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Bill Justis
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William Everett Justis Jr. (October 14, 1926 – July 16, 1982)[1] was an American pioneer rock and roll musician, composer, and musical arranger, best known for his 1957 Grammy Hall of Fame song, "Raunchy".[2] As a songwriter, he was also often credited as Bill Everette.
Key Information
Biography
[edit]Justis was born in Birmingham, Alabama, United States,[3] but grew up in Memphis, Tennessee and studied music at Christian Brothers College (high school department) and Tulane University in New Orleans, Louisiana. A trumpet and saxophone player, while in university he performed with local jazz and dance bands. He returned home to Memphis in 1951 and was eventually taken on by Sam Phillips at Sun Records where he recorded music for himself as well as arranged the music for Sun artists such as Jerry Lee Lewis, Roy Orbison, Johnny Cash, and Charlie Rich, the latter of which he is credited with discovering.[3] Released in September 1957, his song "Raunchy" was the first rock and roll instrumental hit, and its popularity was such that it reached No. 2 on the American Billboard chart by three different artists, Ernie Freeman for Imperial, and Billy Vaughn on Dot.[3] It also reached No. 1 for three weeks in Canada[4] and reached No. 11 in the UK Singles Chart.[5] It sold over one million copies, and was awarded a gold disc.[6] Justis had one other significant hit record, "College Man", that went to U.S. No. 42, and No. 11 in Canada[7]
In 1961, Justis moved to Nashville where he became a successful record producer and music arranger for both pop and country music performers at Monument and Mercury Records and other labels.[3] He played saxophone on the soundtrack for the 1964 Elvis Presley film, Kissin' Cousins and that same year took over as manager of the singing group, Ronny & the Daytonas.
Justis had a number one hit in Australia in 1963 with "Tamoure".[8] The song reached No. 19 in Canada[9] but did not chart on the Billboard Hot 100. In the early 1960s he produced a successful series of instrumental albums on the Smash label (Alley Cat/Green Onions, and Telstar/The Lonely Bull). Justis was credited by Ray Stevens in the TNN special, The Life and Times of Ray Stevens, for giving him the phrase "Gitarzan", which became a million selling hit for Stevens in 1969.
Justis also wrote the scores for several films including Dear Dead Delilah (1972), Smokey and the Bandit (1977), Hooper (1978), The Villain (1979), and Island Claws (1980).
Justis died of cancer in Nashville in 1982, at the age of 55, and was interred in the Memorial Park Cemetery in Memphis.
References
[edit]- ^ "William E. Justis, Jr (1926-1982)". Findagrave.com. Retrieved October 8, 2019.
- ^ Tobler, John (1992). NME Rock 'N' Roll Years (1st ed.). London: Reed International Books Ltd. p. 47. CN 5585.
- ^ a b c d Colin Larkin, ed. (1997). The Virgin Encyclopedia of Popular Music (Concise ed.). Virgin Books. p. 693. ISBN 1-85227-745-9.
- ^ "CHUM Hit Parade - December 2, 1957". Chumtribute.com.
- ^ Roberts, David (2006). British Hit Singles & Albums (19th ed.). London: Guinness World Records Limited. p. 294. ISBN 1-904994-10-5.
- ^ Murrells, Joseph (1978). The Book of Golden Discs (2nd ed.). London: Barrie and Jenkins Ltd. pp. 92–93. ISBN 0-214-20512-6.
- ^ "CHUM Hit Parade - March 31, 1958". Chumtribute.com.
- ^ [1] Archived December 15, 2006, at the Wayback Machine
- ^ "CHUM Hit Parade - May 27, 1963". Chumtribute.com.
