Holiday Music | Other Country Styles

The Oak Ridge Boys "The Inspirational Collection" (Varese Sarabande, 2004)
The gospel roots of the Oak Ridge Boys run pretty deep, and this disc is a fine representation of their best work in the band's mid-1960s incarnation as Southern Gospel modernists, mixing the vocal tradition of the Blackwood Brothers with the electrified bounce of Buck Owens and the West Coast honkytonk-pop scene. This 18-song disc gathers material from several albums on the Skylite label, 1965's I Wouldn't Take Nothing For My Journey Now, River Of Life and Solid Gospel Sound, from 1966. Some of the songs are a bit sleepy and barbershop-ish, but others have a surprisingly vigorous country sound; country fans may be surprised to find how engaging some of this material can be... There were major personnel shifts before the Boys broke into Country mainstream: the now-familiar low, deep bass rumble of singer Richard Sterben wouldn't be added into the mix until 1972, and it was probably his voice more than anything else that cemented the Oak Ridge sound as most folks remember it. Still, you can hear the roots of that sound here, and Southern Gospel fans should be thrilled by such a nice, compact reissue of their old, religious material.

The Oak Ridge Boys "Street Gospel" (Pilot Records, 1973) (LP)

The Oak Ridge Boys "The Lighthouse And Other Gospel Hits" (Vista Records, 1973) (LP)

The Oak Ridge Boys "Sky High" (Columbia Records, 1975) (LP)

The Oak Ridge Boys "Old Fashioned, Down Home, Hand Clappin', Foot Stompin', Southern Style, Gospel Quartet Music" (Columbia Records, 1976)

The Oak Ridge Boys "Smoky Mountain Gospel" (Columbia Records, 1983)

The Oak Ridge Boys "Sailing Towards Home" (Columbia Records, 1995)

The Oak Ridge Boys "Favorite Songs" (Columbia Records, 1995)

The Oak Ridge Boys "Revival, v.1" (Halsey Records, 1997)

The Oak Ridge Boys "Revival, v.2" (Halsey Records, 1997)

The Oak Ridge Boys "The Journey" (Spring Hill Records, 2004)

The Oak Ridge Boys "Common Thread" (Spring Hill Records, 2005)

The Oak Ridge Boys "A Gospel Journey" (Gaither Records, 2009)

The Oak Ridge Quartet "The Oak Ridge Quartet" (Checker Records, 1961-?) (LP)
I had high hopes for this one, it coming out on a Chess Records sub-label and all, though as it turns out there's no hidden R&B or rockabilly agenda here, just the standard oh-so-perfect southern gospel harmony vocals of the Oak Ridge Quartet. There is one song, a version of Wally Fowler's "Anytime, Anywhere," that featured a jazzy little hillbilly guitar, but mostly the accompaniment is some unobtrusive, understated piano. Alas, no info on who was in the group at this point, though doubtless it's documented somewhere...

The Oaks Band "Super Hits" (ORB Records, 1973) (LP)
An almost-secular gospel album by a group that was the backup band for the Oak Ridge Boys in the early 1970s, just as they were making their transition from the Southern Gospel scene into the mainstream Top 40. The group included John Rich on steel and lead guitars, bassist Don Breland, drummer Mark Ellerbee -- and most notably, pianist Tony Brown, a top-tier gospel musician who would go on to play in Elvis Presley's TCB band (which overlapped with Emmylou Harris's Hot Band) and in the 1980s became one of Nashville's hottest and best producers. Although this looks like a cheapo best-of disc, it's actually a proper, early 'Seventies album.

The Oaks Band "Rockland Road" (Rockland Road Records, 1974) (LP)
(Produced by Jimbeaux Hinson & Skip Mitchell)
An even more secular-looking gospel set, with the same lineup, though Tony Brown's last album with the group. This disc features material by producer Jimbeaux Hinson, who also went on to a very successful career as a secular songwriter in Nashville, providing a string of songs for the Oak Ridge Boys and other artists, particularly during the '80s, most notably, "Fancy Free," which was a big hit in '81, and "Hillbilly Highway," for Steve Earle. Breland and Ellerbee took this album's title and used it for a band, Rockland Road, that recorded a more high-concept, out-there gospel rock record, Planet Time, which included tracks such as "Alpha And Omega" and "I Could Be Forever. (By the way thanks to this Oaks Band discography page which I just found while updating this album.)

