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Richard Wright biography
RICHARD WILLIAM WRIGHT - 28th July, 1943, Hatch End, Middlesex, UK - 15 September 2008, London, UK

His parents, Bridie and Cedric Wright had two other children, Selina and Guinevere. Rick attended the Haberdasher's School, and when he was 17 years old, the Regent Street Polytechnic, where he met ROGER WATERS and NICK MASON. They started a group and six months later were joined by lead guitarist SYD BARRETT and PINK FLOYD was born. After BARRETT was replaced by DAVID GILMOUR, the band gradually redefined their style over half a dozen albums. In "Ummagumma" the band was allowed to combine a straightforward live album with a second disc, comprising four sections, each recorded by one band member as a solo activity. WRIGHT's instrumental contribution, "Sysyphus" (parts 1-4) was named after a character in Greek mythology.

You'll find that not only did he tickle the ivories (or plastics), but he also managed to find time to write and sing a number of the FLOYD's ditties, like "The Great Gig in the Sky" ("The Dark Side of the Moon").The band's phenomenal success during the time when "Wish You Were Here" and "Animals" were released led to a great amount of tension and conflicts among the band members. Solo albums were a safety valve and WRIGHT released "Wet Dream" in 1978. WRIGHT was accompanied by top session musicians Mel Collins (sax), Snowy White (guitar), Larry Steele (bass) and Reg Isadore (drums). No singles were released from the album, and WRIGHT did not perform any concerts. By the time they came to record "The Wall" in 1979 ROGER WATERS was assuming control of the band. WRIGHT felt the full brunt of this when WATERS threatened not to release "The Wall" unless WRIGHT left the band. WRIGHT spent the next two years as a paid employee, playing "The Wall" in America, Britain and Germany.

Being paid on a wage, he was the only "member" of PINK FLOYD to actually make money on that tour (yes, the FLOYD "lost their shirts" on that tour--it was so phenomenally expensive to put on, and they did so few shows that they couldn't recoup their investment. The rest of the band were "investors," as it were, but WRIGHT's role was the same as that of the roadies--fixed dollar amount per night or some such. So he didn't get reamed like everyone else). He did not appear on "The Final Cut".

After leaving PINK FLOYD, WRIGHT formed a short-lived partnership, called ZEE who released Identity ('84), wi...
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Wet DreamWet Dream
One Way Records Inc 1993
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RICHARD WRIGHT discography

Ordered by release date | Showing ratings (top albums) | Help to complete the discography and add albums

RICHARD WRIGHT top albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

3.89 | 188 ratings
Wet Dream
2.31 | 66 ratings
ZEE: Identity
3.99 | 183 ratings
Broken China

RICHARD WRIGHT Live Albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

RICHARD WRIGHT Videos (DVD, Blu-ray, VHS etc)

RICHARD WRIGHT Boxset & Compilations (CD, LP, MC, SACD, DVD-A, Digital Media Download)

RICHARD WRIGHT Official Singles, EPs, Fan Club & Promo (CD, EP/LP, MC, Digital Media Download)

4.00 | 3 ratings
Drop In From The Top / No Way (David Gilmour)
3.50 | 2 ratings
Confusion (Extended Mix)


Showing last 10 reviews only
 ZEE: Identity by WRIGHT, RICHARD album cover Studio Album, 1984
2.31 | 66 ratings

