Theirs is one of the most dis… Read Full Bio ↴THE TRADITION CONTINUES ...
Theirs is one of the most distinctive and recognizable sounds in the music industry. The four-part harmonies and upbeat songs of The Oak Ridge Boys have spawned dozens of country hits and a #1 pop smash, earned them Grammy, Dove, CMA and ACM awards and garnered a host of other industry and fan accolades. Every time they step before an audience, the Oaks bring 15 years of hits and 50 years of tradition to bear on a stage show widely acknowledged as among the most exciting anywhere. And, each remains as enthusiastic about the process as they have ever been.
"When I go on stage, I get the same feeling I had the first time I sang with The Oak Ridge Boys," says lead singer Duane Allen. "This is the only job I've ever wanted to have."
"Like everyone else in the group," adds bass singer extraordinaire Richard Sterban, "I was a fan of the Oaks before I became a member. I'm still a fan of the group today. Being in The Oak Ridge Boys is the fulfillment of a lifelong dream."
The two, along with tenor Joe Bonsall and baritone William Lee Golden, comprise one of country's truly legendary acts. Their string of hits includes the pop chart-topper "Elvira," as well as "Bobbie Sue," "Dream On," "Thank God For Kids," "American Made," "I Guess It Never Hurts To Hurt Sometimes," "Fancy Free," "Gonna Take A Lot Of River" and many others. They've scored ten gold, three platinum and one double platinum album, one double platinum single, and had more than a dozen national #1 singles.
The Oaks represent a tradition that extends back to 1943, before Hank Williams had a career. The original group, based in Knoxville, TN, began performing country and gospel music in nearby Oak Ridge where the atomic bomb was being developed. They called themselves the Oak Ridge Quartet, and they began regular Grand Ole Opry appearances in the fall of '45. In the mid-'50s, they were featured in Time magazine as one of the top drawing gospel groups in the nation.
By the late '60s, with more than 30 members having come and gone, they had a lineup that included Duane Allen, William Lee Golden, Noel Fox and Willie Wynn. Among the Oaks' many acquaintances in the gospel field were Bonsall, a streetwise Philadelphia kid who embraced gospel music wholeheartedly, and Sterban, who was singing in quartets and holding down a job as a men's clothing salesman. Both admired the distinctive, highly-popular Oaks.
"They were the most innovative quartet in gospel music," says Bonsall. "They performed gospel with a rock approach, had a full band, wore bell-bottom pants and grew their hair long ... things unheard of at the time."
The four became friends, and when the Oaks needed a bass and tenor, in '72 and '73 respectively, Sterban and Bonsall got the calls. The group remained a highly popular mainstay on the gospel circuit, and it was there they refined the strengths that would soon make them such an across-the-board attraction.
"We did a lot of package shows," said Bonsall, "and there was an incredible amount of competition. You had to blow people away to sell records and get invited back."
Their gospel sound had a distinct pop edge to it, and while it made for excitement and popularity, it also ruffled purist feathers and left promoters unsure about the Oaks' direction. Then, in 1975, the Oaks were booked to open a number of dates for Roy Clark, whose manager was floored by their abilities.
"He came backstage and told us we were three-and-a-half minutes ' meaning one hit record ' away from being a major act," says Bonsall. "He said we had one of the most dynamic stage shows he'd ever seen, but that we had to start singing country songs."
They took his advice, and the result was a breakthrough.
"Those who came to country music with or after the New Traditionalists of the mid-'80s cannot possibly imagine the impact the Oaks had in 1977 when they lit up the sky from horizon to horizon with "Y'All Come Back Saloon," said Billboard's Ed Morris, who added "... the vocal intensity the group brought to it instantly enriched and enlivened the perilously staid country format. These guys were exciting."
Within a year, Paul Simon would tap them to sing backup for his hit "Slip Slidin' Away," and they would go on to record with George Jones, Brenda Lee, Johnny Cash, Roy Rogers, Billy Ray Cyrus and others. They would appear before three presidents, produce one of the first country music videos ("Easy," in 1977, which wasn't released in the U.S. but hit #3 in Australia), take part in the first headline tour of the USSR, and become one of the most enduringly-successful touring groups anywhere.
They did it with a consistently upbeat musical approach and terrific business savvy.
"We always look for songs that have lasting value and that are uplifting," says Allen. "You don't hear us singing 'cheating' or 'drinking' songs, but 'loving' songs, because we think that will last. We also don't put music in categories, except for 'good' or 'bad.' When we get through with it, it's probably going to sound like an Oak Ridge Boys song no matter what it is."
They proved their business acumen in any number of ways, including such steps as declining the chance to sit on the couch during their many appearances on the Tonight Show.
"We said, 'If you're going to give us four minutes on the couch with Johnny, we'd rather have four minutes to give you another song that lets people know what got us here,'" says Allen. "We didn't get here talking; we got here singing," They also proved themselves to be capable and tireless advocates of charitable and civic causes, serving as spokesmen and/or board members of fundraisers for the Boy Scouts of America, the National Committee for Prevention of Child Abuse, Feed The Children, and many more.
