THE ANNOTATED AMERICAN PIE
(What the song is talkin’ about!)
By Rich Kulawiec
The
entire song is a tribute to Buddy Holly and a commentary on how rock
and roll changed in the years since his death. McLean seems to be
lamenting the lack of “danceable” music in rock and roll and (in part)
attributing that lack to the absence of Buddy Holly et. al. (Verse 1)
A long, long time ago…
“American Pie” reached #1 in the US in 1972, but the album containing it was released in 1971. Buddy Holly died in 1959.
I can still remember how
That music used to make me smile.
And I knew if I had my chance,
That I could make those people dance,
And maybe they’d be happy for a while
One
of early rock and roll’s functions was to provide dance music for
various social events. McLean recalls his desire to become a musician
playing that sort of music.
But February made me shiver,
Buddy
Holly died on February 3, 1959 in a plane crash in Iowa during a
snowstorm.The news came to most of the world on the morning of February
3, which is why it’s known as The Day The Music Died.
With every paper I’d deliver,
Don McLean’s only job besides being a full-time singer-songwriter was being a paperboy.
Bad news on the doorstep…
I couldn’t take one more step.
I can’t remember if I cried
When I read about his widowed bride
Holly’s recent bride, Maria Elena, was pregnant when the crash took place; she had a miscarriage shortly afterward.
But something touched me deep inside,
The day the music died.
The
same plane crash that killed Buddy Holly also took the lives of Richie
Valens (“La Bamba”) and The Big Bopper (“Chantilly Lace”). Since all
three were so prominent at the time, February 3, 1959 became known as
“The Day The Music Died”.
So…
(Refrain)
Bye bye Miss American Pie,
Miss American Pie *is* rock and roll music. Don McLean dated a Miss America candidate during the pageant. (unconfirmed)
Drove my Chevy to the levee but the levee was dry
Them good ole boys were drinkin’ whiskey and rye
Singing “This’ll be the day that I die,
This’ll be the day that I die.”
One of Holly’s hits was “That’ll be the Day”; the chorus contains the line “That’ll be the day that I die”
VERSE TWO
Did you write the book of love,
“The Book of Love” by the Monotones; hit in 1958.
And do you have faith in God above,
If the Bible tells you so?
In
1955, Don Cornell did a song, which was written entirely by Dale Evans ,
entitled “The Bible Tells Me So”. Rick Schubert pointed this out, and
mentioned that he hadn’t heard the song, so it was kinda difficult to
tell if it was what McLean was referencing. Dave Tutelman tells me that
this particular song wasn’t exactly a gem of rock ‘n roll.
There’s
also an old Sunday School song which goes: “Jesus loves me this I know,
for the Bible tells me so” (Stephen Joseph Smith tells me that
Bartlett’s gives the source of this as “The Love of Jesus”, by Anna
Bartlett Warner, 1858.)
Now do you believe in rock ‘n roll?
The
Lovin’ Spoonful had a hit in 1965 with John Sebastian’s “Do you Believe
in Magic?”. The song has the lines: “Do you believe in magic/it’s like
trying to tell a stranger ’bout rock and roll.”
Can music save your mortal soul?
And can you teach me how to dance real slow?
Dancing
slow was an important part of early rock and roll dance events — but
declined in importance through the 60’s as things like psychedelia and
the 10-minute guitar solo gained prominence.
Well I know you’re in love with him
‘Cause I saw you dancing in the gym
Slowdancing
COULD just be dancing, or it could be vertical “making out”. It wasn’t
hard to watch a couple slow-dancing and figure out whether they had some
sort of relationship, if you knew anything about slow dancing. So just
the fact they were dancing didn’t tell you anything, but if “I saw you
dancing in the gym” I could tell from watching whether there was
anything between you (figuratively :-). (Thanks to Dave Tutelman for
this note.)
You both kicked off your shoes
A
reference to the beloved “sock hop”.(Leather-soled street shoes tear up
wooden basketball floors, and rubber-soled sneakers grip too much for
dance moves, so dancers had to take off their shoes.)
Man, I dig those rhythm ‘n’ blues
Some
history. Before the popularity of rock and roll, music, like much else
in the U. S., was highly segregated. The popular music of black
performers for largely black audiences was called, first, “race music”,
later softened to rhythm and blues. In the early 50s, as they were
exposed to it through radio personalities such as Allan Freed, white
teenagers began listening, too. Starting around 1954, a number of songs
from the rhythm and blues charts began appearing on the overall popular
charts as well, but usually in cover versions by established white
artists, (e. g. “Shake Rattle and Roll”, Joe Turner, covered by Bill
Haley; “Sh-Boom”, the Chords, covered by the Crew-Cuts; “Sincerely”, the
Moonglows, covered by the Mc Guire Sisters; Tweedle Dee, LaVerne Baker,
covered by Georgia Gibbs). By 1955, some of the rhythm and blues
artists, like Fats Domino and Little Richard were able to get records on
the overall pop charts. In 1956 Sun records added elements of country
and western to produce the kind of rock and roll tradition that produced
Buddy Holly. (Thanks to Barry Schlesinger for this historical note.
