“Let it Out” was a soulful standout, while the down-and-dirty “Can’t Find the Judge” and “Much Higher” both stunk from the funk. And be sure, The Dream Weaver boasted a bounty of highlights beyond its two (now) iconic chart-busting singles. The sound of Wright’s keyboards boomerang-ing between the left and right side of my enormous hi-fi headphones was simply awesome (8-track tape deck optional). The 1976 summer concert tour with Peter Frampton further cemented Wright’s massive newfound street cred. But while “Dream Weaver” was a convincing door-opener, the equally infectious and successful follow-up single “Love is Alive” owned a smidge more edge and was a decisive deal-closer - propelling The Dream Weaver to Top Ten, platinum-selling status.
Truth be told, until Wright revealed the fun fact on American Bandstand, I didn’t even realize (aside from the Ronnie Montrose contribution on “Power of Love”) that The Dream Weaver was created entirely using only keyboards, drums, and vocals.Ĭrushing Casey’s Countdown in short order, the aforementioned leadoff title-track single was an irresistible, futuristic-sounding seduction. Unlike the LPs produced by other budding electronic artists at that time, The Dream Weaver was a bona fide rock record. While electronic music wasn’t exactly a new concept in ‘75, Wright’s primarily keyboard-driven record sounded unique - fresh and new. The Dream Weaver, Warner Brothers, July 1975
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