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."
The Journey
The Oak Ridge Boys Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
From sunlight I had strayed
The demons came and beckoned me
I was lost and so afraid
I felt that I was falling
I thought it was a dream
I called upon my Father
To come and rescue me
A door just seemed to open
The darkness turned to light
The Lord appeared before me
He wore a robe of white
He spoke my name softly
I felt such peace within
He gently wrapped me in His arms
And forgave me all my sins
He forgave me all my sins
Another door was opened
A vision came so clear
I was on a ship now sailing
My Lord was standing near
He pointed towards the distant shore
And whispered to my soul
"Your journey now is o'er my child
Rejoice and welcome home"
Rejoice and welcome home
I saw my precious mother
She was waiting by the river
She smiled and waved and called my name
There were angels all around her
No sickness, pain or sorrow
No strife, no fear of war
No devil's lies, no children cry
All is peace forevermore
There is peace forevermore
Oh brother, my dear brother
You life could end today
Except a man be born again
He cannot see the way
For Jesus there is waiting
To lead us past the grave
And take us home to be with Him
When the final journey's made
When the final journey's made
(let's go home)
The Journey by The Oak Ridge Boys is a song that speaks about redemption, second chances and hope. The lyrics describe a man who has stumbled and gone astray, feeling lost and afraid. He calls upon his Father to rescue him, and his prayer is answered as the Lord appears before him, dressed in a robe of white. The imagery painted here is one that signifies a shift from darkness to light, with the Lord being the light that guides him back to the right path. The Lord forgives him of his sins and carries him through his journey, from the darkness to a ship now sailing in the distance. The ship represents the end of his journey on earth, and the beginning of his eternal life. The chorus "Rejoice and welcome home" repeats to signify a celebration of freedom from sin and pain that comes with being with the Lord in heaven. The song ends with an urge for listeners to consider their lives and make a decision to follow Jesus, who is waiting to lead them past the grave.
Line by Line Meaning
I stumbled down a long dark road
The singer's journey thus far has been difficult and challenging, as made evident through the symbolism of the dark road.
From sunlight I had strayed
The singer had departed from a positive state or period of their life, into a darker and more trying period.
The demons came and beckoned me
During this difficult period, the singer struggled with feelings of fear and despair, represented by the demons who called out to them.
I was lost and so afraid
The artist felt adrift and helpless during this time, resulting in the aforementioned fear and despair.
I felt that I was falling
The emotions experienced by the artist became increasingly intense and dire as time went on, as represented by the sensation of falling.
I thought it was a dream
The singer struggled to come to grips with the reality of their situation, as it felt too overwhelming to be real.
I called upon my Father
In their time of need, the singer reached out to a higher power (in this case, a divine figure).
To come and rescue me
The artist desired help from this divine figure in order to alleviate the burden of their struggles.
A door just seemed to open
A turning point occurred in the artist's life, where they felt they were given a new opportunity.
The darkness turned to light
Through this newfound opportunity, the darkness that had previously consumed the artist dissipated and gave way to light (both literally and metaphorically).
The Lord appeared before me
The singer's divine figure made themselves known to the singer, indicating the validity of their faith and the power of their prayers.
He wore a robe of white
The visual of the divine figure wearing white represents purity, goodness, and hope.
He spoke my name softly
The divine figure addressed the singer directly and lovingly, indicating an intimate relationship.
I felt such peace within
The singer experienced a profound sense of calm and comfort through their interactions with their divine figure.
He gently wrapped me in His arms
The divine figure physically embraced the singer, providing reassurance and guidance.
And forgave me all my sins
Through their divinity, the figure forgave the artist for perceived transgressions, providing a sense of redemption.
Another door was opened
The artist continued along their journey, and upon reaching another new opportunity, a door was opened.
A vision came so clear
Through this new opportunity, the singer was granted clarity and an enhanced sense of understanding.
I was on a ship now sailing
In their newfound clarity, the singer embarked on a journey towards a new destination, representing the pursuit of their new opportunity.
My Lord was standing near
The divine figure returned, continuing to show support and guidance through the artist's journey.
He pointed towards the distant shore
The divine figure indicated that the ultimate goal of the artist's journey was within sight, represented by the distant shore.
And whispered to my soul
The divine figure spoke to the innermost and most intimate aspects of the artist's being, acknowledging their emotional and spiritual journey alongside the physical one.
"Your journey now is o'er my child
The divine figure declared that the singer's journey had reached its intended end, providing closure and the realization of their goals.
Rejoice and welcome home"
The divine figure encouraged the artist to celebrate their accomplishments, recognizing the work they had put in to reach their destination.
I saw my precious mother
The singer was granted a vision of a loved one who had passed on, providing comfort and a sense of connection to that person.
She was waiting by the river
The loved one was waiting for the singer at a symbolic threshold, representing crossing over from one state of being to another.
She smiled and waved and called my name
The loved one expressed joy and recognition upon seeing the singer, proving a sense of warmth and familiarity.
There were angels all around her
The artist's loved one was met by spiritual beings upon their arrival, represented by the angels.
No sickness, pain or sorrow
The artist's loved one existed in a state of pure peace and joy, free from negative aspects of humanity such as pain and sorrow.
No strife, no fear of war
The singer's loved one's present state was characterized by even greater absence of disruption, beyond just physical or emotional struggles.
No devil's lies, no children cry
The loved one was in a realm where the worst aspects of human behavior and experience -- represented by the devil's lies and children crying -- had no presence or power.
All is peace forevermore
The loved one existed in a state of eternal peace and tranquility.
Oh brother, my dear brother
The artist addresses someone close to them -- a friend or family member -- who they wish to impart some of their new knowledge and experience to.
You life could end today
The artist offers a warning or cautionary statement about the fleeting nature of human existence.
Except a man be born again
The singer stresses the importance of spiritual renewal and re-dedication to a higher power, as a means of achieving a more fulfilling existence.
He cannot see the way
The artist notes that without spiritual understanding or direction, one may become lost or feel directionless.
For Jesus there is waiting
The singer indicates that Jesus (or their chosen divine figure) is present and available for support and guidance.
To lead us past the grave
The singer suggests that through a spiritual journey, one can overcome the fear or anxiety associated with death.
And take us home to be with Him
The singer expresses the belief that through spiritual perfection or redemption, one can achieve a sense of oneness with their higher power.
When the final journey's made
The artist references a final, ultimate journey -- likely representing death -- and suggests that spiritual understanding is key to navigating it successfully.
When the final journey's made
The artist repeats this line, providing emphasis and a sense of finality to their message.
Contributed by Jordyn D. 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.