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.

once upon a time in ye ol' western daze.

Once Upon a Time in the West is a soundtrack composed by ennio morricone from the once upon a time in the west western film of the same name directed by sergio leone, released in 1968. the film score sold between 5 and 10 million copies worldwide. - wikipedia

imma post the follow up to the indonesian tape i posted a while ago with the reyog ponorogo vol. 4 very soon dudes, but until then, here is an old favorite around these parts. figured since i dragged out ol' serge, why not some morricone as well?

my apologies to all...

for the lack of posts, i have been without the internet for the last week. as a make up gift, i offer one of my favorites from the hippest cat since rilke.

someone's alone in the city tonight.

Finding a dilapidated, old accordion in a junk store was the major cause in turning Susan Dietrich's life around. At the time, back in the early seventies when Richard Nixon was embroiled in the Watergate fiasco and the Vietnam war was still raging in Southeast Asia, she and her husband, Joel, and their tiny daughter were political exiles living like refugees in their own country, terrified that Joel would be imprisoned for having resisted the draft. For nine years they had subsisted on spare change and meager sales of their artwork on the streets of Boston. The discovery and purchase of that little squeeze-box inspired Susan to take it into battle, the war on their own personal poverty. Down into the dark, noisy subway stations of subterranean Boston she went, where she slowly learned to pick out simple, familiar tunes like Take Me Out to the Ballgame, and When Irish Eyes Are Shining. There must have been something rather quaintly charming about this thin little street waif literally singing for her supper, for in the very first hour she made twenty dollars in change plus a twenty dollar bill from an elderly couple wishing her well. She soon discovered that by playing from early morning rush hour through the entire day, she could pull in over eighty dollars, an impressive amount for the times and on the street, while Joel stayed home caring for the baby. The accordion was eventually retired in favor of the very first Casio keyboard released on the American market, a toy by today's standards. But with Joel's previous experience playing in various 60s rock bands, they plugged the Casio into a phase-shifter, mic-ed Susan's voice through an echo unit, created a light show by wiring her tip box with twinkling lights, and crowned her with a winged helmet complete with a blinking red ball on top. She worked out arrangements for songs with other-worldly themes, such as Fly Me to the Moon, Somewhere Over the Rainbow, Ghost Riders in the Sky, Radar Love and Major Tom. The response from the public was overwhelming. Suddenly she was being referred to as The Space Lady, and pictures of her began appearing in the papers and on TV. The cash flow became phenomenal; a cassette of space music soon followed (as did another baby), and the small family was finally able to return to San Francisco where Joel and Susan had met back in the glory days of Haight/Ashbury. Her music was received even more enthusiastically there, and she was flocked by people asking for interviews or requesting to make videos. To this day, 20-some years later, she still receives letters and emails from her fans from coast to coast and around the world. But she says the most valuable and treasured aspects of her career were those of personal growth: acquiring street smarts, becoming humble and compassionate, appreciating people from all walks of life, and discovering her talents and inner strengths, such as her lovely voice, her creativity, her originality, courage, tenacity, and her ability to find humor in the most difficult of situations. And she owes it all to that little Stomach Steinway found in a junk store back in Beantown, Massachusetts. - myspace (whoever knew that site could be helpful in this day & age?)

some amazing lo-fi oddball casio covers of major tom & radar love brush shoulders with even more oddball covers of all shook up & the electric prunes' i had too much to dream last night. what's bizarre about this is that this sounds so now ya dig? as if this could have come out on night people instead of being a street performer from the eighties. just cop it folks & reach out yr hands to the one alone in yr city tonight.

i still love the girl from bennington.

Suzanne Ciani (born June 4, 1946) is an italian american pianist and music composer who found early success with innovative electronic music.

She received classical music training at wellesley college and obtained her m.a. in music composition in 1970 at UCB where she met and was influenced by the synthesizer designer, don buchla. She studied computer generated music with john chowning and max matthews at stanford's artificial intelligence labs in the early 1970s.

In 1982 Ciani began to record albums in the new age genre, characterized by a mix of electronic and traditional instruments. Her first album, Seven Waves was first released in 1982 in Japan, and was later released in her native US in 1984 through atlantic records. Her 1986 album [[The Velocity Of Love, released by rca records, featured Ciani's best known song, the title track. In 1987 she signed to the private music label, which released a number of albums from 1988 to 1992, including re-issues of her first two albums. Although emphasizing electronic music in her recordings, her solo piano album Pianissimo, from 1990, became her best-selling album. Ciani ended her contract with Private Music with the compilation The Private Music Of Suzanne Ciani, in 1992.
In the 1990s Ciani founded her own music label, Seventh Wave, from which she has released all her subsequent albums, which have been more classically oriented than her previous recordings. 1994's Dream Suite was recorded in moscow with the Young Russia Orchestra, and was Grammy-nominated. 1999's Turning featured her first composition with lyrics, in the title track, sung by Taiwanese artist chyi yu.
In early 2006, Ciani's Silver Ship won in The 5th Annual independent music awards for Best New Age Album. Ciani was also an inaugural member of the independent music awards judging panel to support independent artists.
Five of Ciani's albums have been nominated for grammy awards. - wikipedia

just discovered her recently. ridiculously good. sublimely beautiful & utterly essential for everyone remotely interested in catchphrases like ambient, drone or finding yr footing in an ever shifting & boundless genre. for the lo-fi tweens out there in ripped sweaters & skinny jeans, here is yr new ferraro.

