Gary Wright -

Gary Wright (April 26, 1943 – September 4, 2023) was an American singer, musician, and songwriter who served as the co-vocalist and keyboardist in Spooky Tooth during two three-album periods between 1968 and 1974. After leaving the group, he launched a solo career centered on keyboard-based production and spiritual lyrical themes.

His third solo album, The Dream Weaver (1975), yielded two major US hits: the title track and “Love Is Alive,” both of which reached No. 2 on the Billboard Hot 100. He followed with the 1977 albums The Light of Smiles and Touch and Gone, continuing his focus on synthesizer arrangements. In 1981, he released The Right Place, which included “Really Wanna Know You,” his final Top 20 hit.

Wright collaborated extensively with George Harrison, contributing to All Things Must Pass (1970) and co-writing “That’s What It Takes” for Cloud Nine (1987). In the 1980s, he worked in film scoring and contributed songs to soundtracks for Fire and Ice, Cobra, and North Shore, later returning to studio work with Who I Am (1988).

Background

Gary Malcolm Wright was born on April 26, 1943, in Cresskill, New Jersey. He entered the entertainment industry as a child actor, making his television debut at age seven on the science fiction program Captain Video and His Video Rangers, filmed in New York City. He soon appeared in a series of television and radio commercials, which led to a role in the original 1954 Broadway production of Fanny. Wright played Cesario, the young son of the title character (portrayed by Florence Henderson), and remained with the production for two years, performing alongside Henderson on The Ed Sullivan Show during its run.

He began studying piano and organ in childhood and fronted several local rock bands while attending Tenafly High School. In 1959, he made his first commercial recording with Billy Markle at NBC Radio studios in New York. The duo released the single “Working After School” as Gary & Billy on 20th Century Fox Records in 1960.

Despite his musical involvement, Wright initially pursued a career in medicine. He enrolled at the College of William & Mary, then transferred to New York University, and spent a year at Downstate Medical College while continuing to perform in local bands. He specialized in psychology before relocating to West Germany in 1966 to continue his education at the Free University of Berlin.

Wright ultimately left his medical studies and committed to music full-time. He cited early R&B and rock ‘n’ roll—especially Ray Charles, Aretha Franklin, James Brown, Bobby Bland, Elvis Presley, Jerry Lee Lewis, and The Beatles—as formative influences. In 1967, he formed a short-lived European touring band called the New York Times. While supporting Traffic at a show in Oslo, Wright met Island Records founder Chris Blackwell, a pivotal encounter that redirected his path toward a professional music career.

First Period with Spooky Tooth (1968–1970)

Gary Wright joined the London-based rock group Art in late 1967 at the invitation of Blackwell, who knew both parties through their mutual connection, Jimmy Miller, a NY-born, London-based producer who oversaw Island’s growing roster of psychedelic acts. Upon Wright’s arrival, the group—fronted by singer–keyboardist Mike Harrison with drummer Mike Kellie—rebranded as Spooky Tooth. Wright assumed a central creative role as co-lead vocalist and Hammond organist, immediately shaping the band’s stylistic identity.

Spooky Tooth released their debut album It’s All About in June 1968 on Island. Produced by Miller, the album included “Sunshine Help Me,” penned solely by Wright, along with six other tracks co-written by him in collaboration with Miller, Harrison, or guitarist Luther Grosvenor. Wright’s organ textures and blues-influenced vocal phrasing formed a counterbalance to Harrison’s gruffer delivery, establishing a dual-frontman dynamic that distinguished Spooky Tooth from their peers.

Their second album Spooky Two followed in March 1969, again with Miller producing. Wright either wrote or co-wrote seven of the album’s eight tracks, including “That Was Only Yesterday” and “Better By You, Better Than Me.” His songwriting and keyboard presence defined the album’s sonic character, blending hard rock weight with melodic sophistication. Though album generated strong sales and FM radio support in the United States, becoming the band’s most acclaimed release.

