Ray DeTone
"Guitar for Hire" Ray DeTone Interview
RayDeTone.com
Interview by Roger Zee (10/14/19)
Roger Zee: Who inspired you to play guitar, sing, and write songs?
Ray DeTone: Haha, here's where I buck the trend and don't say "The Beatles." So typical of my "love it or leave it mentality" that has helped and cursed me throughout my career. Anyway, my earliest recollection of wanting to play the guitar came at five years old hearing "Walk, Don't Run" by The Ventures. That led to listening to the Hawaii 5-0 theme song, thinking that I could never play that fast and that I'd better work hard to achieve the lightning speed of that tune!
AM Pop radio also played a big part in me wanting to play guitar. Somehow, even as a child, I knew that songwriting went hand in hand with the guitar. Actually you're the first person to ever ask me about the writing part. I've never really thought about it, but I do remember wanting to be the artist, the guitarist, and the guy who wrote that song that I could sing to the cute young girl, whose name I won't mention, in the second grade!
Then came the guitarists I saw on television. Again not The Beatles -- Big Jim Sullivan, Roy Clark, Glen Campbell, Carl Perkins, Roy Buchanan, and I believe Eric Clapton as well. I emulated one these guys by learning to play with my palm on the bridge, which is my bane to this day, haha.
My parents, however, wished me to exploit the free accordion lessons offered at school. They promised to get me a guitar after one year of accordion if I still wanted one. Exactly one year later, at eight, I started guitar lessons.
After that came Clapton, Page, and Beck. Then I discovered Ritchie Blackmore. He became my guy for a few years. I was intrigued by his fusion of Classical motifs with Rock elements best exemplified in the early years of Deep Purple. Dicky Betts also figured in there along with Stevie Winwood. However once I heard the opening stacked fourths of ELP's Tarkus, everything changed for me. Then it was Steve Hackett of Genesis, Peter Banks of Yes and Flash, and Steve Howe. Compositionally, the multi-instrumentalists in Gentle Giant also had a huge impact on me. I developed an intense interest in music that I couldn't understand, say as opposed to another early influence of mine, B.B. King, my first concert.
A bizarre catharsis occurred for me recently at the Carnegie Hall "Led Belly Fest," where I shared the stagewith many Blues greats. I saw Eric Burden backstage and at that very moment I realized that he had a major influence on me. This never dawned on me before! Without a thought, as they photographed us, I told him about the Xmas that I asked my parents for The Monkees record but instead got The Animals "Animalism." The Monkees, Animals -- all the same to them, haha! But I listened to "Animalism" over and over despite my parents thinking it too dark and inappropriate for a child. It totally changed my perspective on the type of music I wanted to create, adding a whole new palette of colors to my pop mentality. He just loved that story. What a sweet guy!
Roger Zee: Talk about your career as a composer/producer.
Ray DeTone: Let me preface this by noting that most people who don't really know me think of me as a "Rock guy." However, my most successful compositions stray far from that. My biggest selling song's a Spanish classical piece that segues into a Gipsy-Kings style Flamenco instrumental. Check out "Spanish Gypsy" from my "Guitar Noir" CD. This was the result of it's use in the short program of World Champion figure skater, Carolyn Zhang. More recently, I wrote and sang a song along the lines of Mumford & Sons and The Lumineers that was used in a major ad campaign. However, my first success as a writer came in 1989 when I wrote five songs for FAME-TV's star Carlo Imperato's appearances on RAI-TV, Italy's version of The Tonight Show. That's also when I starting learning about the difficulty in collecting monies owed to the writer. It took me four years of sending letters written by three different foreign directors of ASCAP that included copies of the Italian TV station's own shows in PAL video format. And a Hell of a lot of perseverance!
In 2005, a production company asked me to compose high-end music to sync to ten minute vignettes that would air on a new cable network. I discovered that I could compose/perform/mix/master an entire piece in one-three days. For a year, I did eight tracks a month for them along side all my other gigs. If I had a guitar or keyboard in hand, I was composing! Many clients weren't aware that I did this in parallel to their session or gig. Afterwards, I would go back to my home studio and stay up all night laying down tracks. This great learning experience paid off immensely in the world of BGM/cues.
Most of the ala carte requests I get come with a 24 hour deadline. In the case of Toys-R-Us in 2017, I received a request for an original Xmas piece at 5pm on a Wednesday which had to be delivered by noon on Thursday. They used this music in TRU's pop-up store right next door to Radio City Music Hall, playing in an endless loop from the following Tues until New Years Day. That felt good, like my own little "Its A Small World After All." The downside -- I discovered there was no way for my PRO to collect performance rights for this type of unconventional performance.
Early on, I always wrote songs for my bands. When my first original Prog Rock band got "signed" by a recording studio owner who gave us carte blanche run of his studio , I got heavily into production. So by the age of nineteen, I not only wanted to create the music but also wanted to control how the final product sounded. Actually, even before that, at fourteen, I used my Dad's sound-on-sound tape machine to write and record my first instrumental song which explored the guitar harmonies of the Allman Brothers and Flash. Now I was getting to do it with a full band in a pro studio. From there I bought a Teac 4-track recorder and continued to work at writing and recording. I discovered that I could often do a better job then the studios I recorded at and without the fear of the ticking clock.
