The Oak Ridge Boys are an American country and gospel vocal quartet originating in Oak Ridge, Tennessee. The group was founded in 1943 as the Oak Ridge Quartet. They became popular in Southern gospel during the 1950s. Their name was changed to the Oak Ridge Boys in the early 1960s, and they remained a gospel group until the mid-1970s, when they changed their image and concentrated on country music.

The lineup that produced their most well-known country and crossover hits ― such as "Elvira" (1981), "Bobbie Sue" (1982), and "American Made" (1983) ― consists of Duane Allen (lead vocals), Joe Bonsall (tenor), William Lee Golden (baritone), and Richard Sterban (bass). Golden and Allen joined the group in the mid-1960s, and Sterban and Bonsall joined in the early 1970s. Golden was removed from the group in 1987 and replaced by Steve Sanders until 1995, when he left and Golden rejoined.

The group was inducted into the Country Music Hall of Fame in 2015.

History
The Oak Ridge Quartet
The core group that would eventually lead to the Oak Ridge Boys was a country group called Wally Fowler and the Georgia Clodhoppers, formed in 1943 in Knoxville, Tennessee. They were requested to perform for staff members and their families restricted during World War II at the Oak Ridge National Laboratory in nearby Oak Ridge, Tennessee. They were asked to sing there so often that, eventually, they changed their name to the Oak Ridge Quartet, and because their most popular songs were gospel, Fowler decided to focus solely on Southern gospel music. At the time, the quartet was made up of Wally Fowler, Lon "Deacon" Freeman, Curly Kinsey, and Johnny New. This group began recording in 1947. Wally Fowler and the Oak Ridge Quartet were members of the Grand Ole Opry in the 1940s. In 1949, the other three men split from Fowler to form a new group, Curley Kinsey and the Tennessee Ridge Runners, so Fowler hired an existing group, the Calvary Quartet, to reform the Oak Ridge Quartet. Walt Cornell sang baritone for the Oak Ridge Quartet in the early 1950s. In 1957, Fowler sold the rights to the "Oak Ridge Quartet" name to group member Smitty Gatlin in exchange for forgiveness of a debt. As a result of more personnel changes, the group lost its tenor, so they lowered their arrangements and had Gatlin sing tenor, while the pianist, Tommy Fairchild, sang lead. They recorded an album for Cadence Records, then in 1958, they hired Willie Wynn to sing the tenor part, and Fairchild moved back exclusively to the piano. At this point, the group consisted of Fairchild at the piano, Wynn, Gatlin (singing lead), baritone Ron Page, and bass Herman Harper. They recorded an album on the Checker Records label, one on Starday, and three on Skylite. In 1961, Gatlin changed the group's name to "the Oak Ridge Boys" because their producer, Bud Praeger, thought "Oak Ridge Quartet" sounded too old-fashioned for their contemporary sound.

1962–1973
In 1962, Ron Page left, and the group hired Gary McSpadden (who had filled in for Jake Hess in the Statesmen Quartet) as baritone with the understanding from Jake Hess that when he was ready to start a group, he would recruit McSpadden. They recorded another album on Skylite, and then two groundbreaking albums on Warner Bros. Records. When Hess followed through on that promise, McSpadden quit to join a new group Hess was forming, the Imperials. Jim Hammill (who later became a mainstay in the Kingsmen Quartet) was chosen to be his replacement. They made one album for Festival Records, one for Stateswood (Skylite's budget label), and two more for Skylite. Hammill did not get along with the rest of the group, and William Lee Golden, a newcomer to the music industry, felt that Hamill was hurting the group and asked the group if he could be Hammil's replacement. After Hamill's retirement from the group in 1964, Golden joined as baritone.

