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Midway in his career, Wright migrated to Hi Records, where his longtime producer Willie Mitchell was the principal talent director. There were two distinct periods in Wright's 15-year secular career, delineated by the demise of his first record label, Back Beat, which had been owned and operated by the don of Houston rhythm and blues, Don Robey. The presence of this theme in all of his strongest performances-"You're Gonna Make Me Cry," "Eight Men,įour Women," "Everybody Knows (The River Song)," "Born All Over," "Heartaches, Heartaches," "Memory Blues"-give them a timeless universality that places them on a par with the hymns of Mahalia Jackson, the blues of Robert Johnson, or the country music of Hank Williams. As if to underscore the gravity of his choice, Wright's secular recordings, more than those of any of his peers, cleave faithfully to the style, structure, and most importantly the feeling and fervor of the deepest and most heartfelt gospel music. Wright's recordings are unmistakably the work of a spiritually troubled man. But in the work of no other artist, with the possible exception of Green, does this exile play so central a role. The pop recordings of Sam Cooke, Al Green, Aretha Franklin, and Johnnie Taylor all make overt or oblique reference to the trauma of this self-imposed exile. Wright is by no means the only artist to abandon the sanctuary of the church in search of the rewards and temptations of the secular world. By the time he cut his first secular recording, "That's How Strong My Love Is" for Goldwax Records of Memphis, Tennessee (1964), Wright was already a well-known and successful gospel singer, having sung and recorded with gospel groups such as the Spirit of Memphis Quartet and the Sunset Travelers. Wright was the greatest deep-soul singer ever. By Bill Pollak (Originally published in MusicHound R&B: The Essential Album Guide, Gary Graff, Josh Freedom du Lac, and Jim McFarlin (eds.) Visible Ink Press (Detroit, MI): 1998.)īorn Overton Vertis Wright, October 9, 1939, in Leno, TN.