Ray Stevens

One of the most enduring figures in novelty music, Ray Stevens enjoyed an exceptionally extended run in the charts, during which numerous singles—including several major successes—spanned four decades. A versatile vocalist and studio craftsman, he also ventured into straightforward country and pop with 1968’s Even Stevens and 1995’s The Serious Side of Ray Stevens, occasionally landing earnest chart entries, most notably the 1970 single “Everything Is Beautiful.” He further contributed as a producer on sessions for other performers. Nevertheless, humorous novelty numbers remained his primary focus, and his distinctive comedic approach proved resilient amid dramatic changes in musical trends and listener preferences. Stevens maximized his commercial reach by creating original material rooted in contemporary cultural phenomena and passing musical crazes, yet his talent for unadulterated absurdity appealed across age groups, fueling countless anthologies and television mail-order releases; he continued satirizing contemporary existence on the 2021 album Ain’t Nothin’ Funny Anymore.

Born Harold Ray Ragsdale on January 24, 1939, in Clarkdale, Georgia, Stevens began piano instruction at age six and assembled a local group called the Barons at fifteen that performed at area venues and gatherings. At seventeen he relocated to Atlanta, where he joined radioman Bill Lowery’s publishing operation; his composition “Silver Bracelet” earned him an opportunity to record for the Capitol subsidiary Prep, although the release failed to register beyond Atlanta. While studying classical piano and music theory at Georgia State University, he kept issuing sides for Lowery’s NRC imprint. His early novelty effort “Sgt. Preston of the Yukon,” released in 1960, generated nationwide interest until a copyright-infringement claim removed it from circulation. Regular appearances on the radio program The Georgia Jubilee helped secure a position at Mercury Records as a session player, arranger, and A&R assistant. In 1961 he achieved his first Top 40 entry with the novelty track “Jeremiah Peabody’s Poly Unsaturated Quick Dissolving Fast Acting Pleasant Tasting Green and Purple Pills.”

After joining the Mercury roster full-time, Stevens cut additional novelty singles. “Ahab the Arab,” issued in early 1962, became a major success, peaking in the pop Top Five and crossing over to the R&B Top Ten. The follow-up “Santa Claus Is Watching You” fell just short of the Top 40, yet 1963’s “Harry the Hairy Ape” returned him to the pop Top 20. Still not committed to a performing career, he concentrated on mastering studio techniques, collaborating with Brenda Lee, Patti Page, and Brook Benton while occasionally serving as a substitute vocalist with the Jordanaires. In 1963 he performed alongside Elvis Presley on the Fun in Acapulco soundtrack sessions. Lacking further personal hits, Stevens moved to the Monument label as a producer and arranger, where he worked with a young Dolly Parton and B.J. Thomas and developed a close association with producer Bill Justis, renowned for the Sun Records instrumental “Raunchy.”

Stevens resumed recording for Monument in 1968, exploring pointed social commentary on the Top 30 pop entry “Mr. Businessman.” Comedy nevertheless remained central; Justis suggested the idea for “Gitarzan,” which Stevens lyricized and voiced in multiple characters, yielding his first Top Ten pop single in seven years when it appeared in 1969. The follow-up, a reading of the Coasters’ “Along Came Jones,” reached the Top 30. He also cut Kris Kristofferson’s “Sunday Mornin’ Comin’ Down,” a performance that pleased him enough to decline Burt Bacharach’s “Raindrops Keep Falling on His Head,” later a number-one hit for B.J. Thomas. Although Stevens’ own version of the Kristofferson song underperformed, Johnny Cash soon scored a substantial success with it.

An appearance on Andy Williams’ variety program prompted Stevens to sign with the singer’s Barnaby label in 1970, where he immediately scored with the buoyant pop single “Everything Is Beautiful,” revealing an unexpected sentimental side. The track rose to number one on the pop charts and earned Stevens a Grammy. Subsequent releases included the socially conscious “America, Communicate with Me” (1970), the novelty “Bridget the Midget (Queen of the Blues)” (1971), and the gospel-flavored “Turn Your Radio On” (1972), his first Top 20 country hit. Another novelty proved even larger: the 1974 track “The Streak,” which chronicled the contemporary streaking craze, ascended to Stevens’ second number-one pop position and simultaneously reached the country Top Five.