The group recorded another album for Starday and another on Skylite in 1965. In 1966, Gatlin left the group to become a minister of music, and on Golden's recommendation, Duane Allen, formerly of the Southernairs Quartet (and more recently baritone of the Prophets Quartet), was hired to replace him. With Willie Wynn still singing tenor and Herman Harper as bass, the group made another album for Skylite and one for United Artists, and then began recording on the Heart Warming label. Between 1966 and 1973, they made 12 albums with Heart Warming, and the company also released several compilation albums on which they were included during those years. The group also had an album on Vista (Heart Warming's budget label) that included unreleased songs from previous sessions. Harper left the group in 1968 to join the Don Light Talent Agency, before starting his own company, the Harper Agency, which remains one of the most reputable booking agencies in gospel music. Noel Fox, formerly of the Tennesseans and the Harvesters, took over the bass part. In 1970, the Oak Ridge Boys earned their first Grammy Award for "Talk About the Good Times".

In late October 1972, Richard Sterban, the bass with J. D. Sumner and the Stamps Quartet, left that group and joined the Oak Ridge Boys. The quartet that appeared on Hee Haw in 1972 consisted of Willie Wynn, Duane Allen, William Lee Golden, and Richard Sterban. Joe Bonsall, a Philadelphia native who was a member of the Keystone Quartet and recording on Duane Allen's Superior label, joined in April 1973. Sterban and Bonsall had both been in the Keystones during the late 1960s, recording much of the ORB's material. That same year, the Oak Ridge Boys recorded a single with Johnny Cash and the Carter Family, "Praise the Lord and Pass the Soup", that put them on the country charts for the first time. The group's lineup remained consistent for the next 15 years.

1974–1986
In the mid-1970s, the Oak Ridge Boys became involved with prominent country music promoter Jim Halsey, who as their new manager, began encouraging them to move from gospel music to broader country music—the most fundamental change in their history—and began arranging international appearances.

After opening a series of shows for Roy Clark, the group moved in 1973 to the Columbia label, for which they made three albums and several singles. In early 1976, they toured Russia for three weeks with Roy Clark. They went from being one of the top acts on Heart Warming to nearly the bottom on Columbia in terms of promotion. Columbia did not serve the gospel radio stations like Heart Warming did, leaving the impression that the Oak Ridge Boys were leaving gospel music, which hurt the group's popularity among its core fan demographic. While promoting the single "Heaven Bound", the Oak Ridge Boys made appearances on The Mike Douglas Show and The Merv Griffin Show, both nationally syndicated in the United States and Canada. In 1976, despite having been picked by Paul Simon to sing backup on "Slip Slidin' Away", the group asked to be released from its contract with Columbia after its single, "Family Reunion", was only a lukewarm success. Columbia complied with the request, and the band immediately made a live album that was a mix of gospel and country on their own label.

In 1977, the Oak Ridge Boys fully switched from gospel to country with the release of their first ABC Records (later absorbed by MCA) album, Y'all Come Back Saloon. Two songs from that album reached the top five on the country charts, and their next album, Room Service, in 1978, gave them two more, including their first number-one hit, "I'll Be True to You". The Oak Ridge Boys Have Arrived was released in 1979, and Together followed in 1980. A compilation album simply titled Greatest Hits, containing 10 singles from the previous four albums, was released in the fall of 1980. This same year, the Oak Ridge Boys also made a brief cameo appearance on The Dukes of Hazzard (season two, "Granny Annie").

The group's sixth album, Fancy Free, released early in 1981, contained the Dallas Frazier–penned song "Elvira". This remains the group's most widely known song, and Fancy Free is their best-selling album. "Elvira" had been recorded by other artists, including Frazier himself in the late 1960s and the First Edition in 1970, but the Oak Ridge Boys were the first to have a hit with it. Their version of the song was a number-one country hit, and in July 1981 reached number five on the pop charts.

The doo-wop-style title track from Bobbie Sue, their seventh album, was another crossover hit, reaching number one on the country charts and number 12 on the pop charts. That album also spawned the group's first U.S.-released music video, for the song "So Fine". (A video was made for "Easy", from the Y'All Come Back Saloon album, but was never released in the U.S.) The group also recorded The Oak Ridge Boys Christmas album in 1982.

Their album American Made was released in January 1983. The title track was used as a TV advertisement for Miller Beer.

