A Quote by Ray Stevens

I did recording sessions as a musician as well as a background vocalist and enjoyed every minute of it. I remember singing harmony with Waylon Jennings on a few songs that were hits. Chet Atkins always put me up so high that I strained to hit every note. It was a lot of fun.
I enjoyed every minute of what I was doing with sessions, because The Blossoms, the group that I was singing with, they were the first black background singers. There weren't any.
Waylon Jennings and I had a lot of fun recording together.
You put more value on every minute...You know I always kinda thought I did that. I really always enjoyed myself. But it's more valuable now. You're reminded to enjoy every sandwich and every minute.
Singing harmony is not the same as singing a part in a choral group, where you know you're going to have to hit this note and then that note. There are nuances that change every day. Maybe today you have a slight cold or voice fatigue, or you've done something and there's a slight difference in your breathing.
Secular music, do you say, belongs to the devil? Does it? Well, if it did I would plunder him for it, for he has no right to a single note of the whole seven. Every note, and every strain, and every harmony is divine, and belongs to us.
There's every other guitar player and then there's Chet. He transcended musical boundaries for more than fifty years. God only lays Chet Atkins on you once in a lifetime.
The records in the house I really remember were, well, Glen Campbell's 'Wichita Lineman' and 'Galveston.' Even as a kid, I knew these songs were glorious. My dad also had records by Merle Haggard, Charley Pride, Waylon Jennings, and then there was also the Eagles and Don Henley. Anything Texas, which includes Don Henley, was big.
When you listen to radio and hear the same 20 or 25 songs, you start hunting down your CD's. Waylon Jennings' records were always around to listen to.
The hits always wind up being the songs with big, high choruses. They're the ones too high to sing every night - not that you'll ever, ever hear me complain about having to try.
Hit songs did not come out of musicals. Pop-rock was creating the hits. There were very few songs that made the charts out of any Broadway musical.
It was always difficult for me to listen to my singing voice for the first 20 years or so. I mean, I really enjoyed singing, and I enjoyed doing live shows, but being in a recording studio and having to hear my voice played back to me would really drive me up the wall.
Most of the time, when I had hits as a soloist - maybe not so much with Simon & Garfunkel - I was surprised they were hits. I didn't know what the hits were. I never thought that 'Loves Me Like A Rock' was going to be a hit, or 'Mother And Child Reunion,' or '50 Ways To Leave Your Lover.' They didn't sound like what the hits sounded like at the time. Radio was more open to things that weren't exactly what every other hit was.
I've had a hell of a lot of fun and I've enjoyed every minute of it.
My dad was a huge country music fan, but he also had a band and he sang. So he'd listen to a lot of music and the songs that he'd learn for the band were more from the male artists. So my earliest country memories were Waylon Jennings, Conway Twitty, George Jones, Johnny Paycheck even.
The Blossoms were actually the first black background singers that did recording sessions in California, but we had to start giving work away. We just couldn't do it all.
Elvis was a way bigger influence than Waylon Jennings, but you don't wanna tell people, 'I never really listened to Waylon.'
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