ZEE: Identity
Richard Wright Crossover Prog

Review by ReactioninG

3 stars I have spent many, many hours listening to this work. I keep coming back to it... It often reaches 60 plus plays on my old Winamp player before the latter crashes and resets. The album is Richard Wright's first album after his expulsion from Pink Floyd during the Wall Sessions for (at least) chronic absenteeism. Here Wright helms a then cutting edge Fairlight CMI (computer musical instrument), a computerized synthesizer and sampler. All sounds are created by sampling, and the songs were usually constructed from a synth wash. The Fairlight was nearly ubiquitous on recordings in this era (1983-1985). It's rival was the similar sounding Synclavier, such as that used extensively by Frank Zappa. I love the Fairlight sound, which is warm and unique and cannot be duplicated by modern programming. Here it is put to good use, and Wright sounds surprisingly adept. I don't take him to be a compositional or instrumental genius. The album is a roughly New Wave album with some dark ambient touches and is a little proggy. Wright enlists Dave Harris, a New Wave artist, to write the lyrics and sing. Harris has what must have been an intentionally Wrightish quality to his voice, so much so that one could mistake the two, though Harris is a better singer overall. Wright imitated his style, as well, during his Broken China album, narrowing even further the difference in their voices. Wright is there somewhere in backing vocals, but is not wholly audible at any point. Just as well, Harris wrote all the lyrics, as Wright writes very poor lyrics, as demonstrated on his previous outing (Wet Dream). Curious, as he sometimes had something going in the early years of Floyd (Summer '68, for example?). Wright wrote all the backing tracks.


1. Confusion

This is a very listenable pop song with a driving rhythm, crashing synths, brass samples and passionate vocals. The lyrics are mainly meaningless, but quite good as a collage. I listen to this song all the time. The single version adds some heavy handed Owner of the Heartish embellishments.

2. Voices

A little plodding, not so different from something that might fit on Momentary Lapse of Reason. Synthesized rhythm section heavy with beautiful textures. Lyrics a little insipid. Reverted radio chatter here and there. Quite repetitive.

3. Private Person

Very Fairlight typical song, with funky little samples getting a little over the top. Wright keeps it entertaining with building hooks and some synth runs. Contemplative Harris vocals and lyrics well suited to the song. Pretty funky and compelling.

4. Strange Rhythm

Begins and continues intermittently with a near-obnoxious Fairlight loop from a voice sample. Gets a little discoey. Some funky guitar sounds from a real guitar, a buried solo amid brass samples. A weak track. Off kilter.

5. Cuts Like A Diamond

This is generally considered the best song on the album and is, with realistic sounding or at least realistically programmed drum samples/drum machine. A lot of good guitar work more up front this time. Sounds like a kind of throwaway Pink Floyd song. The fairlight is more subdued and its a very natural sounding song. The loud 80s drums are very effective here.

6. By Touching.

Begins with an annoying sample that reappears at times, not unlike Strange Rhythm. Getting more conventional here. Guitar makes another effective appearance. Goes for a funky vibe. Not as entertaining as most of the previous tracks.

7. How Do You Do It?

Perhaps most pop song so far. Has a twisted dance beat. Interesting bass sounds. What I imagine is an actual keyboard solo is great in the middle. Then a little guitar solo with some scat singing over it. Not altogether bad.

8. Seems We Were Dreaming

This is a little like Cuts Like A Diamond. Slow, with some brass samples prominent at the beginning. Starts to jam halfway with some Hammond like playing coming in. Then slows down again.

This album is patchy and the lyrics and vocals can wear on one. It is often repetitive. However, it is very entertaining and highly accessible. It is very much of its time however that makes it very unique. There are a lot of ambitious all-Fairlight albums conceived this way and none are as good as this one.

 ZEE: Identity by WRIGHT, RICHARD album cover Studio Album, 1984
2.31 | 66 ratings

ZEE: Identity
Richard Wright Crossover Prog

Review by billwilly

3 stars Progressive rock reached a peak during the 70's, where experimentation was part of what people listened to over and over in previous and emerging bands. Those bands made a living out of it; and the introduction of the synthetizer, disco music, and of course, punk music forced many bands to modify their style and experiment in a different and modern way. The end of the 70's and the early 80's saw the rise of the new wave. A style which concentrated most of their sound on the ones produced by the synthetiser and supporting that sound with softer voices, electric drums and, less important guitars. Progressive had "died" long ago as mainstream music; new wave was the way to survive.