The group recorded three albums over the next three years. The late-1983 album Deliver provided two number-one singles, one of which, "I Guess It Never Hurts to Hurt Sometimes", was written by Randy VanWarmer, who had a hit in 1979 with "Just When I Needed You Most". Their next album was Greatest Hits 2, released in July 1984. Unlike the 1980 Greatest Hits album, this one included two new songs, "Everyday" and "Make My Life With You", both number-one country hits. In 1985, they released their 12th album, Step on Out. The title cut was written by ex-Byrd Chris Hillman and former Crawdaddy magazine editor Peter Knobler. The group recorded two albums in 1986, one of which was a second Christmas album, and in 1987, they recorded a single called "Take Pride in America", which was used in television public service announcements about recycling.

1987–1999
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In 1987, Where The Fast Lane Ends was released. It was the first with new producer Jimmy Bowen, and was the group's last album before the 1987 departure of William Lee Golden. Golden was replaced by the band's guitarist, Steve Sanders.

The group released four more albums for MCA, including a third Greatest Hits album that contained a previously unreleased single they had recorded for the Take Pride In America campaign. They moved to RCA Nashville and made three albums there, including Best of the Oak Ridge Boys, which included a single they had made for the My Heroes Have Always Been Cowboys movie soundtrack. The move to RCA did not work out because the person who had signed them there moved to another label shortly thereafter, and his replacement wanted to promote Alabama more than the Oak Ridge Boys. They switched again and signed with Liberty Records, (Capitol's Nashville-based label), for which they made their third Christmas album.

Baritone Steve Sanders was replaced by Duane Allen's son, Dee, with occasional help from his brother-in-law Paul Martin. (Martin had previously replaced J.P. Pennington as lead singer of Exile in the early 1990s until that band's disbanding.) At midnight on New Year's Day 1996, at the Star Plaza Theatre in Merrillville, Indiana, Golden returned to the group. That year, they made a two-disc gospel set, Revival (their first full gospel album since 1976) with Leon Russell producing. This was sold on TV and later by the Oak Ridge Boys themselves at concerts and through the mail. In 1998, Sanders died by suicide.

Over the next few years, the group collaborated on an album with polka instrumentalist Jimmy Sturr and then made an album for Platinum Records called Voices.

2000–present

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After nearly a decade of dealing with problems such as labels that had little interest in promoting The Oak Ridge Boys, studio breakdowns, and sluggish sales, the group's fortunes changed when they signed with Spring Hill Records in 2000. In the first four years of teaming with Dove Award-winning producer Michael Sykes, the quartet released a full-length gospel album (From The Heart), their fourth Christmas album (Inconvenient Christmas), a patriotic album (Colors), a bluegrass album (The Journey), and a quasi-compilation, titled Common Thread, containing newly recorded versions of older gospel songs, as well as material from 2004's The Journey. Another Christmas album, Christmas Cookies, followed in 2005. In 2006, the group completed the album, Front Row Seats, a return to mainstream country music with modern, aggressive arrangements and song selection. The project spawned a minor top-40 hit with "It's Hard to Be Cool in a Mini-Van".

In June 2007, they returned to their namesake, Oak Ridge, Tennessee. They were the featured performers at the Secret City Festival and were given a tour of the Y-12 National Security Complex's historic Calutrons (used to separate the uranium 235 for Little Boy, the first atomic bomb used in warfare). While there, a street was renamed the Oak Ridge Boys Way in their honor.

Also in 2007, the group appeared on Shooter Jennings' (son of Waylon Jennings) album The Wolf. This pairing led to The Boys Are Back, released on May 19, 2009, and named for the title song written by Shooter Jennings. The project debuted at number 16 on the Billboard Top Country Albums Chart and number 77 on the Billboard Top 200. The album was produced by Dave Cobb, who was introduced to the group by Shooter Jennings. Reviews were mixed, but most praised the cover of "Seven Nation Army" by The White Stripes; 2010 was just as busy, including a cameo appearance on the History Channel show Pawn Stars episode "Packing Heat", which aired on December 13, 2010.

