Tim Maia – 1970 – Tim Maia
Read Reviews, Buy the Album or Download the Album for free
The incredible first album by Tim Maia, Brazil’s greatest soul star in the 70s, and for good reason too – given that Tim was one of the few who could match the depth of American soul and funk at the time!
Yet the music here is way more than just a Brazilian version of American soul – as Tim brings in some rootsier elements from local musical styles, and even some of the trippier elements that were running through Brazilian music in the wake of Tropicalia – all to make for this heady brew of sounds that’s completely unique, and completely wonderful all the way through!
There’s plenty of tracks here that would fit well alongside both familiar soul, and the modes of funky artists like Marcos Valle at the time – and the set also features work on guitar and backup vocals by Cassiano, who’d soon go onto become a Brazilian soul star on his own.
A1 Coroné Antônio Bento 2:13
A2 Cristina 2:05
A3 Jurema 1:14
A4 Padre Cícero 2:23
A5 Flamengo 2:00
A6 Você fingiu 3:58
B1 Eu amo você 4:05
B2 Primavera (Vai chuva) 2:10
B3 Risos 2:36
B4 Azul da côr do mar 3:20
B5 Cristina n.° 2 1:30
B6 Tributo à Booker Pittman 2:48
When Tim Maia 1970 was released later in 1970, the album was hailed a groundbreaking, genre-melting classic by critics. The album was a successful and seamless marriage disparate genres. Soul and funk rubbed shoulders with samba and Baião. There’s even hints of easy listening and soul jazz on Tim Maia 1970. It also featured three future Tim Maia classics, that showed different sides to Tim Maia. This includes the album opener Coroné Antonio Bento. It’s a stomping fusion of soul and funk, where Tim’s vocal becomes a vamp. Primavera (Vai Chuva) and Azul Da Cor Do Mar are both beautiful ballads. This is were Tim seems to come into his own.
There’s several ballads on Tim Maia 1970. Cristina and Padre Cícero are soul-baring ballads. So are Você Fingiu and Eu Amo Você, where the lushest strings prove the perfect accompaniment to Tim’s vocal. Then on Cristina, Tim combines power, passion and emotion. However, there’s more to Tim Maia 1970 than ballads.
Risos is a mid-tempo track that floats along, constantly captivating. Jurema sounds as if was recorded in Memphis. Stabs of brassy horns and soaring harmonies accompany Tim, as his soulful vocal becomes a vamp. It’s a similar case on Cristina Nº 2, where soul meets funk and Tim’s vocal becomes a swaggering vamp. Tributo À Booker Pittman which closes Tim Maia 1970 has a jazz-tinged, soulful sound. This shows Tim’s versatility. Seamlessly, he switches between, and combines musical genres. This he’s been doing throughout Tim Maia 197o.
Tim Maia was released in 1970, and spent twenty-four weeks in the upper reaches of the Brazilian charts. It had been a long, hard struggle. Ever since he was deported from America, Tim Maia had been struggling to make a breakthrough. Now as he approached his twenty-eighth birthday, Tim Maia’s star was in the ascendancy. This should’ve been the start of a long and glittering career.
After Tim Maia 1970, Tim returned with his second classic album album, Tim Maia 1971. He followed this up with Tim Maia 1972 and Tim Maia 1973. They complete a quartet of albums that feature Tim Maia at his very best. Between 1970 and 1973, his star shawn the brightest.
Tim Maia 1970 is a classic album that influence and inspired several generations of songwriters. So did the followup Tim Maia 1971. Both albums are regarded as classic albums in Brazil, and are without doubt, among the highlights of Tim Maia’s three decade recording career. However, the album that launched his career, was Tim Maia 1970. It’s the work of a charismatic singer-songwriter career, who was touched by genius and fundamentally flawed, Tim Maia,.