The Voice of the Glee Club: Oley Speaks and the "Road to Mandalay"

When we think of the "Golden Age" of American song, we often picture the glitz of Broadway or the rise of jazz. However, much of the era’s soul lived in the booming, disciplined harmonies of men’s choral music. At the center of this world was Oley Speaks, a man whose melodies became the soundtrack of early 20th-century American life. Someone we celebrate in our Spring Concert on May 12.

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Who was Oley Speaks?

Oley Speaks (1874–1948) was a quintessential American success story. Born in Ohio, he didn’t just write music; he lived it as a prominent baritone singer. This dual identity gave him a unique "composer’s edge"—he understood exactly how to write melodies that were not only beautiful to hear but also exhilarating to perform.

Speaks was a master of the "art song" and the "vocal ballad." He focused almost entirely on the human voice, viewing the piano or orchestra as a supporting player for the singer. During his career, he composed over 250 songs and served as a director for ASCAP for over two decades.

The Mendelssohn Glee Club Connection

If Speaks was the architect of the American art song, the Mendelssohn Glee Club of New York was his primary home. Founded in 1866, it is one of the oldest and most prestigious male choral groups in the United States.

Speaks wasn’t just a guest; he was a "Mendelssohn man" through and through. He was a "singing member" of the club, contributing his baritone to the full ensemble’s sound. Because of his professional standing, he frequently stepped out from the ranks to perform as a soloist during their prestigious concerts at the Waldorf-Astoria. This long-standing connection—a true sense of fellowship—is likely why his compositions feel so natural for a male chorus; he was writing for his own friends and colleagues.

"On the Road to Mandalay": A Global Phenomenon

While Speaks wrote hundreds of songs, none captured the public imagination like "On the Road to Mandalay" (1907). Taking the evocative verses of Rudyard Kipling, Speaks crafted a melody that perfectly matched the poem’s rhythmic "swing" and sense of yearning. This piece will be featured in our Spring 2026 concert, where we celebrate our members over the last 160 years since the club's beginning.

The Operatic "Gold Standard"

For the grand operatic baritones of the mid-20th century, this song was a "Vocalist’s Everest." It allowed for dramatic storytelling and a powerful finish that could shake the rafters of any concert hall.

• Lawrence Tibbett: His 1935 recording is often cited as the definitive operatic version.

  • Lawrence Tibbett - 1935 On the Road to Mandalay

• Leonard Warren: A titan of the Metropolitan Opera, Warren brought a massive, authoritative sound to the piece.

  • Leonard Warren - On the Road to Mandalay (1947)

• Peter Dawson: A legendary Australian bass-baritone and pioneer of the gramophone. Dawson recorded over 3,500 titles and was considered the definitive voice of this rugged, soldierly song across the British Empire.

  • Peter Dawson: On the Road to Mandalay

The Popular "Swing"

In the hands of popular crooners, the song transformed into a rhythmic, adventurous anthem.

• Frank Sinatra: Arranged as a brassy swing number for his 1958 album Come Fly with Me. Kipling's family famously disliked this "jazzy" version, but it remains a fan favorite.

  • Frank Sinatra - On the Road to Mandalay (Remastered)

• Frankie Laine: Known for his "western" style, Laine's 1956 recording brings a rugged energy that fits the soldier’s perspective perfectly.

  • Frankie Laine - On The Road To Mandalay (1956)

Other Famous Compositions

While Mandalay was his biggest hit, Speaks had several other "million-sellers" that were staples of the Mendelssohn Glee Club repertoire:

• "Sylvia" (1914): A tender, lyrical love song and a favorite for tenors and baritones.

  • The Mendelssohn Glee Club - Sylvia

• "Morning" (1910): A bright, uplifting number often used to open vocal recitals.

  • JOHN CHARLES THOMAS SINGS MORNING Oley Speaks 1941

• "The Prayer Perfect" (1930): A deeply enduring sacred work often performed by large choruses.

A Silent Legacy

Interestingly, despite his fame, there are no known commercial recordings of Oley Speaks singing. He lived into the age of high-fidelity recording, but he seems to have focused his professional energy on composition and leadership.

While we cannot hear his physical voice, his musical "voice" lives on in his sheet music. Because he was a baritone himself, his songs are "perfectly placed" for the voice. Every time a male chorus or a solo baritone stands to sing his music, they are tapping into the legacy of the Ohio baritone who turned a British poem into an American masterpiece.