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."
seasons
The Oak Ridge Boys Lyrics
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To drive a car and stay out late, uh huh
I watched my body stretch and groan
And wonder why it took so long, uh huh
I wished that I could grab the hands of time
And turn into a man and leave that little boy behind
By the time that I'd turned twenty
I longed for that simple state of mind
The teachers turned to bosses
And the money barely paid the rent, uh huh
The only ones that had it made
Were the older dudes that paid their way, uh huh
I wished that I could grab the hands of time
And turn a ten year plan into an overnight success
By the time that I'd turned thirty
I realized how little time was left
The seasons of your life
Don't let them pass you by
For as the years unwind
You only get one at a time
Seasons ever changing ever fleeting
It's a rhythm with a reason
The seasons of your life
We're always wanting something else
Each day I have to tell myself, uh uh, uh uh
I ain't gonna bait that trap
I've wasted too much time on that, uh huh, uh huh
I'm satisfied to watch the hands
Turn slowly as they can
Live my life day by day
And if I reach a hundred
I'll make up for the time I threw away
The Oak Ridge Boys's song "Seasons" is a reflective song about the different phases or seasons in life. The first verse talks about the longing to grow up and become a man, to drive a car, and stay out late. The second verse talks about the realities of adulthood, where the teachers have become bosses, and the money barely pays the rent. The song points out that the only ones who have it made are the older dudes who have paid their way, and that the summers spent wishing for a different tomorrow fade away.
The chorus of the song speaks to the seasons of life and how they should not be allowed to pass you by. As the years unwind, there is only one season at a time. The seasons are always changing and fleeting but are in rhythm with a reason. The final verse talks about not wanting to bait the trap of always wanting something else and wasting valuable time. The singer is satisfied to watch the hands on the clock move slowly and live life day by day. If the singer reaches the age of 100, they promise to make up for the time they threw away.
Line by Line Meaning
I remember when I couldn't wait
Reflecting on the impatience and eagerness of youth
To drive a car and stay out late, uh huh
Yearning for the freedom and excitement that comes with independence
I watched my body stretch and groan
Observing the physical changes and challenges of growing up
And wonder why it took so long, uh huh
Questioning why the journey to maturity seemed to take forever
I wished that I could grab the hands of time
Longing to have control over the passage of time
And turn into a man and leave that little boy behind
Desiring to leave behind immaturity and embrace adulthood
By the time that I'd turned twenty
Reflecting on the changes that took place in the first two decades of life
I longed for that simple state of mind
Wishing for the uncomplicated mindset of youth
The teachers turned to bosses
Observing the shift in authority figures from educators to employers
And the money barely paid the rent, uh huh
Struggling financially despite hard work and effort
The only ones that had it made
Recognizing that success seemed limited to a select few
Were the older dudes that paid their way, uh huh
Seeing that financial resources played a significant role in achieving success
And turn a ten year plan into an overnight success
Hoping for a shortcut to achieve goals and dreams
By the time that I'd turned thirty
Reflecting on another decade gone by
I realized how little time was left
Becoming increasingly aware of the limited time left to fulfill ambitions
The seasons of your life
Metaphor for the different stages and phases of life
Don't let them pass you by
Encouragement to make the most of each life stage
For as the years unwind
Acknowledgment of the passage of time and the impact it has on life
You only get one at a time
Recognizing that life only allows for one phase or stage at a time
Seasons ever changing ever fleeting
Highlighting the transience and unpredictable nature of life's phases
It's a rhythm with a reason
Suggesting that the cycle of life has purpose and significance
We're always wanting something else
Noting a common desire for more or different circumstances
Each day I have to tell myself, uh uh, uh uh
Acknowledging the necessary discipline and mindset to find contentment
I ain't gonna bait that trap
Refusing to fall into the trap of thinking success equates to material possessions
I've wasted too much time on that, uh huh, uh huh
Regretting time spent chasing superficial goals
I'm satisfied to watch the hands
Finding contentment in the simple and mundane aspects of life
Turn slowly as they can
Appreciating the gradual and steady pace of life
Live my life day by day
Choosing to live in the present rather than constantly chasing the future
And if I reach a hundred
Considering the possibility of a long life
I'll make up for the time I threw away
Recognizing the chance for redemption and making the most of the time left
Contributed by William Y. 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.