ray gay, a native of cleveland, possessed a profound innate talent for music, a gift that would shape a multifaceted career. his early foray into the music industry saw the recording of his song, "are you the girl," which quickly ascended to become a best-seller.
this initial success paved the way for numerous subsequent recordings. however, his burgeoning writing career experienced an interruption in july of an unspecified year when he was enlisted into the u.s. armed forces.
this period of military service proved to be a pivotal, rather than detrimental, phase in his professional life.
while stationed in japan and korea, ray found himself connected with kobe's radio station j.o.a.k., where he made history as the first american to introduce the japanese audience to the lively rhythms of american polka music. during his military tenure, he was part of a notable ensemble.
this featured group included ray gay himself on the accordion, abe kapana providing guitar accompaniment, andy gilbert showcasing his tap dancing skills, and "ingy" ingales on the drums. the drummer, ingales, had a prior connection to the renowned louis prima and his orchestra.
this particular musical collective achieved a commendable second-place finish in a far east competition, narrowly missing the top spot to a group known as the thunderbirds.
an appearance on the ed sullivan show was also in the cards for the gil-rays, as they were scheduled around may or june of another unspecified year. however, the impending conclusion of their respective military service terms meant that fulfilling this prestigious television commitment would have necessitated a re-enlistment.
despite the scheduling conflict, the gil-rays did manage to perform at the ernie pyle theatre in tokyo.
during this engagement, they shared the stage with the notable performer "slapsie maxie" rosenblum. following the completion of his military service in july of a particular year, ray gay safely returned to his hometown of cleveland. upon his return, he enthusiastically resumed his songwriting endeavors, leading to a prolific period of new recordings.
championing innovation in polka and waltz
ray held a firm belief that for polka and waltz music to truly flourish and gain broader acceptance, it was essential to infuse these genres with fresh innovations, novel styles, and contemporary sounds.
this philosophy guided his creative process as he sought to evolve traditional musical forms.
during the decade of the 1960s, ray ventured into the realm of popular music songwriting. louise barber, an aspiring singer from cleveland with aspirations in the pop music scene, recorded two of ray's compositions: "he's the most to say the least" and "my life, my all." these tracks were subsequently released on piper records in an unstated year.
reflecting on this period, ray later commented on the challenges of this independent pursuit. he stated, "i tried my hand at popular music, utilizing my own label, musicians, and financial resources. however, without the crucial connections and the knowledge of the right individuals, my new venture proved to be short-lived."
"polka-re, polka-ra" and the shadow of payola
in an earlier year, ray achieved a significant milestone with the release of his song, "polka-re, polka-ra," under the q-cue records label.
within a mere two weeks of its release, the track climbed to the top ten charts in the cleveland area. the song garnered considerable national attention, prompting the rca victor's vi.k. label division, a subsidiary of the major label, to acquire the rights for a national release.
ray experienced a noteworthy level of success with this popular single. however, this triumph was tragically curtailed by the pervasive influence of payola, a scandal that deeply affected the music and recording industry at the time. ray eloquently described the far-reaching and detrimental impact of this situation:
"the payola scandal was a widespread menace that cast a long shadow over the record industry.
the gravity of the situation was underscored by the fact that..." (the source content appears to be cut off here, preventing a complete quote.)
a foray into sacred music and artistic resistance
in a subsequent year, ray turned his creative focus towards composing church music.
this endeavor, however, was met with considerable resistance. a generally negative reception prevailed regarding his ecclesiastical efforts, and a bishop ultimately rejected his innovative ideas. despite the fact that ray's church music was deeply rooted in an ethnic heritage, it was characterized by the church authorities as being "too modernistic." this assessment effectively stifled his artistic exploration within the religious music sphere.
musical inspirations and legacy
while the provided text touches upon various artists and songs that may have influenced or been associated with a broader musical landscape, it's important to note the distinction between the broad genre references and ray gay's specific contributions.
artists like bob marley, ziggy marley, jimmy cliff, and black uhuru are iconic figures in reggae and dancehall, genres distinct from polka and popular music, which were ray gay's primary focus. sister nancy, ini kamoze, john holt, anddamian "jr. gong" marley are also significant names within the reggae and dancehall sphere.
songs such as "stir it up," "three little birds," "one love," "buffalo soldier," "get up, stand up," and "police in helicopter" are celebrated tracks within the reggae canon.
similarly, albums like "legend," "exodus," and "stony hill" represent seminal works by these influential artists.
ray gay's unique contribution lies in his innovative approach to traditional genres, particularly polka and waltz, and his willingness to experiment with popular music.
his story highlights the importance of artistic vision, perseverance in the face of industry challenges, and the impact of individual creativity on musical evolution. his military service also played a significant role in his musical development, exposing him to new cultures and performance opportunities.
the narrative of ray gay is one of a musician who wasn't afraid to push boundaries, whether by introducing american polka to japan or by attempting to modernize traditional european folk dances.
his journey underscores the idea that musical innovation can arise from unexpected places and that a deep understanding of one's roots can inform forward-thinking artistic expression.