The video features a conversation between Joe Bonsall of The Oak Ridge Boys and Andy Andrews on “The Professional Noticer” podcast. Andy expresses his excitement to have Joe on the show, highlighting The Oak Ridge Boys’ impressive career with over 30 top 10 hits, numerous number ones, and multiple gold and platinum albums.
Joe begins by candidly discussing the impact of the 2020 pandemic on the music industry, stating that the live music business was essentially “dead,” affecting everyone from rock and roll to classical musicians, as well as the numerous individuals who work behind the scenes in theaters and arenas. He recalls their last big show in Myrtle Beach in March 2020, a sold-out event, and how they had no idea that their tour bus would remain parked for the majority of the year. Andy echoes this sentiment, remembering a conversation in early March where Duane Allen mentioned their extensive touring schedule, only for those plans to be abruptly halted.
Joe shares that The Oak Ridge Boys managed to play a limited number of shows in the summer and early fall of 2020, including a West Coast trip and a few private events, just to keep their operations going. He then enthusiastically talks about their annual Christmas tour, a tradition of 30 years, which he considers the best show of their year. He mentions that The Oak Ridge Boys and Kenny Rogers used to be prominent Christmas acts, and they got the idea for their own Christmas tour after touring with Kenny. In 2020, they had a two-year deal with Opryland in Nashville for a 29-show residency at Gaylord Opryland for their Christmas tour. Despite the pandemic, the shows were planned to proceed with safety measures, utilizing a larger ballroom for better spacing. Joe expresses his gratitude for the work at the end of the year, which would help both the band and provide entertainment for people. He also shares his personal enjoyment of doing their Christmas show in their hometown, Nashville. Andy vividly describes the spectacular Christmas decorations at Gaylord Opryland, mentioning their participation in the tree lighting ceremony. Joe also notes the cancellation of many other Christmas events in Nashville, making their Opryland residency a significant offering for those seeking holiday entertainment.
Reflecting on his long tenure with The Oak Ridge Boys, Joe reveals that he joined the group in October 1973, before their major hits started in 1977. He was 25 at the time of joining and was 72 during this interview, meaning he had been an “Oak Ridge Boy” for almost his entire adult life. Andy praises the group’s incredible live performances and vocal abilities. Joe recalls the release of the “Y’all Come Back Saloon” album in 1977, which featured hits like the title track, “You’re the One,” and “I’ll Be True to You,” and is considered by many to have set a new paradigm in the music business. Joe expresses his love for all the songs on that album. The conversation touches on the resurgence of vinyl records, with Joe mentioning their recent Christmas album, “Down Home Christmas,” being released on green vinyl.
An amusing anecdote is shared about a time when Andy opened for The Oak Ridge Boys early in his career. A fan brought Andy cookies, but Joe, adhering to a strict rule about not eating food from unknown sources, promptly threw them away, much to Andy’s initial surprise. Joe explains that this was a long-standing rule for the group, which they had relaxed over the years, even having a tradition of eating audience-brought cookies during their Christmas song “Christmas Cookies.” He then shares a humorous story about a cake given to them by fans and their embarrassing encounter with those fans while playfully disposing of it.
When asked about his favorite Oak Ridge Boys song, Joe chooses “Never Been So Loved (In My Whole Life),” written by Randy VanWarmer, whom he greatly admired. He shares a personal connection to the song, as it was his mother’s favorite, and he sang it to her on the day she passed away. Regarding a surprising hit, Joe unequivocally names “Elvira.” He recounts how the song was a last-minute addition to their 1980 album “Fancy Free,” brought to them by a song plugger. Despite Joe never having heard the original, their rendition, with Richard Sterban’s iconic “oom-poppa-mow-mow,” became a massive success, even crossing over to the pop charts. He vividly remembers the overwhelming audience reaction to the song during a performance in Spokane, leading to its release as a single. Joe expresses his continued amazement at the song’s enduring popularity. As for a song that he felt should have done better, Joe picks “So Fine” from the early 1980s. Despite his high hopes and a music video, the song didn’t achieve commercial success, much to his surprise.
The conversation briefly touches on Andy’s writing career, with Joe expressing his admiration for Andy’s books. They discuss the interconnectedness of their creative worlds. Joe also shares anecdotes about the band’s reputation for treating people well in the music industry, contrasting their positive interactions with negative experiences others have had with different artists. He emphasizes the importance of being kind and professional.
Later in the conversation, they discuss potential replacements for band members if someone were unable to perform. Joe suggests Jimmy Fortune, formerly of The Statler Brothers, as a possible fill-in for him. He also recounts a past vocal issue that required him to go on vocal rest, during which their bass player filled in on lead vocals. They then discuss Jimmy Fortune’s current musical endeavors with Ben Isaacs, Mike Rogers, and Bradley Walker, praising their talent. Joe shares a heartwarming story about his long friendship with Bradley Walker and his remarkable performance of “Fancy Free” with The Oak Ridge Boys. He humorously recalls urging the group to come up with a catchier name, which ultimately led to their album being titled “Brotherly Love.” Joe expresses his admiration for Bradley Walker’s vocal abilities, even noting his surprising talent for singing bass. He concludes by highlighting Bradley’s exceptional vocal talent, even comparing it favorably to some artists on country radio.