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From: rsk@gynko.circ.upenn.edu (Rich Kulawiec) Subject: The Annotated "American Pie" Summary: Lyrics, chords, and notes on the song Keywords: American Pie, Don McLean, The Day the Music Died Message-ID: 103572@netnews.upenn.edu Date: 3 Jan 93 21:13:38 GMT Reply-To: rsk@ecn.purdue.edu Organization: Go Big or Go Home Lines: 749

This particularly enigmatic song has been discussed at least once a year since Usenet had a newsgroup for discussing music. These discussions frequently repeat themselves, but occasionally introduce new information and new interpretations. Having tired of watching the same process repeat itself for ten years, I've created this, the annotated "American Pie".

This posting consists of: the lyrics to the song (left-justified) with comments (indented); the chords, for those who'd like to tackle it; some miscellaneous notes; and references. Comments are most welcome; comments backed up with references are *very* welcome. I have attempted to note where the interpretation is questionable.

Credits, in rough chronological order:

wombat@ccvaxa.uucp
ihuxr!steck
steiny@idsvax.uuucp
ihldt!bnp
sbcs!murray 
fortune!grw
iws@rayssdb.ray.com (Ihor W. Slabicky)
tugs@csri.toronto.edu (Stephen Hull)
dko@calmasd.ge.com (Dan O'Neill)
ssm@calmasd.ge.com (Sharon McBroom)
mfterman@phoenix.princeton.edu (Martin Terman)
rsk@gynko.circ.upenn.edu (Rich Kulawiec)
tim@tcom.stc.co.uk (Tim Kennedy)
rns@tortuga.sandiego.ncr.com (Rick Schubert)
paul@moore.com (Paul Maclauchlan)
rvloon@cv.ruu.nl (Ronald van Loon)
wirth@sdsc.edu (Colleen Wirth)
nelson@berlioz.nsc.com (Taed Nelson)
bschlesinger@nssdca.gsfc.nasa.gov (Barry Schlesinger)
Thomas.Sullivan@cs.cmu.edu (Tom Sullivan)
H.Edwards@massey.ac.nz (Howard Edwards)
gerry@macadam.mpce.mq.edu.au (Gerry Myerson)
rice@mcz.harvard.edu
dave@jato.jpl.nasa.gov (Dave Hayes)
rlwilliams@gallua.bitnet (Robert L. Williams)
bee@ms.uky.edu (Elizabeth Gilliam)
chris@gandalf.ca (Chris Sullivan)
dtpilkey@mailbox.syr.edu (David T. Pilkey)
Dan Stanley at Fitchburg State College (courtesy of
	Timothy J. Stanley, tjs@z.eecs.umich.edu)
lgold@cadence.com (Lynn Gold)
ajw@cbnews.cb.att.com (Andrew J. Whitman)

The roots of this posting are in the "Great American Pie" Usenet discussion of 1983; much of it comes from wombat's (the original wombat, not me) posting in net.music on June 16, 1985. As Robert Williams has pointed out to me, the entire song can be viewed as one big projective test, so interpretations vary quite a bit. I've tried to be inclusive while also indicating which ones I buy into and which I don't; your mileage may vary.

—Rsk 1/3/93

Revision history:

1/20/92	Constructed from various old postings
1/27/92	Added comments from Usenetters on first draft
2/3/92  More comments folded in; reposted today, the
	anniversary of The Day the Music Died
8/18/92	Added comments generated by the Februrary posting.
1/3/93  Caught up on lots of updates that have been languishing
	in my inbound mail queue for months.

AMERICAN PIE by Don McLean

		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.

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 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,

		Don McLean dated a Miss America candidate
		during the pageant. (unconfirmed)

Drove my Chevy to the levee but the levee was dry Them good ol' 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 <pause>
		that I die".

