Mark Steyn on perhaps the best-known song of the late Gordon Lightfoot:

Edmund Fitzgerald, 1971
Detail of a photo from Wikimedia Commons

In November 1975 Lightfoot chanced to be reading Newsweek‘s account of the sinking of a Great Lakes freighter in Canadian waters. He’s a slow and painstaking author, which is one reason he’s given up songwriting – because it takes too much time away from his grandkids. But that day forty-three years ago the story literally struck a chord, and he found himself scribbling away, very quickly:

The legend lives on From the Chippewa on down
Of the big lake they called Gitche Gumee
The lake, it is said Never gives up her dead
When the skies of November turn gloomy …

“Gitche gumee” is Ojibwe for “great sea” – ie, Lake Superior – as you’ll know if you’ve read your Longfellow, which I’m not sure anyone does these days. Evidently Hiawatha was on the curriculum back east across Lake Huron in young Gordy’s Orillia schoolhouse. The Gitche Gumee reference may be why, when I first heard “The Wreck of the Edmund Fitzgerald”, I assumed its subject had sunk long before the song was written. In fact, it sank on November 10th 1975 — just a few days before Lightfoot wrote the number. When she’d launched in 1958, the Edmund Fitzgerald was the largest ship on the Great Lakes, and, when she passed through the Soo Locks between Lakes Superior and Huron, her size always drew a crowd and her captain was always happy to entertain them with a running commentary over the loudspeakers about her history and many voyages. For seventeen years she ferried taconite ore from Minnesota to the iron works of Detroit, Toledo and the other Great Lakes ports … until one November evening of severe winds and 35-feet waves […]

That said, human tragedy alone does not make for singable material. The last contact from the SS Edmund Fitzgerald was with another ship, the SS Arthur M Anderson. Yet “The Wreck of the Arthur M Anderson” would have been a far less evocative title. Arthur Marvin Anderson was on the board of US Steel, as Edmund Fitzgerald was on the board of Northwestern Mutual. But there is something pleasingly archaic about the latter name: in fact, as I think of it, I believe the last Edmund I met was one of Gordon Lightfoot’s fellow Canadian singers — the late operetta baritone Edmund Hockridge. Pair “Edmund” to “Fitzgerald”, and you have something redolent of Sir Walter Scott or Robert Louis Stevenson, of shipwrecks off Cornwall or the Hebrides. Perhaps that’s why “The Wreck of the Edmund Fitzgerald” either sounds like an old Scots-Irish folk tune or, alternatively, actually is one. For any IRA members reading this, Bobby Sands, the hunger striker who starved himself to death in a British gaol, wrote in his cell a song called “Back Home in Derry”, about Irish prison deportees en route to Australia and set to a tune remarkably like “The Wreck of the Edmund Fitzgerald”, which it seems unlikely he ever heard.

I see some musicologists claim the tune is in Dorian mode, although it sounds Mixolydian to me (like “The Wexford Carol”). Whichever it is, there is a perfect union between the emphatic melody, the crash of the waves, the antediluvian moniker of Northwestern Mutual’s chairman, and even the obvious filler phrases, so typical of ancient folk songs:

The lake, it is said
Never gives up her dead

— which returns far more effectively in the final verse:

Superior, they said
Never gives up her dead

— as if Gitchee Gumee is some vast ravening beast. Go back to Orillia, to Fourth Grade in 1947, and the parents listening to Mr and Mrs Lightfoot’s little boy sing “Too-Ra-Loo-Ra-Loo-Ral” as if a bit of synthetic shamrock from an old Tin Pan Alleyman were a genuine Irish lullaby from the mists of Emerald Isle antiquity. That’s the genius of “The Wreck of the Edmund Fitzgerald”: It was born sounding as if it’s a hundred years old. And its agelessness is all the more amazing when you consider that it’s essentially an act of journalism, an adaptation of a news report about something that happened a few days earlier – just the facts, ma’am, with minimal artistic license:

In a musty old hall
In Detroit they prayed
In the maritime sailors’ cathedral …

“Maritime sailors” is surely a redundancy, and it’s not a cathedral but the “Mariners’ Church”, which doesn’t quite go the distance syllable-wise. And a parishioner wrote to Lightfoot to say the church isn’t in the least bit “musty”, so these days he finds alternative adjectives.

But that’s all details. The power of the song lies in its storytelling. It immortalized the fate of the freighter not just for the families of the dead, “the wives and the sons and the daughters”, but for everyone, and it made the Edmund Fitzgerald the Titanic of the Great Lakes – except that the Titanic never inspired any song like this. The mournful toll of the lakes in the penultimate stanza is Gordon Lightfoot at his very best:

Lake Huron rolls Superior sings
In the rooms of her ice-water mansion
Old Michigan steams Like a young man’s dreams
The islands and bays are for sportsmen
And farther below Lake Ontario
Takes in what Lake Erie can send her
And the iron boats go As the mariners all know
With the gales of November remembered …

The gales of November howl and the waves rise up and devour the ship. And then the gales subside and the placid surface betrays no trace of twenty-nine men, taken deep into the rooms of an ice-water mansion and never to be found.