Later that year, Wright proposed a collaboration with avant-garde French composer Pierre Henry, resulting in Ceremony: An Electronic Mass, released in December 1969. All tracks were co-credited to Henry and Wright, who supplied the band’s recordings for Henry to reprocess with musique concrète techniques. While Wright initiated the project, he later expressed regret over its direction, lamenting the loss of momentum that had followed Spooky Two.

Wright departed Spooky Tooth in January 1970, shortly after bassist Greg Ridley exited to join Humble Pie.

Elsewhere, Gary’s sister Beverly Wright signed with the New York-based Audio Fidelity label and recorded the 1969/70 albums Grass Doesn’t Grow as High as the Tree and With a Little Love. Their younger sister, Lorna (b. 1948), cut the 1970 A&M standalone single “Tomorrow Is Another Day,” written and produced by Gary.

Extraction

Gary Wright released his debut solo album, Extraction, in 1970 on A&M Records. The title is a pun on his exit from Spooky Tooth.

The album continues Wright’s blend of rock and soul-inflected songwriting with tighter, more concise arrangements than his prior band efforts. Working with an elite group of British and American players, Wright favors a stripped-down rhythm section and alternating keyboard textures to support his vocals, shifting between bluesy piano-driven cuts and layered ballads. The album’s lyrical focus ranges from personal reflection to aspirational mantras, delivered in a more restrained, solo-artist mode than his dual-frontman role in Spooky Tooth.

Wright composed seven of the nine songs solo and co-wrote two numbers with guitarist Hugh McCracken.

A1. “Get On the Right Road” (3:10) — urgent piano-led opener with clipped guitar interjections and gospel-inspired backing vocals; issued as a single
A2. “Get Hold of Yourself” (3:10)
A3. “Sing a Song” (3:10)
A4. “We Try Hard” (2:30)
A5. “I Know a Place” (4:55)

B1. “The Wrong Time” (3:19) — (Wright, Hugh McCracken)
B2. “Over You Now” (3:35)
B3. “Too Late to Cry” (3:50)
B4. “I’ve Got a Story” (5:25) — (Wright, Hugh McCracken)

Wright co-produced Extraction with Andy Johns, who previously engineered Spooky Two and Ceremony. Sessions took place in London with contributions from guitarist McCracken, bassist Klaus Voormann, and drummers Mike Kellie and Alan White. Mick Abrahams and Trevor Burton also appear on guitar. Backing vocals were provided by Doris Troy, Madeline Bell, and Nanette Newman. The album was mastered at Artisan Sound Recorders and released on white-label A&M promo copies in the US. Klaus Voormann designed the sleeve.

Session Work and Collaborations (1970–1972)

Around the time of Extraction, Wright began an enduring collaboration with George Harrison. Introduced by Klaus Voormann, Wright was invited to play piano on Harrison’s All Things Must Pass (1970), recorded at Abbey Road and Trident Studios with a cast that included Eric Clapton, Billy Preston, and Ringo Starr. Wright played a key role among the album’s principal keyboardists alongside Bobby Whitlock, contributing to the expansive “rock orchestra” arrangements that defined the triple-LP set. During the sessions, he formed a close personal and spiritual bond with Harrison—one that extended far beyond music.

Wright became a fixture on Harrison’s solo albums throughout the 1970s, appearing on every release from All Things Must Pass onward. He also played on Apple Records productions helmed by Harrison, including Ringo Starr’s singles “It Don’t Come Easy” and “Back Off Boogaloo,” and Ronnie Spector’s “Try Some, Buy Some.”

Footprint

Gary Wright released his second solo album, Footprint, in 1971 on A&M Records.

The album expands on Wright’s blend of soul-conscious rock and spiritual lyricism, introducing a denser production sound shaped by input from many of the musicians who had participated in George Harrison’s All Things Must Pass. Drawing on themes of unity, justice, and perseverance, Footprint combines gospel-tinged vocal arrangements with blues-based guitar work and orchestrated textures. The presence of slide guitar, brassy horn lines, and layered rhythm arrangements positions the album at the intersection of early ’70s soul-rock and post-Beatles studio craft.

Wright wrote all eight tracks and self-produced the album. While uncredited officially, George Harrison played slide guitar on “Two Faced Man” under the pseudonym George O’Hara and provided support behind the scenes, helping arrange Wright’s appearance on The Dick Cavett Show in November 1971.