I lived my childhood in the 80's, so I was very used to the mainstream sounds; I enjoyed listening to Depeche Mode, Level 42, Kajagoogoo, U2, Duran Duran, OMD, etc. Yet, amidst those bands I discovered Pink Floyd, Yes, Camel, Moody Blues ... of course, with their 80's productions. Thanks to it I became interested in their music which was, in a certain way, a bit different to the others; little by little, I started to discover at a very young age what Progressive music was.

I don't blame Richard Wright for attempting this experiment with former Fashion's singer and guitarist Dee Harris. It was a way to survive in that period. The album per se, is not bad at all. On the contrary (thanks to what I mention above), I really enjoyed the album from beginning to end, it reminded me of so many bands like Talking Heads, King Crimson, Japan and Camel, all of them progressive, all of them with similar productions in the 80's.

Ok, ok ... it is not a progressive album, but it is a wonderful new wave album created by a classic progressive musician (Richard Wright) and a post-punk, new romantic one (Dee Harris), that's what I call experimentation.

 Broken China by WRIGHT, RICHARD album cover Studio Album, 1996
3.99 | 183 ratings

Broken China
Richard Wright Crossover Prog

Review by Guillermo
Prog Reviewer

4 stars In December 1996 I went to a record shop and I saw this album there. But it was until this year that I could listen to it. I read in the web some interviews done with Wright when this album was released in 1996. He said that the songs in this album were composed with the conceptual theme of a person which is afflicted with clinical depression. He said then in those interviews that the person which inspired this album was "a friend", but later it was known that this friend was really his then wife who suffered from depression. The songs in the album relate with lyrics and sometimes with only instrumental music the experiences that this person suffered and which led her to depression.They also relate this person`s healing process until her recovery from this condition.

I really expected a very "dark" and "depressing" album. Maybe that was the main reason to not buy this album in 1996 when I saw it in the record shop. But Wright`s talent really helped him to make a very good album full of musical moods and atmospheres, using a lot of the then new digital keyboards. But maybe the most important thing in this album was the empathy that Wright showed musically and lyrically for this person`s personal history and how he also experienced the process of this condition with this person. For me, it was a very good gesture done by Wright for his then wife.

 ZEE: Identity by WRIGHT, RICHARD album cover Studio Album, 1984
2.31 | 66 ratings

ZEE: Identity
Richard Wright Crossover Prog

Review by Guillermo
Prog Reviewer

2 stars Well. This album is not as bad as I expected it to be. This is a short- lived collaboration by Dave Harris, a singer and musician from a band called FASHION (a Neo-Romantic band which I have never listened to) who in 1983 recorded this album (which was released in 1984) under the band`s name ZEE with Richard Wright. I think that this album sounds more influenced by the Neo- Romantic musical style from the 80s than from Wright`s sound from PINK FLOYD. Sometimes it sounds more like an album from the early TEARS FOR FEARS band. In fact, the recording engineer and co- producer of this album (Tim Palmer) worked a lot with TEARS FOR FEARS during several years. I have to say that I liked TEARS FOR FEARS when they released their very good album titled "The Seeds of Love" in 1989 (and it was after I liked this album that I later "tolerated" to listen to their previous music and I even still liked some of it). But before that, I really didn`t like their music and much less their looks which reflected very well the fashions dictated by the Neo-Romantic and Synth -Pop musical styles which were very successful fads in those years (sorry, but it is the truth; I never liked the music , the looks and the fashions from some bands from the eighties). Anyway, by using the Fairlight CMI a lot in this album,this album reflects all the "ingredients" which made it a very typical album from the eighties, with now very dated synth sounds and programmed drums. Maybe the best moments in this album are the few ones on which one really can listen a bit from Wright`s musical influences (like in "Voices", which maybe is the best song in this album) and in other slow and "dark" songs like "Cuts Like a Diamond", a song which even includes a good lead guitar part played by Harris which sounds a bit like it was played by David Gilmour. "Voices" particularly sounds a bit inluenced by CAMEL, a band which at that time released their "Stationary Traveller" album, which, despite being a good album, also has some of the "ingredients" from a very typical 80s album, with similar keyboard sounds and programmed drums. I don`t know why Wright recorded this album. Maybe it was only to fill his previous recording contract with PINK FLOYD`s record label, or maybe because he needed the job for financial reasons. Anyway, Wright in later years considered this album as a "experimental mistake", and he even did not mention it in an interview done in 1994 by the now-defunct "Vox" magazine in the U.K. (done at the time PINK FLOYD was on their "The Division Bell" tour), when Wright was asked what he did before re-joining the band in 1986-87. This album is not as bad as I expected it to be...but it is more for collectors / fans only.So, it is more a "rarity" now which fortunately I could listen to thanks to someone who uploaded it in youtube. An album which sounds and looks (in some publicity photos by Harris and Wright) like Wright was very much "out of place" in a band and an album like this.