Charles Ogdon "A Rich Man Am I" (Century Records, 19--?) (LP)
(Produced by John R. Hildreth)
A very stripped-down and charmingly guileless set from Mr. Charles Ogdon, of Muldrow, Oklahoma, who sings unaccompanied by any harmonists, though with a stripped-down band that included bass player Jimmy Blevins, Mike Jenning (drums), Derrell Jones (guitar) and pianist Dub Putman. At least, those are the musicians credited on the cover; most I just heard a piano-and-organ accompaniment with a very minimal presence. I find Mr. Ogdon's unassuming approach rather charming, although as a twangfan, I have to admit there isn't much here you could call "country." Many of these songs may have been his own originals, but it's hard to tell, since there are no composer credits, and the liner notes are pretty vague. Mr. Ogdon recorded several other albums, including a couple as a duet, Charles & Naomi, and later as the Ogdon Family band.

Jenell Ogg & Jerald Ogg "What A Day That Will Be" (Custom Recording Studios, 19--?)

Orange Blossom Bluegrass "Festival Favorites: Gospel Bluegrass" (A & R Record Manufacturing Coroporation 19--?) (LP)
(Produced by Art Calaman)

The Osborn Brothers "Favorite Hymns" (Decca Records, 1968) (LP)

The Osborn Brothers "Singing Shouting Praises" (Sugar Hill Records, 1986) (LP)

The Osborn Brothers "Our Favorite Hymns" (Decca Records, 1968)

Dean Osborne & Eastbound "I've Got A Mansion Waiting For Me" (1989)

Dean Osborne & Eastbound "When Time Is Gone" (1993)

Dean Osborne & Eastbound "Roads Of Faith" (2000)
An all-gospel album, featuring several originals written by members of the Eastbound band, which includes Sonny Osborne's son, Dean Osborne as lead vocalist....

The Outpost Family "The Family Sings" (Shiloh Records, 1981-?) (LP)
(Produced by Gene Humphrey)
Some nice, simple bluegrass and stringband music from a group out of Winfield, Kansas. This was a family band, led by Don Wise and his wife Donna, along with various kids and their partners, as well as a gaggle of little kids. Mr. Wise had been in a Wichita rock band back in the 1950s, but had to quit after an accident that paralyzed his lower body. After the family moved to Winfield in 1976, they got into bluegrass music, and over the years performed at a number of festivals and contests. I think this was their first album, and while the band steadily moved towards an all-gospel repertoire, this set is almost all secular, packed with standards such as "Rollin' In My Sweet Baby's Arms" and "Jesse James," Leadbelly's "Cottonfields" and "Heart To Heart" from the Stanley Brothers." There are also a couple of originals written by Mr. Wise, one called "The Country" and "Skunk In The Chicken House." The album ends with a gospel medley -- pointing towards things to come -- though the track pairs a couple of standards, "I'll Fly Away" and "I Saw The Light" with a tune I confess I never saw fitting into the country gospel genre, Fats Domino's "I'm Walkin'." Though this album was released on a nationally-distributed bluegrass label, it was recorded back home at an indie studio in Wichita, with the band self-releasing their subsequent albums...

The Outpost Family "How About You?" (Outpost Records, 1982-?) (LP)
Some nice, simple bluegrass and stringband music -- including a lot of gospel material -- from a group out of Winfield, Kansas. This is a family band, led by Don Wise and his wife Donna, along with various kids and their partners, as well as a gaggle of little kids. Mr. Wise had been in a Wichita rock band back in the 1950s, but had to quit after an accident that paralyzed his lower body. After the family moved to Winfield in 1976, they got into bluegrass music, and over the years performed at a number of festivals and contests. I think this was their first album, and includes some original material, such as "One More Songs For The King" and "Sold On Jesus," written by Don Wise, and "The Plains," which was co-written with his son-in-law, flatpicker Barry Hus. Nice stuff!

The Outpost Family Band "A Little Outpost Of Heaven" (Outpost Records, 1984) (LP)
While the second side of this album is all gospel material, Side One is mainly secular, though devoted to, well, to nostalgia more than anything else... There are some rural twang oldies, such as "Rabbit In A Log," as well as more modern sentimental songs like "Grandma's Feather Bed," "Crawdad Hole," "Song Of The South" and -- not to put too fine a point on it -- one called "The Good Old Days." The gospel stuff is equally a mix of old tunes and modern emulations, ranging from "Do Lord " and "Leaning On The Everlasting" to Donna Fargo's anthemic '70s pop-country hit, "You Can't Be A Beacon," which remains a great singalong song.

