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TIM MAIARACIONALVOL.1 1974 SEROMA IT COME WITH EXTRA FREE BOOKTHE RACIONAL BOOK UNIVERSO EM DESENCANTO THE BOOK TIM MAIA SINGS ABOUTON THE RACIONAL RECORD THE BOOK IS IN PORTUGUESE ORIGINAL LP FUNK SOUL BREAKS STEREOSEROMA33rpm MADE IN BRAZIL CONDITION: COVER: VG RECORD: VG TIM Maia was born in the Tijuca neighbourhood, in the southern suburbs of Rio de Janeiro.
He began writing melodies while still a child, the second youngest of nineteen children.
Then known as Ti o Maia , he wrote his earliest songs at age eight.
At fourteen, as a drummer, he formed the group Os Tijucanos do Ritmo, which lasted one year.
He then took guitar classes and was soon teaching other children in Tijuca.
He also gave lessons to his friends Erasmo Esteves and Roberto Carlos, fellow members of the so-called Matoso Gang.
Named after the street where they used to hang out, the gang also included Jorge Ben and Erasmo Carlos, among others.
They liked to listen to the earliest styles of rock and roll, with both Maia and Ben being nicknamed Babulina after their enthusiastic pronunciation of Ronnie Self s song Bop-A-Lena .
1 In 1957, Maia, Carlos, Arl nio Silva, Edson Trindade and Wellington started the vocal group The Sputniks.
After a televised appearance on Carlos Imperial s Clube do Rock on TV Tupi, Imperial arranged a solo appearance for Roberto Carlos the following week.
Maia got annoyed at this, leading him to insult Carlos in the following rehearsals until his bandmate left the group.
After watching Carlos concert the following week, Maia left The Sputniks, and went after Imperial for a solo appearance.
Imperial eventually suggested another artistic name, Tim, which Maia accepted with reservations.
2 In 1959, Maia went to study in the United States, where he lived for four years.
He joined a vocal harmony ensemble, The Ideals, and wrote the lyrics to New Love , which was recorded as a demo with guest percussion by a young Milton Banana.
3 Maia also recorded the song as a soloist in 1973 .
3 The group s career was derailed in 1963 when Maia was arrested for possession of marijuana and deported back to Brazil.
1 3 1960s edit After returning, Maia had a few unsuccessful jobs and arrests in Rio.
Eventually he decided to move to S o Paulo to try and get help to kickstart his musical career from Carlos, who was beginning to enjoy the massive success of Jovem Guarda with Esteves.
Carlos was inaccessible, but Maia started to perform in S o Paulo s nightlife and in Wilson Simonal s radio program, and also had a televised appearance at TV Bandeirantes with Os Mutantes.
By the end of 1967 Maia managed to send a homemade recording to Carlos, who got Maia a deal for a single at CBS and an appearance on the Jovem Guarda TV program.
His first single in 1968, Meu Pa s backed by Sentimento , went unnoticed, as was another single, These Are the Songs / What Do You Want to Bet? , recorded in English for RGE Discos.
Maia also wrote one of Carlos hits, N o Vou Ficar .
4 He became more visible after 1969 when he launched his These Are the Songs, which was re-recorded by Elis Regina in the next year in a duo with Maia.
Maia managed a deal with Polydor/Philips and recorded the successful single Primavera .
5 1970s edit In the 1970s, Maia started to record albums and perform shows promoting his synthesis of American soul and Brazilian music with elements of samba and bai o.
The movement gradually took the working-class suburbs of the north side of Rio de Janeiro, exploding in 1976 with the black movement.In 1970 Maia recorded his first full-length LP, Tim Maia, which included the classics Azul da Cor do Mar , Coron Ant nio Bento , and Primavera , and topped the charts for 24 weeks in Rio de Janeiro.
His first four albums were all self-titled.
Next year s Tim Maia had other hits including N o Quero Dinheiro S Quero Amar and Preciso Aprender a Ser S .
