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."
On The Sunny Banks
The Oak Ridge Boys Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Happy freedom land my immortal home
I'm going there to live when life is over
On the sunny banks of my home sweet home
There's a land where death can never enter
No lonely graves on the hills of God
I walk by waters clear and peaceful
There's a valley green where the warm winds whisper
And the master smiles as his children play
All sorrow's gone and my burden's lifted
For God Himself wipes the tears away
The Oak Ridge Boys's "On The Sunny Banks" is a song about hope and faith in the afterlife. The opening line refers to the "sunny banks of sweet deliverance," which likely alludes to the idea of heaven as a place of rest and peace. The chorus repeats the phrase "On the sunny banks of my home sweet home," emphasizing the idea of a heavenly home where the soul can rest.
The second verse of the song describes the idea of heaven as a place of purity and peace. The concept of a "land where death can never enter" and "waters clear and peaceful" suggests a world free from suffering, pain, and sorrow. The description of a valley green where the Master smiles as His children play suggests a close relationship with God and a world free from evil.
The final verse of the song emphasizes the idea of release from sorrow and the burden of life. The line "For God Himself wipes the tears away" emphasizes the power of God to bring comfort and healing. Overall, the song is a message of hope and faith in the afterlife.
Line by Line Meaning
On the sunny banks of sweet deliverance
I will find my place of salvation and freedom in the bright and peaceful land, far from pain and trouble.
Happy freedom land my immortal home
A joyful and liberating land awaits me, a place of infinite peace and rest where I will live forever.
I'm going there to live when life is over
After I die, I will finally find my true and eternal home on the sunny banks of sweet deliverance.
On the sunny banks of my home sweet home
My immortal soul will finally be at peace and contentment in the place of sweet deliverance, which I can now call 'home sweet home.'
There's a land where death can never enter
In this sacred place, death is not allowed to exist, and I can live on in peace and happiness forever.
No lonely graves on the hills of God
I will not experience the sadness and isolation of being buried in an unmarked grave on sacred land, for I am part of a community of saved souls.
I walk by waters clear and peaceful
In this tranquil world, I can stroll beside pure and peaceful waters that offer serenity to my soul.
Where wickedness shall never trod
Evil and wrongdoing have no place in this perfect land, and they will never plague my spirit again.
There's a valley green where the warm winds whisper
In this wondrous place, a gentle valley surrounded by soft and caressing breezes await me.
And the master smiles as his children play
The Creator is pleased with the playfulness and happiness of his children in this sacred environment.
All sorrow's gone and my burden's lifted
The sadness and pain that once burdened me are gone forever, and my soul is now light and carefree.
For God Himself wipes the tears away
In this comforting land, even God Himself comforts me, and I am free from the tears and wounds of my past.
Lyrics © CAPITOL CHRISTIAN MUSIC GROUP, Universal Music Publishing Group, Capitol CMG Publishing
Written by: DOTTIE RAMBO
Lyrics Licensed & Provided by LyricFind
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.