Ray Stevens – Everything is Beautiful

About the Song

Ray Stevens’ “Everything is Beautiful” is more than just a song; it’s a timeless message of hope and appreciation for life’s simple pleasures. Released in 1970, this soulful ballad marked a departure from Stevens’ comedic repertoire and showcased his ability to connect with audiences on a deeper level.

The song’s gentle melody and Stevens’ warm, inviting vocals create a soothing atmosphere. The lyrics are a poetic celebration of nature, humanity, and the beauty that surrounds us. Stevens invites listeners to slow down and appreciate the world around them, from the smallest flower to the vastness of the sky.

What makes “Everything is Beautiful” truly special is its enduring message of optimism. In a world often filled with challenges, the song offers a much-needed reminder to find joy in life’s simple moments. It’s a song that has the power to uplift and inspire, making it a timeless classic. Episode #4.4 (1970)

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Lyrics: Everything is Beautiful

Jesus loves the little children
All the children of the world
Pretty yellow black and white
They are precious in his sight
Jesus loves the little children of the world

Everything is beautiful
In it’s own way
Like a starry summer night
On a snow covered winter’s day

And everybody’s beautiful
In their own way
Under God’s heaven
The world’s gonna find a way

There is none so blind
As he who will not see
We must not close our minds
We must let our thoughts be free

For every hour that passes by
You know the world gets a little bit older
It’s time to realize that people lies
In the eyes of the beholder

And everything is beautiful
In it’s own way
Like a starry summer night
On a snow covered winter’s day, ah sing it children

And everybody’s beautiful
In their own way
Under God’s heaven
The world’s gonna find a way

We shouldn’t care about the length of his hair
Of the color of his skin
Don’t worry about what shows from without
But the love that lives within

We’re gonna get old again now
Everything is gonna work out fine
Just take a little time to the calm good side my friend
And spittle in out in your mind

And everything is beautiful
In it’s own way
Like a starry summer night
On a snow covered winter’s day, ah sing it children

And everybody’s beautiful
In their own way
Under God’s heaven
The world’s gonna find a way, one more time

Everything is beautiful
In it’s own way
Like a starry summer night
On a snow covered winter’s day

Old pop standards were an unexpected choice for country music’s biggest outlaw. But in 1977, Willie Nelson wanted to record songs he’d loved since childhood: “Stardust,” “Blue Skies,” “Moonlight in Vermont,” and “Someone to Watch Over Me.” Several were older than he was. His contact at Columbia Records pushed him to write new material. Willie knew younger fans might not recognize the songs, but their parents and grandparents would. Booker T. Jones, his Malibu neighbor, agreed to produce. Willie’s main concern was “Georgia on My Mind.” After Ray Charles, what could he bring to it? Booker’s answer was simple: “Ray did it his way, and you’ll do it yours.” They recorded the album in ten days at a Hollywood Hills house. Mickey Raphael even played his harmonica parts from inside a tiled bathroom shower. Columbia initially pressed a smaller run than usual, then had to order more. “Georgia” reached No. 1 and earned Willie a Grammy. Stardust sold roughly five million copies and stayed on the country albums chart for 540 weeks. Willie brought his own voice to songs associated with Sinatra and Ray Charles. Familiar music sounded unmistakably like him, and his audience embraced it.

First Baptist Church in Hendersonville had hosted June Carter Cash’s funeral less than four months before mourners returned to say goodbye to Johnny. His death on September 12, 2003, left the Tennessee town and the music community struggling with a second loss. For those who had known them away from the stage, the sanctuary held the grief of losing a couple whose lives had been so closely joined. More than a thousand people gathered for the service. Kris Kristofferson, George Jones, and Vince Gill were among them, mourning a friend whose life had crossed decades of Nashville history. Amid the solemn arrangements, one wreath stood out: raw cotton, corn, and turnip plants recalled the Arkansas soil and hard beginnings of the Cash family. It was a simple connection to the life behind the fame. During a biographical film, Johnny’s voice filled the church again, bringing the year’s losses into painful focus. Rosanne Cash sat in the front row as the congregation listened. Others were remembering a legend; she was confronting life without her father. The familiar voice was still there to hear, but she could no longer answer him. What had once been part of their everyday connection now remained as a recording, carrying his presence into history.

Billy Joe Shaver had a show booked near Austin on December 31, 2000, the day his son Eddy died at 38. He had already lost his wife and mother the previous year. Losing his child and musical partner left him barely able to think about performing. He couldn’t even find his band members, while showtime drew closer. Willie Nelson stepped in. A friend since the 1950s, he assembled musicians and took charge so Billy Joe wouldn’t have to face the night alone. Willie guided the set, giving his friend something steady to hold onto. When Shaver reached the microphone, his performance was fragile, sustained by determination rather than precision. The audience in the smoky room understood the effort it took for him to be there. Afterward, they went to Willie’s home and talked away from the crowd. As the night wore on, the enormity of Eddy’s death began to settle in. Music and fame mattered little beside the simple need to keep a grieving friend from becoming lost in his sorrow. By dawn, Billy Joe had made it through those first terrible hours with Willie beside him. Between conversation and silence, two men familiar with the hardships of the road had found the beginnings of a way forward.

NINETEEN HITS FELL SHORT BEFORE THE TWENTIETH CHANGED EVERYTHING. By the late summer of 1978, the tension inside the recording studio was palpable. Barbara Mandrell had managed to land nineteen consecutive songs on the country charts, yet the top spot remained an elusive ghost. She was a working professional, delivering exactly what the machine demanded, but the absence of a chart-topper felt like a structural failure. The air was thick with the silent frustration of an artist who knew she was capable of more, waiting for the one song that would finally validate the grind of the previous decade. Her producer, Tom Collins, recognized that the formula had gone stagnant. He brought in two young, hungry writers, Kye Fleming and Dennis Morgan, looking for something that broke the mold. He didn’t come with a pitch about industry trends; he came with a simple, personal photograph of his own wife’s grandparents, still sharing their small, worn bed after all those years. It was an intimate, domestic image that felt worlds away from the slick, calculated production of Nashville’s mainstream output at the time. The writers took that quiet image and inverted the emotion, crafting a story not about enduring love, but about the hollow coldness of being left alone in a bed built for two. When Barbara stepped to the microphone to record it, the mood shifted. In November, that vulnerability paid off as ‘Sleeping Single in a Double Bed’ seized the No. 1 position, where it held firm for three weeks. The struggle that had defined her career for years vanished in an instant, replaced by the weight of a signature hit that would eventually earn international acclaim and redefine her path as a country superstar.