External links
[edit]- Allmusic biography
- Bill Justis at IMDb
- Bill Justis discography at Discogs
Bill Justis
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Early Life
Childhood and Family Background
William Everett Justis Jr. was born on October 14, 1926, in Birmingham, Alabama. His family relocated to Memphis, Tennessee, soon after his birth, where he spent his childhood and formative years in the heart of the American South. This move immersed Justis in a region renowned for its burgeoning musical traditions, laying the groundwork for his lifelong engagement with music. Growing up in Memphis, Justis was surrounded by the vibrant sounds of the local scene, which featured a mix of jazz, blues, and emerging country influences that characterized the area's cultural landscape during the mid-20th century. The city's role as a hub for musical innovation provided an informal backdrop for his early fascination with the arts, fostering a natural curiosity about performance and composition. Justis's upbringing in this environment transitioned into more structured musical pursuits during his high school years at Christian Brothers College in Memphis.Education and Initial Musical Training
Justis attended Christian Brothers College high school in Memphis, Tennessee, where he received foundational training in music.https://history-of-rock.com/bill_justis.htm Encouraged by his mother, a concert pianist, he began developing his musical interests during this period.https://tims.blackcat.nl/messages/bill_justis.htm He later enrolled at Tulane University in New Orleans, Louisiana, majoring in both English and music.https://www.spaceagepop.com/justis.htm During his college years, Justis trained on the trumpet, building proficiency through structured musical education.https://history-of-rock.com/bill_justis.htm As a student, Justis participated in local jazz and dance bands, performing on trumpet and refining his arrangement abilities in small ensembles.https://history-of-rock.com/bill_justis.htm These experiences provided practical application of his academic training, bridging theoretical knowledge with performance skills. He later took up the saxophone around 1955.[4]Musical Career
Early Professional Work and Sun Records
After graduating from Tulane University, where he had honed his saxophone skills through performances with local jazz and dance bands, Bill Justis returned to his hometown of Memphis in 1954. There, he immersed himself in the local music scene, joining various bands as a saxophonist and arranger, including early session work at Sun Studios backing local artists.[1][5] In the mid-1950s, specifically by 1957, Justis was hired by Sun Records founder Sam Phillips to serve as an arranger and Artists and Repertoire (A&R) man, a role that positioned him as a key behind-the-scenes figure in the label's burgeoning rock and roll sound. As musical director, he auditioned talent and songs, selecting original works from Memphis artists amid a high volume of submissions, with only about one in 100 auditionees and one in 400 songs advancing to recording.[1][5][6] Justis's arrangements contributed significantly to sessions for Sun's prominent artists, including Jerry Lee Lewis, Roy Orbison, and Johnny Cash, helping shape their raw, energetic recordings during the label's golden era. He played a pivotal role in discovering pianist and singer Charlie Rich by listening to a demo tape submitted by Rich's wife and subsequently hiring him as a session musician in 1958. Additionally, Justis produced early instrumental tracks and participated in session work at Sun Studios, leveraging his multi-instrumental expertise on saxophone and trumpet to support the label's innovative output.[1][6][7]Breakthrough Hit "Raunchy"
"Raunchy" is an instrumental track co-written by Bill Justis and Sidney Manker, featuring Justis on alto saxophone in a pioneering rock and roll style characterized by its energetic, riff-driven arrangement. The song was recorded on June 5, 1957, at Sun Studios in Memphis, Tennessee, under the production of Sun Records founder Sam Phillips. Justis, serving as the label's house arranger, drew on his session experience to craft the piece, which blended saxophone leads with a twangy guitar figure played by Manker, marking an early fusion of jazz improvisation and rock energy.[8] Released in November 1957 on Phillips International, a subsidiary of Sun Records, "Raunchy" quickly gained traction across multiple charts. It peaked at No. 2 on the Billboard Hot 100, topped the R&B charts for several weeks, reached No. 11 on the UK Singles Chart, and held the No. 1 position on the Canadian charts for three weeks. The track's crossover success highlighted the growing appetite for instrumental rock amid the vocal-dominated rock and roll scene of the late 1950s.[9][10] The single's commercial performance was remarkable, selling over one million copies and earning a gold disc certification, a rare achievement for an instrumental release at the time. This milestone underscored Justis's emergence as a solo artist beyond his arranging roles. Notable cover versions soon followed, including interpretations by Ernie Freeman and others, which helped amplify the song's reach.[11][12] "Raunchy" played a pivotal role in popularizing instrumental rock, inspiring a wave of similar saxophone- and guitar-led tracks that expanded the genre's instrumental possibilities. Often cited as one of the first true rock and roll instrumentals to achieve mainstream success, it influenced subsequent hits and demonstrated the commercial viability of wordless rock compositions.[13][14]Production and Arrangement Roles