A last note: I found in the web that this album was released on CD in the Netherlands, and it seems that it never was released in the U.S. in any format.

 Wet Dream by WRIGHT, RICHARD album cover Studio Album, 1978
3.89 | 188 ratings

Wet Dream
Richard Wright Crossover Prog

Review by genbanks

5 stars 4.5 STARS REALLY

Gilmour said once that when people listened the song Wearing the inside out from the album Division Bell, they said "oh, that voice...!", and that is, that voice is just very very floydian. Wright always was IMO a very important part of Pink Floyd, without him, the best Floyd (DSOM and WYWH) couldn't be what it was. And here, Wright emerges with all his creativity, prolonguing his intermittens additions to the band works, now in a whole album. Wet Dream is just amazing, full of prog elements, in the vein of Shine on you crazy diamond Wright's sections, or Us & Them or Great gig in the sky piano patterns. His voice is really captivating and all the album transmits a quite and peacefull atmopsphere, like to sail in the Mediterranean Sea (or Meditarranean C), as he used to do in those times. The opening Mediterranean C, is an outstanding instrumental based on piano and keyboards, simply great. There are two soft songs in which Wright sings perfectly, Against the odds and Summer Elegy. The first one with piano and acoustic guitars an the second is one of the highlights. Based in a piano work it has a superb electric guitar solo, very floydian. The album has in addtion, some almost jazzy taste, for example in the instrumental Drop in front the top, with many Hammond's sections. The sax, by the well known Mel Collins, is an integral part of the album too. The instrumental Waves, just means this, as if you are transporting by the waves of the sea. Holyday, is another good song. The rest is great too. Maybe some of the last tracks, or the instrumental Mad Yanis dance are in an inferior level. Almost a masterpiece.

 ZEE: Identity by WRIGHT, RICHARD album cover Studio Album, 1984
2.31 | 66 ratings

ZEE: Identity
Richard Wright Crossover Prog

Review by The Mystical

3 stars "Identity" is just one of those albums that appeal to me personally, as I have a strange approach to the criticism of music. It is an electronic/crossover prog album by the short-lived supergroup "Zee", a partnership between Richard Wright (Pink Floyd) and Dave Harris (Fashion). The album has a very electronic sound, as most of the sounds used were from the Fairlight CMI, a synthesiser that was popular in the 1980s. Rick Wright stated some time after the release that he felt that the album was an "experimental mistake", and that it should never have been released. The album has received much criticism, with fans of Richard Wright left disappointed by the lack of PInk Floyd-eque reminiscence that is evident in his other albums. However, the album is entirely entertaining and does (in my opinion) contain quite a few of the musical aspects that we know and love from Richard Wright.

♪ "Confusion" is a little disappointing. It is a little dry and has a cheesy disco feel.

♪ "Voices" is a great song. Very ambient and pleasant. It is one of the best tracks on the album.