During the July 8, 2011, performance of the Friday Night Opry, Little Jimmy Dickens announced that the Oak Ridge Boys would become the newest members of the Grand Ole Opry, effective August 6, 2011.

In September 2011, the quartet released It's Only Natural through Cracker Barrel Old Country Store's music label. The album debuted at number 16 on the Billboard Country albums chart, remaining in the country top 40 for nearly two months. It contains 12 tracks - five new songs and seven re-recorded hits from the late 1980s. The first single off the album is "What-cha Gonna Do". A special 30th-anniversary re-recording of "Elvira" is featured on the album, as well.

In 2012, the group released two new studio albums. In May, they made a return to their Southern gospel roots with the release of Back Home Again. Along with gospel standards, the group covered John Denver's "Back Home Again" and Dolly Parton's "Coat of Many Colors". The album, featuring mostly acoustic arrangements, was produced by Ben Isaacs (of The Isaacs). In September of the same year, Christmas Time's A-Coming, the group's sixth Christmas project, was released through Gaither Music Group, and was also a featured title at Cracker Barrel Old Country Stores. The project features traditional standards, both secular and spiritual, as well as new material.

In 2013, The Oak Ridge Boys celebrated the 40th anniversary of the current lineup of members with a special 40th-Anniversary Tour, commemorative CD project, an Oak Ridge Boys-themed cruise, and a network television special.

The Oak Ridge Boys released their first-ever live hits album Boys Night Out in April 2014 through Cleopatra Records. In an interview, Joe Bonsall said, "Here it is live and kicking with the audience singing with us. It's totally updated and different. I think for our real fans, this is going to be a gigantic treat, because our fans have clamored for a live album for years, and for people who don't know us or don't know us as well, to listen to this makes them go, "Oh wow, these guys are still sounding great, holy cow." I think it's going to be a good project for us all around."

On August 21, 2015, they revealed a collaboration recording of their hit "Elvira". This collaboration was recorded with Sing-Off-winning, country a cappella group Home Free, who uploaded the video to their YouTube channel. The video was an instant hit, reaching 90,000 views within the first 20 hours of it being uploaded.

On October 25, 2015, the Oak Ridge Boys were inducted into the Country Music Hall of Fame during the Medallion Ceremony, in the category of modern-era artists. It was presented by Kenny Rogers (a previous inductee).

In 2017, the Oak Ridge Boys joined Third Day at the legendary FAME Studios in Muscle Shoals, Alabama, to record a cover version of Paul Simon's "Loves Me Like A Rock" for the Third Day album, Revival.

In December 2018, the Oak Ridge Boys attended the funeral of the 41st President of the United States, George H. W. Bush, in Houston, Texas, and sang "Amazing Grace" during the service.

On October 4, 2019, the Oak Ridge Boys announced their partnership with AARP and the U.S. Department of Justice to help raise awareness of elder fraud.

On September 19, 2023, the Oak Ridge Boys announced that they would be embarking on a farewell tour to mark their golden anniversary under their current lineup. Sterban has taken leave from the band on numerous occasions, with Dailey & Vincent bass vocalist Aaron McCune filling in for him; Bonsall suffered a pulmonary embolism that has affected his legs and can no longer navigate the stage without assistance, resulting in his performing from a stool.
The 8-track tape (formally Stereo 8; commonly called eight-track cartridge, eight-track tape, and eight-track) is a magnetic-tape sound recording technology that was popular from the mid-1960s to the early 1980s, when the compact cassette, which pre-dated the 8-track system, surpassed it in popularity for pre-recorded music.

The format was commonly used in cars and was most popular in the United States and Canada and, to a lesser extent, in the United Kingdom. One advantage of the 8-track tape cartridge was that it could play continuously in an endless loop, and did not have to be "flipped over" to play the entire tape. After about 80 minutes of playing time, the tape would start again at the beginning. Because of the loop, there is no rewind. The only options the consumer has are play, fast forward, record, and program (track) change.