My love of creating grew and grew. When the technology finally allowed us to make world class recordings anywhere, well, I was ready. At this point, I've composed close to a 1000 cues for TV, film, web, etc. in so many different genres that it'd be too boring to list. Suffice it to say, I've taken great advantage of what I learned early on. For those interested, visit the various pages of my website to get a small sample of my eclectic work.
Roger Zee: Tell me about your "guitar for hire" work. It seems to take you around the globe!
Ray DeTone: Well when long hair and Rock guitar started going out of style in the Nineties, I was determined to become a working/touring/session guitarist. I could not be content with trying to remain the same. I saw that as a path to growing dated and unmarketable. Going back to my love of Prog Rock, I saw myself as a great fit for composing to picture. In my mind, it appeared that in film, it often didn't matter what style the music was. What did matter was the emotional connection it created to picture.
Though my writing was already eclectic, I needed to grow my guitar chops to be equally eclectic. So I started exploring styles that I had previously only toyed with -- Classical; cascading country picking ala the Hellecasters, Danny Gatton, etc.; Travis fingerpicking, ala Murielle Anderson; and so on. It's worth noting that early on when I started playing only original material, I stopped figuring out what other guitarists did. Yes, listening did influence me. Different players' styles, note choices, and cliches washed over me but I was on a quest to create my own sound and style. Now, years later, I started dissecting everything I heard to get at it's essence and practical usage in a for-hire environment.
Sorry, I digress. Anyway, with all this study and having made a few good connections when I was hired as guitarist for CBS recording artist "Drive, She Said," I became known as the long-haired, body-builder (huh!?!), metal guy (really?!?!) for hire. Then I signed on as the token American in Iron Maiden's ex-front man Paul Dianno's band "Killers" doing all Maiden stuff when I had never even listened to Maiden! Needless to say, another misnomer -- me as a metal guitarist, haha. That same year I also did a Ronnie Spector tour.
The internet has served me well. Although I hate self-promotion, good people have found me that way. Through my website, the musical director for a Chinese artist promoter found me. He saw I could read music, listened to some tracks and hired me on the spot. Since than I've worked with 120+ celebrity Chinese singers. I've also experienced other culture's music, and found that it's so important to always stay alert and aware, as sometimes the verse is 13 bars long, haha! I will say that the odd time signatures and polyrhythms of Prog Rock prepared me for so many other things I never dreamed of.
Coffee at Starbucks also turned up a connection that culminated in my job as musical director and guitarist for Ali, the youngest artist to ever perform at Wembley Arena. We opened for Reba McEntire and Loner Star on her first gig. Haha, my first gig was a sixth grade graduation at PS68 when I was 11. Anyway, that lead me to MDing/guitaring for the infamous Russian Eurovision winner, Emin Alagarov, yep the Trump guy, and also an Electronic Dance Billboard charting artist, Janine.
Roger Zee: You produced and played guitar on legendary Liverpool bassist Mark Clarke's "Moving To The Moon" record.
Ray DeTone: He knocked on my door, haha. Ok, it wasn't that simple. Clarkey needed someone to record his record and a British publisher/manager that knew my work recommended me. So he "rang me up", came over to my studio and from there we became best friends. As a bass player yourself, Roger, you know Mark has toured/recorded with almost everyone in the industry for the last forty-five years. What an awesome honor to play an intimate part in this man's first solo record. And Damn can he sing! I just finished some demo's of his material that he will record with either JCM or Colosseum, not sure which. I'm quite proud to say that the label requested to use one of my co-writes from "Moving To The Moon" for the new JCM record. After writing a chart for the song, I got a very nice email from the legendary Clem Clempson, Mark's long time band mate. Another guy with a resume that I can only dream of. That's pretty damn cool!
Roger Zee: What's coming up in the near future? PS: I went to high school in Great Neck, Long Island with Neil Dorfsman...
Ray DeTone: Neil Dorfsman, I love the man! Just contacted him a few months ago about mixing some tracks for my new Japanese/Latin/Dance/Shred project. At a music convention a while ago, someone gave me a CD entitled "The Prince of the Deep Water" by Blessing. I didn't spin it for three to four years. But it's that very rare CD where halfway through the first song, I knew I was going to love the entire record and I did! Neil produced it. Me, not a Fleetwood Mac fan, had never heard of him. A few years later I got introduced to Neil at an AES show and told him how much I loved that record. He was the nicest guy! I felt honored to meet and talk with him. So when I released my self-produced/mixed CD, "Guitar Noir," in 2006, I sent him a copy just to see if he had any tips. After listening, he asked me if I did session work and if I was available to work at the Power Station with him on a track for Japanese superstar Himuro! I was like... "uh Yeah!" Its funny cause he would joke about my love for the "Blessing" CD and that me and some guy in Europe were the only two people to buy it! He claims "It went cardboard." Haha.
