Tim Maia is famously known for his excesses. On one hand, his talent earned him a prominent place in Brazilian culture, with contributions spanning multiple genres such as Rock, Soul, R&B, Pop, and Disco. His career, spanning nearly thirty years, included 30 studio albums and numerous concerts, paving the way for many subsequent artists. On the other hand, his excessive lifestyle ultimately led to his early death in March 1998, attributed to drugs, alcohol, and poor eating habits.
Tim Maia was the youngest of 19 siblings. He assisted his father, a cook, with delivering packed lunches until the age of thirteen. At that point, he began working in an office in Tijuca to contribute to the household expenses. His childhood was marked by poverty, as they lived in a 'cortiço,' a type of low-income housing in Brazil.
Music played a significant role in Tim Maia's life. At the age of 8, he began singing in the neighbourhood church choir. By the time he was 12, he had won his first acoustic guitar from his father and had also taken up playing the drums. His musical inspirations came from the songs he heard on the radio, with Little Richard being particularly influential in shaping his Black identity. It's worth noting his diverse heritage; his grandfathers were Portuguese and Italian, while his grandmothers had African and Amerindian roots.
In 1956, Tim Maia formed 'Os Tijucanos do Ritmo,' a group that performed in Carioca churches where he played the drums. During his youth, he began frequenting the renowned 'Bar do Divino,' where he crossed paths with notable figures in Brazilian music, including Jorge Ben Jor, Erasmo Carlos, and Roberto Carlos, who is a celebrated Brazilian singer often referred to as the king of Brazilian music.
In 1957, Tim Maia formed a rock group called 'The Sputniks' with Roberto Carlos. They performed on the television show 'Clube do Rock,' hosted by Carlos Imperial on TV Tupi. This TV program originally began as informal gatherings among friends to listen and dance to rock 'n' roll music. It eventually evolved into a platform for emerging artists who performed in clubs, on the radio, and on TV. Before long, it caught the attention of TV Tupi, one of Brazil's most-watched channels. However, the partnership between Roberto Carlos and Carlos Imperial led to a solo deal for Roberto Carlos in the following week, which caused tension and ultimately led to the dissolution of Tim Maia's band.
This marked a turning point in Tim Maia's solo career. After his father's passing in 1959, with the assistance of priests, he relocated to the United States, specifically to New York. Initially, his plan was to study filmmaking, but he found himself drawn to the vibrant Black music scene and had the opportunity to connect with Motown influences, which profoundly shaped his musical identity. During his time in the U.S., he even formed a doo-wop band called 'The Ideals,' allowing him to immerse himself in the music idiomatically. However, it wasn't all smooth sailing. In the United States, he encountered a world of crime, involving drugs, firearms, and theft. He ended up being incarcerated and subsequently deported back to Brazil in 1964.
When Tim Maia returned to Brazil, the sensation of the moment was 'Jovem Guarda.' Inspired by rock 'n' roll, with influences from artists like Elvis Presley and the Beatles, this movement thrived from 1965 to 1968. It featured songs with simple melodies and lyrics cantered around teenagers and romantic themes. 'Jovem Guarda' had a significant impact in the young, influencing not only fashion but also the language of the era. The movement was led by prominent figures such as Roberto Carlos, Erasmo Carlos, and Wanderléa, who hosted a television program on Record TV, one of Brazil's most prominent channels during its golden phase.
Setting controversies aside, Tim Maia composed songs for Roberto Carlos, such as 'Não Vou Ficar,' and for Erasmo Carlos, including 'Não Quero Nem Saber.' These compositions enjoyed success at the time. In 1968, he produced Eduardo Araújo's album 'A Onda É o Boogaloo,' infusing soul into the 'yeah yeah yeah' era. Concurrently, Tim Maia began performing in São Paulo and, notably, appeared on Wilson Simonal's radio program. He also made a television presentation alongside the emerging band Os Mutantes.
Tim Maia's first solo work was a single released by CBS in 1968, featuring his original songs 'Meu País' and 'Sentimento.' His career in Brazil gained momentum starting in 1969 when he recorded a single for Fermata with the track 'These Are the Songs.' The following year, Elis Regina re-recorded it as a duet with him, and it was included in the album 'Em Pleno Verão.' Elis Regina, a renowned Brazilian singer, collaborated with him on this project. However, Tim Maia truly emerged in Brazil in 1970 when he introduced the soul and funk music he had learned in the United States. He blended American rhythms with Brazilian influences, including samba, baião, and xaxado, paving the way for a new direction in Brazilian pop music. His debut album with Polydor, titled 'Tim Maia' (1970), was an instant success, becoming the best-selling album in Rio de Janeiro for six consecutive months.