—Rsk)
I was a lonely teenage broncin’ buck
With a pink carnation and a pickup truck
“A
White Sport Coat (And a Pink Carnation)”, was a hit for Marty Robbins
in 1957. The pickup truck has endured as a symbol of sexual independence
and potency, especially in a Texas context. (Also, Jimmy Buffet does a
song about “a white sport coat and a pink crustacean”.
But I knew that I was out of luck
The day the music died
I started singing…
Refrain
VERSE THREE
Now for ten years we’ve been on our own
McLean was writing this song in the late 60’s, about ten years after the crash.
And moss grows fat on a rolling stone
It’s
unclear who the “rolling stone” is supposed to be. It could be Dylan,
since “Like a Rolling Stone” (1965) was his first major hit; and since
he was busy writing songs extolling the virtues of simple love, family
and contentment while staying at home (he didn’t tour from ’66 to ’74)
and raking in the royalties. This was quite a change from the earlier,
angrier Dylan.
The “rolling stone” could also be Elvis, although I
don’t think he’d started to pork out by the late sixties. It could
refer to rock and rollers in general, and the changes that had taken
place in the business in the 60’s, especially the huge amounts of cash
some of them were beginning to make, and the relative stagnation that
entered the music at the same time.
Or, perhaps it’s a reference to the stagnation in rock and roll.
Or,
finally, it could refer to the Rolling Stones themselves; a lot of
musicians were angry at the Stones for “selling out”. Howard Landman
points out that John Foxx of Ultravox was sufficiently miffed to write a
song titled “Life At Rainbow’s End (For All The Tax Exiles On Main
Street)”. The Stones at one point became citizens of some other country
merely to save taxes.
But that’s not how it used to be
When the jester sang for the King and Queen
The
jester is Bob Dylan, as will become clear later. There are several
interpretations of king and queen: some think that Elvis Presley is the
king, which seems pretty obvious. The queen is said to be either Connie
Francis or Little Richard. But see the next note.
An alternate
interpretation is that this refers to the Kennedys — the king and queen
of “Camelot” -who were present at a Washington DC civil rights rally
featuring Martin Luther King. (There’s a recording of Dylan performing
at this rally.)
In a coat he borrowed from James Dean
In
the movie “Rebel Without a Cause”, James Dean has a red windbreaker
that holds symbolic meaning throughout the film (see note at end of
Annotated American Pie). In one particularly intense scene, Dean lends
his coat to a guy who is shot and killed; Dean’s father arrives, sees
the coat on the dead man, thinks it’s Dean, and loses it. On the cover
of “The Freewheelin’ Bob Dylan”, Dylan is wearing just such as red
windbreaker, and is posed in a street scene similar to one shown in a
well-known picture of James Dean. Bob Dylan played a command performance
for the Queen and Prince Consort of England. He was *not* properly
attired, so perhaps this is a reference to his apparel.
And a voice that came from you and me
Bob
Dylan’s roots are in American folk music, with people like Pete Seeger
and Woody Guthrie. Folk music is by definition the music of the masses,
hence the “…came from you and me”.
Oh, and while the King was looking down
The jester stole his thorny crown
This
could be a reference to Elvis’s decline and Dylan’s ascendance. (i.e.
Presley is looking down from a height as Dylan takes his place.) The
thorny crown might be a reference to the price of fame. Dylan has said
that he wanted to be as famous as Elvis, one of his early idols.
The courtroom was adjourned,
No verdict was returned.
This
could be the trial of the Chicago Seven, but McLean seems to be talking
about music, not politics at this point in the song. With that in mind,
perhaps he meant that the arguments between Dylan and Elvis fans over
who was better just couldn’t be settled.
And while Lennon read a book on Marx,
Literally,
John Lennon reading about Karl Marx; figuratively, the introduction of
radical politics into the music of the Beatles. (Of course, he could be
referring to Groucho Marx, but that doesn’t seem quite consistent with
McLean’s overall tone. On the other hand, some of the wordplay in
Lennon’s lyrics and books is reminiscint of Groucho.) The “Marx-Lennon”
wordplay has also been used by others, most notably the Firesign Theatre
on the cover of their album “How Can You Be In Two Places At Once When
You’re Not Anywhere At All?”. Also, a famous French witticism was “Je
suis Marxiste, tendance Groucho.”; “I’m a Marxist of the Groucho
variety”.
