Ben Sidran – Don’t Let Go (1974)

Ben Sidran
Don’t Let Go
1974 Blue Thumb BTS 6012 


A1 Fat Jam 3:23
A2 House Of Blue Lites 3:08
A3 Ben Sidran’s Midnite Tango 2:40
A4 The Chicken Glide 3:43
A5 She’s Funny That Way 3:34
A6 Monopoly 1:27


B1 Don’t Let Go 3:18
B2 Hey Hey Baby 3:30
B3 The Foolkiller 3:45
B4 The Funky Elephant 3:27
B5 Snatch 3:48
B6 Down To The Bone 1:08

Alto Saxophone – Bunky Green
Bass – Kip Merklein (tracks: B4), Phil Upchurch, Randy Fullerton (tracks: A1 to B3, B5, B6)
Drums – Tom Piazza (tracks: B2)
Drums, Percussion – Clyde Stubblefield, George Brown, Phil Upchurch
Guitar – James P. Cooke, Phil Upchurch
Harmonica – Jerry Alexander
Organ – Jim Peterman
Piano, Vocals – Ben Sidran
Tenor Saxophone – Sonny Seals
Horns arranged  by Sonny Burke

Strings arranged by Les Hooper
Art Direction – John P. Schmelzer

 

Vinyl; Pro-Ject RM-5SE with Audio Tecnica AT440-MLa cartridge; Speedbox power supply); Creek Audio OBH-15; M-Audio Audiophile 192 Soundcard ; Adobe Audition at 32-bit float 96khz; clicks and pops removed individually with Adobe Audition 3.0; resampled using iZotope RX 2 Advanced SRC and dithered with MBIT+ for 16-bit. Converted to FLAC in either Trader’s Little Helper or dBPoweramp.  Tags done with Foobar 2000 and Tag and Rename.

Possibly it is because of his uncanny resemblance to Neil Innes – or the suspicious fact that nobody has ever seen them both in the same place, at the same time – but  sometimes I don’t know how seriously to take Ben Sidran.  But I doubt that fact would bother him, because he’s been far too busy accomplishing an insane amount of things in his long and prolific career for my perplexity to concern him at all.  Although at this point in his life as an artist, Ben Sidran is pretty firmly ensconced in the “jazz” area of your local record store, his overall vision and his diverse body of work taken as a whole is pretty hard to categorize, and there is a touch of whimsy to much of it.  Plus, his records are always fun, a word that doesn’t get paired with “jazz” nearly enough.

In his early days, he flirted with the life of rock stardom when he teamed up with his old college friend Steve Miller.  Sidran contributed extensively to his most interesting record (Brave New World), co-wrote his most charming hit single (Space Cowboy), stuck around for a few more records before going back to his old home base of Madison, Wisconsin, where he has essentially stayed ever since. He published his doctoral dissertation (which he earned in England in the 60s while moonlighting as a session man) as a book, back when dissertations were actually readable,  called ‘Black Talk’.  He hosted a late-night television show as idiosyncratic as he was, called “The Weekend Starts Now,”  in which he had guests like Kinky Friedman and Jane Fonda when she was at her anti-war finest, as well as jazz heavies like McCoy Tyner and Danny Richmond.  He’s worked with Tony Williams, Jon Hendricks, Phil Upchurch (who appears on the album here), and produced records for Mose Allison, Van Morrison, and Georgie Fame.  And somehow he has managed all this while also hanging out with Eric Idle and George Harrison and producing an entirely separate body of work under the name Neil Innes.

