Tim Maia – Tim Maia (1973) (24-96 vinyl)

This post inaugurates a Tim Maia project that will hopefully inaugurate a separate Tim Maia page that will be a repository for all things Tim. In the meantime I want to register that this is in some ways a PROTEST for the disgraceful boxset that has just been issued by Universal records (shamelessly called ‘Tim Maia Universal’) that gives his hardcore fans absolutely NOTHING. No rarities or unreleased tracks, no material that was not released on Universal (which excludes at the very least three very important records), and I will bet you $20 that they also butchered the audio in the mastering by making everything as loud as everything else. It is a travesty that an artist as important — and as popular — as Tim Maia could have the majority of his catalog fall out of print for so long, only to be reissued in such a careless format in what is simply a money-making venture in time for the holidays. I had been hearing about this boxset being in the works for over a year now, and I had hoped that my doubts and reservations would be proven wrong. They weren’t. As with the Jorge Ben box, it is better than NOT having the music in print, but they could have done a lot better. (For Jorge Ben, we at least got 2 discs of hard to find and unreleased material). I am going to end up buying the damn thing anyway, because I am what it is called “a completist” about these things and am therefore cursed. But I ain’t going to like it.

With no further ado, here is…

TIM MAIA

Tim Maia”

Released 1973 on Polydor (2451 041)

1 Réu confesso (Tim Maia)

2 Compadre (Tim Maia)

3 Over again (Tim Maia)

4 Até que enfim encontrei você (Tim Maia)

5 O balanço (Tim Maia)

6 New love (Roger Bruno, Tim Maia)

7 Do your thing, behave yourself (Tim Maia)

8 Gostava tanto de você (Édson Trindade)

9 Música no ar (Tim Maia)

10 A paz do meu mundo é você (Mita)

11 Preciso ser amado (Tim Maia)

12 Amores (Tim Maia)


Vinyl -> Pro-Ject RM-5SE turntable (with Sumiko Blue Point 2 cartridge, Speedbox power supply) > Creek Audio OBH-15 -> M-Audio Audiophile 2496 Soundcard -> Adobe Audition 3.0 at 24-bits 96khz -> Click Repair light settings, some isolated clicks removed using Audition -> dithered and resampled using iZotope RX Advanced. Tags done with Foobar 2000

Musician credits:

Drums – Myro

Bass – Barbosa

Piano – Cidinho

Organ – Pedrinho

Lead electric guitar – Paulinho

Acoustic guitar – Tim

Twelve-string guitar – Neco

Conga and tumba – Ronaldo

Gonzá and tamborine – Roberto

Cow bell – MitaTrumpets – Waldir Barros, José C. Amorim

Tenor sax – Aurélio Marcos

Baritone sax – Maurilho Faria

Trombone – Edmundo Maciel

French horns – Znedek Suab, Carlos GomesVocals- Paulo Smith, Sheila Smith, Gracinha, Edinho, Genival (Cassiano), Amaro, Tim

Arrangements – Tim Maia (arranjos de base), horns and strings – Waldir A. Barros

Produced by Tim Maia

Recording engineer – Ari Carvalhaes

Assistant engineers: João, Paulinho, Luiz Cláudio, Jayro Gaulberto

Mixed by Ari Carvalhaes and Tim Maia

Rehearsed at SEROMA Studios and recorded at Phonogram Studios, Rio

This is Tim Maia’s fourth album, and it really seems as if the guy had the Midas touch, simply could not make a bad record. His third album (also self-titled) was a bit of a drop-off in consistency, although by no means a weak effort. This record, though, is a masterpiece from start to finish. It opens with “Réu confesso” which unsurprisingly was the huge hit of the summer when it was released. Written for a girlfriend with whom Tim had just separated. This song was his attempt to get her back. It didn’t work, but it ended up being one of the biggest hits of his career. The other huge hit off this album was “Gostava tanto de você”, written by Édson Trindade. Both are heavy-hitting soul classics. “Compadre”, with its loping but heavy beat, warm vocals, lyrics of friendship, and strummy acoustic guitar (left channel) balanced against a quietly-mixed Hammond organ (right channel) is yet another perfect track. “Over Again”, sung in English, would fit well alongside any of the soul hits on the US airwaves in 1973. “Até quem enfim encontrei você” is another uptempo, breezy love song, not all that different from ‘Réu confesso’ to be honest but I am not complaining. The melody is distinct and it may have been another hit for him.