His fourth album, released in 1973, included R u Confesso and Gostava Tanto de Voc .
Angry at how the music publisher distributed the royalties, Maia opened his own, Seroma derived from the first syllables of his first, middle and last names , to make sure he had a bigger cut of the profits.
6 After his fourth album, Maia left Polydor for RCA Victor, who offered him a chance to record a double album.
The instrumental parts were all ready when Maia went to his composing friend Tib rio Gaspar for help with the lyrics.
In his house Maia found the book Universo em Desencanto Universe in Disenchantment , revolving around the cult of Rational Culture.
7 Maia converted to the cult, abandoned the drugs and red meat, and decided to write the lyrics for the songs about the knowledge contained in the book.
RCA rejected the albums Tim Maia Racional, Vols.
1 2 for the newly found spiritual content, but Maia bought the master tapes from them and released the albums independently through label Seroma Discos, which would split its profits with the cult.
While lead single Que Beleza Imuniza o Racional had some airplay, at the time these records were not well received, due to inadequate distribution, and the spiritual content alienating both the radios and Maia s fans.
Eventually the artist could only perform at events promoted by the Rational Culture.
Eventually in 1975 Maia got fed up with the cult, destroyed the unsold records and went back to his carefree life.
8 9 The Racional albums are now regarded as classics and saw re-release in 2005.For his return in 1976, Maia signed with Polygram and recorded an album also titled Tim Maia, which included the hit Rod sia inspired by the Rhodesian Bush War , and also did a self-published album in English.
10 In 1977 Maia signed with Som Livre, where he recorded the album Ver o Carioca.
11 In 1978 Maia signed with Warner Bros.
Records and incorporated the disco sound of the period in the album Tim Maia Disco Club, which spawned the hits Sossego and Acenda o Farol .
12 13 In 1979 Maia recorded Reencontro for EMI-Odeon, but revolted at the label s estimated promotion costs which were the same as the money spent recording, Maia fought with the marketing executive, and in response EMI president fired Maia, releasing the album with no publicity to low sales.
14 1980s and 1990s edit In 1980, Maia recorded another self-titled album for Polygram.
The following year, with turbulent passages through all the major labels in Brazil, Maia released again through Seroma the album Nuvens, which flopped due to inefficient distribution.
To earn cash for his future albums, Maia was a guest in songs by Fevers, Edu Lobo and Chico Buarque, Ivan Lins and Sandra de S .
His collaboration with S , Vale Tudo , later became a solo hit for Maia.
15 In 1983 he had hits with O Descobridor dos Sete Mares and Me D Motivo , included on O Descobridor dos Sete Mares Polygram .
Another milestone of his career in the 1980s was Tim Maia 1986 , which had the hit Do Leme ao Pontal Tomo Guaran , Suco de Caju, Goiabada Para Sobremesa .In 1990, Maia saw Caetano Veloso s songbook and asked editor Almir Chediak to do one for his own work.
Chediak was working on such an album with bossa nova classics, and Maia requested a copy, which eventually inspired him to do a self-released album of bossa nova covers, Tim Maia Interpreta Cl ssicos da Bossa Nova.
16 After a period of poor presence in the media, he was again on top after being mentioned by Jorge Ben Jor s W/Brasil in 1991.
In the same period, Maia had another hit with his re-recording of Lulu Santos Como uma Onda for a television advertisement Santos in return recorded Maia s Descobridor dos Sete Mares.At the same time, he withdrew from majors, recording his next albums through Vit ria R gia, including What a Wonderful World 1997 , where he recorded American pop/soul classics, and Amigos do Rei/Tim Maia e Os Cariocas, with the famous vocal group.
Obese and in bad health, in March 8, 1998 he was performing at the Municipal Theater of Niter i when he became ill.
He was hospitalized and died few a days later.
17 SEE PHOTOS FOR DETAIL.
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