Saturday, 27 September 2025

Tom Dooley

 "Tom Dooley" (Roud 4192) is a traditional North Carolina folk song based on the 1866 murder of a woman named Laura Foster in Wilkes County, North Carolina by Tom Dula (whose name in the local dialect was pronounced "Dooley"). One of the more famous murder ballads, a popular hit version recorded in 1958 by The Kingston Trio reached No. 1 on the Billboard Hot 100 singles chart, was in the top 10 on the Billboard R&B chart, and appeared in the Cashbox Country Music Top 20.

The song was selected as one of the American Songs of the Century by the Recording Industry Association of America (RIAA), the National Endowment for the Arts, and Scholastic Inc. Members of the Western Writers of America chose it as one of the Top 100 Western songs of all time.

"Tom Dooley" fits within the wider genre of Appalachian murder ballads. A local poet named Thomas Land wrote a song about the tragedy, titled "Tom Dooley", shortly after Dula was hanged. In the documentary Appalachian Journey (1991), folklorist Alan Lomax describes Frank Proffitt as the "original source" for the song, which was misleading in that he did not write it. There are several earlier known recordings, notably one that G. B. Grayson and Henry Whitter made in 1929, approximately 10 years before Proffitt cut his own recording.

The Kingston Trio took their version from Frank Warner's singing. Warner had learned the song from Proffitt, who learned it from his aunt, Nancy Prather, whose parents had known both Laura Foster and Tom Dula.[5] In a 1967 interview, Nick Reynolds of the Kingston Trio recounted first hearing the song from another performer and then being criticized and sued for taking credit for the song. Supported by the testimony of Anne and Frank Warner, Frank Proffitt was eventually acknowledged by the courts as the preserver of the original version of the song, and the Kingston Trio were ordered to pay royalties to him for their uncredited use of it. 

In 1866, Laura Foster was murdered. Confederate veteran Tom Dula, Foster's lover and the father of her unborn child, was convicted of her murder and hanged May 1, 1868. Foster had been stabbed to death with a large knife, and the brutality of the attack partly accounted for the widespread publicity the murder and subsequent trial received.

Anne Foster Melton, Laura's cousin, had been Dula's lover from the time he was twelve and until he left for the Civil War – even after Anne married an older man named James Melton. When Dula returned, he became a lover again to Anne, then Laura, then their cousin Pauline Foster. Pauline's comments led to the discovery of Laura's body and accusations against both Tom and Anne. Anne was subsequently acquitted in a separate trial, based on Dula's word that she had nothing to do with the killing. Dula's enigmatic statement on the gallows that he had not harmed Foster but still deserved his punishment led to press speculation that Melton was the actual killer and that Dula simply covered for her. (Melton, who had once expressed jealousy of Dula's purported plans to marry Foster, died either in a carting accident or by going insane a few years after the homicide, depending on the version.)

Thanks to the efforts of newspapers such as The New York Times and to the fact that former North Carolina governor Zebulon Vance represented Dula pro bono, Dula's murder trial and hanging were given widespread national publicity. A local poet, Thomas C. Land, wrote a song titled "Tom Dooley" about Dula's tragedy soon after the hanging. Combined with the widespread publicity the trial received, Land's song further cemented Dula's place in North Carolina legend and is still sung today throughout North Carolina.

A man named "Grayson", mentioned in the song as pivotal in Dula's downfall, has sometimes been characterized as a romantic rival of Dula's or a vengeful sheriff who captured him and presided over his hanging. Some variant lyrics of the song portray Grayson in that light, and the spoken introduction to the Kingston Trio version did the same. Col. James Grayson was actually a Tennessee politician who had hired Dula on his farm when the young man fled North Carolina under suspicion and was using a false name. Grayson did help North Carolinians capture Dula and was involved in returning him to North Carolina but otherwise played no role in the case.

Dula was tried in Statesville, North Carolina because it was believed he could not get a fair trial in Wilkes County. He was given a new trial on appeal but he was again convicted and hanged on May 1, 1868. On the gallows, Dula reportedly stated, "Gentlemen, do you see this hand? I didn't harm a hair on the girl's head."

Dula's last name was pronounced "Dooley", leading to some confusion in spelling over the years. The pronunciation of a final "a" like "y" (or "ee") is an old feature in Appalachian speech, as in the term "Grand Ole Opry". The confusion was compounded by the fact that Dr. Tom Dooley, an American physician known for international humanitarian work, was at the height of his fame in 1958 when the Kingston Trio version became a major hit.