A1. “Give Me the Good Earth” (3:17) — piano-driven opener with organ swells and a sing-along gospel refrain
A2. “Two Faced Man” (3:40) — taut rhythm with dual-lead vocals and Harrison’s layered slide guitar
A3. “Love to Survive” (4:48)
A4. “Whether It’s Right or Wrong” (5:08)

B1. “Stand for Our Rights” (3:32) — call for solidarity featuring a tenor sax solo by King Curtis
B2. “Fascinating Things” (5:05)
B3. “Forgotten” (4:02)
B4. “If You Treat Someone Right” (4:50)

Wright recorded Footprint in London with a large ensemble. Guitar duties were split between Hugh McCracken and Jerry Donahue. Bassist Klaus Voormann returned from Extraction, joined by drummers Jim Gordon, Alan White, Colin Allen, and Jim Keltner. Bobby Keys (tenor sax), Jim Price (trumpet, trombone), and string arranger John Barham added orchestral and brass textures. Backing vocals were provided by Pat Arnold, Doris Troy, Madeline Bell, Barry St. John, Jimmy Thomas, Nanette Workman, and Liza Strike. The album was recorded and mixed by Andy Johns and Chris Kimsey. Artwork was designed by Chuck Beeson with art direction by Roland Young and illustration by Joe Garnett; photography was by Ethan Russell.

Side Work and Film Scoring (1971–1972)

Between his first two solo records, Wright became a high-demand studio contributor. In 1971, he played piano on “Without You,” Harry Nilsson’s US No. 1 hit produced by Richard Perry. That same year, he joined B.B. King’s B.B. King in London sessions alongside Ringo Starr, Jim Gordon, and Klaus Voormann. The album includes Wright’s own composition “Wet Hayshark.”

He also contributed to The Session (1973), a London-recorded double album by Jerry Lee Lewis, and produced the sole album by Michigan folk-rock act Howl the Good, released on Motown’s Rare Earth subsidiary.

In early 1972, Wright relocated with his backing band Wonderwheel to Devon to write material for a third solo album, Ring of Changes. Sessions with new bassist Tom Duffey occurred at Olympic and Apple Studios. “I Know” appeared as an advance single. However, A&M ultimately shelved the album.

That same year, Wright wrote and recorded the soundtrack to Benjamin, a German feature film directed by Olympic skier Willy Bogner. The theme “Goodbye Sunday” was released as a single by Ariola in 1972. The full soundtrack, featuring Wonderwheel players Mick Jones, Archie Legget, and Bryson Graham, was issued by Ariola in 1974.

In September 1972, Wright dissolved Wonderwheel and rejoined Spooky Tooth, citing a preference for collaborative music-making over the expectations of being a solo frontman. Shortly before doing so, he contributed to George Harrison’s Living in the Material World.

Second Phase with Spooky Tooth (1973–1974)

Gary Wright reactivated Spooky Tooth in late 1972 after A&M Records shelved his Ring of Changes project. He contacted Chris Blackwell and rebuilt the band with original vocalist Mike Harrison, guitarist Mick Jones and drummer Bryson Graham (from Wonderwheel), and bassist Chris Stewart (ex–Terry Reid). From the outset, Wright directed the group’s writing and arrangement, asserting full control over its sound and direction.

You Broke My Heart So I Busted Your Jaw appeared in spring 1973. Wright wrote six of the album’s eight tracks and co-wrote the remaining two. His material replaced the earlier lineup’s organ-centered turbulence with tighter structures, measured pacing, and defined melodic lines. “Cotton Growing Man,” “Self Seeking Man,” and “Wildfire” centered the album’s shift toward vocal-driven, verse–chorus construction. The release widened the band’s reach in Europe and the US and supported sustained touring through the year.

Witness followed in November 1973. Graham departed and original drummer Mike Kellie rejoined, partially restoring the 1968–70 rhythm section. Wright remained the dominant force, supplying the bulk of the material and guiding the album’s arrangements. By early 1974, both Harrison and Stewart exited, leaving Wright the sole remaining link to Spooky Tooth’s earlier phases.

