cairo sword unsheathed.

The Millennium was an american super group based in california, who were conceived by curt boettcher The group consisted of psychedelic rock musicians, and they incorporated sunshine pop harmonies.

The roots of the band lie in several groups. Boettcher had originally worked with drummer Ron Edgar for a brief time in the folk group the goldebriars. Following the dissolution of The GoldeBriars, Edgar joined the group the music machine which also featured doug rhodes on bass. The Music Machine scored a top 20 hit with the song "Talk Talk" before disbanding. Boettcher had also formed a group called The Ballroom, which featured sandy salisbury as a vocalist. lee mallory had worked as a songwriter and solo performer, and Boettcher had produced some of his recordings, including a cover of phil ochs' "That's The Way It's Gonna Be." The group also featured support from session musicians such as jerry scheff.

The Millennium recorded one album, begin, in 1968. Before disbanding, the group recorded one follow-up single: "Just About The Same" b/w "Blight," as well as several tracks that were later released on compilation albums. Boettcher went on to make several attempts at recording solo albums (only one was released during his lifetime, there's an innocent face), as did Salisbury and joey stec. michael fennelly would end up in the early 1970s group crabby appleton, who signed with elektra records and released two albums, scoring a Top 40 hit with the single "Go Back."

Stec founded the record label sonic past music in the late 1990s, and this label has subsequently released previously unavailable albums from The Millennium, Boettcher, Salisbury, Mallory, and Stec. - wikipedia

sorry for the delay, my internet has been faulty at best & i haven't been able to upload any of the things i have been really wanting to post. anyway, here is some summer psychedelia for you cats.

bengali in platforms.

Chellapilla Satyanarayana Sastry, better known as Chellapilla Satyam (Telugu: చెళ్ళపిళ్ళ సత్యం) (1933 - 12 January 1989) was an eminent Indian music director. He was popular in the telugu & kannanda cinema fields in 1960s and 1980s. Sathyam is best remembered as "Andhra RD Burman".

He was born in komarada village in vizianagaram district, andhra pradesh. He has acted in some plays with popular writer Rajasri and others at Vizianagaram. He later shifted to madras worked in the orchestra under p. adinarayana rao and t.v. raju. He was assistant composer in the magnum opus film suvarna sundari (1957). His debut film as a full fledged music director is pala manasulu in 1967, though he was credited as a music director in 1963 with NTR's savati koduku.

Some of his memorable hit songs are E divilO virisina pArijAtamO, O bangaru rangula chilaka, kalisE kaLLa lOna, pUchE pUla lOna, toli valapE teeyanidi, madhumAsa vELalO, kurisindi vAna and many more.

In memory of this great music giant a musical night was organized by Bay Area Telugu Association and Chimata Music in California, USA in 2009. - wikipedia

been vibing real hard on tamil & bengali soundtracks lately. this sorcerer conjures some fucking serious fyre in line with what those shankar jaikishan cats were cranking out back in the golden era. & if you haven't yet, get yr hands on that fire star comp. that one has been melting my face lately.

modulo lunare.

With a sonic portfolio that boasts commissions for the Xenon classic pinball machine, the sounds for the Meco Star Wars theme, the Atari TV commercials and the electronic sound effects in the original Stepford Wives film (amongst many others) the mutant electronic music CV of Suzanne Ciani is proof that in a 1970s commercial world of boys toys, monopolised by a male dominated media industry, a womanÕs touch was the essential secret ingredient to successful sonic seduction. A classically trained musician with an MA in music composition this American Italian pianist was first introduced to the synthesizer via her connections in the art world when abstract Sculptor and collaborator Harold Paris introduced Suzanne to synthesizer designer Don Buchla who created the instrument that would come to define Ciani's synthetic sound (The Buchla Synthesiser). Cutting her teeth providing self-initiated electronic music projects for art galleries, experimental film directors, pop record producers and proto-video nasties Suzanne soon located to New York where she quickly became the first point of call for electronic music services in both the underground experimental fields and the commercial advertising worlds alike. Counting names like Vangelis and Harald Bode amongst her close friends Suzanne and her Ciani Musica companybecame the testing ground for virtually any type of new developments in electronic and computerized music amassing an expansive vault of commercially unexposed electronic experiments which have remained untouched for over 30 years... until now.

Finders Keepers Records are happy to announce a new creative archive based relationship with Suzanne Ciani and as a precursor to the release of our Lixiviation compilation next month we present a very special limited edition double cassette studio portfolio and as well as a rare KPFA Interview. - finders keepers website

i have been obsessed with everything that this woman does. she has profoundly changed my viewpoint of electronic music & art, & i'm always on the look out for new stuff from her. how does everyone feel about that seven waves i posted? her music just has this dreamy quality, like jan hammer as seen through a soft focus lens. they only put out 55 copies of this double tape compilation, good luck getting one.

love letters from hell.

Vampisoul is pleased to invite you to the second bone-breaking session with the most danceable sounds “made in Spain” from the 1960s and early 70s. Welcome again to the Sensacional Soul party!

Soul turned Spanish pop into the fuel that ignited the dance floors and parties of Spain in the second half of the 60s. For most bands, the soul explosion meant facing the “renovate or die” dilemma. After years of trying to emulate The Shadows and later The Beatles, the groups had two alternatives: joining the psychedelic movement or adapting the soul genre to the Spanish taste.

Those who wanted to follow the rock path had to bear in mind the advances in the recording techniques that led to Sgt Pepper’s Lonely Hearts Club Band, something that was virtually impossible for most Spanish bands. Besides, the record companies, radio stations and especially the public were not ready to “open their minds” to the psychedelic revolution.

Soul, however, did enjoy a bigger success thanks to the hits by the Tamla Motown and Atlantic artists, and thus many guitar groups decided to incorporate a horn section. Spanish soul became hugely popular, and during the second half of the 60s was the dominant music genre in a country still under Franco’s dictatorship.

Apart from artists that imitated the purest sounds from the US, others took risks and tried subgenres such as progressive R&B, freakbeat soul, sunshine soul or psych-pop with soulish influences. This new volume offers a fantastic selection of all of them, including tracks by hit acts such as Los Bravos, Los Pekenikes, Manolo y Ramón (aka Dúo Dinámico) and obscure bands such as Jae’s Soul and Conjunto Brillant’s. - amazon

the sun is shining outside & this music is made for lazy days. psych influenced soul from the hazy outer reaches of the long gone beaches of spain.