To download the easy alphanotes sheet music, look here. Enjoy!

Lyrics:

This one next tells a story of a lot of different peopleWe would like to have a sing along, this one if you're through with your dinnerIf you're not through just spray along, folks it's alrightEverybody, sing good and clearWe'll be all on air on the Andy Williams show next year
Hang down your head, Tom DooleyHang down your head and cryHang down your head, Tom DooleyPoor boy, you're bound to die
I met her on the mountainThere I took her lifeMet her on the mountainStabbed her with my knife
Hang down your head, Tom DooleyHang down your head and cry (poor boy)Hang down your head, Tom DooleyPoor boy, you're bound to die
This time tomorrowReckon where I'll beHadn't been for GraysonI'd-a been in TennesseeWell now, boy
Hang down your head, Tom DooleyHang down your head and cry (oh, boy)Hang down your head, Tom DooleyPoor boy, you're bound to dieWell now, boy
Hang down your head, Tom DooleyHang down your head and cry (poor boy)Hang down your head, Tom DooleyPoor boy, you're bound to die
This time tomorrowReckon where I'll beDown in some lonesome valleyHangin' from a white oak tree
Hang down your head, Tom DooleyHang down your head and cry (poor boy)Hang down your head, Tom DooleyPoor boy, you're bound to dieWell now, boy
Hang down your head, Tom DooleyHang down your head and cry (poor boy)Hang down your head, Tom DooleyPoor boy, you're bound to die
Poor boy, you're bound to diePoor boy, you're bound to diePoor boy, you're bound to die











Saturday, 20 September 2025

Goodnight Irene

 "Goodnight, Irene" or "Irene, Goodnight," (Roud 11681) is a 20th-century American folk standard, written in 3/4 time, first recorded by American blues musician Huddie 'Lead Belly' Ledbetter in 1933. A version recorded by The Weavers was a #1 hit in 1950. Pete Seeger of The Weavers has characterized it as Lead Belly's "theme song."

The lyrics tell of the singer's troubled past with his love, Irene, and express his sadness and frustration. Several verses refer explicitly to suicidal fantasies, most famously in the line "sometimes I take a great notion to jump in the river and drown", which was the inspiration for the title of the 1964 Ken Kesey novel Sometimes a Great Notion and a song of the same name from John Mellencamp's 1989 album, Big Daddy, itself strongly informed by traditional American folk music.

In 1886, Gussie Lord Davis published a song called "Irene, Goodnight". The lyrics of the song have some similarities to "Goodnight, Irene" to suggest that Huddie Ledbetter's song was based on Davis' lyrics. There is also a degree of resemblance in the music despite some differences, such as their time signatures, to indicate that the two songs are related. According to Ledbetter, he first heard the core of the song, the refrain, and a couple of verses from his Uncle Terrill. Another uncle of Ledbetter, Bob Ledbetter, who also recorded a nearly identical version of the song, said that he also learned the song from Terrill. Family members of Huddie Ledbetter indicate that he may have sung the song as early as 1908 as a lullaby to his niece, Irene Campbell. Ledbetter eventually extended the song to six verses.

John Lomax recorded a version of Huddie Ledbetter's song "Irene" in 1933, on a prison visit to Angola (Louisiana State Penitentiary). These recordings for the Library of Congress included three takes of "Irene". The first version recorded in 1933 had two verses and two choruses, the second version from 1934 had four verses and four refrains, while the third version from 1936 had six verses and six refrains, including an extended spoken part.

As part of the Federal Art Project that began in 1935, the song was published in 1936, in Lomax's version, as "Goodnight, Irene", a joint Ledbetter-Lomax composition. It has a straightforward verse–chorus form, but is in waltz time. It is a three-chord song, characterized as a "folk ballad" with a three-phrase melody, with provenance in 19th-century popular music transmitted by oral tradition.

"Irene" has been styled by Neil V. Rosenberg a "folk recomposition" of the 1886 song "Irene Good Night" by Gussie L. DavisHank Williams connected the melody to the English ballad tradition, via a mountain song he knew as "Pere Ellen". Lead Belly's account was of performing "Irene" by 1908, in a way he learned from his uncles Ter(r)ell and Bob. By the 1930s, he had made the song his own, modifying the rhythm and rewriting most of the verses. John and Alan Lomax made a field recording of Bob Ledbetter's version of the song.

