Dear Readers -

It has been over seven years since the Savage Saints uprising. With great regret and after much thought we decided to suspend the activities of the blog. We have asked you about symbolic donation but without any answer. We no longer have the energy and motivation to continue posting. DON'T ASK FOR ANY RE-UPS. Thank you for all the kind words, comments and activity. Goodbye - Savage Saints Crew

Drodzy Czytelnicy -

Mięło ponad 7 lat od powstania Dzikich Świętych. Z wielkim żalem i po wielu przemyśleniach postanowiliśmy zawiesić działalność bloga. Nie mamy już energii ani motywacji do dalszego prowadzenia. Dziękujemy Wam za wszystkie miłe słowa, komentarze i aktywność. Do miłego - Załoga Dzikich Świętych.

Dear Readers - If you are interested in our existence please support us via PayPal. We will be happy to repay you by posting your ads and informations. Please contact us.


Butcher cover for Blues Record Collectors - Muddy Waters Blues Band

Ultra rare copy. Probably only one exist in the world. Beautiful artist painting of Muddy Waters. No painter signature. The painting cover was not made for the owner and for personal use. Letter on the cover (number, label name) are printed not painted or making by pen or any drawing tool (it's shows on photos). On the back cover the poems of Huddie Ledbetter's "Leadbelly".

When Muddy Waters played during the Warsaw in Sala Kongresowa in 22.10.1976 on 19th International Jazz Festival "Jazz Jamborre 16'" the organizers asked him to give a permission for recording. They said him that the album will be distributed in the small group of people as a limited edition. Muddy Waters said OK. And the first copies was making in the poor printing cover.

About this release (from person who was responsible for the mastering of this record): This is the prototype and early project of the cover which was never released and accepted by the headquaters of the Polish Jazz Association in the 1976. This is the only one copy of it.

Red label with information: Record Club (Klub Płytowy), Promotional Recording (nagranie promocyjne), Special Edition (edycja specjalna).

Gatefold cover consist of 4 parts. Orange carboard. Inside two papers used as the covers on the first issue.

Absolutely mega rare gem. Contact.

More info here.

Price: € 400 or exchane.


Koji Asano - Rabbit Room Reservation Center (2005)

One of the world's most imaginative composers, Koji Asano defies simple categorization. A native of Japan who now resides in Barcelona, Spain, Asano has composed tunes for dance performances, film soundtracks, and video art exhibitions. Solo pianists, guitar bands, computers, string quartets, and his own Tokyo-based group the Koji Asano Ensemble have performed his compositions. According to the San Francisco Weekly, Asano "eschews the well-worn path of familiar music making contexts for a less traveled route involving feedback, computers, and electronics." Asano has collaborated with a diverse range of musical and visual artists. In 1997, he provided accompaniment for exhibitions of sculpture and painting in Moscow, Pushkin, and Latvia. Two years later, he composed a string quartet for a presentation of Bruno Letort's Megapoles project, featuring the Smith Quartet at the Vingtième Théâtre in Paris. In October 2001, a new composition was premiered by Banda Municipal de Barcelona. (Craig Harris)

After a certain lull, Koji Asano was due for a strong release of new music, and this is it. Rabbit Room Reservation Center deserves a place among his five best albums of sound art. It seems that the piano serves once again as the main sound source here, but electronic treatments overpower it completely, letting the acoustic instrument surface only sporadically. The album consists of three pieces of ten, 23, and 24 minutes, presented as movements or variations of a single work. "Rabbit Room Reservation Center I" exposes the material: piano notes shrouded in digital decay that gives birth to aural illusions. There is much room for silence and a certain majesty to the music. The second piece brings listeners down a couple of octaves, with the notes grainy gongs instead of small bells. A thicker soundscape emerges, but there is still a large element of spatialization, as if belfries were calling each other over a particularly echo-prone valley. The third piece pushes the transformation further, straight into harsh noise territory, the piano -- and its computerized bell/gong persona -- drowned out by the ripples of digital reverb. The sound swells up to the size of a full-fledged harsh noise band. The process underpinning the whole album may be simple, but Asano has obviously paid a lot of attention to the composition of these stark pieces. Don't pass this one by. (François Couture)


VA - Burmese Folk and Traditional Music (1953)

The 16 tracks on this collection feature traditional music from the Southeast Asian nation of Burma, also known as Myanmar. Drums, cymbals, bells, and a harp are some of the instruments featured―as are the Western violin and guitar, with strings tuned differently. Liner notes explore the characteristic tempo and scale used in Burmese music, and provide notation and background on the songs. (folkways)


The Holy Ghost Reception Commitee #9 (1968-1969)

Dennis Blair Guitar, Guitar (Bass), Vocals
Rich Esposito Guitar, Vocals
Elmer Gordon Producer
Bob Kearney Guitar, Vocals
Mark Puleo Guitar, Harmonica, Vocals