In January 1974, Wright traveled to India with George Harrison and visited Varanasi, an experience that shaped the lyrical direction of his later solo work. Upon return, he assembled a final lineup with singer Mike Patto, a fellow travel on the UK post-psych scene (Timebox, Patto). This lineup recorded The Mirror, a collection of epic rockers released in October 1974 on Goodear. Due to Spooky Tooth’s lineup troubles and Wright’s wish to explore synthesized arrangements, he disbanded the group soon after the album.

The Dream Weaver

Gary Wright released his third solo album, The Dream Weaver, in July 1975 on Warner Bros.

Wright conceived The Dream Weaver as a self-contained keyboard-driven studio work, performed with an array of instruments including Fender Rhodes, Hammond organ, Hohner clavinet, Minimoog, ARP String Ensemble, and drum machine. He enlisted fellow keyboardists David Foster and Bobby Lyle, with drummers Jim Keltner and Andy Newmark providing the only non-electronic accompaniment. The album features no guitar except on one track, reinforcing Wright’s aim to record a rock album “all on keyboards.”

Wright wrote all the songs, co-authoring two with outside lyricists. Ronnie Montrose plays guitar on “Power of Love,” the sole track to feature the instrument. The album features vocal backing by Betty Sweet, David Pomeranz, and Gary’s younger sister, Lorna Wright.

“Dream Weaver,” inspired by Autobiography of a Yogi, pairs Wright’s layered synthesizers with Keltner’s drums to evoke a floating, mantra-like soundscape. The song became his signature hit, reaching No. 2 on the Billboard Hot 100 and No. 1 on the Cash Box Top 100. “Love Is Alive,” driven by clavinet and rhythm loops, matched that Hot 100 peak and logged 27 weeks on the chart. “Made to Love You” followed as a third single, reaching No. 79.

A1. “Love Is Alive” (3:54) — Second single released in April 1976 (b/w “Much Higher”); peaked at No. 2 on Billboard Hot 100. Features Wright on all instruments aside from Andy Newmark’s drums.
A2. “Let It Out” (3:25)
A3. “Can’t Find the Judge” (3:24)
A4. “Made to Love You” (3:45) — Originally issued as the album’s lead single in 1975, reissued after the success of “Dream Weaver”; reached No. 79 on Billboard Hot 100.
A5. “Power of Love” (3:32) — Features Ronnie Montrose on electric guitar; Wright handles remaining instruments and lead vocals.

B1. “Dream Weaver” (4:17) — Released as second single in December 1975 (b/w “Let It Out”); reached No. 2 on Billboard and No. 1 on Cash Box. Written after Wright’s trip to India with George Harrison and influenced by Yogananda’s “God! God! God!”; includes Jim Keltner on drums, all other parts performed by Wright.
B2. “Blind Feeling” (4:45)
B3. “Much Higher” (3:00)
B4. “Feel for Me” (4:58)

Sessions took place in early 1975 with Jay Lewis as engineer and Doug Sax handling mastering. Wright produced and arranged the album, with visual contributions from Mick Haggerty, Ed Scarsbrick (illustrations), and Norman Seeff (photography).

The Dream Weaver entered the Billboard 200 in late 1975 and peaked at No. 7 in spring 1976. It was certified Gold in March 1976, Platinum in 1986, and 2× Platinum in 1995. Though it failed to chart in the UK, the album sold heavily in West Germany, where Spooky Tooth retained lasting popularity.

The Light of Smiles

Gary Wright released his fourth solo album, The Light of Smiles, in January 1977 on Warner Bros.

Wright began recording The Light of Smiles in summer 1976 as a direct continuation of The Dream Weaver, again producing and arranging the sessions himself. He composed and performed most of the music using a battery of synthesizers and keyboards—Moog, Oberheim, ARP, clavinet, and organ—augmented by drums and orchestral elements on select tracks. Session contributors included returning players David Foster (synths, piano) and Jim Keltner (drums), alongside Peter Reilich (synths, strings), Art Wood (drums), and Steve Porcaro (Moog bass on one track).

