Some context: Gary Wright was born and raised in Cresskill, New Jersey. A child actor, he made his TV debut at the age of seven, on the show Captain Video and His Video Rangers, filmed in New York. Among other acting work, he appeared in TV and radio commercials, before being offered a part in the 1954 Broadway production of the musical Fanny. Wright played the role of Cesario, the son of Fanny, who was played by future Brady Bunch matriarch Florence Henderson.
Wright has described his initial musical influences as "early R&B" - namely, Ray Charles, Aretha Franklin, James Brown and Bobby Bland - along with rock 'n' roll artists Elvis Presley and Jerry Lee Lewis, and the Beatles. While in Europe in 1967, Wright abandoned his plans to become a doctor and instead toured locally with a band he had formed, the New York Times. When the latter supported the English group Traffic - at Oslo in Norway, according to Wright - he met Island Records founder Chris Blackwell. Wright recalls that he and Blackwell had a mutual friend in Jimmy Miller, the New York-born producer of Island acts such as the Spencer Davis Group and Traffic.  Blackwell invited Wright to London, where he joined English singer and pianist Mike Harrison and drummer Mike Kellie in their band Art (formerly the VIPs). The group soon changed its name to Spooky Tooth, with Wright as joint lead vocalist and Hammond organ player. While noting the band's lack of significant commercial success over its career, The New Rolling Stone Encyclopedia of Rock & Roll describes Spooky Tooth as "a bastion of Britain's hard-rock scene".  Spooky Tooth's first album was It's All About, released on Island in June 1968. Produced by Miller, it contained the Wright-composed "Sunshine Help Me" and six songs he co-wrote with either Miller, Harrison or Luther Grosvenor, the band's guitarist. Spooky Two, often considered the band's best work, followed in March 1969, with Miller again producing. Wright composed or co-composed seven of the album's eight songs, including "That Was Only Yesterday" and "Better By You, Better Than Me". Spooky Two sold well in America but, like It's All About, it failed to place on the UK's top 40 albums chart.  The third Spooky Tooth album was Ceremony, a Wright-instigated collaboration with French electronic music pioneer Pierre Henry, released in December 1969. Songwriting for all the tracks was credited to Henry and Wright, after the latter had passed the band's recordings on to Henry for what The New Rolling Stone Encyclopedia terms "processed musique concrete overdubs".  Although Wright had traditionally provided an experimental influence within Spooky Tooth, he regretted the change of musical direction, saying in a 1973 interview: "We should have really taken off after Spooky Two but we got into the absurd situation of letting Pierre Henry make the Ceremony album. Then he took it back to France and remixed it." With bass player Greg Ridley having already left the band in 1969 to join Humble Pie, Wright departed in January 1970 to pursue a solo career.
When did he leave Spooky tooth?
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Some context: Spacemen 3 were an English alternative rock band, formed in 1982 in Rugby, Warwickshire by Peter Kember and Jason Pierce. Their music is known for its brand of "minimalistic psychedelia". Spacemen 3 had their first independent chart hits in 1987, gaining a cult following, and going on to have greater success towards the end of the decade. However, they disbanded shortly afterwards, releasing their final studio album post-split in 1991 after an acrimonious parting of ways.
In November 1985, Spacemen 3 played a gig at a leisure centre in Coventry to an audience of fewer than ten people. Nevertheless, encouraged by the support of Pat Fish, they determined that they ought to record a new demo tape. By this time they had reconfigured and honed their musical style, and their repertoire consisted of newer songs and re-worked older ones. "The band's sound had crystallised into the intense, hypnotic, overloaded psychedelia which characterised their early [record] output, and which would serve as a template for their live act throughout their existence" (Ian Edmond, Record Collector).  At Pierce's instigation, Pete Bain rejoined the band on bass in order to fill out their sound. Despite being a 4-piece again, they would retain the name 'Spacemen 3'. Kember and Pierce opted to upgrade their guitar equipment ahead of recording the new demos. Kember purchased a Burns Jazz electric guitar and 1960s Vox Conqueror amplifier; whilst Pierce bought a Fender Telecaster and a 1970s HH amplifier. Both of their new amplifiers included distortion/fuzz and tremolo; these two effects were key components of Spacemen 3's signature sound.  In January 1986, Spacemen 3 attended the home studio of Carlo Marocco at Piddington, outside Northampton, to record their new demo tape. They spent three-and-a-half days at the 16-track studio. Recording live as a group, with minimal overdubs, they managed to get demos for approximately seven songs. Kember and Pierce handled the production. These "fine set of performances" (Ned Raggett, AllMusic) would later be unofficially released as the vinyl album Taking Drugs to Make Music to Take Drugs To on the Father Yod label in 1990 (albeit described incorrectly as "rehearsals in Rugby").  Spacemen 3 managed to obtain a record deal shortly after producing their new demos. Pat Fish had given a copy of the demo tape to Dave Barker, the owner of the independent record label Glass Records, to whom Fish's band The Jazz Butcher were signed. Spacemen 3 signed a three-year, two-album recording contract with Glass Records in early 1986.
Was the demo popular?
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