An American Icon

Mention the name Don McLean, and the first association -- all too often the only one -- that your listener will come up with is American Pie. That recognition is certainly well deserved. It's one of the greatest songs ever written, and how many songs can claim to give a tidy history of rock and roll within their confines? Of course, McLean will never describe his signature song as such; he prefers it to be shrouded in mystery. And it certainly has enigmatic appeal.

My dad told me just today that it is the most requested song on our oldies station. But it is not McLean's only song, and it must be a bit frustrating to have such an impressive repertoire of music and only be known for one song. I think McLean may be compared to another McLean, McLean Stevenson, who grew to despise M*A*S*H because he was beginning to be locked into people's minds for his role on that hit TV show. American Pie is a wonderful song, but it should not overshadow McLean's other compositions to the point that it seems they do not exist. This album contains the best of both worlds, with the track everyone wants to listen to and a fine sampling of his other work.

All of my favorite songs are on Side 1. What is there to say about American Pie that has not already been said? It's sheer brilliance. How often does a seven-minute song become a hit? Not very. But all six verses are pure gold, from the melancholy first verse and the idealistic second verse to the chilling fifth verse and the sixth verse which returns to the depression of the first. The album is dedicated to Buddy Holly, who most music scholars agree is the subject of this song. When his plane, the Miss American Pie, went down, an era of music died along with him. Get out your fine-toothed comb and find references to Bob Dylan, the Beatles, Elvis, the Rolling Stones, Janis Joplin, and other major figures in music history. And listen to the unabridged version, for goodness' sake, and if you must listen to the short version, at least go for McLean's version. Madonna's passionless rendering backed by a disco beat makes me shudder just thinking about it. This album contains the full version.

Till Tomorrow is a beautiful song about a couple who cannot be together. Sweeping music and lush imagery make this love song a beautiful addition to the album. "High above the heavens, a rainbow paints the sky. White doves sing their songs of love. I watch them as they fly and wonder why can this be. Can you tell me? Would you like to discover why we're not free to be lovers?"

Vincent is another tribute song, gorgeous and tragic. Full of painting images, the song is written to Vincent van Gogh, lamenting the fact that he was so underappreciated during his lifetime. I have always thought of this song by its opening words, "Starry, starry night," which brings to mind Van Gogh's most famous painting. If Vincent could hear out of his remaining ear, I know that he would be smiling gravely in agreement... "Now I think I know what you tried to say to me, how you suffered for your sanity, how you tried to set them free. They would not listen, they're not listening still...perhaps they never will."

Crossroads completes my quartet of favorite songs. It is an introspective piece of poetry, a man examining where he's been and where he's going and believing that he's lost in the muddle at the moment. "You know I've head about people like me, but I never made the connection. They walk one road to set them free and find they've gone the wrong direction." But he decides in the end not to worry about it, to continue living and just accept what life brings his way. "There's no need for turning back, 'cause all roads lead to where we stand. And I believe we'll walk them all, no matter what we may have planned."

Side 2 is, unfortunately, the neglected side. Once in a while I have an album that gets so much play on one side, the other is left alone. Ironically, American Pie and Feuilles-Oh (from Art Garfunkel's Angel Clare) are two of my three earliest favorite song, and I suffer from this affliction on both albums.

Winterwood is a nice song, kinda reminds me of Annie's Song. Lots of nice images in it. "And for the first time I've been seeing the things I'd never notice without you. And for the first time I'm discov'ring the things I used to treasure about you."

Everybody Loves Me, Baby is the song of an obnoxious guy who thinks he's God's gift to the world, but one particular person isn't buying it. And that happens to be the one person he most wants to love him. The tone reminds me of Baby Driver, one of my least favorite Simon and Garfunkel songs. "Everybody loves me, baby, what's the matter with you?"

The Grave is just plain depressing. It's not a bad song, it's just a really sad song about a soldier dying in a foxhole. "There's nothing left to do but die..." Gives me the shivers.

Babylon is an old traditional chorale, and McLean breathes as much life into it as Simon and Garfunkel did into Scarborough Fair. Also on the second side are the songs Empty Chairs and Sister Fatima. A fine collection of songs by a talented singer/songwriter who is so much more than one of the most enigmatic and powerful songs in musical history.