The group's first personnel change in many years occurred in 1987 when Steve Sanders, who had been playing guitar in The Oaks Band, replaced William Lee as the baritone singer. Late in '95, Steve resigned from the Oaks and exactly one minute after midnight on New Year's Eve, Duane, Joe and Richard surprised the packed house at Holiday Star Theatre in Merrillville, IN, by welcoming William Lee on stage and back in group. The hitmakers were finally together again!
The Oaks' high-energy stage show remains the heart and soul of what they do, and they refine it several times a year, striving to keep it fresh well into the future.
"We're not willing to rest on our laurels," Golden says. "That gets boring. As a group, we do things constantly to challenge ourselves, to try to do something different or better than the last time we did it."
"I feel like I can do what I do on stage just as good now as I could 20 years ago," says Bonsall. "in fact, if anything, I'm in better shape now than I was 20 years ago. I plan to be rockin' my tail off out there as long as I'm healthy and don't look stupid doing it. The people who come out, who bring their families to see us, deserve everything I've got."
"We've experienced a lot of longevity," adds Sterban, "and I think the reason is the love we have for what we do - the desire, the longing to actually get up there and do it. We love to sing together ... to harmonize together. It's what our lives are all about."
Everybody Wins
The Oak Ridge Boys Lyrics
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Tears that fall from the children's eyes
Rain that waters the bitter weed of hate
Choking out the tender heart
The strong survive but they bear the scars
Another generation where the smoke never clears away
Why can't we all get along with each other
If we loved each other more
There'd be nothing left to fight for
No contender no surrender
Everybody wins
Don't say you can't change
Human nature it's a greedy thing
Well I'm a believer
Where there's a will there's a way
And I believe in standin' up
You and yours but where there's love
We stand beside each other and we're not too proud to say
These lyrics from The Oak Ridge Boys's song Everybody Wins address the ongoing conflict in the world and express a desire for unity and brotherhood. The first verse presents a vivid image of a war-torn world where bombs are dropping and angels are weeping. Children are crying as tears fall from their eyes, and hate is like a bitter weed that chokes out love. The second verse reflects on the fact that, despite the scars of the past and the smoke that never clears away, humans have the capacity for change. The lyrics urge people to love each other more and to stand together, overlooking their differences and fighting for a common cause.
The chorus of the song emphasizes the message of unity and brotherhood, stating that if we all got along with each other and loved each other more, there would be nothing left to fight for. The lyrics suggest that there can be no winners in a world where everyone is fighting against each other, and that the only way to achieve victory is through love and cooperation.
In summary, Everybody Wins is a song that speaks to the need for love, unity, and brotherhood in a world that is often plagued by conflict and divisiveness. Through its vivid imagery and powerful lyrics, the song inspires listeners to stand together and fight for a common cause, regardless of their differences.
Line by Line Meaning
Bombs fly, angels cry
A metaphorical depiction of tragedies that cause immense pain and suffering, as if they are a symbol of the devil's work against the righteousness.
Tears that fall from the children's eyes
The innocence that gets caught up in the horrors of war and tyranny is reflected in the tears of the children.
Rain that waters the bitter weed of hate
The presence of destruction and negativity in society helps to nurture feelings of malice and bitterness.
Choking out the tender heart
The negative emotions born out of war and violence suffocate the love and empathy that reside in our hearts.
The strong survive but they bear the scars
Even when the strong persevere through the violence and aggression, they are deeply affected by the traumatic experiences they face.
Another generation where the smoke never clears away
The cycle of violence and war never really ends - it is ongoing, and no one is truly immune to its effects.
Why can't we all get along with each other
A plea for peace and unity in society. The emphasis is on how it is better to unite rather than divide.
Be a brother be a friend
Inviting individuals to relate on terms of empathy and understanding, going beyond boundaries of ethnicity, race or religion.
If we loved each other more
Urging for the presence of love and empathy so strong that it bonds us together in harmony.
There'd be nothing left to fight for
If everyone embraced peace and love, there would be no hostility, and a greater sense of unity and harmony would always prevail.
No contender no surrender
Denotes an absence of opposition or resistance which could spark heated and violent disagreements.
Everybody wins
An optimistic conclusion that states that in achieving peace, everyone becomes a winner, and achieving this goal is our collective responsibility.
Don't say you can't change
Challenges people who believe that societal change is not possible, seemingly hopeless, or a lost cause.
Human nature it's a greedy thing
The greed and selfishness found in human nature are considered to be the traits that most often hold individuals back from progress towards a more peaceful society.
Well I'm a believer
The artiste, by saying this line, is seeking to convey his conviction, belief and faith that peace and unity are achievable.
Where there's a will there's a way
Encourages people to remain persistent and hopeful, asserting that there is always a solution or a path towards progress.
And I believe in standin' up
Stressing the need for individuals to stand up for what they believe to be right and to pursue lasting peace.
You and yours but where there's love
An encouraging message to stand together for common good, with the support of one's loved ones.
We stand beside each other and we're not too proud to say
The artiste aims to convey the message that it is important to acknowledge, appreciate and embrace the presence of different individuals in our lives, along with their unique perspectives and experiences.
Contributed by Miles V. Suggest a correction in the comments below.
JDouglas
on King Jesus
There are rumors that this was created in a recording studio. I think it's possible, but I can remember buying the album in 1974 just to listen to the live version of King Jesus. I still have the album after 50 years. Ahh, you're in store for a great singin' tonight. . . is a precious memory I have of that album.