The Stereo 8 Cartridge was created in 1964 by a consortium led by Bill Lear, of Lear Jet Corporation, along with Ampex, Ford Motor Company, General Motors, Motorola, and RCA Victor Records (RCA - Radio Corporation of America).

The 8-track tape format is now considered obsolete, although there are collectors who refurbish these tapes and players as well as some bands that issue these tapes as a novelty. Cheap Trick's The Latest in 2009 was issued on 8-track, as was Dolly Parton's A Holly Dolly Christmas in 2020, the latter with an exclusive bonus track. Little Lost Girl Media from Oregon is currently still making 8-tracks and runs a mostly 8-track rock-n-roll record label.

Technology:
The cartridge's dimensions are approximately 5.25 by 4 by 0.8 inches (13.3 cm × 10.2 cm × 2.0 cm). The magnetic tape is played at 3–3/4 inches per second (twice the speed of a cassette), is wound around a single spool, is about 0.25 inches (0.64 cm) wide and contains 8 parallel tracks. The player's head reads two of these tracks at a time, for stereo sound. After completing a program, the head mechanically switches to another set of two tracks, creating a characteristic clicking noise.

History:
Development:

A blank compatible Stereo-Quadraphonic 8-track cartridge

Blank cartridges could be used to make recordings at home.
Inventor George Eash invented a design in 1953, called the Fidelipac cartridge, also called the NAB cartridge. which would later be used in not only the Muntz Stereo-Pak but also in various monaural background music systems from the late '60s to the early '90s.

His inspiration came from one of the first products that used the Endless tape cartridge technology which was the Audio Vendor from a year earlier, an invention of Bernard Cousino. The tape is passed through an inner ring of loose tape reel, where the recording is stored, and looped back through the outer ring of the reel. Initially, this mechanism was to be implemented in a reel-to-reel audio tape recorder.

Later, Cousino developed a plastic case that could be mounted on some existing tape recorders. This cartridge was marketed by John Herbert Orr as Orrtronic Tapette. In this generation, the tape was wound with the magnetic coating facing the inside of the reel. Later cartridge types had the magnetic layer facing the outside of the reel, so it had to be played by a specially designed recorder. Once traction of the tape by capstan was added, users had the convenience of just pushing the cartridge into the recorder without having to thread the tape. These cassettes needed no internal space for the tape head slider because they accessed the tape from outside the cartridge.

Based on these new cassettes, George Eash developed the Fidelipac cartridge in 1954. PlayTape and the endless-loop compact cassettes for the announcement text of answering machines were made with this technique as well along with other similar but incompatible answering machine tapes. The original separate take-up reel got a platter laid under the supply reel to combine the two and the perforation around the edge of the reel for traction was removed. There was no rear winding reel inside such a cassette so rewinding was impossible. Previously, a similar technique was used to store Tefifon grooved-vinyl sonic tape in the Tefi cartridge but without the benefit of a reel due to the width being 16mm, over twice that of an 8-track and due to the thickness of the film at 3 mils (75μm).

Another similar technology was the LaBelle Tutor 16 which combined several endless loop technologies at once. A 35mm filmstrip was reduced to 16mm and loaded into an endless loop film cartridge similar to a Fisher Price Movie Viewer which used silent truncated versions of 16mm cartoons. The bottom of this cartridge acted as the top for the sound cartridge below it which was basically identical to an 8-track. The only difference was the recording was the same 2-track format as mono NAB carts at the same 3-3/4 IPS speed (9.5 cm/s) as an 8-track with the program material on one track and the subsonic picture-change automation tone on the other track.

Films, both silent as well as sound, in 8mm as well as 16mm configurations and in optical as well as magnetic sound formats were also endless loops, used in everything from store end-cap sales tools, to on-the-road engineering instructions to early portable airline movies. Instead of having any part of the mechanism located inside the cartridge, the only part located there was a 45-degree mirror to reflect the light through the film and onto either the internal frosted screen or an external screen by way of flipping another mirror in to redirect the picture.