Following the success of his instrumental hit "Raunchy" at Sun Records, Bill Justis transitioned into production and arrangement work, drawing on his early experience in Memphis as a foundation for his Nashville career. However, disputes with Sun founder Sam Phillips led Justis to leave the label around 1959 and briefly found his own Play Me Records, which released a few singles including "Teensville" before folding.[4] In 1961, he relocated to Nashville, Tennessee, where he took on roles as a producer and arranger for both pop and country artists at Monument Records and Mercury Records.[15][16] Justis's arrangements emphasized versatile, hit-oriented sounds that bridged genres, contributing to recordings by various pop and country performers during the 1960s. A notable example was his management of the surf rock group Ronny & the Daytonas, whom he helped form in 1964 through his co-founding of Buckhorn Music; he produced their debut single "G.T.O.," which reached No. 4 on the Billboard Hot 100 in 1964.[17][16] In addition to production, Justis continued performing as a session musician, providing saxophone on the soundtrack for Elvis Presley's 1964 film Kissin' Cousins, where he played alongside Boots Randolph on tracks like the title song.[18] Justis also made a key creative contribution to Ray Stevens's novelty hit "Gitarzan," supplying the title phrase and concept that inspired the 1969 single, which peaked at No. 7 on the Billboard Hot 100; he received co-writing credit under the pseudonym Bill Everette.[1]Film Scores and Later Contributions
In the 1970s, Bill Justis expanded his musical career into film scoring, composing original scores for several Hollywood productions. His work began with the horror film Dear Dead Delilah (1972), directed by John Farris, where he provided the atmospheric soundtrack blending suspenseful orchestration with rock influences. Justis continued this trajectory with the action-comedy Smokey and the Bandit (1977), contributing energetic instrumental cues that complemented the film's high-speed chases and Southern rock vibe, directed by Hal Needham. He followed with scores for Hooper (1978), another Needham-directed stuntman comedy starring Burt Reynolds, emphasizing rhythmic, upbeat themes to match the film's adrenaline-fueled antics; The Villain (1979), a Looney Tunes-style Western parody where Justis's whimsical arrangements heightened the slapstick humor; and Island Claws (1980), a creature feature that featured his tense, island-inspired motifs to underscore the thriller elements. During the early 1960s, amid his Nashville-based production work, Justis released successful instrumental albums on Smash Records that showcased his arranging prowess through covers of contemporary hits. Notable among these was Alley Cat / Green Onions (Bill Justis Plays 12 Big Instrumental Hits) (1962), featuring saxophone-led renditions of popular tunes like Bent Fabric's "Alley Cat" and Booker T. & the M.G.'s "Green Onions," which highlighted his ability to blend jazz, rock, and pop elements.[19] Another key release, Telstar / The Lonely Bull (1963), included instrumental versions of The Tornados' "Telstar" and Herb Alpert's "The Lonely Bull," capitalizing on the space-age pop trend with vibrant, orchestral arrangements.[19] Justis achieved additional chart success with singles that extended his instrumental style beyond "Raunchy." His 1958 follow-up "College Man" reached No. 42 on the U.S. Billboard Hot 100 and No. 11 on the Canadian charts, featuring a playful, march-like rhythm with vocal chants critiquing college life.[20][3] In 1963, "Tamoure," an upbeat adaptation of a Tahitian dance tune, topped the Australian charts for four weeks and peaked at No. 19 in Canada, though it only bubbled under at No. 101 in the U.S., demonstrating his international appeal through exotic, percussive instrumentation.[21][22] Building on his established role as a producer and arranger in Nashville since 1961, Justis shifted focus in the late 1970s toward Hollywood-based film projects, collaborating with directors like Hal Needham on multiple action-comedies that aligned with his rock-oriented sound.[3] This diversification marked a later phase of his career, leveraging his Sun Records experience into visual media contributions until his death in 1982.Personal Life and Death