Christian psychedelic quintet the Holy Ghost Receptive Committee #9 was the brainchild of Anthony Myers, a teacher at New York City's Regis High School -- assigned circa 1967 to work with students to write and perform contemporary minded songs that could be played at Mass. He assembled guitarists Dennis Blair, Rich Esposito, Bob Kearney and Mark Puleo, along with bassist Larry Johnson. The project proved so successful that Myers landed the group a recording contract with ecumenical publisher Paulist Press, and in 1968 the Holy Ghost Receptive Committee #9 (so named by a fellow student) issued its first LP, Songs for Liturgical Worship. After a 1969 follow-up, The Torchbearers, the group dissolved; Blair later enjoyed a career as a stand-up comic, opening for the legendary George Carlin for over a decade.

Rictus - Christelle Ou La Découverte Du Mal (1981)

Daniel Corbont : Bass
Daniel Aizier : Guitar
Marcel Bony : Guitar
François Corbont : Drums
Pierre Pomet : Drums
Jean-Claude Schmidt : Singer
Rol Brultey : Keyboards

Christelle is a 6 year old girl. She is happy. One day she meets an Evil Genius who makes her have bad hallucinations. Each song is one of her hallucinations.

Reissue of a rare, 250 copy private press progressive rock album from France, rated 5 stars in the Pokora Books. Recorded on a 4 track Akai in the small town of Luxueil-les-Bains, this album was only sold at a few shows and in one local shop. Pressed at the small Le Kiosque D’Orphee pressing plant, this was truly a private offering with the band having made and glued the covers themselves. A long album, including the 14+ minute progressive gem ‘Theme Guerre’, the music spans from lo-fi fuzz laden numbers to strong progressive songs with numerous bridges and changes.

Conceptually a Rock Opera, but plays like a full length progressive album that could rival anything from France at the time.

Remastered with wonderful sound quality, this is sure to open the ears of many who’ve overlooked the band until now. (source)

Lol Coxhill & Morgan Fisher - Slow Music (1980)

Recorded in 1980, this collaboration between master tape manipulator Morgan Fisher and legendary improvisational saxophonist Lol Coxhill sees the two explore a mutual interest in treating their work as mere raw material for further experimentation and re-modeling. Working in Fisher’s Notting Hill home studio, Coxhill’s performances (including Handel’s ‘Largo’ and his own ‘Pretty Little Girl’) were recorded and reworked using a number of innovative studio techniques to create entirely new material, some of which was used as a background for further performances by the pair, the rest treated to further manipulation via tape delays, synthesiser filters and other electronic equipment, resulting in multi layered tape loop pieces, drones and sound collages. (cherryred)


Sros Lords - Slimernetik Punk from Detroit

Savage Saints,

Sros Lords has been a band 5 years. We are from Detroit.

The original lineup was 4 members . 
jamie Drums
morgan  guitar/vox
al synth 
phil bass

But now it`s 3 members 
jamie drums 
morgan guitar /vox
cait synth 

Now we have a synth with bass low-end. We are signed to Earyummy records from Chicago. We are a Slimernetik punk band. Were into many things...................................................................... We love eating pasta and pizza. Also we don`t use bandcamp or soundcloud. We have our own site... sroslords.com     .............   That has a song on it from our album ...Rule......... called Slow Death

"It's hard to write objectively about our songs or our sound, but I do think that I can say what our intentions are from the start. Generally that tone is pretty vicious, which is how youhave to play when you're playing weird gigs. you never have too much time to setup and breakdown, and that's a big part of a show. The brevity of the songs has to do with two things things I think. We don't want to bore the audience with repeating ourselves too often, and I just can't write good lyrics fast enough. This brevity is also reflective of our punk rock childhoods and the garage rock that's so deeply rooted in detroit."

Jamie on how SROS Lords started:
"SROS Lords was started around 2010, and we got the name from the building I lived at for 10 years in downtown detroit. its the legendary bagley optical, at one point named Site Rite Optical. We added Studios for our friends' place where we did the first single for Urinal Cake. I've been playing guitar for a long time, probably since I was 16. For the last decade I've been playing the same guitar, although I don't know if I'm allowed to mention the band or anything like that. Jamie is a really adventurous player, who frequently breaks his drums and even severs electrical cords sometimes. Cait has played bass and guitar in several bands too, and does sound engineering. Her sound reflects her taste in both older and newer technologies."


Jesse Graves (1972)

Great early 70s country blues private press album. Mr Graves has a great taste and picks some real nice traditionals and choice artists to play. The whole album has a raw or ‘from the basement’ tone; rough vocals, harmonicas, bottlenecks, foot stomps and hand claps.





Related Posts Plugin for WordPress, Blogger...