♪ "Private Person" is another dance-like 80's tune, but I like this song much more than "Confusion". It has a more unique style.

♪ "Strange Rhythm" brings out the more progressive side of this album and is reminiscent of Pink Floyd's later material. The guitar solo towards the end of the song is great.

♪ "Cuts Like a Diamond" is a nice track, and has a more garagey feel than the other tracks.

♪ "By Touching" resembles something off David Bowie's "Let's Dance". It is one of my personal favourites off this album.

♪ "How Do You Do It" is a funky track. The guitar riff resembles Robert Fripp's 80's guitar work. The lead synth sounds rather like "Daft Punk"

♪ "Seems We Were Dreaming" is another favourite of mine. It is one of the more ballad-like tunes on this album.

The key tracks here are: ♫ Strange Rhythm ♫ By Touching ♫ Seems We Were Dreaming

This album may not appeal to the everyday listener, but I am a personal fan. I give this album a personal rating of 3 stars. ☮ Peace ☮

 Broken China by WRIGHT, RICHARD album cover Studio Album, 1996
3.99 | 183 ratings

Broken China
Richard Wright Crossover Prog

Review by The Truth
Collaborator Post/Math Rock Team

5 stars This is not an album to be overlooked by any fan of music.

By that I mean fans of Pink Floyd, fans of specifically Richard Wright's work with Floyd, fans of prog or fans of rock or fans of even broader genres of music.

Sonically pleasing in a way much different than Floyd material, Wright approaches this album as a soft ballady long piece with ambient jazz inflections abound. A concept album about his wife's depression, Broken China is perhaps one of the most emotional pieces of music by any artist related to Floyd. It has moments of light and moments of dark and reflects a clinically depressed mind so well it has a sort of indefinable morbid beauty about it.

It's definitely one of those albums the listener can really enjoy sitting in a dark room while pondering the questions of life. It has enough going on in the background to be interesting like most Floyd records but also retains the listeners interest through concept and through moments of pure catchiness.

It's a sad fact that Richard Wright's solo material is often overlooked in the Floyd catalog (even Mason's work is gone to before Wright's for some people) and while it's more understandable with Wet Dream (a decent album nonetheless) there is no excuse for the under-appreciated Broken China record, a record with such glistening beauty that literally anyone who listens to music as an emotional plug in can relate to.

(Plus lead vocals by Sinead O'Connor on two tracks! Check it out, guys!)

 Wet Dream by WRIGHT, RICHARD album cover Studio Album, 1978
3.89 | 188 ratings

Wet Dream
Richard Wright Crossover Prog

Review by Frankie Flowers

4 stars What a lovely album from the late great Richard Wright. As should be aware, Pink Floyd wouldn't have been the much loved Pink Floyd without this man's amazing compositions, as well as his creative moods and tones from the keyboards. Indeed, this effort has many of the typical soulful and deep moments which fans enjoyed on the softer Floyd albums, they are related mostly to "Wish You Were Here". The instrumentals "Mediterranean C", "Cat Cruise" and "Waves" are some examples and they are nothing short of beautiful, much lighter than the dark themes that the Floyd were working on in late 70's... "Animals" and "The Wall" of course. Some compositions on this album are very sensitive and expressive, especially "Against The Odds" and the touches from Snowy White's guitar and Mel Collin's sax make them all the more fantastic. As a whole, it makes for a fine chill-out experience, while also containing a good mixture of styles, from pop, soft-rock, jazz and funk. Highly recommended
 Wet Dream by WRIGHT, RICHARD album cover Studio Album, 1978
3.89 | 188 ratings

