Sir Richard Bishop – The Freak Of Araby

A dealer in occult rare books and ephemera by trade, the self appointed Sir Richard Bishop is better known as one of the three people behind the legendary Sun City Girls, along with his brother Alan and the late Charles Gocher. Wild and experimental, fusing their interest in mysticism with surf, jazz and eastern improv, they plowed their own furrow for 25 years. Since then, Sir Richard Bishop has released a number of critically acclaimed records, including the brilliantly titled Salvador Kali (1998) and While My Guitar Violently Bleeds (2007).For The Freak Of Araby Sir Richard has returned to his roots (he is half Lebanese) to explore Arabian and Middle Eastern sounds. Half covers and takes on traditional songs, and half originals, the album marks the first time he has performed on record with a full band. For the most part the record focuses on Bishop’s nimble and intricate electric guitar work, which is full of expression and feeling throughout. The opening track, 'Taqasim for Omar' is a solo improvisation that serves as a tribute to late Egyptian Guitarist Omar Khorshid, who Bishop lists as one of his favourite all time guitar players of all time, and the predominant influence on this record. Moving in waves, the sound is hypnotic, and frequently punctuated with Dick Dale-like flurries of notes. A quick listen to the traditional 'Kaddak el Mayass' or the headlong rush of 'Sisi Mansour', and it is immediately apparent how the surf sound drew inspiration for the music of the Middle East. A quick search on the internet later, and it comes as no surprise to learn that Dale, like Bishop, is also half Lebanese.Although it comes as a surprise to hear Sir Richard Bishop put down his acoustic guitar entirely for this record, the sharp timbre of his percussive electric style sits perfectly with the backup band providing percussive accompaniment and underpinning bass notes, moving the album along at a steady, mystical groove. To close the album, Bishop dispenses with the guitar altogether, taking up two Moroccan Chanter horns instead, playing frantically over a heavy and an insistent, driving percussive backdrop. The result, much like the album itself, is at once hypnotic and cinematic, conjuring images of whirling dervishes and busy souqs. 76%Sir Richard Bishop on Myspace