Born singing gospel with the family group, the Echoes of Joy, Wright began experimenting with R&B music in 1965 when she was only 11. In 1968, she released her first album, My First Time Around, by the age of 14, and scored her first national hit, “Girls Can’t Do What Guys Can Do”. But it was not until the end of 1971 that Wright’s most successful phase of her career began to take place.

The song, “Clean Up Woman”, became a Top 5 pop and #2 R&B hit, and would later influence a remix of Mary J. Blige’s “Real Love” single with the sample of its guitar riffs; R&B girl group trio SWV’s “I’m So Into You” also featured a sample from “Clean Up Woman,” as did Afrika Bambaataa’s song “Zulu War Chant”, and Sublime’s “Get Out!” remix. In 1974, Wright scored big with the songs “Tonight is the Night” (about a real-life love affair that happened with Wright when she was a teenager) and “Where is the Love” (which won her a GRAMMY for Best R&B Song).

When I was a singer for Warner/Atlantic/Cotillion Records, I only recorded one album, “Love City,” which produced and co-written by the legendary Michael Stokes, but now I..m more into writing and production… Some artists that I have written for that you may know are: Keith Barrow, Shirley Caesar, Eddie Kendrick of the Temptations, Paul Williams of the Temptations, Posse, Bobby Taylor of Bobby Taylor the Vancouvers, Millie Scott, Conquest, and many others have recorded tunes of mine.

I also had the pleasure of producing sessions featuring the famed Motown Funk Brothers rhythm section… Done sessions at some of Detroit’s most legendary recording studios, including The Sound Suite; United Sound; Pac 3; Super Disc; Cloudborn; Motown Studio A and The Pit. I’ve been very lucky in my associations… My first professional writing collaboration was done at Motown with a guitarist named Ricky Matthews, who later changed his name to the more memorable Rick James.

I’ve Got Rhythm

His mother thought that dancing school would help burn off some of the extra energy he had because in those days he was considered a “hyper child.” It turned out that he loved it and it probably helped him develop his keen sense of rhythm. It also led him to his second guitar teacher, Lyn Vernon, who played and taught a chord melody style that was pretty advanced for kids. He met the Mitchell family who lived in a nearby neighborhood. That’s where he met Willie Mitchell who was already a successful bandleader and recording artist. It was at the Mitchell house where he first heard the blues on radio station WDIA. He was addicted to the groove from that moment on. He is most proud that he was reunited with Willie when asked to play on the last two albums Willie produced, Al Green’s highly acclaimed “Everything’s OK” and Soloman Burke’s “Nothing’s Impossible.”