The album’s lyrics reflect Wright’s growing spiritual alignment with Paramahansa Yogananda, whose poem “The Light of Smiles” appears on the inner sleeve and whose authorship is credited on the track “I Am the Sky.” The front cover features a painted portrait of Wright by John Silletto.

“Phantom Writer,” the album’s lead single, features layered keyboard arrangements and a structured rhythm section. Wright himself favored “Water Sign,” the album’s swelling opener number. Peter Reilich arranged orchestral elements for both “Phantom Writer” and “Child of Light,” a misty threshold epic with lyrical references to spiritual themes.

A1. “Water Sign” (4:33)
A2. “Time Machine” (3:36)
A3. “I Am the Sky” (0:42) — Adapted from a spiritual poem by Paramahansa Yogananda, credited as co-writer. Vocal by Justin Wright.
A4. “Who Am I” (3:18)
A5. “Silent Fury” (4:20) — Features Moog bass by Steve Porcaro.
A6. “Phantom Writer” (3:38) — Released as the album’s lead single; peaked at No. 43 on the Billboard Hot 100.

B1. “The Light of Smiles” (3:30)
B2. “I’m Alright” (3:35)
B3. “Empty Inside” (3:30)
B4. “Are You Weepin’” (4:00)
B5. “Child of Light” (5:55) — One of two tracks with orchestral string arrangements by Peter Reilich.

Sessions took place in 1976 at Sound Labs and United Western Studios (Hollywood, CA), with synthesizer programming by Gary Mielke and Jay Graydon. Mastering was handled by Doug Sax.

The Light of Smiles peaked at No. 23 on the Billboard 200. Though it didn’t replicate the massive success of The Dream Weaver, the album earned praise from Billboard and Rolling Stone for its expanded sound palette and “ethereal textures.” Wright supported the release with an extensive US tour.

Touch and Gone

Gary Wright released his fifth solo album, Touch and Gone, in November 1977 on Warner Bros.

Wright recorded Touch and Gone in Los Angeles with a broad team of keyboardists and co-writers, shifting from the inward, solo construction of his prior albums toward a more collaborative studio approach. He wrote three tracks alone and co-wrote the remainder with Richard Reicheg, Jamie Quinn, and Christina Wright. Though the album again centers on electronic textures, it incorporates greater rhythmic diversity and broader arrangement input, including backing vocals and varied synth layering.

Sessions took place at Sound Labs and High Wave Studios with Wright on Moog, Oberheim, Polymoog, clavinet, and organ. Supporting players include Bobby Lyle, Peter Reilich, Gary Mielke, and Richard Baker, each contributing to the keyboard soundscape. Art Wood plays drums throughout. Clydie King, Venetta Fields, and Sherlie Matthews appear on backing vocals for two tracks.

“Touch and Gone,” the title track, combines crisp keyboard textures and lyrical reflection on relational instability. Released as the album’s sole single, it peaked at No. 73 on the Billboard Hot 100. “Starry Eyed,” co-written with Reicheg, juxtaposes bright Oberheim tones with layered vocal harmonies, while “Stay Away” and “Night Ride” develop Quinn’s lyric themes across syncopated keyboard and clavinet patterns.

A1. “Touch and Gone” (3:58) — Co-written with Richard Reicheg; issued as the album’s lead single and reached No. 73 on Billboard Hot 100.
A2. “Starry Eyed” (4:10)
A3. “Something Very Special” (3:38)
A4. “Stay Away” (3:36)
A5. “Night Ride” (4:10)

B1. “Sky Eyes” (4:50)
B2. “Lost in My Emotions” (4:04)
B3. “Can’t Get Above Losing You” (4:02)
B4. “The Love It Takes” (4:10)

The album was produced by Wright with no external production collaborators. Engineering contributions are unlisted, but session data indicates substantial input from synthesizer programmers and multiple keyboardists.

Touch and Gone peaked at No. 117 on the Billboard 200 and marked a downturn in Wright’s chart trajectory.

