RICHARD WRIGHT / Broken China [1996]

Richard Wright's second solo studio album, 1996's Broken China, has Pink Floyd stamped all over it, beginning with it's textural mood then leading into it's structure and conceptual narratives.
 The keyboardist's final full-length studio outing, before his death in 2008, is drenched in a deep depression that makes for an unusual and disjointed listen compared to Wright's previous efforts.  Where, someone like Roger Waters who's sadness came out in anger, Wright's sadness mirrors his persona, gentle, dreary and somewhat mysterious.  It's a conceptual album stuck in it's era but still manages to conjure up some pretty interesting musical ideas complimented by some fascinating lyrics.  For the average listener it'll probably be lost but for a Floyd fan this is one of the better solo efforts.

3½ tributes to Mildred out of 5

Songs of Note: Night of a Thousand Furry Toys; Breakthrough (feat. Sinéad O'Connor)

ZEE / Identity [1984]

Kudos to Pink Floyd keyboardist Richard Wright for trying out something different while away from his prog-rock outfit and dip into the new wave sound with synth-duo Zee's first and thankfully only album, 1984's Identity.
Synth-pop act Fashion's Dee Harris on vocals makes this is very much a product of the early '80's with it's clunky drum-machines, tired keyboards and overly dry Fairlight synthesizers.  As a Floyd enthusiast, this is like finding out your favorite great uncle, as a wee lad, used to make late night visits to the local petting zoo and fondle the livestock for sexual pleasure.  With a thorough search, one might find some mildly interesting moments hidden beneath the coked-up shit you're fed but it really isn't worth the trying work.

1½  light things out of 5

Songs of Note: Strange Rhythm; By Touching

RICHARD WRIGHT / Wet Dream [1978]

With Pink Floyd well on it's way into complete self-destruction after 1977's Animals, the band went on a brief  hiatus to gather their bearings and possibly release a solo record or two.
1978's Wet Dream was keyboardist Richard Wright's leisurely offering.
It's a serene dreamlike trip with contemplative soothing vocals gently layered over smooth jazzy keyboards and lite-bluesy guitar riffs.  Like Wright, it's fairly inoffensive, peaceful and almost buries itself in the background making sure it never wears out it's welcome.  To sum it up, it sounds like Dark Side outtakes without the passion of David Gilmour's guitar playing and that's just fine with me.  I just simply enjoy it as a calming ambience every once in a blue moon.

3 pleas for time to breathe out of 5

Songs of Note: Summer Elegy; Drop In From The Top