“They call him The Streak, fastest thing on two feet. … He’s just as proud as he can be of his anatomy.”
In 1974, singer-songwriter Ray Stevens unleashed a comedic novelty song upon the world that perfectly captured a bizarre cultural phenomenon sweeping across America: streaking. While many artists attempted to capitalize on this fleeting fad with their own “streaking song”, Stevens’ creation, aptly titled “The Streak,” sprinted ahead of the pack, becoming a runaway hit. In a conversation with Bart Herbison of Nashville Songwriters Association International, Stevens himself reflected on the inspiration behind this unlikely chart-topper and the overwhelmingly enthusiastic response it received from radio listeners, solidifying its place as the definitive “streaking song”.
Stevens, known for his humorous approach to music, didn’t initially set out to be a comedy songwriter. However, he cleverly recognized the commercial appeal of injecting humor into his music. Songs like “Guitarzan,” “Ahab the Arab,” and, of course, “The Streak,” became snapshots of Americana, viewed through a comedic lens, much like the satirical observations of Mark Twain. This ability to tap into the zeitgeist with a humorous twist is a key element in the enduring popularity of “The Streaking Song” and Stevens’ broader catalog.
The genesis of “Guitarzan” offers a glimpse into Stevens’ creative process and the often-unpredictable nature of hit songs. The title itself was gifted to him by Bill Justice, a musician and arranger. During a chance encounter at a hotel, Justice suggested “Guitarzan” as a song title. Initially finding it amusing, Stevens soon developed the idea further on a plane journey back to Nashville. Despite initial hesitation from his label, Monument Records, “Guitarzan” proved to be a success, highlighting Stevens’ knack for identifying and developing quirky musical concepts. This anecdote foreshadows the even greater success he would achieve with “the streaking song.”
Then came “The Streak,” the song that would define the streaking craze in popular culture. It wasn’t just a hit; it was a phenomenon. “The Streak” reached No. 1, dominated charts across the board, and sold an astounding 5 million copies. Interestingly, Stevens wasn’t alone in recognizing the comedic potential of streaking. As Stevens recalls, there were numerous “streaking song” contenders vying for attention at the time. For those unfamiliar with the 1970s fad, streaking involved running naked in public places, a sensation that was both shocking and strangely captivating to the contemporary audience. Towns across America, even small ones like Paris, Tennessee, where people streaked across the local movie theater, became stages for this bizarre form of public exhibitionism. Law enforcement and curious onlookers alike were drawn to these impromptu displays. Amidst this cultural backdrop, Stevens’ “The Streak” emerged as the “streaking song” that resonated most powerfully.
Ray Stevens performing "The Streak"
What set “The Streak” apart from the other “streaking song” attempts? Stevens believes his speed in production was a factor. He wrote and recorded the song almost immediately upon hearing about the streaking trend. While other artists also rushed to release their own versions, Stevens’ “The Streak” possessed a certain quality that captured the public’s imagination and, crucially, won over radio programmers.
Looking back at “The Streak,” Stevens’ comedic genius is evident in its structure and execution. He adopts the role of an outraged commentator, witnessing and describing the streaking antics with escalating disbelief and humor. Adding layers to the comedic narrative, Stevens incorporates different characters, including the commentator’s wife, Ethel, enhancing the song’s storytelling and comedic impact. This multi-character approach and the commentator persona are key ingredients that elevated “The Streak” beyond a simple novelty tune and solidified its status as the quintessential “streaking song”.
Stevens recalls refining the song even during the recording process, tweaking lines and ensuring the comedic timing was perfect. This dedication to detail paid off. An acetate of “The Streak” was test-played at a Nashville Top 40 radio station, and the overwhelming listener response was immediate and undeniable. The station’s switchboard lit up, confirming that “The Streak” was indeed a “monster” hit. The rapid ascent of “The Streak” from studio creation to national phenomenon underscores the song’s immediate appeal and its perfect timing within the streaking craze.
“The Streak” remains a quintessential novelty song, a humorous time capsule of a peculiar moment in American cultural history. Ray Stevens’ ability to transform the fleeting fad of streaking into a chart-topping “streaking song” is a testament to his comedic songwriting talent, his keen sense of cultural trends, and his ability to deliver a song that was both timely and genuinely funny. “The Streak” is more than just a novelty hit; it’s a masterclass in comedic songwriting and a lasting example of how a well-crafted “streaking song” can capture a moment in time and become a cultural touchstone.
