Co-writing, Masterclasses and Work As Session Musician
Rai co-wrote the song '12 Hours' with The Whitlams' Tim Freedman, album title track 'Happy Home' with 'The Voice' (Australian TV show) runner up Darren Percival (Universal Music Australia), the first single 'Goodnight America' (Universal Music Australia) for upcoming female artist 'Sinead Burgess.'
He played piano on two songs for ex-Silverchair drummer Ben Gillies' solo album, was the piano player on the singles 'You Won't Let Me,' by Karise Eden, 'Happy Home,' and 'In The Blowing Wind' performed by Darren Percival, and Sarah De Bono's cover of Duffy's 'Warwick Avenue' for the TV show The Voice (Australia). He played multiple instruments on 5 songs for Brian McFadden's record to be released in late 2012: bass, guitar, drum programming and piano.
Rai played piano and keyboards on 13 tracks for 'The Voice' (Australia) Xmas album, for release at the end of 2012.
He composed a short song 'Out Of The Blue' for 2012 film 'Eugene,' a short film as part of A Series Of Films with Roman Coppola and the Directors Bureau,' put together by vice magazine, w hotels and ultrabook computers. The song was used as a musical theatre piece in the film, sung and acted by Ben Lee and Sunny Mabrey.
Rai has taught masterclasses at AIM (The Australian Institute Of Music, Sydney), Lismore University, Claremont College (TAS) and Blacktown Tafe, and has been a mentor in Song Summit 2010-2012, a week long annual songwriting conference hosted by APRA, of which he is an Ambassador. He attended the 'Bali Songwriting Retreat' in Ubud, Bali, in 2011, along with Bonnie McKee, Delta Goodrem, Nick Jonas, and Arnthor Birigisson.
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Famous quotes containing the words work, session and/or musician:
“Ligarius. What’s to do?
Brutus. A piece of work that will make sick men whole.”
—William Shakespeare (1564–1616)
“The bar is the male kingdom. For centuries it was the bastion of male privilege, the gathering place for men away from their women, a place where men could go to freely indulge in The Bull Session ... the release of the guilty anxiety of the oppressor class.”
—Shulamith Firestone (b. 1945)
“The mastery of one’s phonemes may be compared to the violinist’s mastery of fingering. The violin string lends itself to a continuous gradation of tones, but the musician learns the discrete intervals at which to stop the string in order to play the conventional notes. We sound our phonemes like poor violinists, approximating each time to a fancied norm, and we receive our neighbor’s renderings indulgently, mentally rectifying the more glaring inaccuracies.”
—W.V. Quine (b. 1908)