The album has some lovely soul ballads: “New Love”, once again in English; “A paz de meu mundo é você” which has a church hymnal quality to the melody and chord progression; and the austere solo guitar-and-voice “Preciso ser amado” are all excellent, although I would like to hear an alternate take of the latter as it seems to lack a little bit of the emotion Tim usually puts into his voice. There are a few all-out funk soul workouts on this record — “O balanço” with its punchy horns and wah-wah guitar are contrasted by Tim’s mellow (nearly slurred) vocals and the drummer laying on the ride cymbal. The clean-tone of the rhythm guitar is delicious too, making this tune sort of my special ‘secret’ favorite among the more obvious things to love here; “Do Your Thing, Behave Yourself” begins as another mid-tempo melodic swinging piece with uplifting vocals about taking it easy and remembering that unhappiness doesn’t last forever, if you just do your thing and so on, and then what is a great song becomes even greater as it goes out on a rocking crescendo that should remind us that Tim had once been a leather-jacket wearing Jovem Guarda rock rebel. The albums closes on a solid funk instrumental, “Amores”, with some nice fuzzy guitar lines. I remember the first time I heard it, I kept waiting for the vocals to kick in, as it sounds like one long build-up to a vocal number. Perhaps the band used this jam to warm up the crowd before Tim got out on stage (when he decided to finally come out on stage..). In the context of an LP, it has the effect of making me want to flip the record over and listen to the whole thing again, which is just fine by me. “Gostava tanto de você”, as has already been said, was the other huge hit off this album, and for good reason. Kicking off with a very-sample-worthy snare drum and tom-tom intro and then ripping into a gorgeous arrangement with horns, strings, and timbales giving a triumphal lift to what are bittersweet lyrics. There are rumors and urban legends about what the lyric is about, most of them having been invented on the internet, and Nelson Motta does nothing to clarify the matter as he simply doesn’t mention the content at all.

In fact Nelson Motta spends almost no time at all talking about this album in his sloppy biography of Tim, “Vale Tudo,” merely mentioning that the two singles off it were a huge success and then going on to give us more details about what Tim had for lunch. It is unfortunate, because I for one would like more insight into the creative process in the studio, what the vibe was like, and so on. Tim was notoriously picky about sound — something which Motta does in fact devote a bit of time writing about – and this album is mixed unbelievably perfectly, it is as if he finally managed the auditory orgasm he had been building towards in his first three records. This is also something like the pinnacle of the first phase of Tim’s career — after this album, things would become a lot more complicated. In fact, exactly as the album was being released, Tim got out of his contract with Polydor and was only in communication with them to collect his royalties. He had been courted by RCA-Victor, and he had his sights set on putting out a double album.

It has been said (somewhere, not by me), that there is a mysterious curse surrounding the creation of double albums. They are usually the mark of hubris and overindulgence, and it seems something usually bad happens — The Beatles began their process of splitting up during The White Album being one famous example, but there are plenty of others. Often the results are artistically very gratifying but frequently the whole process is very taxing on the mental health of those involved and often the results end up financially a disaster. Such was the case with Tim Maia, who ended up turning his double album project into a work of religious proselytization for the Cultura Racional sect. But that story is for another post. Let this album, then, mark the `end of the innocence` for Tim Maia, and what a joyous sound it is.

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Dom Salvador e Abolição – Som, Sangue e Raça (1971)

DOM SALVADOR E ABOLIÇÃO
SOM, SANGUE E RAÇA
1971 CBS (137735)

First CD pressing – Sony Music (Brasil) / Columbia (2-495859) 2001

Reissue on Selo Cultura / Sony Music 2010

1 Uma vida (Dom Salvador, Abolição)
2 Guanabara (Arnoldo Medeiros, Dom Salvador)
3 Hei! Você (Getúlio Côrtes, Nelsinho)
4 Som, sangue e raça (Marco Versiani, Dom Salvador)
5 Tema pro Gaguinho (Dom Salvador)
6 O Rio (Arnoldo Medeiros, Dom Salvador)
7 Evo (Pedro Santos, Dom Salvador)
8 Numbre one (Dom Salvador)
9 Folia de reis (Paulo Silva, Jorge Canseira)
10 Moeda, reza e cor (Marcos Versiani, Dom Salvador)
11 Samba do malandrinho (Dom Salvador)
12 Tio Macrô (Arnoldo Medeiros, Dom Salvador)

Dom Salvador – piano and accordion
Luiz Carlos – drums and vocals
Rubão Sabino – bass
Oberdam P. Magalhães – Alto sax and flute
Serginho – trombone
Darcy – trumpet and flugelhorn
José Carlos – guitar
Nelsinho – percussion and vocal
Mariá – vocal

