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"Take a little walk to the edge of town..." the low tones of Nick Cave's voice have become synonymous with BBC's Birmingham-based gangster drama, Peaky Blinders. Cave's music features prominently in the drama: on top of his track Red Right Hand, the show's theme, at least 14 of his songs have featured across the series. And that doesn't take into account the several remixes and covers of Red Right Hand peppered throughout...
A young airman was working on one dark and windy night,Upon a bench he rested as he thought about his flightWhen all at once a mighty fleet of big blacks birds he saw,A flying through the darkened skies and up a bloody draw.YIPPIE I EEH, YIPPIE I OOH, THE GHOST FLYERS IN THE SKYThe planes were black and deadly and their guns were made of steel,There guns were firing heavy and the sensors he could feel,A bolt of fear went through him as they flew through the skyFor he saw the gunners working, and he heard their mournful cry,YIPPIE I EEH, YIPPIE I OOH, THE WARLORD FLIES AGAINTheir faces gaunt, their eyes were blurred, their shirts all soaked with sweat.They're trying hard to gun the trucks, but they ain't gunned all yetcause they're got to fly forever in the Southeast Asian Skies,On planes a shooting fire, as they fly on hear their cry.YIPPIE I EEH, YIPPIE I OOH, SPECTRE IN THE SKYAs the I.O. flew on by him, he heard one call his name.If you have no fear then volunteer to fly upon our planes.Then airman with us you will fly these Southeast Asian Skies.A trying to gun them Gomer Trucks, across these endless skies.YIPPIE I EEH, YIPPIE I OOH, GHOST FLYERS IN THE SKYIf you ever get in trouble, your call sign is your game,Jolly Green will pick you up and take you home again.So you can fly forever in Southeast Asian SkiesWith Buff standing by, Spectre cannot die.YIPPIE I EEH, YIPPIE I OOH, BUFF IS IN THE SKIESThrough these hills and valleys we will fly forever more,One for all and all for one until we are no more.No Triple "A" can touch us as we do our deadly deed,For we are the bravest of the brave, a very special breed.YIPPIE I EEH, YIPPIE I OOH, SPECTRE FLYS AGAIN.AwesomeHistorical Article about our song:GHOST RIDERS IN THE SKY Courtesy of SteynOnline.comMonday, 11 May 2009 Song of the Week #127by Stan Jones Or "Riders In The Sky". Or "(Ghost) Riders In The Sky". Or "Riders In The Sky (A Cowboy Legend)". Or just plain "Ghost Riders", or "Ghostriders", or half-a-dozen other variations over the years. But, however you label it, it's a song unlike any other. It made its appearance sixty years ago, when versions by Peggy Lee, Bing Crosby and Burl Ives chased Vaughn Monroe up the hit parade, to be followed over the decades by Frankie Laine,Dean Martin,Marty Robbins,Johnny Cash, Elvis Presley, the Doors, Blondie's Debbie Harry, theDNA Vibrators, and the German heavy metal band Die Apokalyptischen Reiter. But, with all due respect to those fine vocal artistes, the song's melodrama is made for a big-voiced baritone like Vaughn Monroe. This very week - May 14th 1949 - he and his orchestra hit Number One on the Billboard chart, and America was gripped by one of the spookiest tales ever to haunt the jukebox:
It was, in fact, a meteorological effect: a peculiar cloud formation caused by the collision of hot and cold air currents. The clouds darkened, and lightning flashed, and it really did look like a ghost herd pursued by ghost riders:
And the "bolt of fear" was certainly real. The old cowboy told the 12-year old that if he wasn't careful he'd be joining the ghost riders, accursed to chase steers across the desert sky for all eternity. "I was scared," said Stan. "You never saw a horse or boy get off a mountain so fast in your life."
Jones grew up, left Douglas, worked in the copper mine in Jerome, Arizona, then as a logger in the Pacific Northwest, and eventually joined the National Park Service - which is when the ghost riders rode back into his life. "It was when I was stationed with the park rangers in Death Valley," he remembered. "I happened to look up into the sky. Well, sir, I saw that same kind of a cloud formation as I had way back the other time, and it sort of all came back to me. And I went inside and wrote the song":
It's a narrative-driven song, and it wouldn't strike many musicologists as the most interesting tune in the world, but it's undeniably effective, especially on those ominous low notes at the end of each verse, followed by the "mournful cry" of the ghost riders' yippee-yi-yay. And Stan Jones wrapped it up with the warning he'd been given all those years ago by ol' Cap Wells:
But sometimes the world comes to you. Hollywood was making a lot of westerns in those days, and no longer on the back lot. So the National Park Service decided it might be useful to have a guy they could refer the movie people to when they came out from Los Angeles to scout for the best locations. No-one knew the lie of the land like Stan Jones, so he wound up with the gig. After a long hot day's filming, there wasn't much for cast and crew to do of an evening, so it was kind of relaxing to sit under the stars round the campfire while Stan sang a few of his songs. And one night, for the boys from the John Ford picture Three Godfathers, the park ranger got out his guitar and sang a weird tale about a "ghost herd in the sky". It surely must have been especially eery under a desert moon with the flames of the fire flickering against the endless dark. When the song was over, the film crew told him he needed to get a publisher in Los Angeles.
How come nobody noticed that "want" doesn't rhyme with "fish"? So I have no regrets that he got beaten to the punch on "Ghost Riders". As for Peggy Lee, longtime readers know I love her, but "Ghost Riders" is a song that loses a lot of power when a woman sings it. Crosby is fine, although he takes it, as he did most things, in his stride - so that the overall effect is "Hey, there's some zombie cowboys stampeding ghost cows across the sky, but it's no big deal..." Monroe's version deservedly came out on top - at least as far as I'm concerned. By contrast, Stan Jones never hesitated when asked to name his favorite recording: the Sons of the Pioneers, whose frontman Bob Nolan wrote our Song of the Week #97, "Tumbling Tumbleweeds".
The song tells a folk tale of a cowboy who has a vision of red-eyed, steel-hooved cattle thundering across the sky, being chased by the spirits of damned cowboys. One warns him that if he does not change his ways, he will be doomed to join them, forever "trying to catch the Devil's herd across these endless skies". The story has been linked with old European myths of the Wild Hunt and the Dutch/Flemish legend of the Buckriders, in which a supernatural group of hunters passes the narrator in wild pursuit.[4]
Stan Jones stated that he had been told the story when he was 12 years old by an old Native American who resided north-east of the Douglas, Arizona border town, a few miles behind D Hill, north of Agua Prieta, Sonora. The Native Americans, possibly Apache, who lived within Cochise County, believed that when souls vacate their physical bodies, they reside as spirits in the sky, resembling ghost riders. He related this story to Wayne Hester, a boyhood friend (later owner of the Douglas Cable Company). As both boys were looking at the clouds, Stan shared what the old Native American had told him, looking in amazement as the cloudy shapes were identified as the "ghost riders" that years later, would be transposed into lyrics.[1] The melody is based on the Civil War-era popular song "When Johnny Comes Marching Home".[5][6]
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