(Verse 2) 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 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.  Anyone know for sure?
		There's also an old Sunday School song which goes:
		"Jesus loves me this I know, for the Bible tells me so"

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

		Back then, dancing was an expression of love, and
		carried a connotation of committment.  Dance partners
		were not so readily exchanged as they would be later.

You both kicked off your shoes

		A reference to the beloved "sock hop".  (Street
		shoes tear up wooden basketball floors, 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.

But I knew that I was out of luck The day the music died I started singing…

Refrain

(Verse 3) 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.

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).  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.

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 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 4) 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 possesion 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.

While sergeants played a marching tune

Beatles' "Sgt. Pepper's Lonely Hearts Club Band".

		Or, perhaps McLean refers to the Beatles' music
		as "marching" because it's not music for dancing.
		Alternatively, the "marching tune" could refer
		to the draft.  (See below)

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.

		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",
		but the album sold poorly because the Beatles'
		release got most of the press.
		Some folks think this refers to either the 1968
		Deomcratic Convention or Kent State.
		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 5) 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 alientation 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?
		(unconfirmed)

'Cause fire is the devil's only friend

		It's possible that this is a reference to
		the Grateful Dead's "Friend of the Devil".
		An alternative interpretation of the last four
		lines is that they may refer to Jack Kennedy
		and his quick decisions during the Cubam 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 1968, 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

			This could be a reference to Jimi Hendrix
			burning his Stratocaster at the Monterey
			Pop Festival.
			It's possible that this refers to the burial
			of Kennedy, but I'm not sure I buy this.
			For one thing, it doesn't fit chronologically,
			and for another, McLean seems more interested
			in music than politics.

I saw satan laughing with delight The day the music died He was singing…

Refrain

(Verse 6) 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 East,
		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.
		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.

And in the streets the children screamed

		"Flower children" being beaten by police
		and National Guard troops?

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, perhaps this is a reference to the famous
		"God is Dead" headline in the New York Times.

The day the music died

		This tends to support the conjecture that the "three
		men" were Holly/Bopper/Valens, since this says that
		they left on the day the music died.

And they were singing…

Refrain (2x)

Chords to the song:

The song appears to be in G; the chords are:

Intro: G Bm/F# Em . Am . C .

       Em    .     D     .     .     .
       G     Bm/F# Em    .     Am    .     C     .
       Em    .     A     .     D     .     .     .
       Em    .     Am    .     Em    .     Am    .
       C     G/B   Am    .     C     .     D     .
       G     Bm/F# Em    .     Am    .     C     .
       G     Bm/F# Em    .     Am    .     D     .
       G     .     C     .     G     .     D     .

Chorus: G . C . G . D .

       G     .     C     .     G     .     D     .
       G     .     C     .     G     .     D     .
       Em    .     .     .     A     .     .     .   (all but
       Em    .     .     .     D     .     .     .    last chorus)
       C     .     D     .     G     C     G     .   (last chorus)

Other notes:

"Killing Me Softly With His Song", Roberta Flack's Grammy Award-winning single of 1973, was written by Charles Gimble and Norman Fox about McLean.

The Big Bopper's real name was J.P. Richardson. He was a DJ for a Texas radio station who had one very big novelty hit, the very well known "Chantilly Lace". There was a fourth person who was going to ride the plane. There was room for three, ahd the fourth person lost the toss – or should I say won the toss. His name is Waylon Jennings…and to this day he refuses to talk about the crash.

About the "coat he borrowed from James Dean": James Dean's red windbreaker is important throughout the film, not just at the end. When he put it on, it meant that it was time to face the world, time to do what he thought had to be done, and other melodramatic but thoroughly enjoyable stuff like that. The week after the movie came out, virtually every clothing store in the U.S. was sold out of red windbreakers. Remember that Dean's impact was similar to Dylan's: both were a symbol for the youth of their time, a reminder that they had something to say and demanded to be listened to.