Meanwhile, Lorna Wright signed with Elton John’s Rocket Record Company and resumed her singing career with the 1977 single “Slow Dancing,” a Funky Kings ballad popularized by Johnny Rivers. Her lone album, Circle of Love, appeared in 1978 with backing by multiple West Coast sessionists, including David Foster and Jay Graydon, the eventual pair behind Airplay.

Headin’ Home

Gary Wright released his sixth solo album, Headin’ Home, in 1979 on Warner Bros.

Wright approached Headin’ Home as a return to warmer, organic textures after the synth-centric experiments of his prior three albums. He retained his central role as writer, performer, and producer while broadening the instrumental palette with a cast of seasoned studio musicians. The album incorporates West Coast production across layered keyboards, electric pianos, and a broadened rhythm section.

Wright wrote most of the material alone, with co-writing contributions from Jamie Quinn, Cristina Wright, and Lorna Wright. The sessions featured prominent input from keyboardists Jai Winding, Bobby Lyle, Neil Larsen, and Michael Boddicker. The guitar parts, spread across multiple tracks, were handled by Steve Lukather, Roland Bautista, Hugh McCracken, Fred Tackett, and Buzz Feiten. A wide rotation of drummers—including Andy Newmark, Jeff Porcaro, Alan White, and Harvey Mason—underscored the album’s focus on rhythmic breadth, complemented by a team of top-tier percussionists. Michael McDonald, David Crosby, and Graham Nash contributed backing vocals.

“Keep Love In Your Soul” opens the album with interlocking keyboard textures and lyrical themes of inner clarity and connection. “Love Is Why,” co-written with Lorna Wright, closes the album on a note of devotional affirmation. “You Don’t Own Me” addresses possessiveness with a steady, mid-tempo strut, while “Stand” emphasizes personal resolve through a smooth, California-style vocal arrangement.

A1. “Keep Love In Your Soul” (4:55) — Co-written with Jamie Quinn.
A2. “Love’s Awake Inside” (4:35)
A3. “You Don’t Own Me” (3:38)
A4. “Moonbeams” (3:32)
A5. “Stand” (3:52)

B1. “I’m the One Who’ll Be By Your Side” (4:14) — Co-written with Cristina Wright.
B2. “Follow Next to You” (4:35)
B3. “I Can Feel You Cryin’” (4:37)
B4. “Let Me Feel Your Love Again” (2:35)
B5. “Love Is Why” (4:05) — Co-written with Lorna Wright.

Sessions took place in 1978–79 with John Haeny as lead engineer and assistant engineers Paul Black and John (Michael) Weaver. Wright produced the album himself and arranged the keyboard layers with support from a large rotating cast of contributors.

The Right Place

Gary Wright released his seventh solo album, The Right Place, in 1981 on Warner Bros.

Wright collaborated with multiple songwriters, including Chris Agajanian, Scottish singer Ali Thomson, and Brill Building legends Barry Mann and Cynthia Weil. The album also features a large session cast, including members of Ambrosia, Toto, and The Eagles.

Musically, The Right Place fuses Wright’s synth-laden signature with a modernist angle akin to Healing by contemporary Todd Rundgren. “Really Wanna Know You” veers between lucid passages and tighter, rhythmic moments. The album’s title track and closing numbers reflect Wright’s lyrical shift toward affirmations and interpersonal renewal, while arrangements prioritize clarity, rhythmic balance, and clean transitions between analog and digital textures.

A1. “Intro” (0:29)
A2. “Heartbeat” (4:16) — Features backing vocals by David Pack and Timothy B. Schmit, with co-writer Marty Walsh on rhythm guitar.
A3. “Really Wanna Know You” (4:22) — Co-written with Ali Thomson; features additional keyboards by Dean Parks.
A4. “Got the Feelin’” (3:41)
A5. “Love Is a Rose” (4:30) — Features Rod Piazza on blues harp and David Kemper on drums; lyrics co-written with Chris Agajanian.

