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Ray Shulman

Ray Shulman (8 December 1949 – 30 March 2023) was a British multi-instrumentalist, composer, songwriter, and record producer, best known as a founding member and key creative force in the progressive rock band Gentle Giant. Born in Portsmouth to parents Louis Shulman and Rebecca Laufer, Shulman grew up in a musical family alongside his brothers Derek and Phil, who would later join him in Gentle Giant. He began his professional career in 1966 as a member of the psychedelic pop band Simon Dupree and the Big Sound before co-founding Gentle Giant in 1970 with his brothers and keyboardist Kerry Minnear. In the band, which blended rock, jazz, classical, and folk elements, Shulman played a wide array of instruments including bass guitar, violin, trumpet, viola, recorder, percussion, drums, and guitar, while also contributing vocals and serving as one of the primary composers. Over the band's decade-long run from 1970 to 1980, he helped craft ten studio albums, including acclaimed works such as Free Hand (1975) and The Power and the Glory (1974), and was renowned for his innovative quadraphonic violin solos that created immersive live experiences. After Gentle Giant's dissolution, Shulman transitioned into production and composition, scoring advertisements for brands like (including the campaign) and in the early 1980s. From 1986 onward, he established himself as a prominent in the and scenes, helming debut albums for (, 1988, featuring early work by ) and The Sundays (, 1990), both of which achieved significant commercial success. His production credits also extended to artists such as (69, 1988), Ian McCulloch, Trash Can Sinatras, and The Defects, while later remixes included tracks by progressive rock luminaries like , , and . Additionally, Shulman ventured into electronic music under the alias Head Doctor, composed for through his company Sound Source (notably Privateer 2: The Darkening, 1996), and produced content for acts like and . Shulman, who married Barbara Tanner in 1981, passed away at his home in after a long illness, survived by his wife and brothers.

Early life

Family and upbringing

Raymond Shulman was born on December 8, 1949, in , , to Louis Shulman and Rebecca Laufer. The Shulmans were a Jewish family of Scottish descent, with and —Ray's older brothers—born in before the family relocated south to . This heritage instilled practical Jewish values emphasizing decency toward others, self, and family, shaping a close-knit household environment. Ray grew up as the youngest of three brothers—Derek (born 1947) and Phil (born 1937)—in a musical family where their father, Louis, played trumpet in a jazz band, fostering an early shared interest in music among the siblings. The family's life in Portsmouth provided a stable coastal setting, with no major relocations noted beyond the initial move from Scotland, allowing the brothers to bond over creative pursuits in their formative years.

Early musical development

Ray Shulman attended Portsmouth Technical High School in his hometown, where he benefited from formal music instruction under teacher Reg Wassell. During his school years, he demonstrated early proficiency on and , impressing classmates with his instrumental skills in a period when was gaining traction among youth. Introduced to music through his father's professional career as a jazz trumpeter, Shulman began studying the trumpet as a young child, receiving training in jazz styles and showing enough promise to be considered for the National Youth Orchestra. He subsequently pursued classical violin training, reaching Grade Eight in the Associated Board examinations and initially aspiring to a career as a professional classical violinist, though the technical demands of the instrument proved challenging. Shulman also took up the guitar during his teenage years, largely self-taught to align with the rising popularity of rock and roll. His foundational influences drew from the jazz traditions of his family background, rigorous classical studies, and the vibrant landscape of , pop, and emerging rock acts, which broadened his multi-instrumental approach and versatility. In the early , as a teenager, Shulman joined his brothers and in forming amateur outfits, first as the Howling Wolves and then the Road Runners, performing at local venues and events around to hone their skills before transitioning to more structured groups. These initial gigs emphasized ensemble playing and , building his confidence on guitar and laying the groundwork for his lifelong commitment to eclectic musical exploration.

