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| The Exclusive Gary Wright Interview! |
| If you make a short list of some of the most innovative and pioneering musicians of the last 30 years, there is no doubt that Gary Wright would be a top candidate for that list. While he will always be best known for his two smash hits of the mid-70's in Dream Weaver and Love Is Alive , Gary was among the leaders of the pack in changing the way synthesizers were used in popular music. In some strange way, he might have helped blaze the trail for what would later become the New Wave era of music in the early 80's. But don't think for a minute that Gary's run ended in the 70's. Gary still continues to make great music, and he is very proud of his latest release entitled Human Love. Gary was kind enough to take some time to answer some questions about where he's been and where he's going in the future. no matter the circumstances, it will be an exciting journey for us all! |
| Q: Gary, thank you so much for taking the time to join me here for this interview! It is a real pleasure to have you here! Let me start off by asking you what is new with you? What is keeping you busy at this time? A: I'm in the process of releasing my CD Human Love early next year to the mainstream public. Up till now its mainly been available on line on my web site thedreamweaver.com. I''m also in the process of developing artists for my new record label, my son's band ''Intangible'' being one of them. Q: Of course, you are legendary for two of the biggest radio-friendly hits of all time, Dream Weaver and Love Is Alive. To me, no matter how many times I hear them, they never sound dated at all to me! What do you think has attributed to these tunes' staying power? A: Music's staying power is a function of how timeless the lyrics, song and production are. Some songs are specific to a precise period and never survive beyond that. I think when I made that album it was ahead of its time in so much as it was done on all keyboard instruments with the exception of drums. That sound ushered in a new era of synthesizors in pop music which is still viable today which I think along with the lyrical message created the staying power of both songs. Q: These songs have been covered so many times by so many artists of different musical genres in the past few years, it is a true testament to their popularity. Is it fair to ask me whom, in your opinion, has captured the real magic and emotion of these songs when they have covered them? Any personal favorites? A: I like Anastacia's version of Love is Alive best. Q: Your career really began with the forming of Spooky Tooth in 1967 with Chris Blackwell in London, and you guys ended up playing some major gigs with the likes of Jimi Hendrix and The Rolling Stones. What are some of your impressions and memories of those early years in your musical career? A: They were truly wonderful. That was in a sense the Golden age of the music business in you compare it to what's happening now. Music was super creative, not formula driven and the more far out artists were the better. Singles weren't important and artists sold albums without needing hit singles. Concerts were great and super creative. Artists were nurtured and their music developed by the record companies-especially Island Records where we were. We lived on a farm in the English countryside where we wrote a lot of our music. You really were treated like an artist during those days not like ''product'' which is now the mode. Q: You were part of one of the most legendary albums of all time when you supported George Harrison on All Things Must Pass in 1970. Like many people, George is a hero of mine, and has always been known as a truly good person. How did you enjoy working with him? A: George is perhaps one of the most creative people I ever met, not only in his music and songwriting, but just the way he lived his life decorated his gardens and homes. He was a dear friend of mine and working with him was a joy. His entire approach to music was very unique. Q: You delved into spiritualism with George when you traveled together to India in 1972 to study with Ravi Shankar. How did that trip to India shape your philosophies of music and life? A: We visited Ravi. We didn't study with him as such. India profoundly changed my outlook on life because in India you see how people can still be content and very happy with little or even no possessions. It's the reverse of the West in that one of the goals in Indian philosophy is to be non attached to possessions and things. The real freedom lies is being happy with or without material things. Our happiness usually is conditioned by the kind of home, job, car, clothes etc we have which in a way makes us slaves to matter. After my trip and several others thereafter to India I became a student of Indian philosophy under Paramahansa Yogananda, whose teachings George introduced me to, while on our first trip to India in 74. My music and lyrics thereafter became an extension of this philosophy. Q: When you recorded the Dream Weaver album in 1975, it was recorded largely with keyboards and electronic devices that you personally developed and built! What gave you the idea to do this? A: I didn't develop or build synths. I had my technicians modify them for my live stage performances. The idea to do the album only on keyboards kind of happeded by accident when I was composing the music for the album using only keyboards. I was quite happy with the sound and felt it really didn't need more instruments like guitars so I didn't use them. I also wanted to do something completely different and doing the album this way seemed to be the ''different'' thing I wanted to do. Q: Are you still contributing ideas to manufacturers these days? A: No Q: Through the years, you have had scores of great musicians such as George Harrison, Alan White, Terry Bozzio, and Jeff Lynne guesting on your albums. How did working with other talented musicians like these help you approach your music? A: It really didn't help me in my approach to my music, as my music was already conceptualized before their contributions. They added their unique textures to my music turning it into yet something better. Q: Your two sons are also involved in the music industry now, following in your footsteps. How rewarding is it to see your own children taking your path? A: It's great that their following their Dad's footsteps. The sad thing is the current state of the music business which is a very un-creative time for artists- especially new artists. It's a much harder road than when I was their age. Q: You have a beautiful web site that I would highly recommend that everybody visit to learn a bit more about you, which leads me to ask what your thoughts are on the internet and it's effects, either positive or negative on the music industry? A: The Internet is both great and terrible. As a source of information, a tool for delivering music and art it's great. But spamming ads and piracy of music is terrible. It's stealing and everyone needs to know this. No one like to work for free and to copy an artists work and download it free is stealing. It's hard work writing and recording music and it's morally wrong to steal it. But the potential of the net in enormous and it could and should bring the price of CDs down for the consumer. Q: Gary, I want to thank you very much for taking the time to join me here, and I wanted to wrap up here by asking you what kind of projects we can see you involved in over the next few months? A: I will be touring next year to promote my new CD Human Love. I will also be developing artists for my new label. The rest is in God's Hands. |
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