The best songs of the Oak Ridge Boys: “Elvira”, “American Made” and more

The Oak Ridge Boys began their career in the ’40s, when they came out of Knoxville, Tennessee, and sang gospel as the Oak Ridge Quintet, and they kept the tradition of a classic singing group alive when they played country in the sleek ’70s and ’80s. The Oaks’ casually elegant look and equally smooth musical attitude made it easy for them to transition, including appearances on other artists’ songs (like their beautiful, understated version of Paul Simon’s “Slip Slidin’ Away”). Their biggest pop moment was “Elvira,” with its jaunty gait, horns and entertaining chorus “Giddy up, um-poppa-um-poppa, mow, mow,” performed by Richard Sterban, a deep-voiced bassist and native of Camden, New Jersey. (The Oaks’ tenor, Joe Bonsall, was born just across the Delaware River in Philadelphia.) — JD

The Oak Ridge The Boys’ 1983 hit celebrated the virtues of being a local girl compared to all the foreign goods flooding the American market—from Nikon cameras to Mexican-made blue jeans to French perfume. “From her silky long hair to her sexy long legs/My baby is made in America,” goes the chorus. The song’s trendy protectionist jingoism is delivered with a light touch and good-natured warmth, so the song never comes across as malicious, let alone proto-MAGA. It hit number one on the country charts and became the band’s anthem—they even named their farewell tour after the song. — JD

Bbbbb– building on the success of their recent number one country and number five pop hit “Elvira,” the Oaks stayed true to the sound of the fifties and sixties and scored another major crossover hit with “Bobbie Sue,” the title track from their 1982 LP. Written by Wood Newton with married songwriters Dan and Adele Tyler, “Bobbie Sue” begins the story of the “sweetest grape that ever grew on the vine” with a driving beat reminiscent of “Gimme Gimme Good Lovin’,” Crazy Elephant’s 1969 bubblegum hit, followed by a blistering guitar. Things really pop when Richard Sterban adds his rafter-shaking bass vocals to the stuttering chorus, followed by superb accompaniment from the Muscle Shoals Horns. “It’s kind of like an ‘Elvira’ of 1982,” Joe Bonsall said at the time. More than forty years later, it’s an underrated pop-country hit. mmmm-Masterpiece. — SLB

The Oak Ridge The Boys’ second country hit was a rave-up by Rodney Crowell that highlighted everything exciting about the vocal group: their complex harmonies, their interlocking powerful vocals and their masterful phrasing (hear the group tell the song’s entire story about hillbilly freedom by using the word crazy while singing: “If she hadn’t started this crazy Chances”). “When I’m up there singing ‘Leaving Louisiana (In the Broad Daylight)’ with the Oaks, I think of 1979, man,” Joe Bonsall said, reflecting on the song decades later. “I see us out there stomping on tour with Kenny Rogers with my hair about four times as long as it is now! It’s a funny thought and a nice memory.” —JB

Hey, even the Godly Oaks know how to handle a song about infidelity. In this 1980 singalong, written by the great Sonny Throckmorton, the band reminds every guy out there that it’s unwise to waste your love too much. “Trying to love two women is like a ball and chain,” they sang. “Sometimes the pleasure isn’t worth the effort.” William Lee Golden took the lead here, and the other three Oaks joined in on this warning refrain. — JH

Sharon Vaughn, the In 1976, she had a song by Waylon Jennings with the second song she had ever written, “My Heroes Have Always Been Cowboys,” and had actually had her very first hit single with the First song she ever wrote, the Oak Ridge Boys’ version of “Y’All Come Back Saloon.” A sweet and smoky honky-tonk ballad with just enough church-related references to speak to the quartet’s gospel roots, the Oaks broke into the talk show circuit with the tune at a time when songs with a story like “Lucille” and Kenny Rogers’ “The Gambler” were just making the transition from country to pop. Although this song didn’t rise to the charts like the band’s later pop contributions, it remained a fan favorite. — SLB

The Oak Ride Boys’ The boys are back included this surprising version of the White Stripes classic, replacing Jack White’s heavy guitar riffs with layered vocal harmonies. The idea to cover the song came from producer Dave Cobb, who told the skeptical group about it before the band went into the studio. “We go into the studio and (Cobb) thinks we’re either crazy and we’re going to kill him or he thinks we’re going to say, ‘Let’s try it.’ And we said, ‘Let’s do it,'” Bonsall said. The Tennessee. “We recently brought it to the stage and had a lot of fun. It’s just so damn different.” —JB

In July 1973 Two months after Joe Bonsall joined the Oak Ridge Boys, Paul Simon featured the black gospel group Dixie Hummingbirds on his hit single “Loves Me Like a Rock.” Simon returned to gospel music again in 1977, this time with the backing of the Oaks, who had been Simon’s labelmates at Columbia Records before signing with MCA. Recorded before an audience of 1,400 at the First Presbyterian Church of Hollywood on October 30, 1986, as part of Cinemax’ Meetings series, this stirring live performance featured Simon on guitar and lead vocals, backed by the mighty Oaks. The harmonies are heavenly. —SLB

The fifth of the Oaks The number one country hit centers on lead vocals from Duane Allen, but relies on the other guys to bring just the right amount of pathos to the sad story of them “setting Fancy free.” But while Fancy may feel it’s right to let her go, no one else sounds happy about it. Allen, Bonsall, Golden and Sterban, however, sat at the top of the music world, simultaneously watching this song climb the country charts while another woman, “Elvira,” set hearts – and the pop charts – ablaze. — SLB

While casual fans You may know the Oak Ridge Boys for their country hits, but the Oaks’ roots lie in gospel songs. In 2018, producer Dave Cobb reunited the quartet with their hymnbook style. Revitalization of 17th Avenuea joyous record that celebrates both their heavenly harmonies and their unwavering faith. Driven by vigorous handclaps, “Brand New Star” pays tribute to those who have left us for the next life – and has a particularly emotional impact in light of Joe Bonsall’s passing. —JH