The Outpost Family Band "Sing A Happy Song" (Outpost Records, 1985) (LP)
(Produced by The Outpost Family)

The Overholts "Hallelujah Square" (Praise Him Records, 196-?) (LP)
A family band from Grand Rapids, Michigan, led of course by the dad, Ray Overholt (1924-2008) who had a long history in music. In his youth, Ray Overholt led a secular hillbilly band called the Grand River Boys, which backed him on his TV show, Ray's Roundup, back in the early 1950s. At some point Mr. Overholt got religion and began writing gospel material, including one song, "Ten Thousand Angels," which was recorded by Loretta Lynn on her 1968 album, Who Says God Is Dead? and is mentioned in the liner notes to this album. The album cover shows four people posed in front of a tour bus: Ray Overholt, his wife Millie and son Ron, as well as a young woman who I assume is the Overholt's daughter, though she isn't identified by name, and it's possible she's the group's organist, Carol Zink. The set includes four originals penned by Mr. Overholt, as well as one written by Millie Overholt called "I'll Be Alright Mom," which she wrote for their son Ron to sing: the liner notes inform us this album was recorded while he was on leave from an Army tour in Germany. Not sure when this album came out: it may have been as early as 1966-67, but that's really just a guess.

The Overholts "In Nashville! With The Christian Troubadours" (Gospel Heritage Records, 196--?) (LP)
(Produced by Wayne Walters)
Traveling down to Nashville, The Overholts recorded with Wayne Walters and his Tennessee-based edition of The Christian Troubadours. Again, four people are pictured on the cover, but not all four are identified -- there's Ray Overholt, his wife Millie and son Rob and... a sister? The set includes one song from producer Wayne Walters, "Angels Can't Tell" along with one by Leroy Blankenship, a Rambos tune, and several other tracks that are not credited. More importantly are several originals credited to Ray Overholt: "The Overcomers," "Ten Thousand Angels," "I'd Rather Go To Jesus," and "Let's Wave The Flag Again In America." Not sure who all the pickers are, but it's probably a typical Troubadours lineup.

The Overholt Family "House Full Of Love" (Monotone Records, 197--?) (LP)
Backed once again by Wayne Walters and The Christian Troubadours, the Overholts bill themselves as a family band with the addition of Ron Overholt's wife, Val, and their two kids, Becky Faith and her little brother Tony, who are all part of the group this time around. Millie Overholt is credited on piano, while Ray sings and plays guitar, also penning four of the original songs in the set, while his son Ron contributes two... There are also the usual additions of outside material, notably drawing on contemporary composers rather than "Amazing Grace" oldies -- two songs from The Rambos and one by Laverne Tripp. This album was apparently self-released: it was recorded at the Monotone Records studio in Battle Creek, Michigan, which shared the same street address as the Overholt family.

The Overholts "Lord How Long" (Imperial Records, 1975-?) (LP)
(Produced by Ken Grace & Graham McQueen)

Bonnie Owens "Mother's Favorite Hymns" (Capitol Records, 1970) (LP)
(Produced by Earl Ball, Hugh Davies & Jay Ranelucci)
A great, no-nonsense traditional country gospel album from this Bakersfield star, leaning heavily on easily recognizable old-school standards such as "Farther Along," "I'll Fy Away," "What A Friend We Have In Jesus," and "Where Could I Go But To The Lord," with a few quick dips into more modern territory, like "I Saw The Light" from Hank Williams, and Betty Sue Perry's novelty weeper," "Medals For Mothers." The backing is pure Bakersfield twang with low-key delivery by Merle Haggard's band, The Strangers, a sound that should be quite familiar to Merle Haggard fans, while Ms. Owens is committed but cool, sounding like a gal who regularly goes to Sunday church and knows all the words, but doesn't get too carried away when the band kicks in. Along with Merle's band, she's also backed by a male vocal group called the Victors and perhaps more interestingly by a trio of female soul singers that included Venetta Fields, Gloria Jones and Merry Clayton, a gal best known as the wailing wildcat on the eerie Rolling Stones classic, "Gimme Shelter," which was recorded just a year earlier. Quite a lineup! Anyway, it you want to hear country gospel done right, track this one down.

Buck Owens "Dust On Mother's Bible" (Capitol Records, 1966) (LP)
Simultaneously old-world and newfangled, Buck's faith-meets-Fender Telecaster approach to country gospel should raise a few eyebrows on all sides of the aisle. Infused with the bouncy, electric Bakersfield vibe, it's certainly not as stern a set as the dour band portrait on the cover would imply, but in some ways it also doesnŐt quite summon the full soulfulness the material might require. The Buckaroos don't break out of their typical upbeat sound to throw on any deep harmonies of really stretch themselves into the gospel groove, although Buck does completely embrace a bedrock fundamentalist Christian ethos on most of these songs, and adds several great new songs to the Christian country canon. Definitely worth picking up, particularly if you're a Buck fan to begin with, but not as resonant as it could have been.

