Biography
Stanley Davis Jones rarely receives mention in standard country music histories, yet enthusiasts of cowboy tunes, Western film scores, and the catalogs of Gene Autry, the Sons of the Pioneers, Vaughn Monroe, and Johnny Cash readily recognize him as the writer of “(Ghost) Riders in the Sky.” Born in Arizona in 1915, he worked as a forest ranger while nurturing a modest musical bent that led him to sing, strum guitar, and compose occasional pieces during off-hours. In autumn 1948, Columbia Pictures assigned him technical-adviser duties on The Walking Hills, a Randolph Scott–Ella Raines vehicle directed by John Sturges, during location filming in Death Valley; when production slowed, Jones performed several originals for Scott and the crew, who urged him to pitch the material to Hollywood studios.
Following that counsel, he submitted a batch of songs, among them “(Ghost) Riders in the Sky,” whose melody drew on “When Johnny Comes Marching Home,” yet publishers declined them—one dismissing the piece as excessively dirge-like and funereal. Jones cut the number himself along with a handful of others; composer Eden Ahbez, famed for “Nature Boy,” encountered the recording and brought it to Burl Ives, who waxed it for Columbia Records. Bing Crosby, Gene Autry, Vaughn Monroe, and scores of additional artists soon followed suit, launching Jones into a sustained Hollywood songwriting career.
By 1950 he was supplying material for John Ford’s Rio Grande, starring John Wayne and Maureen O’Hara; actors Harry Carey Jr. and Ben Johnson had personally introduced Jones and his compositions to the director on set, and the Sons of the Pioneers performed the resulting numbers. Walt Disney Studios simultaneously took notice, signing him as both composer and recording artist. Individual songs and album projects ensued, beginning with the 1961 release Ghost Riders in the Sky, followed a year later by Creakin’ Leather and the concept album This Was the West.
Additional screen credits encompass the Warner Bros. series Cheyenne’s main theme, fashioned with veteran scorer William Lava—many viewers still regard that melody as the program’s strongest element—and the title theme for Ford’s landmark Western The Searchers. Decades after World War II, “(Ghost) Riders in the Sky” endures as one of the era’s most frequently revived and re-recorded country-and-western compositions.
Following that counsel, he submitted a batch of songs, among them “(Ghost) Riders in the Sky,” whose melody drew on “When Johnny Comes Marching Home,” yet publishers declined them—one dismissing the piece as excessively dirge-like and funereal. Jones cut the number himself along with a handful of others; composer Eden Ahbez, famed for “Nature Boy,” encountered the recording and brought it to Burl Ives, who waxed it for Columbia Records. Bing Crosby, Gene Autry, Vaughn Monroe, and scores of additional artists soon followed suit, launching Jones into a sustained Hollywood songwriting career.
By 1950 he was supplying material for John Ford’s Rio Grande, starring John Wayne and Maureen O’Hara; actors Harry Carey Jr. and Ben Johnson had personally introduced Jones and his compositions to the director on set, and the Sons of the Pioneers performed the resulting numbers. Walt Disney Studios simultaneously took notice, signing him as both composer and recording artist. Individual songs and album projects ensued, beginning with the 1961 release Ghost Riders in the Sky, followed a year later by Creakin’ Leather and the concept album This Was the West.
Additional screen credits encompass the Warner Bros. series Cheyenne’s main theme, fashioned with veteran scorer William Lava—many viewers still regard that melody as the program’s strongest element—and the title theme for Ford’s landmark Western The Searchers. Decades after World War II, “(Ghost) Riders in the Sky” endures as one of the era’s most frequently revived and re-recorded country-and-western compositions.
Albums