Artistîc direction – Ian Guest
Photography – Franklin Correâ

Reeissue project supervision by Charles Gavin
Remastered from the original tapes by Luigi Hoffer at DMS Studies, Rio

dom salvador

This is a huge album — and the ONLY album — from Dom Salvador e Abolição, who were part of the Brazilian soul music explosion in the wake of Tim Maia’s first record, performing at festivals alongside Tim, Toni Tornado, Antonio Adolfo e Brazuca, and others. Long forgotten about, perhaps because it was ahead of its time in its eclecticism and sophistication, it was reissued on CD for the first time some years ago — I am not sure when, unfortunately. This pressing is part of a brand-new series of reissues put out by my favorite book & recordstore, Livraria Cultura. (Think a Brazilian Borders or Barnes and Noble, but with occasional art openings, lectures, and live performances..) I bought it the same week it arrived, and found this review from Tarik de Souza (possibly my favorite Brazilian music critic at the moment) had been online for some time, indicating that it had already seen a CD reissue previously.

I have translated the first paragraph of that review into English. As you can see, this band contained the nucleus of Banda Black Rio, who would become icons of the funk and soul movement in Brazil. The rest of the review talks about pianist Dom Salvador’s background as part of jazz trios such as Rio 65 and Copa Trio, the latter of which provided backing support to both Elis Regina and Jorge Ben. He goes on to describe a few chosen tracks and their use of electric and acoustic piano, brass, cuíca and accordion in their mixture of funk, samba, baião, and jazz. Dom Salvador moved to the USA later in the 70s and has never left. He also has a website, which also includes a page with this sadly small discography on it but little else.

I can’t really add much to Tarik’s review as he is very good at what he does! Enjoy this one.
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Partial Flabber translation

This isn’t just a seminal album recovered by the meticulous work of researcher Charles Gavin (Titãs). It is an estuary. All the black rivers that would form Brazilian funk/hip-hop flow through it. Led by Paulista pianist Salvador Silva Filho – Dom Savlador – “Som, Sangue, e Raça” from 1971, one year after the explosion of Tim Maia on the scene, catalyzed the bossa nova and jazz background of its leader with the rhythm and blues of its members like saxophonist Oberdã Magalhães, newphew of samba-enredo master Silas de Olvieira and future leader of Banda Black Rio, who since the group Impacto 8 (which had, among others, Robertinho Silva on drums and Raul de Souza on trombone) had already been trying to reconcile MPB with Stevie Wonder and James Brown. Add to all this a mixture of samba, Nordestino accent, and even the black side of the Jovem Guarda represented by the authorial presence of of Getúlio Cortes (older brother of Gerson King Combo, our James Brown “cover”) in ‘Hei! Você’, one of the most-played tracks here. Alongside these elements and the preseence of Rubão Sabino (bass), who still called himself ‘Rubens’, drummer Luis Carlos (another member of Black Rio), the disc enlists the trumpet and flugelhorn of symphonic musician Darcy in place of the original Barrosinho (yet one more founder of Black Rio), who was traveling during the recording but would end up being a leading force of the band.

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Este não é apenas um disco seminal, recuperado pelo trabalho meticuloso do titã pesquisador Charles Gavin. É um estuário. Todos os rios negros que formaram o funk/hip hop nativo confluem para ele. Comandado pelo pianista paulista Salvador Silva Filho, o Dom Salvador, Som, Sangue e Raça, de 1971, um ano depois da explosão de Tim Maia, cataliza a formação bossa nova & jazz do lider com rhythm & blues de integrantes como o saxofonista Oberdã Magalhães, sobrinho do mestre do samba enredo Silas de Oliveira e futuro líder da Banda Black Rio, que desde o grupo Impacto 8 (entre outros Robertinho Silva, bateria, Raul de Souza, trombone) já vinha tentando agregar MPB com Stevie Wonder & James Brown. Entram ainda na mistura samba, sotaque nordestino e até o lado negro gato da Jovem Guarda representado pela presença autoral de Getúlio Cortes (irmão do posterior Gerson King Combo, o nosso James Brown cover) em Hei Você!, uma das faixas mais destacadas. Além destes elementos e da presença de Rubão Sabino (baixo), que ainda se assinava Rubens, do baterista Luis Carlos (outro que integraria a Black Rio), o disco arregimenta o trompete e flugelhorn do músico de sinfônica Darcy no lugar do original Barrosinho (mais um fundador da BR), que estava excursionando durante a gravação, mas seria o titular da banda.