Buck Owens "Your Mother's Prayer" (Capitol Records, 1970) (LP)

Buck Owens "Songs Of Inspiration" (Varese Sarabande, 2011)
A nice collection of stuff from two old gospel albums, Dust On Mother's Bible (1966) and Your Mother's Prayer, from 1970. Thank God they reissued this stuff!

Vernon Oxford "A Better Way Of Life" (Rounder Records, 1981)
(Produced by Bob Ferguson)
An outstanding country gospel album, with a hard, honkytonk edge that so precious few of these modern Christian country records are able to hold onto. Vernon Oxford sings from the heart, and the band plays with conviction and bite. The songs are mainly standards -- "Dust On The Bible," "An Unclouded Day," etc. -- but there are also several fine new songs as well, such as the title track (written by Oxford himself) and "Lord, I've Tried Everything But You," which starts the album off on a very high note. Whether you're a religious-minded or a secular country fan, this one is worth checking out.

Vernon Oxford "...Sings Gospel, Country & Bluegrass" (Oxford-Corbin Records, 2006)

Ozark Bible Bluegrass Revival "Ozark Bible Bluegrass Revival" (Lemco Records, 1977) (LP)
This gospel group, which included Scott Bond, Rusty Martin, Ken Smith and Dave Stackable, was from (around?) Joplin, Missouri, though their history as a band is a little vague. The liner notes mention them playing together in the fall of '76, and while this lineup seems to have fallen apart fairly quickly, most of the guys went on to play in various other bluegrass and roots music bands.

The Ozark Quartet "In Concert Bull Shoals State Park" (John's Recording Studio Records, 19--?) (LP)
A solid, very traditional southern gospel vocal group from Mountain Home, Arkansas, with plenty of country twang surrounding their smooth, churchy harmonies. The backing band includes some of the guys from John's Recording Studio in Russellville, a popular regional studio that hosted both secular and religious clienteles, with steel player Zane Beck as the focal member, along with Mike Cox, who adds some nice Chet Atkins/Merle Travis-style riffs. The Quartet itself brought a few instrumentalists, notably bassist Tony Chastain and T. R. Chastain on piano, with the vocal group including lead singer Palmer Foley, Louis Knight singing bass, Clifford Morris (tenor) and Jerry Shew (baritone). The musical accompaniment ranges from somewhat haphazard to sweet and sincere; some of the steel passages are rich and subtle, though overall there doesn't seem to have been a very clear plan or explicit, pre-planned arrangements, and the sessions have a distinctly seat-of-the-pants feel... But I kind of find that appealing, especially combined with the occasional shakiness of Palmer Foley's distinctly middle-aged lead vocals, which add a "real person" charm that transcends the often too-perfect sound of the genre. Though the album title mentions them being "in concert" at a popular recreational spot near a dam on the White River, this is clearly a studio album... One assumes they had a gig at some bandshell at one of the many campgrounds, though this isn't made clear on the album itself. Anyway, this album has a nice authenticity to it, and plenty of country music twang in the mix, though probably not enough to win over secular folks who don't dig the old-fashioned vocal style.

Ozarks Quartet "Homecoming '76" (Ozark Sound Studio, 1976-?) (LP)
Although this was also recorded at John's Recording Studio, the feel of the album is much less compelling, with changes in the vocal lineup, as well as the backing band, notably with Zane Beck being replaced by steel player Jim Findlay, and generally a less twang-forward sound mix (though the twang is still there, just a bit deeper in the mix). Mostly it's the vocals that are disappointing; the group still included Palmer Foley as lead, with Louis Knight (bass vocals), Clifford Morris (tenor) but brought in a new baritone, credited simply as "Chuck," as well as bass guitarist Don Forbes and piano player Steve Bryant, who are photographed on the back cover as part of the band. At any rate, for whatever reasons, I found this record kinda goofy and less enchanting than Bull Shoals album; not sure which one came first, or whether the band got better or worse over time.

Ozarks Country Jubilee "Singing The Gospel" (Ozark Sound Studio, 19--?)
One of numerous work-for-hire bands in the orbit of the Branson country scene, back in the pre-corporate olden days, this ensemble was, sadly, uncredited on this album of unsurprising gospel standards. Doubtless they were cast members in the Jubilee's regular stage shows, but who exactly played on this album remains a mystery.

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