O.V. Wright
O.V. Wright was an influential American soul and R&B singer known for his powerful gospel-rooted vocals. Born Overton Vertis Wright on October 9, 1939, in Lenow (or Leno), Tennessee, he rose from gospel groups to become a key figure in Southern soul.
Wright grew up singing in church and joined The Sunset Travelers in 1956 while in high school, serving as a lead singer for the gospel group. He later fronted the Harmony Echoes, where he was discovered alongside James Carr by songwriter Roosevelt Jamison.
In the late 1950s and early 1960s, he performed with groups like the Five Harmonaires, Spirit of Memphis Quartet, Luckett Brothers, Highway QCs, and Sunset Travelers, recording singles and an album for Peacock Records starting at age 19.
Wright left gospel for R&B in 1964, signing with Goldwax Records for his debut single "That's How Strong My Love Is," later covered by Otis Redding and the Rolling Stones. A contract dispute shifted him to Don Robey's Back Beat label.
Collaborating with producer Willie Mitchell at Hi Records, he scored R&B successes like "Ace of Spades" (1971), "A Nickel and a Nail" (1971), "You're Gonna Make Me Cry" (1965), and "Nucleus of Soul" (1968), blending deep soul with Memphis grooves.
Wright died on November 16, 1980, at age 41 in Memphis, likely from a heart attack related to drug issues. He remains celebrated for his emotive delivery in blues-soul circles.
I’m A Blues Man
Written-By – A.D. Prestage, Joe Shamwell, Walter Godbo
3:31
A2 Three Into Two Won't Go
Written-By – Jimmy Lewis, Rick Cason
2:50
A3 Cheatin' Love
Written-By – Barbara Moore, Denise LaSalle
3:23
A4 Shade Tree Mechanic
Written-By – A.D. Prestage, Joe Shamwell, Walter Godbo
3:53
A5 It's Been So Long
Written-By – George Jackson (3), Johnny Henderson
3:27
B1 Get A Little, Give A Little
Written-By – Jimmy Lewis
4:09
B2 Please Don't Let Our Good Thing End
Written-By – Frank Johnson
4:10
B3 Steal Away
Written-By – Jimmy Hughes
4:07
B4 Blind Side
Written-By – Frank Johnson
2:45
B5 I Ain't Buying What You're Selling
Written-By – George Jackson (3), Nolan Coins, Robert Miller, Stewart Madison
3:22
Label: Malaco Records – MAL 7415
Format: Vinyl, LP, Album
Country: US
Released: 1983
Genre: R&B Soul, Blues
Style: Southern Soul
Released in 1983 on Malaco Records, I'm A Blues Man is often hailed as the definitive final statement from Z.Z. Hill, who died shortly after its release. The album solidified his role in revitalizing Southern soul-blues, blending gritty, traditional themes with polished production.
The "Stax" Influence: Critics noted a "pronounced Stax attack" in the horn arrangements and rhythms, moving toward a more aggressive, brass-heavy sound compared to his earlier work.
The Daily Herald praised Hill for polishing a "grits-and-chitlins groove" until it "shines like a diamond," while AllMusic stated he successfully "rechristened himself as a blues man of the first order".
Renowned critic Robert Christgau found the songwriting stronger here than on his previous hits, specifically noting the balance of humor and heartbreak.
Key Tracks:-
"I'm A Blues Man": The title track serves as a manifesto for Hill's late-career persona, featuring a driving horn chart and soulful guitar riffs.
"Shade Tree Mechanic": A suggestive, uptempo fan favorite that highlights Hill’s playful "red-clay soul" style.
"Steal Away": A cover of the Jimmy Hughes classic that showcases Hill’s deep, emotional baritone delivery.
"Cheatin' Love": Continuing his "cheating song" legacy, this track captures the raw essence of Southern soul with soulful instrumentation.
The album was one of the 25 best-selling "Top Black Albums" of 1984, remaining on the charts for nearly a year. It currently holds an average rating of 4.06 / 5 on Discogs and near-perfect ratings on Amazon.