Lead Belly continued performing the song during his prison terms. An extended version of the song that includes narratives connecting the verses appears in the 1936 songbook Negro Folk Songs as Sung by Lead Belly. In 1941, Woody Guthrie used the melody for his New Deal anthem "Roll On, Columbia, Roll On".

"Irene" remained a staple of Lead Belly's performances throughout the 1930s and 1940s. In 2002, Lead Belly's Library of Congress recording received a Grammy Hall of Fame Award.

In 1950, one year after Lead Belly's death, the American folk band the Weavers recorded a version of "Goodnight, Irene". It was a B-side track on the Decca label, produced by Milt Gabler. The arranger was Gordon Jenkins. It was a national hit, as was the A-side, a version of "Tzena, Tzena, Tzena"; sales were recorded as 2 million copies.

The single first reached the Billboard Best Sellers in Stores chart on June 30, 1950 and lasted 25 weeks on the chart, peaking at #1 for 13 weeks. Although generally faithful, the Weavers chose to omit some of Lead Belly's lyrics, leading Time magazine to label it a "dehydrated" and "prettied up" version of the original. The Weavers' lyrics are the ones now generally used, and Billboard ranked this version as the No. 1 song of 1950. This song closed the Weavers historic final concert on November 28, 1980.

After the Weavers' success, many other artists released versions of the song, some of which were commercially successful in several genres. Frank Sinatra's cover, released a month after the Weavers', lasted nine weeks on the Billboard magazine Best Seller chart on July 10, peaking at #5. Later that same year, Ernest Tubb and Red Foley had a number 1 country music record with the song, and the Alexander BrothersDennis Day and Jo Stafford released versions which made the Best Seller chart, peaking at number 26, number 17 and number 9 respectively. Moon Mullican had a number 5 country hit with it in 1950, and a version by Paul Gayten and his Orchestra reached number 6 on the Billboard R&B chart in the same year.

On the Cash Box chart, where all available versions were combined in the standings, the song reached a peak position of number 1 on September 2, 1950, and lasted at number 1 for 13 weeks.

Raffi sang the song on his 1979 children's album The Corner Grocery Store, but with modified lyrics about where different animals sleep.

The song was the basis for the 1950 parody called "Please Say Goodnight to the Guy, Irene" by Ziggy Talent. It also inspired the 1954 "answer" record "Wake Up, Irene" by Hank Thompson, a No. 1 on Billboard's country chart.

Tom Waits's cover was included on Orphans: Brawlers, Bawlers and BastardsKeith Richards covered it on his third solo album, Crosseyed Heart.

"Goodnight Irene" is sung by supporters of English soccer team Bristol Rovers. It was first sung at a fireworks display at the Stadium the night before a home game against Plymouth Argyle in 1950. During the game, the following day, Rovers were winning quite comfortably and the few Argyle supporters present began to leave early prompting a chorus of "Goodnight Argyle" from the Rovers supporters—the tune stuck and "Goodnight Irene" became the club song. The song was sung by Plymouth Argyle supporters for a long time before this and this added to the goading by the Bristol Rovers fans.

In professional wrestling, "Adorable" Adrian Adonis frequently referred to his finishing move—a standard sleeperhold—as "Goodnight, Irene."

In the 2013 videogame BioShock Infinite, the song is heard being sung at the Raffle Fair, in the beginning of the game. It is an early indication of the anachronistic nature of the story, as it is set in the year of 1912.

"If It Had Not Been For Jesus", a Christian gospel sung to the same tune, first recorded in 1930 by Blind Willie Johnson.

To download the easy alphanotes sheet music, look here. Enjoy!














Saturday, 28 June 2025

The Circle Game

 "The Circle Game" is a song by Canadian singer-songwriter Joni Mitchell composed in 1966. One of her most-covered songs, it was originally recorded by Ian & Sylvia in 1967, and then by Buffy Sainte-Marie the same year, and by Tom Rush for his 1968 album of the same name. Mitchell recorded it for her 1970 album Ladies of the Canyon; it also appears on her 1974 live album Miles of Aisles.

The song shares a title with an award-winning collection of poetry from 1964 by fellow Canadian Margaret Atwood. But Mitchell has said that "The Circle Game" was written as a response to the song "Sugar Mountain" by Neil Young, whom she had befriended on the Canadian folk-music circuit in the mid-1960s. Young wrote "Sugar Mountain" in 1964 on his 19th birthday, lamenting the end of his teenage years: "You can't be 20 on Sugar Mountain". "The Circle Game" offers a more hopeful conclusion: "So the years spin by and now the boy is twenty / Though his dreams have lost some grandeur coming true / There'll be new dreams, maybe better dreams and plenty / Before the last revolving year is through."