American Pie is supposed to be the name of the plane that crashed, containing the three guys that died. (Reported by Ronald van Loon from the discussion on American Pie, autumn 1991, on rec.music.folk)

Dan Stanley mentioned an interesting theory involving all of this; roughly put, he figures that if Holly hadn't died, then we would not have suffered through the Fabian/Pat Boone/et.al. era…and as a consequence, we wouldn't have *needed* the Beatles – Holly was moving pop music away from the stereotypical boy/girl love lost/found lyrical ideas, and was recording with unique instrumentation and techniques…things that Beatles wouldn't try until about 1965. Perhaps Dylan would have stuck with the rock and roll he played in high school, and the Byrds never would have created an amalgam of Dylan songs and Beatle arrangements.

Lynn Gold tells me that "Life" magazine carried an annotated version of American Pie when the song came out; does anybody have a copy?

Andrew Whitman brings a sense of perspective to all of this by noting:

As to what they threw off the bridge, Bobbie Gentry once went on record with
the statement that it was the mystery that made the song, and that the mystery
would remain unsolved. Don McLean later used the same device to even greater
success with "American Pie," which triggered a national obsession on figuring
out the "real meaning" of the song.

Well, probably not a national obsession, but certainly the life's work of many talented scholars. According to the latest edition of the "American Pie Historical Interpretive Digest" (APHID), noted McLean historian Vincent Vandeman has postulated that cheezy country songs may have played a much more prominent role in the epic composition than had originally been thought. In particular, the "widowed bride," usually supposed to be either Ella Holly or Joan Rivers, may in fact be Billie Jo. According to this radical exegesis, the "pink carnation" of McLean's song is probably what was thrown off the Tallahatchie Bridge, and was later found by the lonely, teenaged McLean as he wandered drunkenly on the levee.

Of course, such a view poses problems. McLean vehemently denies any knowledge of Choctaw Ridge, and any theory linking the two songs must surely address this mysterious meeting place of Billie Jo and her husband Billy Joe. Vandeman speculates that Choctaw Ridge may have been the place McLean drove his Chevy after drinking whiskey and rye, and that McLean may have been unaware of the name because of his foggy mental state. Still, there appear to be many tenuous connections in Vandeman's interpretation - Tammy Wynette as the girl who sang the blues, the proposed affair between Wynette and Billie Joe which later led to d-i-v-o-r-c-e and Billy Joe's suicide, the mysterious whereabouts of George Jones, and why McLean insisted on driving a Chevy to the levee instead of a more economical Japanese car.

My own view is that none of it makes much sense. Vandeman's theory is intriguing, but it seems far more logical to hold to the traditional interpretation of "American Pie" as an eschatological parable of nuclear destruction and the rebirth of civilization on Alpha Centauri.

Thanks, Andrew. I'll take it under advisement. ;-)

References:

Billboard Book of Number One Hits, by Fred Bronson, Billboard, 1985.

Encyclopedia of Pop, Rock and Soul, revised edition, by Irwin Stambler, St. Martin's Press, 1989.

Rock Chronicle, by Dan Formento, Delilah/Putnam, 1982.

Rock Day by Day, by Steve Smith and the Diagram Group, Guiness Books, 1987.

Rock Topicon, by Dave Marsh, Sandra Choron and Debbie Geller, Contemporary Books, 1984.

Rolling Stone Encyclopedia of Rock & Roll, ed. by Jon Pareles and Patricia Romanowski, Rolling Stone Press/Summit Books, 1983.

Rolling Stone Record Guide, ed. by Dave Marsh with John Swenson, Random House/Rolling Stone Press, 1979.

The Sixties: Years of Hope, Days of Rage, by Todd Gitlin, Bantam Book, 1987.

Smiling Through the Apocalypse: Esquire's History of the Sixties, ed. by Harold Hayes, Esquire Press, 1987.

It was Twenty Years ago Today: An Anniversary Celebration of 1967, by Derek Taylor, Fireside, 1987.

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