Egresso do Beco das Garrafas e a caminho dos EUA, para onde se mudaria em definitivo ainda nos 70, Dom Salvador liderou o Copa Trio ao lado do baixista Gusmão e do batera Dom Um Romão. O grupo serviria de suporte para as decolagens de Elis Regina e Jorge Ben (antes do Jor), entre outros. Formou também o Rio 65 Trio com o baterista Edison Machado. O noneto Abolição (aí incluído o vocal de sua esposa, Mariá) foi uma saída para o desgastado formato trio da bossa nova. E não só. Cada faixa de Som, Sangue e Raça é diferente da anterior por conta de um cuidadoso trabalho de fusão de elementos sonoros até contraditórios como o pique folk de retreta de Folia de Reis moldado em acordeon, sopros (até tu, tuba?) e uma intrusa cuíca. Moeda, Reza e Cor tem um encadeamento de sopros que lembra os arranjos de Gil Evans para Miles Davis, mas logo desagua num solo de piano funkiado pelo baixo elétrico. Samba do Malandrinho levado pianinho (no elétrico digitar de Don Salvador) remete para a bossa nova com direito a improvisos jazzísticos.

Já Tio Macrô, repleto de reviradas de sopro e contraritmo sustentado por baixo engata num samba funk. Intercalando grandiloquencia e balanço, Uma Vida abre com declamação e uma longa introdução pianística depois picotada pelos sopros. E tome funk na veia como nas instrumentais Guanabara e Number One. O piano elétrico alicerça O Rio, um funk andante que desata em samba de escola com direito a apitos. Também a construção de sopros funkiados da faixa título acaba num samba, movido a cuíca. Com acordeon e costura acústica, Tema pro Gaguinho lembra o choro dos regionais, só que devidamente turbinado. Hey! Você (belíssima a condução de sopros) combina R&B com um ritmo de baião que antecipa a fusão de Burt Bacharach. A tamborilada Evo emoldura um funkafro com cuíca e coro. A riqueza das combinações torna o resultado muito acima da média do pop ralo das FMs, o que talvez explique o fato de o disco não ter estourado a despeito de tantos ganchos no recheio. Agora em CD remasterizado haveria até uma nova chance, se a situação não tivesse mudado. Para pior.(Tárik de Souza)

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The inside sleeve blurb by Charles Gavin:
The album ‘Som, sangue e raça’ paves the way for future generations of musicians and producers of the carioca scene at the beginning of the 1970s. The lyrics that dealt with the question of race and the explosive fusion of samba, soul, jazz and funk, elaborated by Dom Salvador and his troupe, Abolição, established the bases for the development of new sounds and tendencies in Brazilian music.

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Cassiano – Imagem e Som (1971)

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IMAGEM E SOM
Cassiano
1971 RCA Victor
BSL 1551
Reissue 2001 on BMG/RCA ‘100 Anos de Música’ Series

 

1 Lenda
(Lula Freire, Marcos Valle)
2 Ela mandou esperar
(Cassiano, Tim Maia)
3 Tenho dito
(Cassiano, Tim Maia)
4 Já
(Cassiano)
5 É isso aí
(Cassiano)
6 O caso das bossas
(Zil Rosendo, Dabliu Namor)
7 Eu, meu filho e você
(Cassiano)
8 Primavera (Vai chuva)
(Silvio Rochael, Cassiano)
9 Minister
(Cassiano)
10 Uma lágrima
(Cassiano)
11 Canção dos hippies (Paz e amor)
(Professor Pardal)
12 Não fique triste
(Cassiano)

Genival Cassiano was one of the architects of Brazilian Soul music, although his work is eclipsed (and rightly so, in my opinion) by his friend Tim Maia. Tim was actually an admirer of Cassiano’s vocal group Os Diagonais and drew inspiration from them for his own sound, and the two soon came to be friends and collaborators. Os Dianonais provided backing vocals for Tim’s records and live shows in the early days. Not only does Tim have a few writing credits here, but he is also singing backup, uncredited, as part of Os Diagonais. (NOTE: I do not have any proof of this, yet, other than my own ears. I have been searching through Nelson Motta’s biography of Tim, “Vale Tudo”, for some evidence, but as yet have found none. While its an entertaining read, it is kind of sloppy in terms of presenting his recorded work, so I don’t consider this a *denial* of his participation). Likewise, Cassiano played guitar on several of Tim’s albums.

