disco classics.

Re-edition of one of the greatest classics of the "Father of Brazilian Soul Music".
Tim Maia (stage name of Sebastião Rodrigues Maia, Rio de Janeiro, September 28, 1942 - Niterói, March 15, 1998) was a singer, composer, producer, conductor, multi - instrumentalist and Brazilian businessman, responsible for introducing the style soul in Brazilian popular music and is recognized worldwide as one of the biggest music icons in Brazil. Their songs were marked by the hoarseness of his voice, always serious and loaded, winning and best-selling devoting many successes. Born and raised in the city of Rio de Janeiro, where in his childhood, had contact with people who would be great singers like Jorge Ben Jor and Erasmo Carlos. In 1957, he founded the group The Sputniks, where he sang along with Roberto Carlos. In 1959 he emigrated to the United States, where he had his first contacts with the soul, been arrested and deported for theft and drug possession. In 1970, he recorded his first album, titled Tim Maia, who quickly became a success across the country with songs like " Blue Color of the Sea " and " Spring".
Within three years, released several albums homonyms, making success with songs like "I Do not Want Money " and " I wish both of you". From 1975 to 1977, joined the religious - philosophical doctrine known as Rational Culture, launching this period, the songs " What a Beauty " and " Rhodesia ". The decadence of his songs influenced by this philosophical school, became disillusioned with the doctrine and returned to his previous style of music, releasing hits like " Discoverer Seven Seas " and " Give Me Reason ". Many of his songs were recorded under the label and publisher Seroma Victoria Regia disks, being one of the first independent artists from Brazil. Earned the nickname " the liquidator Brazil " his friend Jorge Ben Jor song in W / Brazil. In the 1990s, several problems have plagued the singer's life: problems with Globo and poor health due to constant use of illicit drugs and to increase their degree of obesity. Unable to conduct a performance at the Teatro Municipal de Niterói, left in an ambulance , and after two cardiac arrest, died on March 15, 1998. It is his legacy to the broader history of Brazilian music, and his work came to influence many artists, as his nephew Ed Motta [citation needed]. Rolling Stone magazine ranked Tim Maia as the greatest Brazilian singer of all time, and also as the 9th greatest artist of Brazilian music. 
https://wikipedia.org

<a href='https://theartistunion.com/tracks/64088a'>Download for free on The Artist Union</a>

Tim Maia - Sossego (Rafael Cancian Re-Edit)

Viuda Negra

SAETA

Pistola Desnuda

Accompanying blog post: http://www.gregwilson.co.uk/2014/03/greg-wilson-versions-2005-2013/

Discogs: http://www.discogs.com/Cisco-Cisco-Higher-Brothers-In-Arms/release/3018446

Check out my label's music at: https://superweirdsubstance.bandcamp.com

Cisco Cisco 'Higher' (greg wilson version 2011)

With over five decades of success and influence, Vincent Montana Jr., Producer, Arranger, Composer, Conductor and renowned Vibraharpist, continues to be a vital force in music today. With countless gold and platinum awards to his name, his contribution and dedication to the music industry has inspired and profoundly affected many producers, DJs, artists, musicians, listeners and dancers alike. 

Among the numerous credits to his name, Montana is most recognized for his integral role in both the development of 'The Philadelphia Sound' as key MFSB rhythm section member and established studio musician for Philadelphia International Records as well as dance pioneer of the 'Disco Era' as the creative and driving force behind the legendary Salsoul Orchestra. Further contributions include his remarkable productions with The Montana Orchestra and Goody Goody (Atlantic Records) and particularly, the signature club classics on his own “Philly Sound Works” label.

Given the era in which these recordings were made, the music of Vincent Montana, Jr. was produced with a futuristic perspective; this is evident due to the fact that his grooves and riffs are still being sampled and utilized to this day. The staying power of his enduring career is certainly because of his exceptional good taste and diversified talent, but also is the fact that although he is firmly rooted in traditional instruments and ways, he has managed to embrace newer styles and to use technology to his advantage.

Even now Montana continues to make his mark on the industry, whether directly through his efforts with today's most prominent artists and producers - Dimitri From Paris: "The Way You Love Me", Masters At Work: “Nuyorican Soul”, “The Boss”, “Always There”, David Morales: Pet Shop Boys “New York City Boy” or indirectly via sampling of his catalogue - DJ Spiller: “Groovejet-If This Ain’t Love”, Mariah Carey: “O.O.C.–Out Of Control” and the latest sample, Estelle Ft. Rick Ross: “Break My Heart”. Both the man and his music show no signs of slowing down. He returns once again with his latest projects complete with lush strings, distinct arrangements, cool vibes and all the added touches, quality, musicianship and originality expected of a “Montana Production”. 

Now That's The Philly Sound!!