The Bottom Line
A2 I Don't Do Windows 2:21
A3 That's The Way I Feel About Cha 4:24
A4 Your Good Thing Is About To End 4:56
A5 Let's Straighten It Out 3:47
B1 I Don't Know Why 3:19
B2 No Easy Way To Say Goodbye 4:00
B3 A Little More Time 5:22
B4 Since You Left These Arms Of Mine 3:41
B5 A Long Road 2:31
Label: Hi Records – HLP 6008
Format: Vinyl, LP
Country: US
Released: 1978
Genre: R&B Soul
Style: Southern Soul
The album generally receives positive reviews for its authentic soul sound, especially for a late-1970s release when disco was prevalent.
Critics consistently highlight Wright's exceptional vocal performances, noting his gospel roots, emotional delivery, and confidence that makes each song feel deeply personal.
Willie Mitchell's production work at the Hi Records studio is considered masterful, creating a "timeless quality" with a full band, seven-person horn section, and a string section, while still maintaining minimalism that keeps the focus on Wright's voice.
Standout tracks often mentioned include the title track, the upbeat "I Don't Do Windows," the powerful cover of "Let's Straighten It Out," and the emotional "No Easy Way To Say Goodbye".
Reviews often break down key songs:
"The Bottom Line" (title track): A strong, slow opening track with a classic Hi Records sound, showcasing Wright's powerful voice.
"I Don't Do Windows": The album's main up-tempo number, described as a "smart and sassy riot" and one of the best-known songs on the album.
The album features several covers:
"That's the Way I Feel About Cha" (Bobby Womack cover): Generally viewed as a commendable version, though some find Womack's original slightly better suited to his voice.
"Your Good Thing Is About To End" (Isaac Hayes/David Porter cover): An interesting, emotion-packed version with strong backing vocals.
"Let's Straighten It Out" (Benny Latimore cover): Often cited as the best of the covers, where Wright "really lets loose" and delivers a song with "deep blues foundation and a dark gospel urgency".
"A Little More Time": A poignant track that pays tribute to late musicians like Sam Cooke, Otis Redding, and Elvis Presley. The lyrics have been noted as slightly weaker than other songs, but the emotional build-up is powerful, especially given Wright's own death shortly after the album's release.
Overall, The Bottom Line is considered a must-have for fans of southern soul and deep R&B. It is an album that expertly balances ballads and up-tempo tracks, highlighting O.V. Wright's raw, passionate voice and Willie Mitchell's refined production skills. Despite never achieving massive commercial success at the time, it has developed a strong reputation and is praised as one of the best records of Wright's career, particularly his work with Hi Records.
We’re Still Together
Written-By – Earl Randle, Richie Key
3:45
A2 I Found Peace
Written-By – Earl Randle, James Shaw
4:12
A3 It's Cold Without Your Love
Written-By – Earl Randle, Jim Dotson
3:42
A4 Baby Baby Baby
Written-By – Aretha Franklin, Carolyn Franklin
3:30
A5 I'm Gonna Stay
Written-By – Earl Randle, Willie Mitchell
3:22
B1 The Hurt Is On
Written-By – Earl Randle, James Shaw
5:13
B2 Today I Sing The Blues
Written-By – Curtis Lewis
4:48
B3 Mirror Of My Soul
Written-By – Earl Randle, Renee Kirk
4:33
B4 Sacrifice
Written-By – Melvin Carter
4:30
Label: Hi Records – HLP 6011
Format: Vinyl, LP, Album
Country: US
Released: 1979
Genre: R&B Soul
Style: Southern Soul
Released in 1979 near the end of his life, O.V. Wright’s We're Still Together is a poignant, critically acclaimed Memphis soul album produced by Willie Mitchell. Despite Wright's personal health struggles, the nine-track LP showcases his powerful, emotional vocals against a slicker production style, balancing heartache ballads with funk-driven soul.
Produced by Willie Mitchell with the Hi Rhythm Section, the album features a more contemporary late-70s sound with dense strings, yet retains a deeply emotional, church-influenced feel.
Despite battling health issues (heroin addiction), Wright delivers exceptional, raw, and moving performances that compare to his earlier, more celebrated work.
The album covers a diverse range of styles, from deep, gospel-infused ballads to danceable soul-funk. Key tracks often cited include "I Found Peace," "Baby, Baby, Baby," "The Hurt Is On," and "Mirror of My Soul".
While some critics note it may not be as cohesive as his early 70s peak, We're Still Together is considered a vital, high-quality addition to any Southern soul collection. It serves as a final, powerful testament to Wright's status as a premier soul singer before his death in 1980.