It’s also a pun on “Lenin”.
The quartet practiced in the park
There
are two schools of thought about this; the obvious one is the Beatles
playing in Shea Stadium, but note that the previous line has John Lennon
*doing something else at the same time*. This tends to support the
theory that this is a reference to the Weavers, who were blacklisted
during the McCarthy era. McLean had become friends with Lee Hays of the
Weavers in the early 60’s while performing in coffeehouses and clubs in
upstate New York and New York City. He was also well-acquainted with
Pete Seeger; in fact, McLean, Seeger, and others took a trip on the
Hudson river singing anti-pollution songs at one point. Seeger’s LP “God
Bless the Grass” contains many of these songs.
And we sang dirges in the dark
A
“dirge” is a funeral or mourning song, so perhaps this is meant
literally…or, perhaps, this is a reference to some of the new “art rock”
groups which played long pieces not meant for dancing.
The day the music died.
We were singing…
Refrain
VERSE FOUR
Helter Skelter in a summer swelter
“Helter
Skelter” is a Beatles song which appears on the “white” album. Charles
Manson, claiming to have been “inspired” by the song (through which he
thought God and/or the devil were taking to him) led his followers in
the Tate-LaBianca murders. Is “summer swelter” a reference to the
“Summer of Love” or perhaps to the “long hot summer” of Watts?
The birds flew off with the fallout shelter
Eight miles high and falling fast
The
Byrd’s “Eight Miles High” was on their late 1966 release “Fifth
Dimension”. It was one of the first records to be widely banned because
of supposedly drug-oriented lyrics.
It landed foul on the grass.
One of the Byrds was busted for possession of marijuana.
The players tried for a forward pass
Obviously
a football metaphor, but about what? It could be the Rolling Stones,
i.e. they were waiting for an opening which really didn’t happen until
the Beatles broke up.
With the jester on the sidelines in a cast
On
July 29, 1966, Dylan crashed his Triumph 55 motorcycle while riding
near his home in Woodstock, New York. He spent nine months in seclusion
while recuperating from the accident.
Now the halftime air was sweet perfume
Drugs, man.
Well,
now, wait a minute; that’s probably too obvious. It’s possible that
this line and the next few refer to the 1968 Democratic National
Convention. The “sweet perfume” is probably tear gas.
While sergeants played a marching tune
Following
from the thought above, the sergeants would be the Chicago Police and
the Illinois National Guard, who marched the protestors out of the park
and into jail.
Alternatively, this could refer to the Beatles’
“Sgt. Pepper’s Lonely Hearts Club Band”. Or, perhaps McLean refers to
the Beatles’ music in general as “marching” because it’s not music for
dancing. Or, finally, the “marching tune” could be the draft.
We all got up to dance
Oh, but we never got the chance
The
Beatles’ 1966 Candlestick Park concert only lasted 35 minutes. Or,
following on from the previous comment, perhaps he meant that there
wasn’t any music to dance to.
‘Cause the players tried to take the field,
The marching band refused to yield.
Some
folks think this refers to either the 1968 Deomcratic Convention or
Kent State; following on from the Chicago reference above, this could be
another comment on protests. But perhaps the players are the protestors
at Kent State, and the marching band the Ohio National Guard…
This
could be a reference to the dominance of the Beatles on the rock and
roll scene. For instance, the Beach Boys released “Pet Sounds” in 1966 —
an album which featured some of the same sort of studio and electronic
experimentation as “Sgt. Pepper” (1967) — but the album sold poorly.
This
might also be a comment about how the dominance of the Beatles in the
rock world led to more “pop art” music, leading in turn to a dearth of
traditional rock and roll.
Or finally, this might be a comment
which follows up on the earlier reference to the draft: the
government/military-industrial-complex establishment refused to accede
to the demands of the peace movement.
Do you recall what was revealed,
The day the music died?
We started singing
Refrain
VERSE FIVE
And there we were all in one place
Woodstock.
A generation lost in space
Some
people think this is a reference to the US space program, which it
might be; but that seems a bit too literal. Perhaps this is a reference
to “hippies”, who were sometimes known as the “lost generation”,
partially because of their particularly acute alienation from their
parents, and partially because of their presumed preoccupation with
drugs. It could also be a reference to the awful TV show, “Lost in
Space”, whose title was sometimes used as a synonym for someone who was
rather high…but I keep hoping that McLean had better taste. 🙂
With no time left to start again
The
“lost generation” spent too much time being stoned, and had wasted
their lives? Or, perhaps, their preference for psychedelia had pushed
rock and roll so far from Holly’s music that it couldn’t be retrieved.