As usual, I digress... My new project's called "Convergence." Check it out at ConvergenceArts.com. I'm extremely excited despite the fact that for the moment, it's all covers of mostly hit dance songs. On stage, at a Chinese show, I met a Japanese dancer/choreographer, Miho Imoto, just an awesome talent and human being! She came up with "Convergence." For this project, I'm arranging Electronic dance songs for the traditional Japanese Shamisen, Electric and Flamenco guitar while combining it with Latin percussion and Taiko drums. Miho choreographs and dances along with an entire dance troupe that perform traditional Japanese dance, Latin dance, Jazz contemporary dance, swordplay and acrobatics. It's a true fusion of cultures! If you visit the web site you can see the first video we did for the song "Conga." Since then, we've talked with some major publishers and worked hard to secure sponsors and rights to the music involved. Though I can't say more at the moment, next year's summer Olympics take place in Tokyo and that's way too close already. I have to tell you, I never loved playing covers, but this is so unique, cool, and different from anything else I've done. What a blast, working with these phenomenal musicians from a totally different musical background and culture where I get to produce tracks and play hi-tech, slammin' guitar without the fear of getting fired for being over indulgent!
In addition, my entire catalog was just moved to BMG publishing and they are now pitching a brand new original of mine, along with the Convergence project, to sponsors for the Tokyo Olympics. BMG also brought in Republic Records recording artist, Bria Lee, to sing it. She did an awesome job!
Roger Zee: Tell me about your favorite and/or most unusual gig.
Ray DeTone: The only gig I ever played that I consider "perfect" took place in Berlin in 1992 with CBS recording artist, "Drive, She Said." It was our fourth night in Germany, the band sounded terrific and I thought we performed flawlessly! But this comes with a story, haha. We had just finished two weeks in the UK with no problems but after the first German performance, the FOH mixer told me about an issue with my guitar sound. "Its a swirling, bee buzzing kinda thing." This occurred in the huge refrigerator rack days and I actually had two racks of gear. We played the second show in Hanover, Rudolph Shenker's home town. He showed up and bought me a beer there! So the tech and I grabbed my rack, wheeled it to a dressing room and fired it up. But it sounded fine. We adjusted some stereo effect delay times and proceeded to do the show. But the same issue occurred. Same on the third night! I was beside myself -- what is it? I don't hear it on stage.
At sound check on our fourth night, in Berlin, the soundman heard the same thing again! I handed the guitar to my tech, told him to play, climbed off stage and did what no musician should ever do or ever have to do. I walked out to the FOH mixer to hear what the hell was going on. What I heard made me sick to my stomach! "That's what the audience has been hearing for the past three nights -- expletive, expletive, etc.!" It sounded horrible! Especially to me who's always prided myself on my tone. However, I knew that when I had left the stage my rig had sounded great! I said, "Pull down the fader and listen." He did. I said, "That's a solid, slamming sound. We're one hundred feet out so the high end's down but other than that, it's what I'm hearing on stage." So we start checking the mics. Sure enough the very efficient German crew had used the same mics in the same place every night. I got a bad '57 on my rig the first night and thus it stayed there. I felt so rejuvenated once the crew put two good mics on my rig. Couple that with the best monitor mix of the tour and a great audience of East and West Berlin. Yep that one stands out!
Roger Zee: What advice do you give young musicians?
Ray DeTone: First: Listen. Second: Listen harder! Third: You're still not listening! Fourth: Listen and communicate with everyone on stage/studio for the good of the whole!
After that, try as best as you can to determine your path -- artist versus side man or both. Hone your skills accordingly. If you choose "for-hire musician," realize that if you're young, that no matter your talent, with a few exceptions of course, you have not arrived yet! Take it from me, experience matters in both how you approach a song or the people involved. When young, I did it all wrong and pissed off a lot a people in my quest for perfection. While I'm different now, the colleagues you grow up with and the relationships you develop at a young age become your network of employment as you grow older. Treat them right!
As far as young artist/creators go, express yourself! Be honest. Open yourself up and deal with both the lovers and the haters! Grow aware as to whether or not anyone besides your Mom and friends can relate to your art. As a producer and guitarist for many young artists, I always walk a fine line between "knowing better" and letting them be who they are. Never just assume you know better, as they may be the next new big thing. At the moment, I'm starting production on a twelve year old singer/songwriter/ukulelist's record. Doing something new, interesting, different and good keeps me moving forward, young and happy to work in this crazy industry.
Finally, learn as much about the business as you can! I meet so many "musicians" that do nothing but complain about the industry and how it's treated them. Most of the time they have no idea about how it works. It's essential to understand it, especially how to get paid in this age of DIY.
Roger Zee: How do you see the future of the music business?
Ray DeTone: For my own sanity, I'll leave that question up to the business people -- until next quarter, of course, when I have to chase down the royalties owed me!
©2019 Roger Zee