Family and Personal Relationships
Justis maintained a private personal life, with scant public records detailing his marriages or any children. He was the son of William Everett Justis and Willie Sue Justis.[23] Raised in Memphis, Tennessee, after his family's relocation from Birmingham, Alabama, Justis developed foundational interests there before attending Tulane University in New Orleans, where he studied English and music.[6] His academic pursuits in English reflect a documented interest in literature alongside his musical training. In 1961, Justis established residence in Nashville, Tennessee, a move that anchored him in the city for the rest of his life.[24]Health Issues and Passing
In the early 1980s, Bill Justis was diagnosed with cancer, initiating a challenging battle with the disease that marked his final years.[3] Despite the advancing illness, he maintained his professional commitments in Nashville, where he had long resided, continuing to arrange and produce music until shortly before his death.[25] His condition ultimately limited his ability to undertake extensive new work, though he contributed to select projects amid declining health.[26] Justis passed away from cancer on July 15, 1982, in Nashville, Tennessee, at the age of 55.[2] He was buried at Memorial Park Cemetery in Memphis, Tennessee.[23]Legacy
Influence on Rock and Roll
Bill Justis played a pivotal role as a bridge between jazz, rhythm and blues, and early rock and roll through his innovative saxophone-driven instrumentals, drawing on his classical and jazz training to infuse rock with sophisticated arrangements and tonal textures. His work at Sun Records exemplified this fusion, where he blended the improvisational flair of jazz with the raw energy of R&B and the emerging drive of rock, creating a hybrid sound that expanded the genre's instrumental possibilities.[27][28][8] Justis's innovations at Sun Records, particularly as musical director, inspired subsequent generations of rock arrangers and producers by demonstrating how structured orchestration could enhance rock's visceral appeal without relying on vocals. His arrangements emphasized dynamic saxophone lines paired with twangy guitar riffs, setting a template for instrumental rock that influenced studio techniques and genre-blending in the late 1950s. This approach not only elevated Sun's output but also provided a blueprint for producers seeking to merge diverse musical influences into cohesive rock recordings.[27][29][8] A key aspect of Justis's legacy lies in his contributions to the Memphis sound, which fused blues, country, and R&B elements into a distinctive rock framework that propelled 1950s pioneers like Carl Perkins and Jerry Lee Lewis. By arranging and performing on sessions at Sun Studio, he helped solidify Memphis as a rock epicenter, where his saxophone work added emotional depth and rhythmic propulsion to the genre's foundational tracks. This sound's ripple effects extended to broader rock development, influencing the city's later studios like Stax Records.[28][29][27] Justis is widely recognized as an unsung architect of rock's instrumental side, with his pioneering efforts—exemplified briefly by the 1957 hit "Raunchy"—paving the way for twangy guitar-sax ensembles that shaped artists such as Duane Eddy and The Ventures, as well as even figures like George Harrison in his early auditions. His understated yet profound impact underscores the instrumental dimension's importance in rock's evolution, often overshadowed by vocal-centric narratives but essential to the genre's sonic diversity.[27][29][8]Awards and Posthumous Recognition
In 1957, Justis's instrumental "Raunchy" achieved significant commercial success, selling over one million copies and earning him a gold disc certification.[1] Following his death in 1982, "Raunchy" received further acclaim when it was inducted into the Grammy Hall of Fame in 1998, recognizing its enduring impact as one of the first major rock and roll instrumentals.[30] Justis's role at Sun Records has been posthumously highlighted in rock history literature and at Memphis heritage sites, including Sun Studio, designated a National Historic Landmark in 2003 for its foundational contributions to American music.[31] His work is also prominently featured in official Sun Records retrospectives, underscoring his arrangements and productions as integral to the label's pioneering sound.[32]Discography
Notable Singles