On his own albums, Sidran’s stable of musicians was always interesting.  For “Don’t Let Go” we have fellow Madison resident Clyde Stubblefield on drums, Phil Upchurch on bass and guitar, and saxophonists Sonny Seals and Bunky Green all joining the party.  Jim Peterman, a colleague from his Steve Miller days, provides some organ on a few tracks. The original songs here are all compelling, and Sidran seamlessly blends in jazz chesnuts from other composers: a very free and liberal interpretation of fellow Wisconsin-ite Freddie Slack’s “House of Blue Lites” seasoned with some profanity and jabs at New York snobbery,  a similarly stylized “She’s Funny That Way” (recorded by Gene Austin), Bud Powell’s brief ‘Monopoly’, and “The Foolkiller” from Sidran’s most obvious musical idol, Mose Allison. The original tracks span jazz, funk, and even soul in the song “Hey Hey Baby,” which is almost catchy enough to be a hit, as soon as understated Mose Allison-like beatnik crooning comes back into style.    Allison’s “Foolkiller” is arranged in an unrecognizable way and ornamented with greasy slide guitars and harmonica.  The only track that really nods to his past as a denizen of 60’s swinging London is the group composition (mostly likely emerging from an improvised jam) titled The Funky Elephant,which sounds like Dr.John dropping acid with The Beatles.  But not the 1968 Beatles so much as the 1974 Beatles, so basically a few years before they formed Klaatu, I guess.  The cut “Snatch” showcases Stubblefield at his best on the drum kit, tossed over a bed of mixed Wurlitzer and piano, and horn and string charts that make it all sound so easy. (It also makes an appearance on Flabbergasted Freeform Fourteen.)

A curious bit of trivia about the title track of the album: it was written for the original television series adaptation of “Serpico” but was shelved when the project was put on hold for several years due to legal complications.  When the show finally took to the airwaves in 1976 (for only one season, alas), Sidran’s track was not used.  It was written for a scene in which Frank Serpico is a given a surprise birthday party by the rest of his precinct and gets all teary-eyed and starts hugging and kissing everyone.*

Sidran appears to be, constitutionally speaking, a workaholic unable to simply take it easy.  He continues to record, perform, and write.  One of his most recent endeavors is a book regarding the role of Jews in the music business, titled “There Was a Fire: Jews, Music, and the American Dream.”  I’m sure archive-based historians might turn up their noses a bit at his interloping, but as a Jew and a musician I think he’s got a right to explore the subject, and seems to have kept busy on the lecture circuit talking about the book over the last few years.  You can catch some of his talks on his YouTube channel.  This channel, incidentally, is one of the more impressive artist channels I have seen on YouTube, as somebody (if not Sidran himself, then a stalwart staffer) has uploaded a ton of archival material, including lots of clips from the aforementioned television program from the early 1970s.  Check it out here.

(*Disclaimer: this trivia fact may or may not have any basis in our consensual reality.)

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Black Ice – Black Ice (1977)

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Black Ice
“Black Ice”
1977 HDM Records (HDM 2001)
A1     Shakedown     7:06
A2     Blind Over You     3:36
A3     Girl, That´s What I Call Love     2:51
A4     I Feel The Weight (Over Losing You)     4:07
B1     The Wine Is Bitter (But The Grapes Are Sweet)     4:08
B2     Touch     3:35
B3     Making Love In The Rain     3:15
B4     I Want You Back     3:12
B5     You Got Me Going In Circles     2:46
    Producer – Hadley Murrell
Black Ice is: Antone Curtis, Gerald Bell, Cleveland Jones, Frank Willis, Ralph Lars
Associate producers: Ray Jackson and Eddie Horan
Arranged by Ray Jackson
Strings by Bill Henderson
Audio engineers: Angel Balestier and Dennis Sands (ALB Productions)
Mastered by Bob Mac Leod and Kevin Gray (Artisan Sound)
Distributed by Amherst Records, Buffalo NY

This is the sole sentence that somebody has entered into the Discogs entry for Black Ice: “A funk and soul unit from US who never sustained much commercial success or had any lasting aesthetic impact.”  Ouch. Sounds like somebody who is owed royalties or is otherwise carrying around a grudge opened up a Discogs account just to write that.  If I limited my listening habits only to artists who had a “lasting aesthetic impact,” my library would be much smaller. After all, all that ‘seminal’ stuff has to impact something, right?