<a href='https://theartistunion.com/tracks/075a34'>Download for free on The Artist Union</a>

Vincent Montana Jr. - It Looks Like Love (Rafae Cancian Re-Edit)

Longer and Powered
private email me for a 16 bit wav
bless

Ray Parker Jr. Just Havin' Fun (n2b adj)

Ca7riel & Paco Amoroso -Tiny Desk

n an ever-expanding musical universe, Azymuth have long existed as a celestial giant, drawing countless artists, musicians and followers into their orbit. Marking fifty years since their 1975 debut album Azimuth, their new album Marca Passo proves that the band’s alchemic brew of Brazilian jazz-funk and cosmic samba soul remains as vital as ever, as the group honours the profound legacy of their departed founders.

Recorded in Rio de Janeiro, Marca Passo is the first full-length release since the passing of founding drummer Ivan "Mamão" Conti in 2023, following the earlier loss of keyboardist José Roberto Bertrami in 2012. Alex Malheiros, the sole remaining original member, sees his stewardship of the band’s musical legacy as his spiritual duty. He is joined by the equally devoted Kiko Continentino (Milton Nascimento, Djavan) on keyboards, who has been with the group since 2016, and new recruit Renato Massa (Marcos Valle, Ed Motta) on drums.

Yet since their earliest recorded music, Azymuth have always been far greater than the sum of their parts. The "three-man orchestra’s" unmistakable sound is rooted in Brazil's MPB studio scene of the 1970s and early 1980s—a time when artists blended traditional Brazilian rhythms with global jazz, rock, and emerging psychedelic and progressive elements. Marca Passo continues this legacy, seamlessly fusing Brazilian musical traditions with global influences while showcasing the exceptional musicianship that powers Azymuth's distinctive, multi-dimensional sound.

The album is produced by studio mastermind Daniel Maunick, responsible for Azymuth’s two previous studio albums, Fênix in 2016 and Aurora in 2011. Daniel’s credits also include albums by Marcos Valle, Sabrina Malheiros and Terry Callier. Azymuth also invited Daniel’s father, British jazz-funk royalty Jean Paul “Bluey” Maunick, of Incognito, to play guitar on a new version of Azymuth’s eighties classic “Last Summer In Rio”, in tribute to the song’s composer, José Roberto Bertrami. Equally, “Samba Pro Mamao” is a new composition dedicated to Azymuth’s beloved original drummer, Ivan “Mamão” Conti.

Marca Passo releases on limited edition blue, red & black vinyl LP editions, CD and digitally on the 6th June 2025, via Far Out Recordings, supported by European and North American tours.

Azymuth - Andaraí

As ever this Armadillo music was entirely improvised live, on the spot, for the moment, the mood, the people and the vibe.

This is a 10 minute section from a live jam by Armadillo from 1st May 2025 at the Feathers. It’s the second part of a 23 minute exploration (1st half called The Load - Pure Half), itself part of an hour and a half of improvisation. The full 23 minute version is also here on soundcloud and is obviously what the piece is meant to be. Long and hypnotic, funky and spacey guitars, with plenty of bluesy exploration and chilled vocals.

Don’t expect a 3 minute pop song! …but music to put on and leave on... and be drawn in by … the groove will just keep on rolling… and the tune will just keep on wandering wherever it takes us…

AF15 Recorded in one take: guitars via Olympus LS-P5 mic (digital dictaphone), the rest D.I.-ed into an Olympus LS-P1 digital dictaphone.
Main vocals and lead guitar fully live with other guitar layers, bass, backing vocals and horns laid down live using a Boss RC-600 looper. Drums by Lumbeats FD.

May it get you the fonk on...

The Load - Spaced Half - live improvisation AF15 sub10

'The Smooth Sounds of Tres Leches, LHCC Mart Vol. 1', out now on Brainfeeder: https://tresleches.lnk.to/LHCC-Mart-1So

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Telescope

Telescope (feat. Hiatus Kaiyote)

Betty Wright: The Movie

Old Songs

Robson Jorge e Lincoln Olivetti

Ginga

minako yoshida / Let's do it (KGO&Diskofreaks EDIT)

Dance in the moonlight

A dj-friendly re-edit of the 1978 disco track. Less cheese, more beats.


Gary's Gang - Keep On Dancing (DJ August Re-edit)

El Burro Leñero

Entre Rejas

Iron Leg

Message From a Black Man

N2B, a loser like everybody else.

The 2years residency at Moxa Club (IT) allowed me to play with super djs like: Moodymann, Kenny Dope, Prins Thomas, Frankie Knuckles, Piranahead, Bijorn Torske.

I'm Out on:
To Rack&Ruin - UK
Enzino's - DE
Sparechange Disco - IT
Wonderwheel Records - US
Honkey Phonk - DE
Pizzico Records - IT
Jeanstretti - IT
Bad Panda Rec - IT

Ray Parker Jr. Just Havin' Fun (n2b adj)

Nic2Birilli

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danielvj47

Disco John

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