Musical career

Simon Dupree and the Big Sound

Simon Dupree and the Big Sound was formed in 1965 in , , by brothers (vocals), (keyboards, , , vocals), and Ray Shulman (guitar, , , vocals), initially operating under names such as Wolves and The Roadrunners before adopting the band's permanent moniker in 1966. The group, completed by bassist Pete O'Flaherty, drummer Tony Ransley, and keyboardist Eric Hine, began as a soul and R&B outfit influenced by American acts like and Booker T. & the M.G.'s, performing over 300 gigs across the UK in 1967 alone. After auditioning for , the band signed with the label's imprint in 1966, with their releases distributed in the United States by Parrot Records. Their style gradually shifted toward and rock, incorporating experimental elements amid the era's burgeoning scene. This evolution was evident in their debut single "" (1966) and follow-ups, though initial releases achieved only modest airplay on pirate radio stations like . The band's breakthrough came with the single "Kites," released in October 1967, which peaked at No. 9 on the and marked their sole major commercial success. Written by Lee Pockriss and Hal Hackady and originally intended as a straightforward pop , the track was reimagined during recording at with psychedelic flourishes, including a borrowed from , xylophone, gong, wind machine sound effects, and a spoken interlude in phonetic Chinese delivered by actress . Ray Shulman contributed violin to the arrangement, adding to its exotic, swirling texture, though the band recorded the song reluctantly under pressure from management and , completing it in just two-and-a-half hours. Their sole studio album, , followed in August 1967 on , reaching No. 39 on the and blending covers with original psychedelic material. The band toured extensively in the UK, opening for and sharing stages in with , while gaining limited U.S. exposure through Parrot-issued singles that received minor radio play but no chart impact. A planned second album was abandoned amid creative frustrations, leading to the group's dissolution in late as the Shulman brothers sought a more ambitious direction.

Gentle Giant

Gentle Giant was formed in February 1970 by the Shulman brothers—Derek, Phil, and Ray—drawing on their prior experience with Simon Dupree and the Big Sound, and incorporating drummer Martin Smith along with newcomers keyboardist Kerry Minnear and guitarist Gary Green. The sextet signed with Vertigo Records and debuted with their self-titled album later that year, marking a shift toward progressive rock experimentation. Ray Shulman emerged as a core in , serving primarily as with a muscular yet elegant style, while also handling duties that added sprightly classical flourishes to their sound; he occasionally contributed on guitar and as well. His live performances stood out for innovative quadraphonic violin solos, where the audio would pan around the hall in a circling effect as he remained stationary on stage, creating an immersive sonic experience for audiences. Shulman's compositional partnership with defined much of 's output, yielding intricate tracks across eleven studio albums from Gentle Giant (1970) and (1971) to (1980). Their collaborations emphasized eclectic fusions of rock energy, classical structures, and , as seen in shared writing credits on works like (1972), where Shulman is listed for bass, violin, and alongside Minnear's keyboard arrangements, and (1974), which credits compositions to the Shulmans and Minnear for blending orchestral swells with rhythmic complexity. The band toured extensively in the and during the 1970s, building a reputation for dynamic live shows that showcased multi-part vocal harmonies—often delivered in seven-voice clusters—and fluid instrumentation switches among members, including Shulman's features during sets like the 1973 North American tour and the 1976 European leg captured on . These performances highlighted the group's technical prowess and conceptual innovations, such as medieval-inspired acoustics and flourishes integrated into rock frameworks. Gentle Giant disbanded in the summer of 1980, driven by commercial pressures that pushed later albums like The Missing Piece (1977) and Civilian (1980) toward pop-oriented clichés amid the punk rock backlash against prog excess, compounded by internal burnout and a creative stagnation that left the members uncertain of their direction. Derek Shulman later noted, "The creative juices just weren’t flowing... We just decided to call it a day," reflecting the exhaustion after a decade of intense innovation. Ray Shulman echoed this sentiment in later years, expressing fondness for the era: "I loved our time and like the fact it’s still remembered."

Producing and other work

Record production

In the early 1980s, following Gentle Giant's disbandment, Shulman began scoring advertisements for brands including (such as the campaign) and . Shulman shifted his focus to record , beginning with punk band The Defects, playing keyboards on their 1983 "Suspicious Minds" (a cover of the song). By the late 1980s, Shulman had established himself working with alternative and indie artists, notably co-producing ' debut album (1988), which highlighted early vocal contributions from as the band's lead singer. He also produced A.R. Kane's debut album (1988). In 1990, he co-produced ' debut , a critically acclaimed indie pop record that peaked at number 4 on the and helped launch the band's career with its ethereal, guitar-driven sound. Other key projects included producing Ian McCulloch's debut solo album Candleland (1989), where Shulman also contributed bass, keyboards, and programming to enhance its atmospheric textures. Shulman's production approach drew from his multi-instrumentalist experience in , prioritizing the capture of raw band energy through innovative soundscapes and layered instrumentation that added depth without overpowering the artists' natural dynamics. This technique proved particularly effective for emerging indie acts, as seen in his work with The Trash Can Sinatras on their 1993 album I've Seen Everything, where intricate arrangements elevated their jangle-pop melodies. His contributions significantly impacted artists' trajectories, such as propelling to immediate recognition with 's chart performance and positive reviews that praised its fresh, unpolished charm. Later, Shulman provided remixes for progressive rock acts including , , and .

Video games and electronic music

In the 1990s, Ray Shulman ventured into composition, leveraging his multi-instrumental background to create atmospheric and immersive soundtracks for . For 2: The Darkening (1996), Shulman composed a three-hour orchestral score that enhanced the game's cinematic cutscenes and in-game environments, blending dramatic film-like elements with themes to heighten tension and exploration. His work featured sweeping synth layers and dynamic percussion, contributing to the game's immersive sci-fi atmosphere. Similarly, for Azrael's Tear (1996), Shulman collaborated with former bandmate to produce the title music and overall soundtrack, employing MIDI-based arrangements to craft human-like, emotive soundscapes that supported the adventure game's mystical narrative and puzzle-solving mechanics. Parallel to his game work, Shulman explored electronic music under the pseudonym , releasing two EPs on Millennium Records in 1994 that fused influences with euphoric and elements. The EP Fantasma De Escobar included tracks like "D.I.N." and "Fantasma De Escobar," characterized by pulsating rhythms, layered synth melodies, and hypnotic builds typical of early 1990s rave culture. The second EP, self-titled Head-Doctor, continued this blend, incorporating progressions and electronic textures that echoed Shulman's roots while adapting to club-oriented formats. These releases marked a departure from traditional instrumentation, showcasing his ability to innovate in digital genres. Shulman's forays into games and electronic music highlighted his technical prowess with synthesizers, sampling, and digital production tools, often through his company Sound Source, which specialized in MIDI-driven compositions for . He integrated sampled elements—drawing from his classical training—to create hybrid acoustic-electronic timbres, extending his multi-instrumental innovations from into virtual . In a 1997 interview, Shulman described this shift as a natural evolution, noting how allowed him to multi-track complex arrangements and compose "filmic" scores that felt organic despite their synthetic foundations, thereby bridging his dexterity and precision with electronic experimentation.

Personal life and death

Marriage and family

Ray Shulman met Barbara Tanner, a , in 1973 during a Gentle Giant tour stop in , , when she jokingly photographed him outside a and sent him the image, sparking their relationship. The couple became partners shortly thereafter and married in 1981. They shared a home in for the remainder of Shulman's life, maintaining a close and enduring partnership. Shulman and did not have children, but he remained deeply connected to his family, particularly his brothers and , with whom he shared a lifelong bond beyond their collaborative musical endeavors. described Ray as not only his brother but also his best friend, underscoring their personal closeness.

Illness and death

Shulman battled a prolonged illness that significantly impacted his later years. He faced the condition with , supported by his family, though details of the diagnosis remained private. Shulman died peacefully at his home in on March 30, 2023, at the age of 73, with the cause attributed to complications from a long-term illness. His passing was announced by his brother and former Gentle Giant bandmate via the band's official page and website, where Derek described being with him until the end and praised his genius. The family requested privacy, and no public funeral details were shared. Tributes poured in from the progressive rock community, with bandmates and fans highlighting Shulman's innovative musicianship and enduring legacy. noted, "Ray really was a genius in so many ways," emphasizing his profound influence. Musicians and admirers, including former collaborators, shared memories of his multi-instrumental talent and work, while fan forums and filled with expressions of grief and appreciation for Gentle Giant's catalog. A heartfelt video featuring younger fans and ex-band members further celebrated his contributions during the period.

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