Black Ice, who only made three albums spread out between 1976 and 1982, do come off a bit like a group in search of an identity, and their sound on this first record was slightly anachronistic.   Although the perfectly-cropped erotic cover of this album may have still been contemporary with 1977, the music recalls the early to mid 70s, a combination of  The Spinners and a less complex version of early Kool and The Gang.  In fact a listen to the best-known (and best) track off of it, “Breakdown” – recorded and released as a single before the rest of the material – is likely to give the impression that you are in for a wilder, funkier ride than you will actually get.  That song is a raw, uncut funk monster (which incidentally features a riff that is only a few sixteenth-notes shy of being Jungle Boogie).  Although the remaining tracks on the record can get pretty funky too, there is nothing nearly as heavy, nor anything where the band are given the space to cut loose as they do on this track.  So my own first reaction on buying this LP was a bit of anti-climax, based on the expectations of this first cut.  Most of the other tracks are slower or mid-tempo ballads.  But being influenced by or even emulating The Spinners or The Four Tops is not a bad thing at all, so it didn’t take long for me to readjust the parameters of my listening.  The fact is that Black Ice were a really solid vocal group and these are solid songs.

The first three minutes of “Shakedown” can be found here (the album version is 7 minutes!)

As harsh as the anonymous Discogs critic might have been, he or she is kind of right.  In the compressed time-space of popular music, this kind of group probably seemed a bit old-fashioned by 1977, and the sound of their next album, which didn’t come out until two years later – the wonderfully titled “I Judge The Funk” – reflects a consciousness of that and a desire to update their sound.  This had mixed results.  That record has its moments in the way of a few well-written ballads and at least one monster jam (the somewhat goofy ‘Play More Latin Music’), but there are also stabs at disco-funk that are not quite convincing.

Short of having a visionary in the group (or someone determined to leave “a lasting aesthetic impact), vocal groups frequently need a good producer to set an agenda and direction.  The small HDR Records seemed to lack this, although most of the tracks on their first two records have a writing credit from “Associate Producer” Eddie Horan.  I also don’t know anything about Horan, but he apparently recorded an album of his own in 1978 (which I have not heard), released on HDR but also picked up by TK Records out of Miami – oddly enough, a label that I would have recommended to Black Ice had I been around and had anybody asked me.  I am not even a blip on the map of soul music crate-digger scholarship, so what do I really know.  But TK Records (and their large family of affiliated subsidiaries) had a knack for taking artists who may have cultivated regional interest in clubs or local radio and getting some modestly-successful commercial recordings out of them.  With no releases between 1979 and 1981, the intervening history of Black Ice is unknown to me.  But their last album (also titled simply Black Ice) once again shows a stylistic shift, this time into the early 80s with bass synths and perhaps a mild influence of electro-funk – once again, these are elements that make up many a great record in my collection, but not ones which Black Ice were necessarily good at incorporating.   In my imagined, filling-in-blanks history of the group, I propose a narrative of  the group slipping into an undefined hiatus while some of them attempt solo careers, not having much luck, and then reconvening around 81-82 for one last reach for the stars.  This final album also involved a switch to a new label, Montage, who with artists on their roster like Rose Royce represented a potentially higher profile for the band.  Things didn’t seem to work out too well for them at Montage either.

 Is this ’77 record a lost classic?  I don’t  know.  But the opening track is pretty phenomenal, and the rest of it holds up well after repeated listens.  My one gripe might be the gratuitous female groaning during “Making Love In The Rain” that is mixed twice as loud as the music and makes me reach for the volume knob if there is anyone within earshot with whom I am not getting freaky.  It sounds like a producer’s afterthought, and the song doesn’t need it.

This was another vinyl transfer I had sitting on my hard drive for two years, reluctant to share because I didn’t like the audio quality.  My copy is kind of crispy, my stylus and cartridge at the time were a bit on the bright side, and there is one track with the hi-hat mixed so high that it might kill you (“decapitation by hi-hat” was a finishing move I tried to pitch to the creators of Mortal Kombat but nobody seemed to think it was as cool as I did).  While typing up this post, I noticed that one of the mastering engineers was a young Kevin Gray, which explains why (hi-hat on one track notwithstanding) the album actually sounds really good.  Gray has gone on to become one of the most respected mastering engineers out there, and in particular has been working on stellar reissues lately released by a few audiophile labels. 

