|
|
viewing 1 To 12 of 12 items
|
|
|
|
|
|
|
|
|
|
|
|
2LP
|
|
EX 006LP
|
"Exiled Records is very excited to present the first ever vinyl edition of Sir Richard Bishop's Salvador Kali. Originally released on cd by John Fahey's Revenant in 1998. This was released following a run of peak Sun City Girls activity (330,003 Crossdressers, Dante's Disneyland Inferno) and came as something of a shock; a stunningly beautiful instrumental album that was entirely accessible! Composed and recorded free of the burden of expectation, his debut album marked Bishop as a force operating on his own plane. A fairly significant departure from the freewheeling nature of the Sun City Girls, Salvador Kali is a concise album in which he explores the hallmarks of his style: North African influences, Spanish flamenco, Indian raga and a fiery take on Django Reinhardt's Rose Room. The epic 14 minute solo piano fantasia, Al-Darazi is saved for all of side C. There is an incredible cinematic feel to the album as it's vibe runs from pieces that could be in a Satyajit Ray film to a lost Antonioni sequence set on the Mediterranean in the 1970's. Ironic that it was released by John Fahey, as it is was one of the few solo guitar albums to be free of the long shadow cast by Fahey. My favorite Sir Richard Bishop album on vinyl, at last! Edition of 500 copies." Last copies...
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
Cassette
|
|
DC 618CS
|
|
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
DC 618CD
|
"The tone of the guitar and Sir Richard's gentle, loving touch with it hold forth from the first moment of Tangier Sessions, sitting clear and true in the home-recorded night air above the city. The album sequence is the precise order of the songs as they were conceived and recorded. Rick's all over the neck in the early going while sorting through the dynamics of the instrument -- in fact, guitarophiles, the first couple of songs feature Sir Richard Bishop playing without a plectrum for the first time ever! Towards the end of the first side of Tangier Sessions, Sir Richard and guitar begin to chill out and cut loose in a different way -- arriving in the moment that was imagined for them, they stretch out, finding themselves in open space with fewer changes. This is a place where a player like Sir Richard Bishop can relax while remaining totally focused and present, hearing what the guitar and he are capable of in real time. The discoveries of side one give way to the trilogy of songs that comprise the second side, and the issues presented by 'Mirage' are revisited from another angle, another spot on the map in 'International Zone,' leaving finally a sense of journey completed in the serene moments of 'Let It Come Down.' The narrative that builds as a function of this (noble)man-guitar dialogue gives Tangier Sessions a visceral punch that makes for a singular listening experience, even in the crowded realm of solo acoustic guitar albums. Nobody plays the guitar like Sir Richard Bishop -- and on Tangier Sessions, he's found a guitar that nobody but him plays either."
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
DC 618LP
|
|
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
10"
|
|
UNROCK 002EP
|
Road to Siam shows Richard Bishop on a musical trip from the Iberian Peninsula all along through North Africa and the Orient to the Far East. "Mekong" is an improvisation on 6-string guitar based on the particular sounds of a traditional three-stringed instrument known as a phin, which originated in Laos. "Mekong," which was recorded in Phitsanulok, Thailand in December 2013, is a typical Richard Bishop track, elegantly liquid and hypnotic and Bishop's first new track in years. The B-side of the 20-minute long vinyl-only 10" features "Alhambra Drag," "Sand Shuffle" & "Coronado's Broom," which are highlights taken from digital-only available albums. Limited edition pressing of 500 copies.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
VDSQ 008LP
|
warehouse find, last copies. 2014 release. Solo acoustic recordings from the master guitarist, Sir Richard Bishop returns to familiar themes and introduces new ideas simultaneously on this tour de force performance of his singular style.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
UNROCK 001LP
|
Repressed. After having released records on labels such as Locust, Drag City and John Fahey's Revenant, Richard Bishop's The Unrock Tapes contains eight complete tracks, six of which are highlights taken from earlier tour CD-Rs that were released on micro-editions years ago. They have never been available on vinyl. Two completely new and unreleased songs make this album even more special. Bishop's guitar-playing skills contain a variety of influences. They could arouse the absurd impression that his work has something to do with what one would call "world music." But his playing gets its fire and fascination from being irreverent in Bishop's unique way. The spirit of his former outfit Sun City Girls is still floating through the album, even if it is not the musical intention; however, it gives an impression of an underlying ever-increasing and developing personal signature. On the one hand, Bishop uses influences respectfully (Omar Khorshid), and on the other hand his style is typically disrespectful. His guitar-playing is delicate and hybrid; because of his subtle skills, Bishop is able to express himself in a wide range of styles without losing authenticity. That his ragas fray out and end up in distortion and his Flamenco sounds Arabic, is also part of his game. Bishop is a Grand-seigneur of the modern American Underground and a big part of its substance and integrity. He is a magician with his guitar; still a winking prankster. Variable and never too predictable. That is also what makes him special. Unrock in its purest form. Released in a limited pressing on 140 gram clear, white vinyl.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
SOMA 010LP
|
"I met Richard in 2004 on a crazy tour in Australia (Oren Ambarchi's last 'What Is Music?'). He was a founding member of The Sun City Girls but he came out to play solo. Instantly we were entranced by his playing, so many beautiful elements of why I love guitar come through in his music and presence, without floating around in genre space at all. Here on the road with Kevin Drumm, Dead C, Residents, Gang Gang Dance, Black Dice, etc., amongst this insane line-up, Richard ended up supporting Pan Sonic and really held it down, as a soloist. A few years later, Peter Rehberg and I (as KTL) were invited to join a tour Richard was doing with Earth. His incredible communication of atmosphere and texture was even more fluid than I remembered -- a real pleasure. If the reason to start a record label is to release the music you are truly enamored by, this is a true example of that philosophy." --Stephen O'Malley, Paris 2012; All songs composed & recorded by Sir Richard Bishop. Master & vinyl cut by Rashad Becker at Dubplates & Mastering, Berlin, April 2012. Last copies...
