Just Left of Center
All Music Guide, 2/10/00
John Wright's resume is a reflection of the influences hecites. On his second solo album Just Left of Center,bassist, guitarist and vocalist Wright again encorporates thosediverse elements, but this time into a much more condensed body.To his credit this album flows extremely smoothly; folk-tingedsongs lie comfortably aside fusion and proggish rockers. Forinstance, "Soft Tears" is a gentle folk number thatSandy Denny might have taken a fancy to. It is followed by"Addiction/The Story," which unleashes a tremulous RobertFripp-like guitar introduction. "Like Father Like Son"also employs the manic guitar sound that Fripp is known for, coupledwith a vexing lyric reminiscent of Peter Hammill. "ForwardMotion" recalls Dixie Dregs and Montrose fusion, whilethe album's one tradition piece "The Humors of Whisky/Stackthe Rags" is an obvious nod to Fairport Convention orperhaps the Stuart Martz Band, for whom he's recently played.Wright composed 11 of the 13 songs on this album and while manyinfluences appear evident, Just Left of Center displaysoriginality, distinction and adept playing at every turn.
—Dave Sleger
Dirty Linen Folk & World Music, #89 August/September 2000
This second recording from bassist/songwriter John Wrightis a combination of mid-80s Gladys' Leap-era Fairport Conventionstyle folk-rock, filtered through such influences as King Crimsonand The Dixie Dregs, mixed with a touch of progressive jazz.
Wright's songs (he wrote 11 of the tracks) are fairly basicand straightforward, dealing with love ("Soft Tears")and ("All the Answers to Sell"), redemption ("Rosesby Day"), and despair ("No Stranger to the Fall").His "Black Thorn Hill" is written in the style of atraditional song, and the one cover song, Pete Seeger's "WellMay the World Go," opens the album on a rousing note.
Wright plays the majority of the instruments, multi-trackingbass, acoustic and electric guitars, and mandolins on most ofthe tracks, with Matt Jacobs (drums) and Stuart Martz (violin)joining in. A few tracks, like the seven-minute instrumentaltrack "Forward Motion," feature electric guitaristSteve Lehto. Wright has come up with an enjoyable recording thatany fan of folk-rock will surely love.
—JLe
Rambles, A cultural arts magazine, 3/7/00
John Wright's Just Left of Centeris a dimension of folk rock that is wildly progressive and original.John is a bass player, singer and songwriter based in the TwinCities region who's making a refreshing mark with this latestrelease. Packed with musical concepts often too technical forinexperienced players, these songs will strike you with thoughtfularrangements and uncommon ideas. He is truly a well-studied musician.
As an artist, he's gained an extensive resume. Wright has mostnotably played bass with guitarist Billy McLaughlin progressiverockers Us, the bluesy Rhythm Doctors, Celtic rockers The StuartMartz Band, midwestern pop artist Tim Mahoney and roots rockersKevin Bowe and the Okemah Prophets.
This exotic-mooded collection has influences ranging from animpressively wide variety of cultures. "Black Thorn Hill"hosts a musical theme centered around a modern acoustic guitarriff played over congo drums and an interesting tambourine rhythm.A surprising violin solo, played by Stuart Martz, celebratesthe center of the piece and joins John to the exit. It makesa nice mix. Then John courts Matt Jacobs' drums on a journeythrough his tastefully enhanced version of an Irish traditional,"The Humors of Whiskey." John plays all other partson this track on his trademark 8-string bass, with overdubs ofacoustic and electric guitars.
Lyrically, Wright tackles some pretty heavy issues. His sparsedefinitions often leave the interpretation up to the listener.The more I read his words, the more meanings I could create fromwhat was actually sung, so you're on your own there. The overallmodal aura suggests both celestial and dark tones.
Just Left of Center has a good blend of instrumental andvocal tracks. Being a songwriter myself, I really appreciateJohn's ability to utilize the same expert musicianship that wasever present in progressive rock bands of the late '70s and early'80s. This is obviously no first-year player. John shows offhis talent on many stringed instruments and vocal abilities aswell. One of these which I am especially fond is the 8-stringedbass. This instrument adds rich annunciation to the underlyingbass lines so often done injustice by the cheap speakers thatplague the world.
Influences noted range from Pete Seeger to King Crimson, fromFairport Convention to The Dixie Dregs. To liken his style toa well-known sound, its definitely reminiscent of classic Yes,without keyboards and inhumanly possible layers of vocal overdubs.Knowing this, John Wright's live performances must sound reallysimilar to the quality found on the studio recording. JustLeft of Center contains quality writing in the progressivearena with an interesting, original twist.
—John Varner
Pulse of the Twin Cities, January 23, 2000
John Wright is an artist who, it would seem, works unendinglyat his vision. Just Left of Center's baker's dozen are prim andtidy tunes, held together by some sonic feng shui that make thema joy to listen to. At times the disk is softly reminiscent ofFairport Convention and Richard Thompson, of Pentangle and BertJansch. "Blackthorn Hill," a Celtic-derived numberwhich was included on the Pulse Homegrown disk, is perhaps Wright'sfairest handling of this old-but-never-stale "trad"style.
Wright apparently plays bass (to very worthy acclaim) whenworking with others, but he articulates beautifully on guitar,mandolin, and percussion as well—and he has a damn finevoice. All in all, he's a world-class pro. Any fan of Boiledin Lead, Stealer's Wheel, Horselips, Fairport Convention, andother Celtic prog bands will get a feast for the senses withJust Left of Center.
—T. Alexander