit along with his re-recording of “Como uma Onda” (Lulu Santos/Nelson Motta) to get a TV ad. At exactly the same time, he withdrew through the majors, documenting his following albums through Vitória Régia, including Just what a Fantastic Globe (1997), where he documented American pop/spirit classics, and Amigos perform Rei/Tim Maia e Operating-system Cariocas, using the popular vocal group. Obese and in poor wellness, in March 1998 he was performing a gig in the Municipal Theatre of Niterói when he became sick. Hospitalized, he passed away a few times later on. In 1999, he was paid tribute inside a display by many MPB performers. The show premiered on Disc. In 2000, he was subject matter of another tribute, also released on Compact disc.

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