To make my delay in this post even more shameful, a reader specifically requested this album after I played ‘Breakdown’ on one of my first podcasts.  I told him I planned to get around to it… Well here it is!

B.T. Express – 1980 (1980)

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B.T. Express
1980
Released 1980, Columbia JC 36333
 
 
 
Takin’ Off     3:52
Heart Of Fire     3:52
Does It Feel Good     5:43
Give Up The Funk (Let’s Dance)     6:25
Closer     3:35
Have Some Fun     5:23
Better Late Than Never     5:33
Funk Theory     4:22
 
Produced for Mighty M Productions
Mastered at Sterling Sound, N.Y.C.
Recorded and mixed at Counterpoint Studios, N.Y.C.
Additional recording at Music Grinder Studios, L.A.
Additional mixing at The Hit Factory, N.Y.C.
B.T. Express is:
Carlos Ward – Alto Saxophone, Flute, horn arrangments on ‘Give Up The Funk’
Rick Thompson – Guitar
Wesley “Pike” Hall, Jr. – Lead Guitar, Vocals
Bill Risbrook – Tenor Saxophone, Vocals
Dennis Rowe – Percussion, Vocals
Jamal Rasool – Bass, lead vocals
Additional musicians:
Buddy Williams – Drums
Gary Scott –  Arrangements and conducting, keyboards, synthesizer
Howard Westley “Butch” Stevens – keyboards
Recorded and mixed by Alan Meyerson and Gary Chester
Additional recording engineers – Gary Skardina, Ryan Ulyate
Assistant engineers – Ben Wisch, Karl Westman, Michael Ruffo
Mixed by – Gerry Block
Mastered by Greg Calbi
Additional production and arranging – Morrie Brown
Concertmaster – Marcy Dicterow
Executive Producer (supplied the coke) – Fred Frank
Barcode and Other Identifiers
    Matrix / Runout: AL 36333
    Matrix / Runout: BL 36333

If you’ve never listened to a record by B.T. Express, this probably isn’t the place to start.  Not that it is a bad album, it’s just not a really good album – but the good cuts on it are pretty damn good.  The quintessential 1970s funk sound of the band’s classic years is being “updated” for a new era here, complete with futuristic themes in the cover art and a little bit of the music.  Take the opening cut, “Taking Off!”, which appears to be about getting an aerobic workout in outer space.  It’s important to stay healthy in zero gravity, after all.   This song only becomes listenable after about the two-minute mark, when a blast-off of delay on the vocals signals that it’s time for the Express’ best asset, slinky horn lines.  Over all, though, the song is pretty awful, flirting with a “yacht rock” sound that is absurdly becoming hipster-trendy and undergoing a “revival” by certain contemporary music artists  who want to argue for it’s musical sophistication while they tell their audiences not to yell out during concerts or show up in football jersey’s because that’s too low-rent for their wine connoisseur pretensions.  Seriously, “yacht rock” and AOR are the new crate-digging frontier?  What’s next, Madlib remixes of Barry Manilow tracks?  Sorry but I’ll pass and wait for the next fetish they come up with, I ain’t biting on this revival.

Oh right, I was discussing a B.T. Express album.  Well, the Michael McDonaldisms get put away and things get more enjoyable.  There are a lot of non-band members on this record, most likely assigned to it by Columbia  after their previous album failed to do much on the charts.  There is something shameless about the interference in the band’s work ethic here, and the attempts at FM-crossover hooks in the choruses doesn’t always work for me.  I mean the second track is called “Heart Of Fire,” for Pete’s sake.  It’s almost like it was intended to confuse a slightly drunk person at a jukebox looking to for Earth Wind & Fire’s “That’s The Way Of The World” aka Hearts Afire.  Aside from the title, though, the similarity ends there.  It’s a good disco-funk burner, and has subtle poetry in lines like, “But my love for you, it keeps on comin’ and comin’ and comin’ and comin’…”    The third song, however, sounds to my ears like almost a direct theft of the tune “Don’t Hold Back” by Chanson to a degree that would even embarrass  Robin Thicke and Pharell.  I can’t objectively say anything about this tune.