Wet Dream
Richard Wright Crossover Prog

Review by BrufordFreak
Collaborator Honorary Collaborator

3 stars I love the work of Richard Wright. When he is with Pink Floyd. Much as I've tried--and I bought Mr. Wright's solo albums when they first came out and gave them many listens--they do not, IMHO, achieve the heights that he and his bandmates were able to gain. It is often the case that an individual is not as powerful as he is in a collective (Tony Banks and Steve Howe come to mind). It is also common that the ideas of the solo artist are not as grand and grandiose as he is able to come up with in a collaborative environment. (One man's mind can be an awfully strange and foreign place!) The album is not bad just not great. The performances of contributors like Mel Collins and "Snowy White" are fine (especially some of Mel's sax solos--and I normally don't like sax), and Richard's singing voice is fine (as good as many of the Neo and solo artists coming out today) but the songs just lack that specialness. It feels like listening to a Mike Rutherford album: Nice, pleasant, but innocuous and, unfortunately, forgettable. Of the three of Richard's solo albums that I own I probably like this one best, but not by much.

Best song: the Mel Collins show piece, "Waves" (4:20) (9/10).

 Wet Dream by WRIGHT, RICHARD album cover Studio Album, 1978
3.89 | 188 ratings

Wet Dream
Richard Wright Crossover Prog

Review by octopus-4
Special Collaborator RIO/Avant/Zeuhl,Neo & Post/Math Teams

4 stars I can't believe to have missed reviewing this album until now. It's the second Floyd solo that I have purchased and probably the one that I like most. In 1978 Roger Waters' ego was reaching his top. The band was working on Animals and there was probably too few space for other band members' creativity. In particular Pink's Song is prophetic of what was about to happen "I must go here on my way, Let me go I cannot stay..."

From a musical point of view this can be considered the missed Pink Floyd album, more than Gilmour's debut, this is full of the Floyd spirit before Dark Side of the Moon and features the bluesman Snowy White at guitar, the guy who played Gilmour on the stage of The Wall.

"Mediterranean C" is not a great opener. It's a good instrumental and is functional to introduce the main concept about escaping from the normal life that is better exploited in "Holiday". What's wrong is the keyboard sound chosen for this song that is a bit too flat

"Against The Odds" is a great song, instead. The classical guitar of Snowy white is the distinctive element of the song and the final solo is simple but extremely effective. This is my personal favourite.

"Cat Cruise" is an instrumental with the Wright's trademark. It reminds to his work on Obscured by Clouds with a bit of the piano thrill of The Great Gig in The Sky. Everything completed by Mel Collins' sax.

The melodic piano intro, still in the style of Great Gig but with a touch of country is another great "pop" song on which Rick's voice fits very well. "Summer Elegy" is just a bit too pop, but the Snowy White's Gibson creates a fantastric solo without being too Gilmourian.

The side A is closed by "Waves". A repetitive melody based on minor chords, reminder in some ways of Bridges Burning, with a jazzy solo by Mel Collins. Probably the darkest moment of the album.

"Holyday" is the top track. I have always found amazing the initial passages from F- , Gb , Gb- B. The piano sounds like on the Great Gig and the chorus "Sail Alone across the sea..." speaks of winds, waves and freedom. One of the best songs ever written by Wright.

"Mad Yannis Dance" is like the Dervish Dance. It gives me the impression of a circular movement, but it's not compulsive like the Dervish. It's slow and dark instead.This instrumental gives Mel Collins the opportunity of another good sax solo.

"Drop In From The Top" is a strange thing: It's the kind of bluesy instrumental track of which David Gilmour's debut is full. Of course Snowy White places a fantastic riff on it.

I have already mentione "Pink's Song". It's slow and sad. If I'm not wrong on the vinyl cover Linda Wright is credited for the lyrics. Here Mel plays a flute solo.

The album is closed by "Funky Deux". An instrumental driven by a very rhythmic bass line. A good closer but maybe a little misplaced on this album, I mean "out of the concept". There's not a true concept, effectively. The songs on this album share just some "feelings" and Funky Deux is different at this level. The only "cold" track on a very warm album. However there's room for another great sax performance.

4 stars for PA standards, 5 for my heart.

Thanks to ProgLucky for the artist addition. and to Quinino for the last updates

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