In a concert at the Paris Theatre in London on October 29, 1970, Mitchell opened her performance of "The Circle Game" with this speech:

In 1965 I was up in Canada, and there was a friend of mine up there who had just left a rock'n'roll band (...) he had just newly turned 21, and that meant he was no longer allowed into his favourite haunt, which was kind of a teeny-bopper club and once you're over 21 you couldn't get back in there anymore; so he was really feeling terrible because his girlfriends and everybody that he wanted to hang out with, his band could still go there, you know, but it's one of the things that drove him to become a folk singer was that he couldn't play in this club anymore. 'Cause he was over the hill. (...) So he wrote this song that was called "Oh to Live on Sugar Mountain" which was a lament for his lost youth. (...) And I thought, God, you know, if we get to 21 and there's nothing after that, that's a pretty bleak future, so I wrote a song for him, and for myself just to give me some hope. It's called "The Circle Game."

Mitchell composed the song in 1966. That year, Mitchell performed songs at a Detroit nightclub where Tom Rush was headlining. Rush asked Mitchell to put some songs on tape for him, and she put "The Circle Game" at the end of the tape. Rush was quoted as saying, "As long as kids grow up, that tune will be relevant."

Before Rush could release the song, it was recorded in 1967 by Ian & Sylvia for their album So Much for Dreaming and by Buffy Sainte-Marie for her album Fire & Fleet & Candlelight. Rush recorded the song as the title track of his 1968 album The Circle Game, which also featured the Mitchell compositions "Tin Angel" and "Urge for Going".

Mitchell recorded the song for her 1970 album Ladies of the Canyon, with backing vocals by Crosby, Stills & Nash credited under the pseudonym "The Lookout Mountain United Downstairs Choir" also including Leni Ashmore of the early 1960s all girl folk band The Womenfolk on the song Circle Game.

When Buffy Sainte-Marie recorded "The Circle Game" in 1967 for her album Fire & Fleet & Candlelight, it was also released as a single (with "Until It's Time for You to Go" as the B-side) but did not chart. Sainte-Marie's version was later featured on the soundtrack to the 1970 film The Strawberry Statement and was reissued as a single. The 1970 reissue reached No. 109 on the Billboard singles chart.

Sainte-Marie's version of "The Circle Game" is featured in Quentin Tarantino's 2019 film Once Upon a Time in Hollywood, in the scene where Sharon Tate (Margot Robbie) is driving on an L.A. freeway. It also appears on the film's soundtrack

Mitchell's song has been covered by many other artists over the decades, including George Hamilton IV (1968), Harry Belafonte (1971), Agnes Chan (1971), Ian McCulloch (1989), and Tori Amos (2005). It was featured in the opening and closing credits as well as one of the final scenes of the 1991 film Married to It

The song inspired David Clayton-Thomas when he was writing Blood, Sweat & Tears' 1969 hit "Spinning Wheel". The line "The painted ponies go up and down" gave him the idea to write "Ride a painted pony let the spinnin' wheel spin".

To download the easy alphanotes sheet music, look  here. Enjoy!

Lyrics:

Yesterday a child came out to wonder
Caught a dragonfly inside a jar
Fearful when the sky was full of thunder
And tearful at the falling of a star

Then the child moved ten times round the seasons
Skated over ten clear frozen streams
Words like when you're older must appease him
And promises of someday make his dreams

And the seasons they go round and round
And the painted ponies go up and down
We're captive on the carousel of time
We can't return we can only look
Behind from where we came
And go round and round and round
In the circle game

Sixteen springs and sixteen summers gone now
Cartwheels turn to car wheels thru the town
And they tell him take your time it won't be long now
Till you drag your feet to slow the circles down

And the seasons they go round and round
And the painted ponies go up and down
We're captive on the carousel of time
We can't return we can only look
Behind from where we came
And go round and round and round
In the circle game

So the years spin by and now the boy is twenty
Though his dreams have lost some grandeur coming true
There'll be new dreams maybe better dreams and plenty
Before the last revolving year is through

And the seasons they go round and round
And the painted ponies go up and down
We're captive on the carousel of time
We can't return we can only look
Behind from where we came
And go round and round and round
In the circle game











Saturday, 21 June 2025

The Last Thing on My Mind

 "The Last Thing on My Mind" is a song written by American musician and singer-songwriter Tom Paxton in the early 1960s and recorded first by Paxton in 1964. It is based on the traditional lament song "The Leaving of Liverpool". The song was released on Paxton's 1964 album Ramblin' Boy, which was his first album released on Elektra Records.