The big track that people remember from this album, the one that charted, is “Give Up The Funk,” which sports another profoundly unoriginal title.  Thankfully there are no Parliament ripoffs to be found here, and no references to “the bomb,” as the sound is 100% B.T. Express with an updated sound, including the ray gun ‘pew pew pew’ of electric tom tom drums.  The tune also brings back the Express’s best trademark:  long, darkly-hued horn phrases used to punctuate the jams in a an understated  way, as if Maceo Parker took a few Valium and was trying not to be noticed off somewhere near the back of the stage.  Sax player Carlos Ward may have shunned the spotlight, but it’s the big failing of this record – and evidence of typical major label short-sightedness – that the one and only track that he arranges is also the only one to be a hit.  The others are all arranged by outsiders Morrie Brown and Gary Scott.  It should be noted that this cut contains an unusual spelling, “F-F-U-F-U-N-K”, which the band determined was the way our Alien Overlords were going to spell their favorite genre of music, due to their leader having a chronic stutter.

Side Two opens with the ballad “Closer,” the first ballad of the album.  I was talking to a friend a few weeks ago about how so many albums from this period would open with a tight, upbeat song for four minutes to get you dancing, then on the second track they would go all Barry White.  Too soon, man, not even Barry moves that fast.  So bonus points to B.T. Express for holding back until the second side.  This track is melodic and smooth, but not overdoing either one of those qualities.  The best thing about it is a completely nonsensical saxophone solo at the end, which begins each bar all Grover Washington but ends all Eric Dolphy.  What would Barry think of that?  Barack?

“Have Some Fun” is a good mid-tempo roller-skating tune, and the only time they dust off the old Hammond organ that featured so prominently on earlier albums.  Again, the chorus sounds written by committee, a formulaic hook that is pretty forgettable an hour later.   It has a nice breakdown with cool riffing on flute, organ, and guitar that makes me pretty happy, though.  It’s probably been sampled a bunch of times.   The next song, “Better Late Than Never,” probably could have just gone with “never,” I don’t have much to say about this tune either.  In fact you could probably just stop the record after “Have Some Fun” and preserve a better memory of this album, because the closer “Funk Theory” is pretty bad.  While  putting together this post I noticed that it seems reasonably popular on YouTube, so what the hell do I know?  The title sort of says it all, it’s as if a bunch of number crunchers wrote a program in DOS that would churn out FM-friendly funk hits, with lyrics that would look better on a chalk-board written a hundred times by an errant, unfunky student.

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Flabbergasted Freeform Radio Hour # 8

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FLABBERGASTED FREEFORM No.8
April 2014

Well it’s about time for another podcast.  I hope you enjoy it.  You can listen to it on either Mixcloud , or get yourself a direct download from these links.

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Playlist

Lord Nelson – Garrot Bounce
Alejandro Duran – Cumbia Costeña
Latin Fever – Chirrin Chirran
Sly and The Family Stone – Jigsaw Puzzle
Chubby Checker – Gypsy
Gabor Szabo – Theme From Valley Of The Dolls
Shorty Rogers and His Giants – Chega de Saudade
João
Gilberto, Miúcha, and Stan Getz – Isáura
Conjunto
Ajiruteua De Marapanim – Da Cacaia
Blue Mitchell – Flat Backing