Stereo 8:
Lear Jet Stereo 8 advertisement, Billboard July 16, 1966
The Lear Jet Stereo 8 cartridge was designed by Richard Kraus while working for the Lear Jet Corporation, under Bill Lear, in 1963. The major change was to incorporate a neoprene rubber and nylon pinch roller into the cartridge itself, rather than to make the pinch roller a part of the tape player, reducing mechanical complexity. Lear also eliminated some of the internal parts of the Eash cartridge, such as the tape-tensioning mechanism and an interlock that prevented tape slippage. Because the Stereo-Pak cartridges were prone to jamming due to their complex design, Lear endeavored to redesign them, putting twice the number of tracks on them, doubling their recording time first to 80 minutes and then extending that to 100 minutes.

Discrete Quadraphonic 8-track:
Four-channel 8-tracks were distinguishable by the notch in the upper left hand corner as in the picture to the right. Blanks such as this one were sold with a white spacer occupying the notch the same as 45 rpm adapter were sold to convert 7-inch (19cm) large hole singles so that they could be played on conventional turntables. This notch activated the second set of tracks on the new head which would have originally played Programs 3 and 4 of a stereo tape and used them simultaneously with heads that would read Programs 1 and 2.

Tapes were first marketed for the Fall, 1970 music season which is a little strange, due to the fact that the last Stereo-Pak four TRACK Muntz cartridge tapes (vs four CHANNEL quadraphonic) were still being produced at the same time as well as regular Stereo 8 tapes.

Time Limitations:
Going back to using the same amount of tape for an album as a Stereo-Pak was a little annoying to consumers because Two Albums on One Tape for The Same Low Price (as an LP) was now impossible. Quadraphonic issues of double albums on 8-track had to occupy two or even (in the case of classical music) three tapes.

If an album ran over 50 minutes, half the time that could be recorded on a Stereo 8-track, and there wasn't enough program material to justify a second tape, producers would edit or eliminate some songs to make the album fit the 25-minute-per-program time limit. Commercial recordings were going back to a slightly smaller version of the same truncated program problems that plagued 2-track stereo tape 20 years earlier. Quadraphonic cassettes were experimented with starting in 1974, but never gained a toe-hold until cassette portastudios established themselves ten years later just before digital took off.

Commercial success:
Factory optional 8-track stereo player in a 1967 American Motors Marlin mounted between the center console and dash

Factory installed AM/FM radio/8-track unit in a 1978 AMC Matador with a Briefcase Full of Blues cartridge in "play" position
The popularity of both four-track and eight-track cartridges grew from the booming automobile industry. In September 1965, the Ford Motor Company introduced factory-installed and dealer-installed eight-track tape players as an option on three of its 1966 models (the sporty Mustang, luxurious Thunderbird, and high-end Lincoln), and RCA Victor introduced 175 Stereo-8 Cartridges from its RCA Victor and RCA Camden labels of recording artists catalogs. By the 1967 model year, all of Ford's vehicles offered this tape player upgrade option. Most of the initial factory installations were separate players from the radio (such as shown in the image), but dashboard mounted 8-track units were offered in combination with an AM radio, as well as with AM/FM receivers.

The 8-track format gained steadily in popularity because of its convenience and portability. Home players were introduced in 1966 that allowed consumers to share tapes between their homes and portable systems. By the late 1960s, the 8-track segment was the largest in the USA consumer electronics market (Low UK & Europe sales as Compact Cassette was released 1962) and the popularity of 8-track systems for cars helped generate demand for home units. "Boombox" type portable players were also popular but eight-track player/recorders failed to gain wide popularity and few manufacturers offered them except for manufacturer Tandy Corporation (for its Radio Shack electronics stores). With the availability of cartridge systems for the home, consumers started thinking of eight-tracks as a viable alternative to 33 rpm album style vinyl records, not only as a convenience for the car. Also by the late 1960s, prerecorded releases on the 8-track tape format began to arrive within a month of the vinyl release. The 8-track format became by far the most popular and offered the largest music library of all the tape systems in the USA.