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Many years ago, I read an interview with Charles Wright where he talked about the personal importance of his ongoing attempts at staying abreast of whatever music production techniques were current, about having spent several of his “lost years” during the eighties experimenting with synthesized and programmed rhythms. He said that one day he went to his cardiologist and was informed that his heart had developed an alarming mass of extra muscle, that the years and years of spending hour after hour day after day listening to a drum machine had forced his heart out of its natural beat and lead it to deform itself in adjustment to the brute will of technology. Wright, fearing for his life, abandoned this line of musical exploration immediately.
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