The song remains one of Paxton's best-known compositions.

The song is based on the traditional lament song "The Leaving of Liverpool", and also builds on Bob Dylan's song "Farewell". 

"The Last Thing on My Mind" was covered by Porter Wagoner and Dolly Parton and released as their debut duet single on October 30, 1967, by RCA Victor. Their version peaked at No.7 on the Billboard Hot Country Singles chart, the first of an almost uninterrupted string of top ten singles they would release over the next several years.  

The single was well received by critics upon release. Billboard gave a positive review of the single, which said that Wagoner and Parton's "initial outing should be a giant." They concluded by saying that "the folk-oriented ballad...has much pop potential." In another positive review, Cashbox called the single "a very effective updating of the contemporary folk ditty," with "an appealing blending of voices" which "makes this a good bet for big chart honors." 

"The Last Thing on My Mind" debuted at No.70 on the Billboard Hot Country Singles chart. It would eventually peak at No.7 and spend a total of 17 weeks on the chart. The single's B-side, "Love Is Worth Living", was successful in Canada, peaking at No.4 on the RPM Country Singles chart. 

A solo version by Dolly Parton was released on February 16, 2023, from the Doc Watson tribute album I Am a Pilgrim: Doc Watson at 100. The song was nominated for the 66th Grammy Awards in the Best Country Solo Performance category.

To download the easy alphanotes sheet music, look here. Enjoy!

Lyrics:

Are you going away with no word of farewellWill there be not a trace left behindWell, I could have loved you better, didn't mean to be unkindYou know that was the last thing on my mind

It's a lesson too late for the learnin'Made of sand, made of sandIn the wink of an eye my soul is turnin'In your hand, in your hand
Are you going away with no word of farewellWill there be not a trace left behindWell, I could have loved you better, didn't mean to be unkindYou know that was the last thing on my mind
You've got reasons a-plenty for goin'This I know, this I knowFor the weeds have been steadily growin'Please don't go, please don't go
Are you going away with no word of farewellWill there be not a trace left behindWell, I could have loved you better, didn't mean to be unkindYou know that was the last thing on my mind
As I lie in my bed in the mornin'Without you, without youEach song in my breast lies a burnin'Without you, without you
Are you going away with no word of farewellWill there be not a trace left behindWell, I could have loved you better, didn't mean to be unkindYou know that was the last thing on my mind
Are you going away with no word of farewellWill there be not a trace left behindWell, I could have loved you better, didn't mean to be unkindYou know that was the last thing on my mindThat was the last thing on my mind









Saturday, 14 June 2025

Four Strong Winds

 "Four Strong Winds" is a song written in 1962 by Ian Tyson and recorded by Canadian folk duo Ian and Sylvia on their 1963 album Four Strong Winds. The song was the first one that Tyson wrote. Tyson has stated that he wrote the song in about 20 minutes in the New York apartment of his manager at the time Albert Grossman. Tyson said that he was inspired to write it after hearing Bob Dylan sing. The song is a melancholy reflection on a failing romantic relationship. The singer expresses a desire for a possible reunion in a new place in the future ("You could meet me if I sent you down the fare") but acknowledges the likelihood that the relationship is over ("But our good times are all gone/And I'm bound for moving on ...").

"Four Strong Winds" is a significant composition of the early 1960s folk revival, and has been recorded by numerous artists, including Bobby Bare, whose 1964 rendition was a hit on the U.S. country chart, and Neil Young, who has performed the song frequently throughout his career.

The song has a clear Canadian context and subtext, including an explicit mention of the province Alberta as well as references to long, cold winters. In 2005, CBC Radio One listeners chose it as the greatest Canadian song of all time on the program 50 Tracks: The Canadian Version. It is considered the unofficial anthem of Alberta. 

"Four Strong Winds" was the first song Ian Tyson wrote; before it, he, as well as the duo Ian & Sylvia, had played only covers. In the autumn of 1962, Tyson ran into Bob Dylan, whom Tyson recalled as "this kind of little grubby kid", at the Greenwich Village bar Kettle of Fish, and Dylan played for him a song he had just written; Tyson would later say that he believed, though he was not sure, that the song was "Blowin' in the Wind". Tyson decided he could write a song as well, so he asked Albert Grossman, who managed both Ian & Sylvia and Bob Dylan, and "who was the only one [on the local folk music scene] that had a roof over his head:"...'Can I use your apartment tomorrow, cause I want to try and write a song?'"...I went over there and it was a funky, little apartment. Took my guitar and just opened up the case and started to fooling around and strumming. And it took half an hour" to write "Four Strong Winds".