So come on Jack be nimble Jack be quick
Probably a reference to Mick Jagger of the Rolling Stones; “Jumpin’ Jack Flash” was released in May, 1968.
Jack Flash sat on a candlestick
The Stones’ Candlestick park concert?
‘Cause fire is the devil’s only friend
“Sympathy for the Devil”, by the Stones — seems to fit with some of the surrounding material.
It’s possible that this is a reference to the Grateful Dead’s “Friend of the Devil”. But I doubt it.
An
alternative interpretation of the last four lines is that they may
refer to Jack Kennedy and his quick decisions during the Cuban Missile
Crisis; the candlesticks/fire refer to ICBMs and nuclear war.
And as I watched him on the stage
My hands were clenched in fists of rage
No angel born in hell
Could break that Satan’s spell
While
playing a concert at the Altamont Speedway in 1969, the Stones
appointed members of the Hell’s Angels to work security (on the advice
of the Grateful Dead). In the darkness near the front of the stage, a
young man named Meredith Hunter was beaten and stabbed to death — by the
Angels. Public outcry that the song “Sympathy for the Devil” had
somehow incited the violence caused the Stones to drop the song from
their show for the next six years. This incident is chronicled in the
documentary film “Gimme Shelter”.
It’s also possible that McLean
views the Stones as being negatively inspired (remember, he had an
extensive religious background) by virtue of “Sympathy for the Devil”,
“Their Satanic Majesties’ Request” and so on. I find this a bit
puzzling, since the early Stones recorded a lot of “roots” rock and
roll, including Buddy Holly’s “Not Fade Away”.
And as the flames climbed high into the night
To light the sacrificial rite
The
most likely interpretation is that McLean is still talking about
Altamont, and in particular Mick Jagger’s prancing and posing while it
was happening. The sacrifice is Meredith Hunter, and the bonfires around
the area provide the flames.
(It could be a reference to Jimi
Hendrix burning his Stratocaster at the Monterey Pop Festival, but that
was in 1967 and this verse is set in 1968.)
I saw Satan laughing with delight
If the above is correct, then Satan would be Jagger.
The day the music died
He was singing…
Refrain
VERSE SIX
I met a girl who sang the blues
Janis Joplin.
And I asked her for some happy news
But she just smiled and turned away
Janis died of an accidental heroin overdose on October 4, 1970
I went down to the sacred store
Where I’d heard the music years before
There
are two interpretations of this: The “sacred store” was Bill Graham’s
Fillmore West, one of the great rock and roll venues of all time.
Alternatively, this refers to record stores, and their longtime (then
discontinued) practice of allowing customers to preview records in the
store. (What year did the Fillmore West close?)
It could also
refer to record stores as “sacred” because this is where one goes to get
“saved”. (See above lyric “Can music save your mortal soul?”)
But the man there said the music wouldn’t play
Perhaps
he means that nobody is interested in hearing Buddy Holly et.al.’s
music? Or, as above, the discontinuation of the in-store listening
booths.
It’s also possible that this line and the two before it
refer to the closing of the Fillmore West in 19?? — but I’ve been unable
to verify that it was actually closed when this song was written.
And in the streets the children screamed
“Flower
children” being beaten by police and National Guard troops; in
particular, perhaps, the People’s Park riots in Berkeley in 1969 and
1970.
The lovers cried and the poets dreamed
The trend towards psychedelic music in the 60’s?
But not a word was spoken
The church bells all were broken
It could be that the broken bells are the dead musicians: neither can produce any more music.
And the three men I admire most The Father Son and Holy Ghost
Holly, The Big Bopper, and Valens
— or — Hank Williams, Presley and Holly
— or — JFK, Martin Luther King, and Bobby Kennedy
— or — the Catholic aspects of the deity. McLean had attended several Catholic schools.
They caught the last train for the coast
Could
be a reference to wacky California religions, or could just be a way of
saying that they’ve left (or died — western culture often uses “went
west” as a synonym for dying). Or, perhaps this is a reference to the
famous “God is Dead” headline in the New York Times. David Cromwell has
suggested that this is an oblique reference to a line in Procol Harum’s
“Whiter Shade of Pale”, but I’m not sure I buy that; for one thing, all
of McLean’s musical references are to much older “roots” rock and roll
songs; and secondly, I think it’s more likely that this line shows up in
both songs simply because it’s a common cultural metaphor.
The day the music died.
This
tends to support the conjecture that the “three men” were Holly, The
Big Bopper, and Valens, since this says that they left on the day the
music died.
And they were singing…
Refrain (2x) |