Bill Justis's most successful single, "Raunchy," released in 1957 on Phillips International (a subsidiary of Sun Records), featured his prominent alto saxophone riff over a rock and roll backing and became a defining instrumental of the era. The track peaked at No. 2 on the US Billboard Hot 100, No. 1 on the CHUM Chart in Canada for three weeks, and No. 11 on the UK Singles Chart.[20][33][34] It sold over one million copies worldwide and earned a gold disc certification.[35] His follow-up single, "College Man," issued in March 1958 on Phillips International, adopted a similar upbeat instrumental style but achieved more modest success, reaching No. 42 on the US Billboard Hot 100 and No. 11 on Canada's CHUM Chart.[20][21] In 1963, Justis released "Tamoure" on Smash Records, an exotic dance-inspired instrumental co-written with Margie Singleton and others, which topped the Australian charts and reached No. 19 in Canada, though it only bubbled under the US Billboard Hot 100 at No. 101.[1][20][36] Justis recorded several other minor singles during his Sun era on Phillips International, including "Wild Rice" b/w "Scroungie" and "Cattywampus" b/w "Summer Holiday" in 1958 and "Flea Circus" b/w "Cloud Nine" in 1959, none of which charted significantly but showcased his continued exploration of lively rock instrumentals.[37][38] Later labels like Smash and Play Me issued additional non-charting singles in the early 1960s, such as "Teensville" in 1959, reflecting his shift toward broader pop arrangements.[39]Studio Albums
Bill Justis's studio album output primarily consisted of instrumental recordings, blending rock and roll origins with lounge, space-age pop, and exotica styles. His early work featured original compositions rooted in the Sun Records sound, while later releases under Smash Records emphasized orchestral arrangements of contemporary hits, often with his conducting his own ensemble for a polished, easy-listening appeal. These albums highlighted Justis's versatility as an arranger, incorporating saxophone leads, big band elements, and thematic cohesion without relying heavily on vocals. His debut full-length release, Cloud 9 (Phillips International, 1959), showcased original rock instrumentals like "Raunchy," "College Man," and "Flea Circus," capturing the energetic, twangy essence of late-1950s Memphis recording sessions.[40] This album laid the foundation for Justis's career, blending country-inflected rock with playful, uptempo arrangements.[38] Transitioning to Smash Records in 1962, Justis produced a prolific series of cover-focused albums that interpreted pop and jazz standards in a lounge-oriented style, often evoking futuristic or tropical moods. Alley Cat/Green Onions (Smash, 1963) featured instrumental renditions of hits such as "Alley Cat," "Green Onions" by Booker T. & the M.G.'s, "Take Five" by Dave Brubeck, and "The Stripper," with Justis's saxophone prominent amid swinging brass and rhythm sections.[40] Similarly, Telstar/The Lonely Bull (Smash, 1963) embraced space-age pop themes through tracks like "Telstar" by The Tornados, "The Lonely Bull" by Herb Alpert, "Desafinado," and a revisit of "Raunchy," utilizing electronic effects and expansive orchestration to evoke cosmic and Latin influences.[38] Other notable Smash releases included Bill Justis Plays 12 Smash Instrumental Hits (1963), with lounge takes on "Fly Me to the Moon," "Java," and "Walk Right In"; Tamoure/Pipeline (1963), highlighting exotica in "Watermelon Man," "Pipeline," and "El Watusi"; 12 Other Instrumental Hits (1964), covering "The Pink Panther Theme," "Charade," and "Honky Tonk"; More Instrumental Hits By Bill Justis (1965), featuring "Tequila," "Exodus," and "Quiet Village"; and A Taste of Honey/The In Crowd (1966), including "Yakety Sax," "Night Train," and "Walk, Don't Run." These albums prioritized catchy, danceable interpretations over innovation, often drawing from chart-topping singles for broad commercial appeal.[40][6] During his Nashville tenure, Justis explored more conceptual themes. The Eternal Sea (Monument, 1967) presented a cohesive oceanic suite with instrumental versions of "Ebb Tide," "Beyond the Sea," "Sail to Bombay," and "Boy on a Dolphin," arranged for strings and woodwinds to convey dreamy, nautical atmospheres.[38] Returning to his roots, the Sun Records album Raunchy (Sun International, 1969) compiled early originals like "College Man," "Wild Rice," "Cattywampus," and "Cloud 9," reissued with a focus on his pioneering rock instrumentals from the Phillips era.[40]| Album Title | Release Year | Label | Key Themes/Notes |
|---|---|---|---|
| Cloud 9 | 1959 | Phillips International | Original rock instrumentals; energetic Memphis sound with saxophone-driven tracks like "Raunchy" and "Flea Circus." |
| Alley Cat/Green Onions | 1963 | Smash | Lounge covers of pop hits; swinging arrangements of "Green Onions," "Take Five," and "Alley Cat." |
| Telstar/The Lonely Bull | 1963 | Smash | Space-age pop and exotica; futuristic takes on "Telstar," "The Lonely Bull," and "Desafinado." |
| The Eternal Sea | 1967 | Monument | Nautical-themed lounge; orchestral evocations of sea motifs in "Ebb Tide" and "Beyond the Sea." |
| Raunchy | 1969 | Sun International | Compilation of early originals; rock and roll revival with "College Man" and "Cattywampus." |