Later, Tyson played the song for his fellow folk musicians at the local music venues Kettle of Fish and The Bitter End, and was surprised to see that the song "blew everybody away."

Tyson would later credit Dylan with giving new impetus to Ian & Sylvia's career by inspiring the duo to follow his lead in writing "original folk songs". As Tyson put it, "We had to go in some direction, because we had used up all the real roots music from the Delta on north. Bob blazed the trail into the wilderness, into unknown territory."

The song was included in Ian & Sylvia's second Vanguard LP, Four Strong Winds (stereo: VSD-2149; monaural: VRS-9133), released July 1963. The album entered the Billboard Top LPs chart at number 150 the week of September 28, 1963. The song was a hit in Canada, making number 9 on the single charts there in October 1963.

In the United States, the song did not have the same initial chart success. Ian and Sylvia's single version (released on Vanguard 35021) entered the Cashbox magazine Looking Ahead chart in September 1963. It was then recorded by The Brothers Four in a version that "bubbled under" the Billboard Hot 100 in October 1963. It was released in a country arrangement by Bobby Bare in 1964 and became a number three hit on the U.S. country singles chart in early 1965. That recording reached just number 40 in Canada.

The song also became a big hit in Norway in 1966 in a Norwegian version, "Mot ukjent sted" by The Vanguards; and a big hit in Sweden in 1967 in a Swedish version, "Mot okänt land", recorded by Hep Stars. (The title of both of these renditions translates to "Towards an unknown land".)

The song has been recorded by many other artists, including The JourneymenThe SeekersJudy Collinsthe Chad Mitchell TrioThe BrownsBob DylanMarianne FaithfullThe SearchersBruce & TerryJohn DenverThe Kingston TrioTrini LopezWaylon JenningsChad and JeremyThe Wolfe TonesBlue RodeoJoan BaezVanity FareGlenn YarboroughSaori MinamiHarry BelafonteTony RiceJohnny CashThe Carter FamilySarah McLachlanDavid WiffenSchooner FareThe Pilgrims, and David Houston.

Neil Young recorded the song for his 1978 album Comes a Time, with harmony vocals from Nicolette Larson, and on The Band's The Last Waltz. It has received significant airplay over album oriented rock and classic rock radio stations and has become part of Young's concert repertoire, including featured performances during Young's yearly appearances at Farm Aid benefit concerts. In Canada, his version reached #18 on the AC charts, #48 on the country charts, and #61 on the rock charts.

Swedish artist Ulf Lundell recorded a translated cover called "Fyra vindar", for his 1985 album Den vassa eggen, which did not make the cut but was later included in a remastered edition in 1998. Another version of Swedish translation, "Mot okänt land", appears on the 2016 album Vid Grinden by Georga. 

The song is performed on the last night of the Edmonton Folk Music Festival each year.

Tyson and Gordon Lightfoot performed the song at the opening ceremonies of the 1988 Winter Olympics in Calgary.

Ian and Sylvia sang the song together at the 50th anniversary of the Mariposa Folk Festival on July 11, 2010, in Orillia, Ontario. On April 5, 2013, a recording of the song by Ian Tyson was played during the funeral of former Alberta Premier Ralph Klein, as the honour guard brought his urn into the Jack Singer Concert Hall.

The song is referenced in the 1989 novel A Prayer for Owen Meany by John Irving, which deals with Americans living near or across the Canada–United States border. The narrator remembers how the main character Owen loved to hear that song as sung by the character of Hester. 

To download the easy alphanotes sheet music, look here. Enjoy!

Lyrics:

Chorus

Four strong winds that blow lonely, seven seas that run high
All those things that don't change come what may
For our good times are all gone and I'm bound for movin' on
I'll look for you if I'm ever back this way

Guess I'll go out to Alberta, weather's good there in the fall
Got some friends that I can go to workin' for
Still I wish you'd change your mind if I asked you one more time
But we've been through that a hundred times before

Chorus

If I get there before the snow flies and things are goin' good
You could meet me if I sent you down the fare
But by then it would be winter, not too much for you to do
And the winds sure do blow cold way out there

Chorus