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
DC 398CD
|
"Another album of acoustic guitar music from Sir Richard Bishop-- are you 'freakin' nuts? The Freak Of Araby is a new direction for our distinguished gentleman, and just in the nick of time as well. Sir Rick's had it up to here with solo acoustic guitar records! The Freak Of Araby isn't even a solo record! And there's no acoustic guitar on it! So let's have no more of this kind of talk. Over his years with Sun City Girls, Richard Bishop threw a wide variety of music and sound against the wall -- and all of it stuck. Among those who know, he's reasonably fluent in any number of international music traditions, playing them for (mostly) fun and (sometimes) profit all over the place. The Freak Of Araby is the debut of Sir Richard Bishop and his Freak of Araby Ensemble, a talented quartet of players getting deep into the Middle Eastern mystic with hand drums, percussion, bass, drums, electric guitars and a heavy dose of Moroccan chanters, all of it captured with depth, detail and sympathy for the eternal enigma by engineer Scott Colburn. But a Sir Richard Bishop album with a backing band -- how did this happen? After recording a cover of 'Ka'an Azzaman,' written by Elias Rahbani, one of Lebanon's finest songwriters, something dawned on Sir Richard. Half-Lebanese by birth (it didn't just occur to him later), he found himself suddenly possessed to really dig into Middle Eastern sounds. A pair of original melodies not fully developed at a prior recording session had the Arabic inspiration, so these were reattacked and finished in short order. Soon, Sir Richard's head was flooded with some of the classic sounds spun for him by his grandfather back in his (way) younger days, like Farid Al-Atrache, Oum Kalthoum and Fairuz, along with other personal favorites, such as the guitarists Omar Khorshid and Mike Hegazi. In addition to the studio improvisation, 'Taqasim For Omar,' the whole of The Freak Of Araby is dedicated to these inspiring players. Check 'em out. In addition to his soul-stirring electric guitar playing, Sir Richard grabbed a couple of Moroccan chanters and blew the house down on 'Blood-Stained Sands,' providing an epic (not to mention epochal, heh heh) finish to this journey to the center of one-half of the family tree. This is music meant to be played live, and Sir Richard's Freak Of Araby Ensemble intends to play it everywhere there's interest in hearing it. So get your Freak on."
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
DC 398LP
|
2012 repress, LP version.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
DC 349CD
|
"It goes without saying that Polytheistic Fragments is an instrumental release -- who among us would want it otherwise? In the tradition of his classic debut, Salvador Kali, this new record features equal amounts of improvisation and composition. Sir Richard's powers lie in his ability to captivate with just the sound of his guitar, but he doesn't completely abandon studio processes, which allow Polytheistic Fragments to communicate a greater wholeness: all Sir Rick, all the time, if you will. We have come to expect a few solo acoustic guitar pieces with the gypsy stylings of his hero, Django Reinhardt -- and as if to tenderize our consciousness and prepare it for the ride, 'Cross My Palm with Silver' meets and exceeds our expectations. 'Rub 'Al Khali' is an ode to the oud, a northern African lute of sorts. On 'Free Masonic Guitar,' Sir Richard manifests free form acoustic playing wholly in his own style. Peppering the mix are the sounds of electric guitar and lap steel guitar, bringing contrast and color. 'Hecate's Dream' is a dreamy praise to a dark Greek Goddess, but 'Tennessee Porch Swing' and 'Canned Goods and Firearms' switch gears to good old down home Americana and country twang. Sir Richard is renowned for his prowess and mastery with the guitar, but the piano playing on Polytheistic Fragments shows a fluid, meditative style. 'Saraswati' is a lengthy river piece bathed in Hindustani serenity, while 'Cemetery Games' is a short celebratory skeletal dance, with more light-heartedness than spook. In a record with so many spirits, Bishop fills in the space where necessary and rounds out the feeling with catchy tunes such as 'Elysium Number Five' and 'Ecstasies in the Open Air.' Polytheistic Fragments shows that the divinely inspired Sir Richard Bishop cannot be contained in one form."
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
DC 349LP
|
2014 repress; LP version. "It goes without saying that Polytheistic Fragments is an instrumental release -- who among us would want it otherwise? In the tradition of his classic debut, Salvador Kali, this record features equal amounts of improvisation and composition. Sir Richard's powers lie in his ability to captivate with just the sound of his guitar, but he doesn't completely abandon studio processes, which allow Polytheistic Fragments to communicate a greater wholeness: all Sir Rick, all the time, if you will."
|
viewing 1 To 12 of 12 items
|
|