The Soulful Singer Christopher Wright known as C-WRIGHT SOULSANGER is  a country boy born and raised in New Iberia, La with a passion and gift for muzik. He's on a mission to be one of the best artist in the muzik business utilizing the gift God has given him. He is not in this industry for the fortune nor fame but because his heart is totally invested into his muzik. He strongly feels that he sings because He love muzik and He's always glad to share a song or vision through song with someone who is possibly going through what he's singing about. C-WRIGHT has been singing for as long as he could remember in church growing up in the Family Choir known as The Wright's gospel Group. As a youngster, C-WRIGHT went to school Monday through Friday to receive his education and on the weekends he traveled from city to city with The Wright's Gospel Group spreading the good news of Jesus through song.

C-WRIGHT has traveled many places singing Gospel muzik along with his 3 siblings before taking on this Bluez Journey. C-WRIGHT loves muzik whole heartedly and enjoys different genres of muzik such as Pop, Gospel, Country and Southern Soul Bluez. C-WRIGHT was influenced by many Greats such as Tyrone Davis, Bobby Womack, T.K. Soul, Kenne Wayne, Jesse Graham, La'Morris Williams, Fred Hammond, Marvin Sapp, Commissioned, Calvin Richardson, Tank, R Kelly, Jamie Foxx, Donald Wright, Jr, G'Que Mickens and the list could go on and on. C-WRIGHT was nominated for Artist On The Rise and Upcoming New Bluez Artist for the ZBT Awards in 2015. C-WRIGHT has released 2 albums thus far titled "MY TIME TO SHINE" and "A NEW JOURNEY" which both were filled with a mixture of different styles of muzik. Becoming older now, C-WRIGHT SOULSANGER has definitely found his place in this muzik industry making SOUTHERN SOUL MUZIK a place to call home.

C-WRIGHT have been traveling to different states recently performing and promoting his feel good muzik. C-WRIGHT just a released a new single titled "FIFTY-FIFTY" (50/50) written by himself and produced by Super Producer Roi Chip Anthony of MoHitz Entertainment. His new single has been numer 1 on the Top 20 Bluez Charts for the past 3 months and number 3 on the charts Overseas in Brazil, London and Germany. Preparing to release his 3rd project titled "I BLUEZ MYSELF" in December of 2016.

The best is yet to come for this hungry soulful country bluez artist. Thank you to everyone who supports C-WRIGHT and for those who don't; We love you even more. Always looking to make feel good muzik for all the fans and that's what he's going to continue to do.

This accurately self-termed electro-soul trio debuted in 2011 with an EP that resembled reinterpretations of imaginary recordings made by Wonderlove, Stevie Wonder's background vocalists, circa Journey Through the Secret Life of Plants. All three songs, measured and spirit-lifting in nature, radiated warmth through rich harmonies and crafty programming. Supported by the likes of Erykah Badu and Questlove, King's impact was instant. Within a year, they elevated cuts by the Foreign Exchange and Robert Glasper Experiment. Additional singles trickled out slowly, surely. The trio likewise didn't spread itself thin when it came to further collaborations, highlighted by "Right at the Core," Paris' smoldering duet with Bilal. Almost five years after their first step, the Strothers and Bias released their slow-cooked We Are King. For those who have been aware since the beginning, the album might seem anticlimactic. Only seven of the 12 inclusions are completely fresh. The 2011-2014 output, however, is cleverly dispersed throughout the sequence, with all of the EP cuts appearing as extended versions that enhance flow. Most of the new tracks are up to the high bar they set for themselves. Three of better ones -- two floating love songs leaving it all behind and a proud, percolating tribute to Muhammad Ali -- are emphasized with front-loading. King don't take a caravan across the Sudan, but "Red Eye," in which they "fly through the Nigerian night sky," makes a clear connection with the Jones Girls of "Nights Over Egypt," and continues their recurring spiritual and/or romantic journeys theme. They even present the album's finale, "Native Land," as a cunning sequel to "The Story," and land at home. The flashiest they get is with a monologue, some horns, and a guitar solo, all of which appear on the hot-pursuit ballad "Oh, Please!" Otherwise, We Are King is all about plush, impeccable grooves and spine-tingling harmonies. It's without fault.

Review by Andy Kellman                   

 

Part of what made I Missed Us a remarkable return for SWV was the freshness of the material and lack of forced-sounding references to the group's past. A fair portion of Still, released almost four years later, doesn't have those qualities in its favor, and the level of song quality isn't quite as high. Producer and songwriter Cainon Lamb, who brought so much to I Missed Us, once again works closely with the group, as does associate Derrick "Bigg D" Baker, along with a small cast of additional contributors. "MCE (Man Crush Everyday)," a sparkling slow jam, is among SWV's best, while the throwback ballad "When Love Didn't Hurt" and relatively contemporary "Miss You" are close behind it. Other songs are more likely to make a listener think of SWV's catalog or songs by other artists. "Still" sets the tone, relying upon a hook of "I'm still into you" to such a heavy extent -- in clear reference to "I'm So Into You," one of the group's biggest early hits -- that it lacks an identity of its own. Samples and references to the likes of Patrice Rushen, the James Ingram-fronted Zingara, the Four Tops, and Amy Winehouse are so frequent that they seem less like mixtape-style playfulness and more like substitutions for original ideas. Additionally, a DJ Mustard facsimile -- a bid to fit in with contemporary R&B radio -- doesn't sound right, either. Had this been SWV's 2010s return, it would have been adequate, but it's a lengthy backward stride from I Missed Us.

 

Review by Andy Kellman                   

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  • Those who dance are considered insane by those who cannot hear the music.