B1. “The Right Place” (3:33)
B2. “More Than a Heartache” (4:33)
B3. “Close to You” (4:07)
B4. “Comin’ Apart” (3:51) — Co-written with Barry Mann and Cynthia Weil; drums by Bob C. Benberg and additional keyboards by Dean Parks.
B5. “Positive Feelins” (3:41) — Co-written with Ali Thomson; rhythm guitar by Marty Walsh.

Sessions occurred at Hollywood Sound Recorders with producer Dean Parks, mixer Jay Lewis, and assistant engineers Ross Pallone and Steve McMillian. Wright programmed and performed multiple synthesizer parts alongside Casey Young, with Parks contributing to saxophone, guitar, and keyboard layers. Art direction was handled by Simon Levy with front cover illustration by Jonathan Meader and photography by Bob Seidemann.

“Really Wanna Know You” reached No. 16 on Billboard Hot 100 and spent 17 weeks on the chart. The video depicts soft-focus dream sequences as Wright awakes and wanders in the midst of a mysterious Nagel-esque woman. The followup single, “Heartbeat,” reached the Bubbling Under chart and spawned another white-screen performance clip.

The Right Place peaked at No. 79 on the Billboard 200. Both videos received medium rotation on MTV during the US cable music channel’s first year of broadcast.

Film and Soundtrack Work

Between studio albums, Gary Wright shifted focus to soundtrack composition and international projects. In 1982, he scored Endangered Species, a thriller directed by Alan Rudolph. He also played keyboards on Spies of Life, the fourth and final album by Player.

Wright returned to the skiing-film genre with Fire and Ice (1986), a collaboration with filmmaker Willy Bogner that reached No. 1 on the German albums chart. That same year, Wright contributed the motivational ballad “Hold On to Your Vision” to the Sylvester Stallone action film Cobra, followed in 1987 by the song “Am I the One” for the surf-themed movie North Shore.

Elsewhere, Lorna Wright juggled vocal credits with modeling work. In 1982, she appeared on The Magician, a solo album by keyboardist Adrian Lee (b. 1957), a recent sideman for Cliff Richard and Toyah Willcox. For a time, Lorna was married to Adrian, nine years her junior.

Who I Am

Gary Wright released his eighth solo album, Who I Am, in 1988 on Cypress Records (YL 0111), distributed by A&M.

Wright returned with Who I Am after a seven-year studio hiatus, integrating his spiritual motifs with modern studio techniques and contributions from prominent session players. He produced the album with engineer Wyn Davis and recorded it across four Southern California studios: Ocean Way, Powerplay, High Wave, and Total Access. While maintaining his role as lead vocalist and keyboardist, Wright surrounded himself with a varied cast, including South Indian classical musicians and several veteran rock players.

The album features Indian violinist L. Subramaniam as arranger and conductor on the percussion arrangements, infusing several tracks with modal phrasing and rhythmic complexity. Western contributors include guitarists Bruce Gaitsch, Michael Thompson, and Steve Farris, drummers Alan White and Terry Bozzio, and bassists Jimmy Haslip and Jimmy Johnson. George Harrison contributes a slide guitar solo to “(I Don’t Wanna) Hold Back,” a collaboration that rekindled the pair’s long-running creative relationship following Wright’s appearance on Cloud Nine (1987).

“Blind Alley” gained further exposure through its placement in the 1988 supernatural thriller Spellbinder.

A1. “Who I Am” (5:19)
A2. “Voices” (6:37)
A3. “Love Is On the Line” (3:33)
A4. “Take a Look” (4:44)
A5. “Blind Alley” (4:52) — Featured in the 1988 film Spellbinder.

B1. “Sad Eyes” (6:34)
B2. “Prey of Your Love” (5:57) — Drums by Alan White.
B3. “(I Don’t Wanna) Hold Back” (4:12) — Features a guest guitar solo by George Harrison.
B4. “It Ain’t Right” (3:48)
B5. “Rose” (4:07)

Wright handled production, vocals, and keyboards throughout. Assistant engineers included Chris Steed, Eddie Ashworth, Mike Ross, and Ron Kurz. Franz Pusch assisted in both engineering and additional synthesizer programming. Art direction and design were led by Leslie Wintner, with photography by Glen Erler.

Discography: