Ray Brett obituary: The man who lit up Corby's country music scene

Following the death of one of Corby' s best-loved singers Ray Brett, country music guru Alan Cackett writes this touching obit to the man who provided so many great musical memories for the people of our town and beyond.

Ray Brett, along with his wife Ann, can rightly be considered genuine pioneers of the UK Country Music Scene.

Before it was fashionable, they rode the highways and byways of the British Isles in their caravanette, taking their very own special blend of country music to clubs small and large, backrooms of pubs, social and working men’s clubs, village halls, night clubs and theatres.

Their act always remained simple but highly effective. Ray would play electric guitar with great skill, being able to mix lead and rhythm cleverly, whilst Ann, not to be out-done, was something of an expert on tambourine, not to mention the possessor of a powerful and emotive voice. It was a combination of old and new country songs, a little touch of comedy and quite a few original numbers penned by Ray.

Ray was old-school with a humble, friendly persona and a quick sense of humour. He would light up a room the minute he entered with his beaming smile. He had a reputation for helping all and sundry, especially fellow musicians. He was a jack of all trades, able to fix almost anything, whether it be a car, electrical appliance or musical instrument. He loved to visit the local tip or recycling centre to see what useful odd bits that he could rescue and maybe upcycle.

Once he found the remains of an old acoustic guitar and in his back garden workshop rebuilt it into pristine condition. This led to him gaining quite a reputation for restoring old guitars, many of which he found during his scavenging expeditions.

His house was a magnet for local musicians, who would drop in for guitar repairs, advice and just to listen to Ray’s rambling stories. First and foremost, though, Ray was a family man who doted on his children and grandchildren and was devoted to his wife Ann.

Ray Bultitude was born in Bridgenorth, Shropshire in 1941 on the RAF base as his father served in the Air Force. Later the family moved to Ceylon (now known as Sri Lanka) and Ray grew up there, attending the local English-speaking school.

Like many of the service children, he got to play with the local kids, who often ran around barefoot, and like them he became quite agile at shimmying up the coconut trees.

Ray became interested in music at a young age, and though his father wanted him to learn trumpet, Ray taught himself to play guitar when he was eleven. Influence early on by guitar maestro Chet Atkins, Ray developed a clean, intricate style with Atkins’ technique very apparent in his playing throughout his life.

Following the family’s return to the UK, Ray attended Etonbury Secondary Modern School, Stotfold, Bedfordshire. He continued with his music and from the age of 15 joined local bands, dabbling in the new burgeoning teenage music that became rock’n’roll. Though he became a painter and decorator, music remained his passion and in 1958 he became a Butlin’s Redcoat.

The role was multi-skilled, so he not only played music, but also taught ballroom dancing, roller-skating, became involved in comedy skits and anything else as required to keep the holidaymakers entertained. Amongst his claims of fame at Butlins was during the Saturday evening show it was his job to hand Dusty Springfield her tambourine during her performance with the Springfields.

Amongst the other Redcoats he remembered working alongside were Irishman Dave Allen, who a few years later became a world-renowned comedian and raconteur and Chas Hodges, who following a career in 1960s beat groups, found fame with Dave Peacock as Chas & Dave.

Moving within the rather small music and entertainment scene of the late 1950s, Ray became friendly with budding rock’n’roller Vince Eager, who recognising Ray’s guitar skills, invited him to become his lead guitarist. He was soon hanging out with other rock’n’rollers including Marty Wilde, a young Robert Plant and Tommy Steele.

Over the years he has often related hilarious stories about his life as a musician to all and sundry. One of the best is from his rock’n’roll days, Ray and Vince were both managed by the same lady, who often allowed them to stay at her house. One night the pair were out on the town and returned to digs in the early hours of the morning, in Vince’s bright red sports care.

Realising they’d forgotten to take the house keys with them, they attempted to gain entry via the drainpipe.

As luck would have it, the local beat bobby was on his rounds and caught the pair red-handed. They tried to explain why they were attempting a break-in. Then the PC asked for identification, so they took him to the sports car, and as they opened the glove box to retrieve Vince’s driving licence, a pistol fell-out. It was in fact an imitation firearm that Vince had been using as a prop in his act. The policeman was having none of it, and just as he was getting the handcuffs out, their manager, hearing all the commotion, came out and eventually was able to vouch for them to the constable’s satisfaction.

Ray met Ann, his future wife, at a gig in Corby, where he was performing with his latest band. At the time he was living in Hertfordshire, but was so smitten with the petite dark-haired beauty, he made the trip back to Corby the following weekend in the hope of seeing her again. Romance blossomed and it wasn’t too long before Ray had Ann singing.

He entered her into a Helen Shapiro Talent Show in early 1962. To Ray’s guitar accompaniment she sang Patsy Cline’s I Fall To Pieces and one of the teenage singer’s hits. Ann was beaten into second place by a girl who performed with a full band, and it later transpired that one of the judges was the band’s manager.

Whilst Ann was practising her songs, Ray sang along and they discovered that they had a natural harmony sound. They continued to sing together, accepting bookings in and around Corby before they married, and decided to stick with the music after the marriage, initially for fun, but also because the money came in handy.

They played mainly at weekends, as Ray needed the regular wages that his work as a self-employed painter and decorator brought in. They were performing well- known pop hits of the day and standards going back into the 1940s and 1950s.

Soon they discovered that there was quite an interest in classic country tunes locally.

Known as ‘Little Scotland,’ Corby is made up of ex-Scots, and that’s where the country music influence comes into Ann and Ray’s lives. Country music has long been popular with the people from Scotland and they carried their love for the music to Corby, and both Ann and Ray can recall growing up with country music ringing in their ears.

The couple turned fully professional in 1972 due to the demand for bookings from further afield. The couple soon made their mark on the British country scene. The first time I saw them working was in the autumn of that year, and for me it was like turning back the years as they performed some classic songs from my mis-spent youth.

Having been introduced to country music through the music of Patsy Cline, Johnny Tillotson, The Everly Brothers, Don Gibson and The Browns, I always found Ann and Ray Brett to be one of my favourite acts on the British scene. I soon started booking them for shows in Kent, and they appeared at gigs at the Maidstone United FC Social Club and in concerts at the Hazlitt Theatre, Maidstone and Queens Theatre, Sittingbourne quite regularly for me over the years.

In 1973 Ann and R ay won the Best Country Music Duo Award in the UK Country Music Awards presented annually at the Wembley Festival in London. This was a tremendous achievement that further enhanced their touring, as clubs all across the British isles were clamouring to book them.

On stage the duo offset each other superbly. They came across as the perfect, happily married couple. It’s not a false impression, though they were always quick to point out that they had their ups and downs. Ray the talkative one, Ann quieter and a little bit shy.

By this time they had three children, Debbie, Dawn and Peter. For several years Ann and Ray took the three children around with them for weekend shows or during school holidays in their motor caravan, and young Peter spent most of his early life touring up and down the roads of Britain. So much so that all three children excelled at geography at school having seen the majority of British towns on road signs and motor maps.

When Debbie and Dawn were at the right age to look after Peter, they were left behind in Corby, but there was always a close family network to keep an eye on them, though Ann and Ray were always a little reluctant to be away from home for too long.

Mixing an entertainment career with raising a family is never easy, especially on the rather shaky British country music scene, but Ann and Ray succeeded beyond their wildest dreams.

Like so many British country acts, Ann and Ray did come up against problems in getting their music across to the public. Unperturbed by the media’s general dislike for country, this enterprising pair went into the recording studios for the first time back in 1974 and recorded an album, AT LAST, which was completely self-produced and self-financed.

Included were I Heard The Bluebirds Sing, Mystery Train, Why Must You Throw Dirt In My Face and a Ray Brett original, Don’t Cry On My Shoulder. The production afforded Ann and Ray ample opportunity to weave a spell consisting of melodic and memorable tunes done up with the minimum of accompaniment. Over a relatively short period of time this album sold several thousand copies, all handled by Mr. and Mrs. Brett, either at their many shows or by post from their home.

This led to them recording a second album, SOMEBODY LOVES YOU, which was released by Sweet Folk and Country in 1976. This time the pair used a much fuller sound provided by Pete Connors on drums, banjo, mandolin and fiddle; Roly Wolstenhome on bass; Steve Darington on piano; and steel guitarist Barry Smith from Frank Jennings’ Syndicate. Ann and Ray offered a clean, pleasant collection of modern country ranging from Blanket On The Ground to When I Stop Dreaming, and I Recall A Gypsy Woman to another Ray Brett original, What More Can I Do.

One of Ray's finest creations, What More Can I Do, that was recorded by Frank Jennings, did get to Glen Campbell. When I worked at the Kent Messenger in the 1970s I was responsible for the production of Record Mirror, a weekly pop paper. Charles Webster, one of the sub-editors on the music paper, would come down to Maidstone every week to see the paper to the press.

We became good friends, and when he left Record Mirror to take up a position as Press Officer at Capitol Records London, we kept in regular contact.

Charles invited me up to EMI’s Manchester Square offices to interview Glen Campbell. During the interview we got to talking about song material, and I mentioned to Glen about my friend Ray Brett and his songs, notably What More Can I Do. Glen asked for a copy of the song to be sent to him. A few days later I got Ray to send me a cassette with the song, which I passed on to Charles who then got it sent across to Glen.

Though the American superstar didn’t record the song, mainly due to a change in musical direction, he did send a letter to Ray thanking him for the song. Ray was somewhat luckier with several more of his songs. He’s A Dreamer was regularly performed by John Aston and City Limits and was recorded by Frank Ifield.

There’s No More You And Me, a sad, lonesome ballad, gained some interest from John Merritt at RCA’s Sunbury Music, who heard the song on a local radio show.

Ray sent him a cassette of several of his songs, which they offered to publish for six months, and if nothing happened the copyright would revert back to Ray. At the time they were really enthusiastic, believing that singers like Ronnie Milsap would be interested in the songs.

At the same time, Tony Peters at Acuff-Rose also showed interest in Ray’s songs, but like John Merritt, he was unable to place any of the songs with singers, so they were all returned to Ray.

In 1982 Ann and Ray recorded Take a Walk in the Country With Our Music, an impressive collection solely of Ray’s songs. The production throughout was simple, uncluttered, yet highly effective. Mention should be made of Pete Haywood on pedal steel and Barrie Fletcher on keyboards, not to mention Ray’s own distinctive guitar work.

In the early 1980s Ann and Ray started working regularly with Frank Ifield and Barbary Coast both on shows and in the recording studios. Frank also performed

and recorded some of Ray’s songs and has maintained a friendship with the couple over the years.

Though Ann and Ray cut back on touring and performing over the past few years, they still played the occasional gigs locally including the annual Corby Highland Gathering that celebrates the town’s close association with Scotland. They have appeared at literally every country music club in the British Isles, including trips to the Shetlands and Orkneys. Though Ann and Ray genuinely loved the clubs, meeting the country fans and talking about the music, they always preferred working concerts when they were in their element entertaining a listening audience.

Their three children are all talented singers in their own right, sharing close familial harmonies, but only Peter has pursued a music career, being a superb drummer, currently playing in Genesis Connected.

Ray passed away on October 29 having been diagnosed with Brain Cancer only a few weeks previously. I feel blessed that I was able to visit Ray and Ann a couple of weeks before his passing. Though he was very weak, he remained in good sprits and would send his beaming smile out to us all, remaining as humble and caring to the very end.

For more on country music, visit Alan's website.