Thereafter Stevens’ singles registered more strongly on the country charts. His bluegrass-inflected rendition of “Misty” attained the pop Top 20 in 1975 while climbing to number three country and securing another Grammy. Additional country Top 40 entries during this span encompassed “Indian Love Call,” “Honky Tonk Waltz,” and a cover of “You Are So Beautiful,” coinciding with a move to Warner Brothers. In 1977 he briefly stepped away from country material to deliver an eccentric interpretation of Glenn Miller’s “In the Mood,” vocalizing every instrumental line with chicken-clucking sounds under the pseudonym Henhouse Five Plus Too. The 1979 single “I Need Your Help Barry Manilow,” a parody of the MOR star’s signature style, marked his final pop-charting release.

Switching to RCA, Stevens promptly scored a Top Ten country hit with the comedic “Shriner’s Convention” in 1980. Several follow-ups failed to replicate that performance, leading him to MCA in 1984. Over the ensuing years he experienced renewed popularity. Tracks such as “It’s Me Again, Margaret,” “The Mississippi Squirrel Revival,” “The Haircut Song,” “Would Jesus Wear a Rolex,” and “I Saw Elvis in a U.F.O.”—none of which except “Squirrel” cracked the country Top 20—nonetheless became audience favorites and signature pieces. Album sales also surged: 1985’s He Thinks He’s Ray Stevens reached number three on the country charts, while the 1986 follow-up I Have Returned hit number one; both earned gold certification, as did 1987’s Crackin’ Up. Stevens remained with MCA through 1991, when he charted with “Working for the Japanese.”

In 1991 he inaugurated his own theater in Branson, Missouri, performing there regularly until selling the venue in 1993 to pursue other opportunities. The following year he compiled a video collection of his best-known material and initiated direct-response television marketing; the initial tape ultimately sold more than three million copies, prompting further video releases through his own company. Occasional new recordings appeared, including the 1997 album Hum It and the holiday collection Ray Stevens Christmas: Through a Different Window. In the aftermath of the September 11 attacks he returned with the single “Osama-Yo’ Mama,” his first country-charting release in a decade, which reached the Top 50. It was succeeded in early 2002 by the album Osama-Yo’ Mama, which entered the country Top 30. In 2005 Stevens mounted a television campaign for the three-disc Box Set before transferring distribution to Curb for its 2006 retail launch. Laughter Is the Best Medicine arrived in 2009, followed by Sings Sinatra…Say What?, featuring his interpretations of several Frank Sinatra standards.

Stevens maintained a steady output in the early 2010s, achieving a Top Five placement on Billboard’s comedy chart with the politically oriented We the People. Further political humor surfaced on 2011’s Spirit of ’76 and 2012’s Patriots & Politics. That same year also brought the expansive nine-CD retrospective The Encyclopedia of Recorded Comedy Music and the Nashville Network series RAY-ality. Following a brief gospel detour with 2014’s The Ray Stevens Gospel Collection, Vol. 1, he issued the comedy album Here We Go Again in 2015, highlighted by the single “Taylor Swift Is Stalking Me,” a humorous narrative assembled from titles of her hits. He revisited his spiritual side with 2016’s Just a Closer Walk with Thee: Gospel Favorites and delivered another Christmas project later that year, Mary and Joseph and the Baby and Me. In 2018 he opened the Ray Stevens CabaRay Showroom, a Nashville dinner theater and performance space where he regularly headlines and presents other artists. Between February and May 2021 he released four albums of interpretations: Great Country Ballads, Melancholy Fescue (High Class Bluegrass) featuring rustic arrangements akin to his “Misty” treatment, the romantic collection Slow Dance, and Nouveau Retro (What’s Old Is New Again) with updated settings of familiar songs. Before year’s end he unveiled a fifth project, the original-material set Ain’t Nothin’ Funny Anymore.