worried man blues.

thrillington is a 1977 album by paul mccartney under the pseudonym of percy "thrills" thrillington. the album is an instrumental version of paul and linda mccartney's 1971 album, ram. - wikipedia

i've had this one sitting in my queue for a while now. pretty amazing, even if yr not a fan of macca. & if you haven't picked up the reissue of ram, then i highly recommend it. it changed my opinion of him for the better fershure.

for flashstrap with love.

6- and 12-String Guitar is the second album by leo kottke, a solo instrumental steel string acoustic guitar album originally released by john fahey's takoma records in 1969. It is popularly known as the armadillo album after the animal illustrated in the distinctive cover art (by Annie Elliott). Although Kottke has recorded dozens of additional albums 6- and 12-String Guitar remains his best-known album. - wikipedia

yr the best bbgrrl.

victory flowers.

From the vaults of CAM comes this diverse soundtrack by Nora Orlandi (Lo strano vizio della signora Wardh, A doppia faccia), written for the 1968 French/Italian giallo directed by Romolo Guerriri and starring Carroll Baker, Jean Sorel and Luigi Pistilli. Presented in a 6-page digipak with original artwork, film stills and interesting liner notes, this world premiere CD release contains the LP tracks in both simulated stereo and original mono versions. Riddle, riddle, Debbie in the middle. Surprise, surprise, guess who dies? - amazon

more giallo steez from one of my favorite ladies. nora orlandi is amazing, & definitely deserves to be mentioned in the same breath as morricone or piccioni. & the description is terrible, but you know what to expect at this point. loungy strings brush up against gentle woodwinds to make you feel the rush of running down a deserted backalley while a man in white chases you to yr death.

p.s. a very special someone is letting me borrow their jump so i'm currently in the process of moving all of my files from my mediafire to the drive. i'm just safe guarding against the inevitability of getting shut down. the hydra is upon you...

hullo, is it me yr looking for?

Ilaiyaraaja, Ilayaraja, Ilayaraaja, Isaignani, The Maestro... The undeniable prince of Kollywood cinema, India's second largest film industry, Ilaiyaraaja is more than equal to his forward thinking contemporaries in Bollywood and Lollywood in both productivity and experimentation. However, once you have exhausted all possible leads using his various names (and the numerous misspellings) you're faced with the unenviable task of sifting through a 34-year career spanning more than 900 film scores in Tamil, Hindi, Telugu, Malayalam and Kannada in order to unearth some the heaviest dancefloor friendly electronic pop to ever emerge from Southern India. Impossible to pigeonhole and characterised by his own indefinable style the man is a genre in his own right. - hhv.de

some fucking godtier kollywood fyre folks. this shit is so insanely good it's going to blow yr minds. raw lo-fi electronic psych pop masterpieces made for the dancefloor covered in kali's blood sacrifices.

we've all seen the queen.

The World of Oz were a British psychedelic pop group who released a sole self-titled LP in 1968, before fading into relative obscurity. Their song 'The Muffin Man' was a minor hit in the UK and US, and reached the Top 10 in a number of European countries. - wikipedia

that is seriously all i could find out about this band... there isn't a whole lot floating out there about them. all i can say is if you liked that hearts & flowers album i posted, then you'll dig this. this is a bit more pastoral folk pop with minor psych flourishes than that band, but it also reminds me a bit of the byrds as well. a really fantastic album with pretty goofy artwork. i've been really diggin' on this one hepcats.

lending a helping hand.

another exotica classique i got from good ol' flash. stanley wilson, while not on par with denny or lyman, is still a fella worth a whole lotta yr admiration. keep on fighting the good fight amigo.

on that cinex tip.

