"The spacey country-rock of NYC veteran singer/songwriter/guitarist Wright is simple on the surface but contains profound depths."
"Simply stated, the succession of memorable melodies, catchy hooks and clear conviction continues without hesitation, and the fact that he addresses such topics as child abuse, gun violence, prejudice, economic inequalities, Covid, broken hearts, and, despite it all, abject optimism makes this an album of real and remarkable substance. Can Anyone Hear Me? is, in every regard, absolutely addicting."
"The entire affair is a valiant effort to distill sense of a senseless world. In that fashion it therefore isn't a typical protest album. It's a personal statement of alienation and disappointment felt not just by Wright but by many, though he has mastered and attested to his demons rather well."
"I honestly haven’t sat through listening to an entire CD (Can Anyone Hear Me?) like that in a long time and yours was so good, I just really enjoyed doing nothing but listening."
“Dusty Wright's songs on Gliding Towards Oblivion display a beauty and open-heartedness that are all the more affecting for the simplicity with which they present themselves. Of course, there is nothing simple about talent like this. In an era of extravagance, Dusty just doesn't let the sweat show. He puts in the effort to craft these lovely songs so splendidly that all we need to do as listeners is to take repeated pleasure in them."
“This is a record that will be equally attractive to listeners of widely varying persuasions, whether singer-songwriter folk-rock, roots rock, psych-rock, or indie rock. Subtly good songs will do that.”
"His songs have the ornate arrangements of Lee Hazlewood, Roy Orbison, Scott Walker, and -- especially -- the Richard Harris/Jimmy Webb collaboration that gave to Pop Nirvana, 'MacArthur Park.'"
"The new album from Dusty Wright, Gliding Towards Oblivion, is the sort of release that surprises and charms. The singer-songwriter imbues these tunes with melodic flourishes that subtly touch the ear and the heart."
"Every inch of the album [Caterwauling Towards The Light] we not only hear but experience a songwriter that pens songs with vibrancy and intelligence."
“'Cinematic Americana' was how someone once described Dusty Wright’s music. For a guy that loves to write, and not just music, it aptly described his vignettes of love, loss, and the mysteries of life. Darkness abounds, wonderful darkness."
"Within the first few chords of 'Fly,' it becomes evident that Mr. Wright has breathed new air into the clouded genre of country music. He's on a short list of artists who evolve and withstand the test of time."
"Recently, death in the family more keenly focused this tendency, and the hard-earned result is a touching album of plainspoken truths."
"Instead of the haze kicked up on old dirt roads by pickups, Dusty Wright makes music that's more like space dust. The elements are the same, particles of chord progressions and themes spun by tunesmiths like Hank William's big bang, but this veteran New York City-based gunslinger takes his tunes to a different astral plane."
"The pick of the crop is 'Swirl,' whose sawing strings, forlorn vocal and sly hook is uncannily similar to Bill Callahan."
"If We Never... is a solid record from Dusty Wright and a piece of work that is well worth your time."
"The rich baritone and personal reflections captured on Dusty Wright’s fourth solo album If We Never… transport listeners to a time when troubadour singer-songwriters like Gordon Lightfoot and Harry Chapin ruled the musical landscape – and a universe in which those FM-pop staples would moonlight after hours in dimly-lit clubs with the Velvet Underground."
"Dusty Wright has found his niche on Elevened, his third solo album. The record is eleven straightforward and rockin' songs about -- in the true country style -- girls, cars, and your friend and mine, the devil."
"This guy can write, and he can sing, and most of all he can rock."
"Cinematic Americana with the projector stuck on noir, you'll be reaching for the Nick Cave meets Johnny Cash references listening to the spooked desert moods of folk ballad 'Tempest' where Wright's coal throated voice is complemented by the siren background vocals of Laura Fay Lewis while 'Intimidation' lopes along on a devil stalking the prairie note that makes the Walkabouts sound positively like Steps."