After returning to the United States, Costello joined back up with his long-time creative and song-writing partner Matthew Antolick, who was drumming full-time in a Moroccan band. Antolick and Costello began working out Costello’s melodic ideas and lyrical concepts, home-recording in Antolick’s apartment what eventually became Our Fathers and the Things They Left Behind. Exploring themes of self-sacrifice and introspection over roots-folk and jazzy melodic layers, Our Fathers... was an original breath of fresh air for independent music.
The release of Our Fathers... drew immediate attention to The OaKs in Orlando's press and music scene, and the attention quickly went national as Paste magazine featured Costello and The OaKs in their July 2007 cover story "Can Rock Save the World." The OaKs also partnered with Global Hope Network on the release of Our Fathers...and agreed to donate 50% of the profits from each CD or track download from that album to aid widows and recently-returned refugees from Afghanistan.
Costello and Antolick immediately realized the difficulty of translating their multi-tracked compositions into a live setting with just a duo, and began working to put together a band of diverse musicians who could make the compositions come to life on stage. They were joined by Jeremy Siegel, a classically trained bassist steeped in Led Zeppelin and Bootsy Collins riffs, and also fluent in classical and jazz trombone. Tim Cocking came next - a piano major and audio engineer who's as dexterous on his trumpet as he is on his keyboard and accordion, and Greg Willson, a seminary student wielding a mandolin and electric guitar and who played the breathiest Stan Getz-style saxophone they had ever heard. Their lineup was completed shortly thereafter by Melissa Reyes, a singer-songwriter whose alto voice and folk harmonies complemented perfectly with Costello’s high vibrato. From the first guitar riff at their debut show on stage at the 2006 Anti-Pop Music Festival, it was apparent that they were meant to be making music together – the energy in the room was electric, and the reviews were raving.
Out of this natural chemistry was born many new songs over the winter of 2006/2007. Inspired by the unique talents of each member, Costello and Antolick began writing songs that would showcase the bands rhythmic tightness and diverse instrumentation. Lyrically, Costello delved into themes of spirituality in the midst of brokenness, of longing and searching, and continued to explore the previous album’s themes of social justice and self-sacrifice. The OaKs honed these tracks in the living room of Costello’s wood-floored 1950’s style house, and at live shows across the state, until the musical complexity and rhythmic tightness of the music exceeded anything they had created before.
In late July of 2007, Costello put in for part-time employment at his social work job and the OaKs began recording Songs For Waiting. Using the warm, full sound of Costello’s old house, they determined to use no artificial reverb on the new album, instead using room mic’ing techniques to mix the elements together in the style of their favorite 1960’s jazz and rock albums. Even synthesizers were played through amplifiers and speakers and run into the room to give them the woody ambience of Costello’s house. Over the next few months The OaKs employed trumpet, trombone, sax, Hammond organ, bells, synths from the 70’s and 80’s, acoustic and classical guitars, electric and acoustic bass, a plethora of shakers, tambourines, and hand-drums, and a Wurlitzer electric piano from 1959.
In mid October Antolick, Costello, and keyboardist Tim Cocking began mixing the new album. Using as few modern mixing tricks as possible, including no artificial reverb or delay, they carefully arranged each song. Throughout the mixing process they were mentored and guided by Alan Douches of West West Side Music, who’s hand has been on great recordings from Paul Simon’s Graceland to Grizzly Bear’s Yellow House and Sufjan Steven’s Illinois.
Finally, after over four long months, the OaKs’ Songs For Waiting was finished on November 8, 2007. The new album is scheduled for release on March 4, 2008.
The Sins Of My Fathers
The Oaks Lyrics
Jump to: Overall Meaning ↴
No other hand have I Lord
If thy withdraw thyself from me
Tell me whither, oh whither shall I go
'Cause Jesus bared the cross alone
And all the world go free
Lord now there's a cross for everyone
I know it was Jesus who made me whole
I know it was Jesus who saved my soul
He picked me up, turned me around
Put my feet on solid ground
The lyrics of The Oaks's song "The Sins Of My Fathers" express a deep sense of dependence and seeking guidance from a higher power, specifically referring to God and Jesus. The opening line, "Father I stretch my hands to thee," reflects a humble and desperate plea for help. The use of the word "Father" suggests a personal and intimate relationship with God, seeking his support and guidance.
The next line, "No other hand have I Lord," emphasizes the singer's reliance solely on God's help. The singer acknowledges that without God's presence and assistance, they feel lost and uncertain about where to turn. They express a genuine concern about being forsaken and question, "If thy withdraw thyself from me, tell me whither, oh whither shall I go." This expresses a feeling of fear and desperation at the thought of being left without God's guidance and protection.
The following lines bring attention to the sacrifice and redemption offered by Jesus. While Jesus bore the cross alone, thus symbolizing the ultimate sacrifice, the lyrics acknowledge that everyone else is now offered a cross as well. This suggests that everyone has their own struggles and burdens to bear. The phrase "all the world go free" implies that Jesus's sacrifice has set humanity free from the bondage of sin.
In the last paragraph, the lyrics focus on the personal experience of the singer. They affirm their belief that it was Jesus who brought healing and salvation to their life, stating, "I know it was Jesus who made me whole, I know it was Jesus who saved my soul." This reinforces the belief in Jesus as a source of redemption and transformation.
The final lines of the verse describe a transformative experience orchestrated by Jesus. The singer acknowledges that Jesus lifted them up, turned their life around, and placed their feet on solid ground. This showcases the power of Jesus to bring stability and purpose to one's life.
Overall, the lyrics of "The Sins Of My Fathers" convey a strong reliance on God and Jesus for guidance, redemption, and personal transformation. The singer acknowledges their need for divine intervention and recognizes the transformative power of Jesus's sacrifice. The lyrics serve as a reminder of the hope and salvation that can be found in faith.
Lyrics © BMG Rights Management, Warner Chappell Music, Inc.
Written by: DAVID SMITH, ALVIN FRUGA, CARLTON PEARSON
Lyrics Licensed & Provided by LyricFind