But how to consider this album on its own terms? Well, it was his first album under his own name, and is a bit uneven, but it has its transcendent soul moments. Oddly, for the man who is credited as being so adept at creating the vocal harmonies of Os Diagonais, his voice takes a while to grow on me — he lacks the swagger and charisma of his friend, Tim Maia. The first track, the Marcos Valle song Lenda, is to me an odd choice to open the album, as there are a lot of other tracks that grab the attention more. The album picks it up a notch with two collaboration with Maia and by the time it hits “Já”, credited solely to Cassiano, the album has found its pace. The orchestrations on this album stand out — meticulous, full brass and string arrangements in the same style as those on Tim’s records of the same period, all of this goes to distinguish what was truly a ‘movement’ in Brazilian music, and a rogue one at that, going against the grain of what the critics of the time thought was worthy of praise. Other exemplary stand-out tracks here are “Eu, meu filho, e você”, “Canção dos hippies,” and “Não fique triste.” I should also point out the prominent use of vibraphone on this record — another thing in common with Tim’s records, alas – that is a particular delight to me.

A historic and somewhat-rare album of the Brazilian Soul scene, I hope you enjoy this!

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Hyldon – Na Rua, Na Chuva, Na Fazenda (1975)

HYLDON
“Na Rua, Na Chuva, Na Fazenda”
1975 Polydor

1. Guitarras Violinos e Instrumentos de Samba
2. Na Sombra de Uma Árvore
3. Vamos Passear de Bicicleta
4. Acontecimento
5. Vida Engraçada
6. As Dores do Mundo
7. Na Rua, na Chuva, na Fazenda (Casinha de Sapê)
8. Sábado e Domingo
(Hyldon / Neném)
9. Eleonora
10. Balanço do Violão
(Hyldon / Beto Moura)
11. Quando a Noite Vem
12. Meu Patuá

All songs by Hyldon unless otherwise noted.
EAC->FLAC. Portuguese diacriticals removed from filenames, restored in ID Tags

Here is a record I have been meaning to share here forever and ever. Not sure why I was holding out on you. Maybe I’m cruel, or maybe I couldn’t decide if some of you deserve it. Alas I finally resolved myself to the idea that quite a few of you probably do NOT deserve to hear an album this good, but it’s unfair to the rest for me to continue hoarding it. So with that in mind, I bring you this wonderfully languid-like-a-summer-breeze of an album. In fact in my world it might be the perfect summer album, which means I’ll be putting it on even more often now that summer is just beginning here. Sorry for those of you preparing for months of miserable cold and grey skies, but that’s a ‘you’ problem.

So this is Hyldon’s first album. He would never ever surpass it. Although his early records are as a whole all pretty good, this one is just a monster. Hyldon first made his name as a songwriter and producer before becoming a recording artist in his own right, and its partly that meticulous sensibility that makes this record such a pleasure to listen to. It is recorded amazing well and mixed perfectly, bursting with warmth and clarity in all its instrumentation and vocal arrangements. For once I can also say I am happy as punch with the mastering job on a reissue, it sparkles like analog goodness.

Hyldon’s name rests alongside Cassiano and Tim Maia in the holy trilogy of Brazilian soul songwriters. He has a more “folk” approach to either of those, and those of you enthralled by the work of Terry Callier or Jon Lucien should find something to engage with here. But like a lot of great soul music from the 70s, the palette is stylistically eclectic. There is even a few whispy traces of “iê, iê, iê” in a couple places.

Hyldon’s limited vocal range may account for why he’s not quite a household name – most Brazilians are probably more familiar with the versions of his songs recorded by Tim Maia, for example – but it’s damn impressive what he does with melodies and grooves locked tight and nestled one inside the other. Like spooning. Strings, brass, woodwinds, acoustic and electric guitars, a crisp drum kit, cuica, organ, electric piano, analog synths, are all used very intelligently and strategically – sometimes all at once, while never overpowering the song. I’m honestly blown away by the production on this record. I could say “there’s not a bad song on it,” as the phrase goes among my brethren. But that would not be accurate, because the point here is that all the songs are REALLY GOOD. I can’t even sit here and talk about album highlights, because it’s all too much. If you want that kind of thing, listen to it and pick your own.

