Download Ghost Rider Song [PORTABLE]

A number of versions were crossover hits on the pop charts in 1949, the most successful being by Vaughn Monroe. The ASCAP database lists the song as "Riders in the Sky" (title code 480028324[2]), but the title has been written as "Ghost Riders", "Ghost Riders in the Sky", and "A Cowboy Legend". Members of the Western Writers of America chose it as the greatest Western song of all time.[3]

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]

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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]

Hundreds of performers have recorded versions of the song. Vaughn Monroe reached number 1 in Billboard magazine with his version ("Riders in the Sky" with orchestra and vocal quartet). Other artists that made the charts with the song include The Outlaws, Bing Crosby (with the Ken Darby Singers), Frankie Laine, Burl Ives (two different versions), Marty Robbins, The Ramrods and Johnny Cash.

That was awful, and you should feel bad for liking it. Other than holding the mic up in his face (with a stand, which Rollins never used), there is no similarity in stage presence. Thank you, though, for finding me another song in which the cover destroys the original.

Ghost Rider was originally released by Suicide on their debut album Suicide.

As far as we know, The Sisters of Mercy covered Ghostrider, as it was called, for the first time live

and/or of Ghostrider or Sister Ray with other songs.

Anyway, Ghostrider remained part of The Sisters' live set until the final gig of their First And Last And Always line up

Cash recorded over 1,500 songs in his career, including such classic hits as "I Walk the Line," "Ring of Fire" and "A Boy Named Sue." He played several of his most popular songs, including "Folsom Prison Blues," at that maximum security facility in 1968. The album based on that performance hit the top slot on the country-music charts and revitalized Cash's career.

Why did my Rush Era end with Signals? I remember scampering home from the record store the day Grace Under Pressure was released, a fresh copy under my arm -- and my confusion and dismay as I listened to the whole thing. I did not remotely like one song on the entire album. All the elements were there -- killer drums, bass, and guitar -- but the hooks were gone. I felt no sense of depth, no sense of purpose -- and thus no connection with the music.

so far I've only heard this and the incredible 10 minute 'Frankie Teardrop'but i can easily understand why this duo are considered punk pioneers.They don't need to discuss politics, theyre focus isn't nearly so narrow. just the quality of the songs is indictment enough of a rotting system.Intense doesn't begin to describe this music, it conjures up what it must've actually feel like to be stuck in some squalid urban hellhole, the walls closing in around you with a needle stuck in your arms & no paycheck.The decidecly simple lyrics aren't even a weakness as fas as i can tell; with the pulsing electronics in the background, swelling and swelling to a fever pitch while Vega screeches and hollers, barely containing himself from bursting at the seams, the simple declarations like 'america america/is killing its youth' take on a definitive quality, summing up an age of political turmoil & culture shock.Wow.Nightmare musicive realy heard material so unremittingly dark and troubling.We need more of it these days.

This song epitomizes American teen angst with a retro-vibe to it. I remember reading a review of this album with the reviewer slamming Suicide for making un-warranted political assertions. Lyrics like "America's killin' its youth" isn't political, nor was it meant to be. I doubt it was meant to be a critique of America so much as it was empathy for the trapped feeling of growing up in a culture where the only way out appears to be rebellion as epitomized by being a biker or part of a biker gang. Compare with The Jesus & Mary Chain's "The Living End," another great song.

yeah this band is pretty amazing, and I only recently got into them, but to me they are up there with the velvet underground as one of the great American bands. Speaking of the velvet underground, does this songs music remind you of European son at all? like the guitar riff at the beginning of European son is similar to the main riff of this jam

Exactly one week ago, at the Academy Awards, Best Actress winner Frances McDormand put the phrase "inclusion rider" into general circulation - and Matthew McWilliams, a first-day Founding Member of The Mark Steyn Club, wrote to propose one of those all-star medleys the Oscars used to do so well:

Well, as always happens when anybody mentions that last song, I find myself singing it non-stop for the next 72 hours - in this case, in its strangely beguiling "Inclusion Riders in the Sky" iteration. It's extremely catchy for a song with no consistent title: "Ghost Riders in the Sky"? "(Ghost) Riders in the Sky"? "Riders in the Sky"? "Riders in the Sky (A Cowboy Legend)"? Or maybe you prefer 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 seventy years ago, and shortly thereafter 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, the DNA 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. On 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:

A ghost herd in the sky? Where did that come from? From a guy called Stan Jones - and it was, as they say on the TV movies, based on a true story. Stan was born in 1914 near Douglas, in southeastern Arizona, and by the age of 12 was working at the D Hill Ranch. "I'd been sent out to do a chore," he recalled, "so I saddled up my horse and took off. After I'd finished my work, it was beginning to blow up a storm, and, not having my poncho along, I decided to take an old path up over the mountain, which was between me and the ranch house. I was hoping to beat the rain, 'course. Well, right up on top of the ridge, I met an old, old cowpuncher, sort of a weird old fellow."

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 melody in the world. In fact, it's such a generic country tune that there are all manner of other country songs - Dolly Parton's "Bargain Store", for one - that I start out singing only to morph en route into "Ghost Riders". Still, 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 so what? Jones was a park ranger. Fat lot of good it does you turning out hit songs in the middle of Death Valley. Stan and his wife Olive lived in a house with no TV, radio, or even telephone, so he wasn't exactly hip to the latest trends in pop music: Just making contact with the rest of the world involved a long dusty pick-up ride.

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. 2351a5e196