**Hugely anticipated collection of extraordinary Pakistani film music. Bursting with excitable indigenous percussion, crazy synth fills, exotic vocals and dazzling arrangements made to own the dancefloor!** "Once again, Finders Keepers Record is given unparalleled access to the EMI Pakistan vaults to bring you Life Is Dance - the follow-up to 2010's critically acclaimed groundbreaking Lollywood cinematic pop compendium The Sound Of Wonder! Here you'll find fuzzy, scuzzy, twang-happy, spaced-out and funked up Urdu-grooves complete with harmonium melodies and driven by some of the most random factor, freakish, finger numbing, percussion hat the South east Asian mainstream has ever had to offer. Above all, Lollywood soundtracks sound RAW! Re-imagine some of the most action packed Bollywood productions (which Lollywooders actively did) then fire the make-up department, take away the special effects budget and then improvise. The lack of gloss on a dusty Pakistani mini-LP makes for truly experimental Eastern pop music. So, it's time to meet the culprits. The names on the back of the records that'll keep you gambling on Ghazals and taking punts on Pakistani pulp-ballardy. As an introduction, in place of R.D. Burman and Asha Bosle, we have Mr. M Ashraf and his long-term female collaborator, Nahid Akhtar. This duo would provide Pakistan with it's Gainsbourg/Birkin or it's Morricone/Dell'Orso for over 20 years, recording squillions of cut-and-paste sonic collages and moog-fuelled desperate love/hate/chase/chill/kill songs mixing onomatopoeic Urdu lyrics with unexpected bursts of user friendly English language (which often elongates the running time passed the 5 minutes mark) and throwing in the odd motif froma Barry White or Donna Summer hit. We also have legends like Noor Jehan, a national treasure and household name in Pakistan whose discography of film songs have deprived the vaults of EMI Pakistan of floor space for half a century." Highly recommended! - boomkat

i love film music of all stripes & you should too. this is an essential collection to lose yrself in.

montenero blues.

Record Mart, an unassuming music store down in the sprawling complex of the Times Square subway station in Manhattan, should be considered one of Latin New York's most important historic musical landmarks. It its heyday, it was not only a place where occult knowledge and cultural legacies were exchanged and passed on from one person to another, but the shop also served as the home base for Montuno Records, a small but important independent label started by proprietor Jesse Moskowitz in the 1970s. The shop and label are inextricably intertwined and constitute a New York Latin institution of sorts. Thankfully, the two entities and its proprietor are alive and well today, keeping the spirit of Subway Salsa alive for old fans and future generations alike. This compilation is an homage, paying tribute to a label that stands out as a plucky cultural beacon from a time when Fania reigned supreme. In Jesse's cramped store one could soak up the sights of Latin album cover art, the tropical sounds blasting over the speakers, and eavesdrop on conversations among the diminutive shop's knowledgeable staff and customers. Just as the New York metropolitan transit system is a crossroads and a means of exchange and travel, so too is its sole surviving cultural tenant Record Mart, an underground urban grotto oasis that despite a period of closure and a dwindling market, seems to hold on as tenaciously as many veteran salsa musicians from the '70s still do to this day in the city. This collection samples the recordings from Montuno's catalog that exemplify danceable Afro-Antillean music, from Nuyorican salsa to Haitian compas, Latin jazz to traditional Cuban genres (including the all-percussion rumba, the flute and violin-flavored charanga, and guitar/trumpet-dominated son), as well as several interesting hybrids incorporating funk, doo-wop and Brazilian sounds. - amazon

when shit gets to be too much between home life & work life, i put this on & soak up the sunshine & let the tropical vibes wash over me. summer forever amirite?

pt. I // pt. II


p.s. upon my fifth listen, this record is some serious fyre amigos. download this or be bummed.

personality crisis.

if yr into the dolls (which if you aren't then what the fuck?), sparks or the quick record i posted, then this is for you. catchy glammy power pop perfect for summer activities. don't let the stupid name fool you, this record is pretty legit. not quite as good as the quick, but still essential. dedicated to zach. call me duder, let's get psychidelique.

shadows of the vatican.

what can i say that hasn't been said about this one before? absolutely essential.

reputation killer.

no fucks given. i'll post fahey then some jpop record right after. definitely not meant for laptop speakers.

cop killer.

Following the fulfillment of his two-album contract with Reprise Records and lackluster sales, Fahey was released from Reprise and went back to recording for his own Takoma label.

Fahey originally dedicated the album to Swami Satchidananda, but later said the primary reason he was involved with the "spiritual community in the mountains of Lake County, Northern California" was because he was in love with the Swami's secretary. Relating the background to the recording of Fare Forward Voyagers to Byron Coley in his article "The Persecutions and Resurrections of Blind Joe Death", Fahey recalled "Probably the primary reason I got involved with them was that I fell in love with Swami Satchidananda's secretary, Shanti Norris. So, I was doing benefits for them, hoping to score points with her, and along the way I learned a lot of hatha yoga. I could go over there and get food any time I liked. I didn’t believe in Krishna or anything. It was like being in the middle of The Thief Of Baghdad.”

The album and song titles are from American poet T.S. Eliot's "Four Quartets" set of poems. Fahey later said the songs were "too demanding" to play live.

An earlier version of the title track was released on the 2006 reissue of The Yellow Princess. Themes from "Requiem for Russell Blaine Cooper, "When the Catfish Is In Bloom", and "Dalhart, Texas 1967" can be found in the three songs. - wikipedia

fahey is on some godtier shit with this record. enough said.