Introduction
“Sweet City Woman” was penned by guitarist Rich Dodson and recorded by Calgary’s own The Stampeders for their debut album Against the Grain (later retitled Sweet City Woman in the U.S.). From its opening banjo flourish to the earnest refrain “the banjo and me, we got a feel for singin’,” you can almost picture Rich strumming in a backyard jam session that turned into something much bigger.
Dodson has said the song sprang from his love of country-inflected rock and his desire to introduce an unconventional instrument—the banjo—to pop radio. Imagine a young musician in Calgary, excited and a little nervous, weaving a bluegrass twang into the rock groove of the early ’70s—that blend gave “Sweet City Woman” its unforgettable character.
When it hit the airwaves in May 1971, it was an instant smash: four weeks at No. 1 on Canada’s RPM singles chart and a top-10 hit in the U.S., peaking at No. 8 on the Billboard Hot 100 and No. 5 on the Adult Contemporary chart . It also topped Canada’s country and adult contemporary charts, proving its cross-genre appeal. By September of that year, sales had topped one million in North America, and eventually exceeded three million worldwide.
At the 1972 Juno Awards, “Sweet City Woman” won Best Single, Rich Dodson took Songwriter of the Year, and the band was honored as Best Group—Canada’s crowning glory in pop and country.
Decades later, that banjo riff still feels like sunshine bursting through clouds, and when you play it, you can’t help but tap your foot or hum along. It remains a staple on classic-hits radio and a proud staple of Canadian music history, celebrated by ukulele cover groups and nostalgists alike.
I love how “Sweet City Woman” reminds us that sometimes the simplest songs, born from genuine joy and just one instrument out of place, can become timeless. It’s proof that a melody, when it connects, really can carry you back to a sweet city afternoon, even if you’ve never been there.