———–

Nelson Sargento – Primavera
James Moody – You Got To Pay
Paco de
Lucia – Quizás, quizás, quizás
Jackson do
Pandeiro – Nortista quatrocentão
Raul Seixas, Sergio Sampaio, Edy Star – Quero Ir
Isaac  Hayes –
Chocolate Chip
Alberta Hunter – Sugar
Prince Buster – Don’t Throw Stones (or Rude Rude Rudie)
Olodum –
Vinheta Cuba-Brasil
The J.B.s – The Grunt Pt. 1
Golden Gate Quartet – Same Train
Som Três – Oh Happy Day
Maysa – Quizás, quizás, quizás
Ijahman Levi – Are We A Warrior

in 320 

Go to the PODCAST ARCHIVES PAGE

Chanson – Chanson (1978) 24/96khz

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CHANSON
“Chanson”
1978 Ariola Records  SW-50039


A1     Don’t Hold Back    4:23
A2     I Can Tell    7:03
A3     I Love You More     3:49
B1     Why     4:25
B2     Did You Ever    4:33
B3     All The Time You Need    5:10

LINEAGE: Vinyl; Pro-Ject RM-5SE turntable (with Sumiko Blue Point 2 cartridge, Speedbox power supply); Creek Audio OBH-15; M-Audio Audiophile 192 Soundcard ; Adobe Audition at 32-bit float 192khz; Click Repair; individual clicks and pops taken out with Adobe Audition 3.0 – dithered and resampled using iZotope RX Advanced (for 16-bit). Tags done with Foobar 2000 and Tag and Rename.

James Jamerson Jr – lead vocals and bass guitar
David Williams – lead vocals, guitar
David Paich – Keyboards
Jeff Porcaro – drums
Eddie Bongo Brown – congas, bongos
Ollie Brown – percussion on “Did You Ever”
Al McKay – guitar
Steve Porcaro – Synthesizer on “All The Time You Need”
Linda Evans – lead vocal on “I Can Tell”
Horns – Donald Myrick, Michael Davis Michael Harris, Louis Satterfield, Fred Jackson Jr., Willian Green, Oscar Brashear, George Bohannon
Backing Vocals – Julia Tillman, Lorna Willard, Marti McCall
 Recorded At – Kendun Recorders
 Mixed At – Kendun Recorders
 Mastered At – Allen Zentz Mastering
 Arranged By – Benjamin F. Wright Jr.
Art Direction, Illustration – John Georgopoulos
Published by Kichelle Music/Jamersonian Music/Cos-K Music ASCAP.
Produced for MK Productions.
    Concertmaster [Strings] – Janice Gower
      Contractor – Don Myrick
    Coordinator [Production Coordination] – Susan Evans
    Engineer [Recording and Mixing] – Richard Heenan
    Executive Producer – Marc Kreiner, Tom Cossie
      Mastered By – Brian Gardner
    Photography By [Back Cover] – Art Maruyama
    Photography By [Front Cover] – Sam Vinci
        Typography [Lettering] – Tom Nikosey
Recorded and mixed at Kendun Recorders.
Mastered at Allen Zentz Mastering Inc.

“Chanson” was a project of  James Jamerson Jr. – son of the great Motown legend James Jamerson, and who had played with a bunch of Motown bands in his own right, including the 70s incarnation of the Temps – and David Williams, who had played with The Dells.  The two standout tracks were released on the single – “Don’t Hold Back,” the manically funky anthem to the 70s philosophy of “if it feels good do it” (actually a lyric in the chorus, shamelessly) with which they had a reasonably big hit and which features a classic breakdown in the middle, and the slower tune “Did You Ever,” which sounds like it might have been aiming for the Quiet Storm radio format.  Ollie Brown’s percussion on that tune is some of the most quiet conga playing I have ever heard and the whole tune works real nicely.  “I Can Tell” is straight-up disco-funk with lots of conga and a nice vocal from Linda Evans.    “I Love You More” is a  modern soul number with a funky verse, a pop hook in the chorus, and a tight little flute riff.  Side One only lasts about fifteen minutes (the whole album clocks in a half an hour).  So at this point you would get up and refresh your drink, powder your nose or whatever other rituals compel you, and when you flipped the record over hopefully you wouldn’t notice that the next song “Why” has the exact same chord pattern as the last tune.  Except it sounds more like Billy Ocean or maybe the Doobie Brothers covering a song by Billy Ocean.  It’s not bad but at this point you start to wonder if some of this record isn’t a kind of “paint by numbers” modern soul / R+B album.  The mellow “Did You Ever” brings things back from the brink and keeps it interesting, and the album goes out on another slow-burner, “Take All The Time You Need”.