Tim Maia played a significant role in the Black Rio movement. This countercultural movement saw young Black individuals adopting Afro-American fashions and attitudes. It was a movement that raised alarm within the all-white military dictatorship in power at the time, as they feared the importation of Black Power ideologies into a country with the largest Black population outside of Africa. In the working-class suburbs of Rio de Janeiro and São Paulo, fans would gather on weekends for exuberant all-night dance parties featuring Maia and other bands.
Between 1974 and 1975, Tim Maia discovered the 'Cultura Racional' doctrine led by Manuel Jacinto Coelho. He was already prepared for his RCA debut with several instrumental tracks, enough for a double album. However, Tim Maia underwent a conversion and was inspired by his newfound belief. The record label refused to release his album, prompting him to purchase tapes containing the recordings. He then released 'Tim Maia Racional Volumes 1 and 2' in 1975 under his own label, Seroma. These albums were critically acclaimed and are considered by many to be among his best, with significant influences from funk and soul. During this period, he distanced himself from his vices, which positively impacted the quality of his voice. However, at some point, he became disillusioned with the doctrine and subsequently removed the albums from circulation. Today, they are considered rare hidden gems. Posthumously, in the 2000s, new songs were discovered, leading to the release of a third album on CD in August 2011.
Continuing in the 1970s, specifically in 1978, Tim Maia made his debut with Warner with 'Tim Maia Disco Club.' It was evident that he drew inspiration from disco music for this album. He collaborated with Banda Black Rio, known for their fusion of funk, soul, samba, and jazz, and together, they recorded one of his successful hits, 'Sossego.'
After releasing the single 'Do Leme ao Pontal' in 1982 (which would later be included on the 1986 Tim Maia album), Tim Maia followed up with the LP 'O Descobridor dos Sete Mares' in 1983. This album produced hits like 'O Descobridor dos Sete Mares' (written by Michel and Gilson Mendonça) and 'Me Dê Motivo' (composed by Michael Sullivan and Paulo Massadas). In 1985, he recorded 'Um Dia de Domingo,' another Sullivan and Massadas composition, as a duet with Gal Costa, achieving great success. Additionally, in 1986, Tim Maia took part in the musical 'Cida, a Gata Roqueira' on Rede Globo. This musical was a parody of the Cinderella fairy tale, inspired by the film 'The Blues Brothers' (John Landis,1980), where Tim Maia played a role akin to James Brown, portraying an evangelical pastor who improvised psalms accompanied by a funk band.
By the 1990s, Tim Maia's health had deteriorated due to excess weight, leading to conditions such as diabetes, hypertension, mobility difficulties, gangrene, and shortness of breath. These health challenges began to impact his concerts, with backing vocals taking on a more prominent role. During this period, Tim Maia recorded bossa nova albums, including one with Os Cariocas, and delivered classic versions of pop and soul songs. His productivity soared in this decade, with him recording more than one album per year and showcasing great versatility. His repertoire expanded to encompass bossa nova, romantic songs, funk, and soul. Dissatisfied with record companies, Tim Maia returned to the idea of establishing his own label, Seroma, which later became Vitória Régia Discos. Through this label, he began releasing his own music, starting with 'Tim Maia Interpreta Clássicos da Bossa Nova' in 1990, followed by 'Voltou Clarear' (1994) and 'Nova Era Glacial' (1995). However, he briefly returned to major labels for the successful 'Tim Maia ao Vivo' in 1992. Additionally, many artists of the new generation re-recorded his compositions during this period.
Tim Maia even attempted a career in politics, but it was short-lived due to his death in 1998. However, he remained forever as the king of Brazilian soul music.
When discussing Tim Maia, it's impossible to overlook the controversies surrounding him. His short temper and explosive behaviour made him challenging to work with, often requiring people to tread carefully around him with his unpredictabilities. Moreover, he had a constant demand for perfection in the sound quality of his shows, earning him the famous nickname 'property manager.' Among the various controversies, one incident gained significant attention following the release of the biopic 'Tim Maia' (Mauro Lima, 2014), and even more so with the miniseries 'Tim Maia: Vale o Que Vier.'(2015) The miniseries featured a scene where Tim Maia was portrayed as being treated with indifference by a childhood friend. Additionally, there were allegations that his producer threw money notes at the singer. Both of these scenes were ultimately cut from the miniseries.
Tim Maia's story can also be explored in the book 'Vale Tudo: O Som e a Fúria de Tim Maia' (2007), the theatrical play 'Tim Maia, Vale Tudo: O Musical' (2011), and a special with exclusive content 'Vale Tudo com Tim Maia' (2022). His legacy is as extensive as his excesses. He paved the way for a generation of Black Brazilians who were seeking direction and gave them sense of pride and identity like Little Richard did it to him. Musically, he influenced emerging artists and genres, leaving an indelible mark on Brazilian urban Black music, which still is popular not only in Brazil but also in foreign lands in the present time.
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