The reissue is really a labor of love, with previously unissued photographs and copious notes about each individual song. We get to hear about Hyldon’s fling with Maria Crueza and him basically blowing her off (“I loved her more like a brother..” WTF was he thinking? It’s Maria Crueza!!), about him hanging out on the beach taking acid, of songs taking inspiration from Schopenhaur, Machado de Assis, and Arthur C. Clarke. He provides details of conversations and events leading up to the idea for a song – such detail, in fact, that I sometimes wonder if he’s just making this shit up. But presuming he just has an incredible memory, in spite or perhaps because of his extra-curricular beach activities, it is really pretty cool for him to share all this info with us. His lyrics are not going to win any accolades from Chico Buarque – we learn from his commentary, for example, that his song about riding a bicycle with his girlfriend “Vamos Passear de Bicicleta” was actually inspired by his idea that it would be really cool to ride around with a girlfriend together on bicycles, stopping for ice-cream or to skim rocks of a lake, sing her songs in a flowery meadow, and so on. Who would have guessed? Granted this example is not terribly fair to Hyldon – more sober songs like “As Dores do Mundo” and the title track “Na Rua, Na Chuva, Na Fazenda”, are not silly at all. In fact I find them to emote quite moving stuff I can easily relate to. What Hyldon’s songs might lack in formal lyrical complexity, they make up for with their sincerity – you can feel that he really means what he’s singing about, and I can’t help being charmed by that. The anecdotes he provides only adds to that charm.

My apologies if this post sounds more whimsical and ‘lite’ than others on this blog. Perhaps it’s because this album makes me genuinely happy, and there’s not too much I can say that about lately. In fact I have listened to this album twice today while preparing the contents of this post. Since I also tend to write the commentary while listening, I can credit Hyldon with any pleasure you’ve derived reading this. All shortcomings are of course my own.

I seriously went back and forth about a dozen times about the idea of including some song samples here. Even if it were just the A- and B-sides of the single released before the album. But I just can’t. This is a record to put on and listen to from start to finish. So you’ll just have to trust me and check this one out.

With the money from this album, Hyldon was at last able to buy himself a new shirt.

Oh, now that I am done with gushing about how great the album, I can find one fault — the addition of two pointless remixes to the CD reissue, courtesy of the group Bossacucanova. I am no Luddite, but I fail to see how their electronic treatment of “As Dores do Mundo” does anything but murder the song. I mean, it’s really awful. The original vibe just vaporizes into the techno ether. The second remix, of the title track, fares much better with its dub styling of the song. In fact, it’s actually listenable. I still don’t understand the point of including these. If it is some sort of nod to “updating” the relevance of the album, it’s utterly unnecessary. This album still sounds completely fresh.

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Tim Maia, Cassiano, Hyldon – Velhos Camaradas (1998)

1 Primavera [Vai Chuva] (Silvio Rochael – Cassiano)
Interpretação: Tim Maia

2 Na sombra de uma árvore (Hyldon) Interpretação: Hyldon

3 De bar em bar (Paulo Zdanowski – Cassiano) Interpretação: Cassiano

4 Réu confesso (Tim Maia)Interpretação: Tim Maia

5 As dores do mundo (Hyldon)Interpretação: Hyldon

6 Salve essa flor (Paulo Zdanowski – Cassiano)Interpretação: Cassiano

7 Coroné Antônio Bento (Luiz Wanderley – João do Vale)Interpretação: Tim Maia

8 Na rua, na chuva, na fazenda [Casinha de sapê] (Hyldon) Interpretação: Hyldon

9 A lua e eu (Paulo Zdanowski – Cassiano)Interpretação: Cassiano

10 Gostava tanto de você (Édson Trindade)Interpretação: Tim Maia

11 Sábado e domingo (Nenem – Hyldon)Interpretação: Hyldon

12 Coleção (Paulo Zdanowski – Cassiano)Interpretação: Cassiano

13 Azul da cor do mar (Tim Maia)Interpretação: Tim Maia

14 Acontecimento (Hyldon)Interpretação: Hyldon

cassianoTim singinghyldon

At first glance at the uninspiring artwork (not this lame collage right above this paragraph, I made that – but the lame CD art), one might think this a rather generic compilation. Until you look a little closer and see that it compiles some of the best work from the path-breaking records of the godfathers of Brazilian soul music — Tim Maia, Cassiano, and Hyldon. The first two were frequent collaborators, with Cassiano being a regular guitarist in Tim’s band and having had many songs recorded by him. When its all said and done this is not only a wonderful introduction to the material by these guys but also a really gratifying listen even for people already familiar with it. It’s well put together, and a lot of this material is unfortunately rather hard to come by. There is a second volume that was released but I don’t have it.

Enjoy this collection of VELHOS CAMARADAS!!

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