The playing is all super-tight and the arrangements are solid but lean, with a live-band sound to all of it even though there are some string overdubs.  I particularly like how they favored using acoustic piano over keyboards, kind of an unusual production choice for an album of this kind in 1978.  The few synth patches here and there stand out because of that, but in a good way, like in the lead off track.  All in all, this group had potential but sort of prove that oodles of talent and tight grooves can only get you so far without the stellar songwriting available to the environment nurtured Jamerson’s dad.  The whole thing has a pretty radio-friendly sound, and the first track will stay stuck in your head for days, but the rest of the tunes may need a little superglue or chewing gum.  They made one more album, which I have but about which I can literally remember nothing at all.  Which leads me to believe this is the better of the two, although I suppose I can dig that one out again sometime.

P.S. – Louis Satterfield of Earth Wind and Fire toots a horn on this record.

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Tim Maia – Tim Maia (1977) (repost)

tim maia

tim maia

Because a neo-colonial gringo record label released a compilation of Tim’s material a while ago, heavily promoted by hipster-indie icons to sell CDs and overpriced vinyl to the trendy gentrifiars of American urban spaces, all of my Tim Maia blog posts got shut down on the same day.  I am reposting them for historical, archival purposes complete with my inane writings of the time they were originally posted.  Make sure to read all the appreciate comments and you will thank me later.

1 Pense menos

(Paulo Ricardo – Tim Maia)

2 Sem você

(Paulo Ricardo – Tim Maia)

3 Verão carioca

(Paulo Roquete – Reginaldo Francisco – Paulo Ricardo – Tim Maia)

4 Feito para dançar

(Paulo Ricardo)

5 É necessário

(Tim Maia)

6 Leva o meu blue

(Tim Maia)

7 Venha dormir em casa

(Tim Maia)

8 Música para Betinha

(Carlos Simões – Reginaldo Francisco – Paulo Ricardo – Tim Maia)

9 Não esquente a cabeça

(Carlos Simões – Tim Maia)

10 Ride twist and roll

(Tim Maia)

11 Flores belas (Instrumental)

(Tim Maia)

12 Let it all hang out

(Tim Maia)

Tim Maia – Vocal, drums, congas, acoustic guitar, percussion
Paulo Ricardo R. Alves – 6 and 12-string guitars, vocals,
Reginaldo Francisco – Acoustic and electric piano, organ, arp, vocal
Paulo Roberto R. Nazareth – guitar & vocal
Carlos Simões – bass
Geraldo – trumpet
Darci Seixas – trombone
Sebastião – alto saxophone
José Mauricio – guitar, vocal
César Fernando – congas, vocal
Paulo do Couto – cowbell
Guto Graça Mello – string arrangements

Production, horn and vocal arrangements – Tim Maia

Released on Som Livre 1977, reissue

According to Nelson Motta’s biography of Tim Maia, “Vale Tudo,” this record had a working title of “Verão Carioca” and marks the period where Tim began imbibing large quantities of coke. Whatever, Motta’s book is in fact poorly written, lacking any kind of sources, or even a comprehensive discography (or a partial one, for that matter). What is for certain is that this is the record where disco begins to be felt in his music in a positive way. Rug burners like “Feito Pra Dançar” nestle alongside heavy funk like “E Necessario.” Another highlight is “Não Esquente a Cabeça” which has memorable hooks and melodies, and tasty electric piano and guitar work over a smokey post-bossa pan-latin groove. It’s probably the catchiest song on here. This is prime material by polymath Tim Maia — producer, multi-instumentalist, and arranger on this record.

Motta does relate an anecdote about the rehearsals for the album, when there was construction going on right next door and all the songs ended up being arranged to the tempo of a jack-hammer. There is a reference to this on the ‘thank you’ section of the original album’s back cover.