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ELECTRIC GUITAR PLAYS | 0:00:03 | 0:00:08 | |
# A long, long time ago | 0:00:27 | 0:00:30 | |
# I can still remember | 0:00:30 | 0:00:33 | |
# How that music used to make me smile... # | 0:00:33 | 0:00:37 | |
Today is February 3rd, | 0:00:37 | 0:00:39 | |
the day Buddy Holly's plane crashed, and for no particular... | 0:00:39 | 0:00:43 | |
..we didn't plan it this way, no particular reason, | 0:00:43 | 0:00:45 | |
we were in the studio looking at this album, | 0:00:45 | 0:00:48 | |
um, | 0:00:48 | 0:00:50 | |
which certainly has as its inspiration | 0:00:50 | 0:00:53 | |
the things that happened on this day to Buddy Holly, The Big Bopper, | 0:00:53 | 0:00:57 | |
and Ritchie Valens. | 0:00:57 | 0:00:59 | |
# Bad news on the doorstep... # | 0:00:59 | 0:01:01 | |
It was something that mattered to me a lot, | 0:01:01 | 0:01:05 | |
and I kept it inside for years. | 0:01:05 | 0:01:07 | |
# I can't remember if I cried | 0:01:07 | 0:01:10 | |
# When I read about his widowed bride | 0:01:10 | 0:01:15 | |
# But something touched me deep inside | 0:01:15 | 0:01:20 | |
# The day the music died. # | 0:01:20 | 0:01:26 | |
An album about America, | 0:01:29 | 0:01:32 | |
an album about love | 0:01:32 | 0:01:35 | |
and falling out of love, beautiful songwriting, | 0:01:35 | 0:01:40 | |
beautiful songs. | 0:01:40 | 0:01:42 | |
In 1971, when Don McLean came on the scene, | 0:01:42 | 0:01:45 | |
he spoke about things that no other singer songwriter | 0:01:45 | 0:01:48 | |
at that time was, I mean, | 0:01:48 | 0:01:52 | |
no-one else was writing about - Vincent, American Pie. | 0:01:52 | 0:01:55 | |
We all realised that this was a masterpiece. | 0:01:55 | 0:01:58 | |
It was a very moving thing. | 0:01:58 | 0:02:01 | |
We listened to that and we said, "Wow." | 0:02:01 | 0:02:04 | |
# Starry, starry night | 0:02:04 | 0:02:07 | |
# Flaming flowers that brightly blaze... # | 0:02:09 | 0:02:13 | |
American Pie is classic American pop. | 0:02:13 | 0:02:15 | |
Buddy Holly-influenced, | 0:02:17 | 0:02:20 | |
but right down the middle of the heart of American pop. | 0:02:20 | 0:02:24 | |
And he was taking the genre to a new place. | 0:02:24 | 0:02:28 | |
# And for the first time I'm discovering | 0:02:28 | 0:02:32 | |
# The things I used to treasure... # | 0:02:32 | 0:02:35 | |
It's quite a lopsided record, | 0:02:37 | 0:02:39 | |
because any album which contains two of the biggest, most iconic, | 0:02:39 | 0:02:45 | |
not just songs, but hit singles of all time. | 0:02:45 | 0:02:50 | |
And then a number of songs which most people, | 0:02:50 | 0:02:53 | |
you wouldn't actually know what they were. | 0:02:53 | 0:02:56 | |
But it is a masterpiece of record production. | 0:02:56 | 0:02:59 | |
# And I wonder if you know | 0:02:59 | 0:03:04 | |
# That I never understood | 0:03:04 | 0:03:09 | |
# That although you said you'd go | 0:03:09 | 0:03:12 | |
# Until you did I never thought you would. # | 0:03:12 | 0:03:18 | |
A genius songwriter, | 0:03:18 | 0:03:19 | |
a man with an amazing voice, amazing musician and amazing songs. | 0:03:19 | 0:03:24 | |
# Bye-bye, Miss American Pie, | 0:03:25 | 0:03:28 | |
# Drove my Chevy to the levee | 0:03:28 | 0:03:32 | |
# But the levee was dry | 0:03:32 | 0:03:34 | |
# Them good old boys were drinking whisky and rye | 0:03:34 | 0:03:38 | |
# Singing this'll be the day that I die. # | 0:03:38 | 0:03:44 | |
CHEERING AND APPLAUSE | 0:03:44 | 0:03:48 | |
Right, here's my voice, starting the song Vincent. | 0:03:50 | 0:03:53 | |
# Starry, starry night | 0:03:53 | 0:03:55 | |
# Paint your palette blue and grey... # | 0:03:57 | 0:04:00 | |
I think I must have sung this 30 or 40 times before the perfect take, | 0:04:01 | 0:04:06 | |
with my vibrato, my pitch, and everything else, | 0:04:06 | 0:04:09 | |
they didn't have the machines that would pitch your voice | 0:04:09 | 0:04:12 | |
and put it in tune. | 0:04:12 | 0:04:14 | |
They didn't have all this stuff that they do now | 0:04:14 | 0:04:17 | |
to make lousy singers sound like they can sing. | 0:04:17 | 0:04:20 | |
You know, the studio was a world of truth. | 0:04:20 | 0:04:24 | |
You either were good or you weren't. | 0:04:24 | 0:04:27 | |
It told the truth back to you. Like photography told you the truth. | 0:04:27 | 0:04:30 | |
Now it's Photoshop. | 0:04:30 | 0:04:32 | |
I'd read a number of books about Van Gogh in my life, | 0:04:32 | 0:04:34 | |
but this particular one made me want to write a song about him. | 0:04:34 | 0:04:40 | |
And then, once that occurred, | 0:04:40 | 0:04:44 | |
the fun part was, you know, how to do it. | 0:04:44 | 0:04:48 | |
You know... | 0:04:49 | 0:04:50 | |
# There once was a painter... # | 0:04:50 | 0:04:53 | |
You know, you've got to... | 0:04:53 | 0:04:56 | |
There's a thousand ways to go about this, you know. | 0:04:56 | 0:04:59 | |
And... So I looked at the Van Gogh painting, | 0:04:59 | 0:05:03 | |
Starry Night, which is his most famous painting, I guess, | 0:05:03 | 0:05:07 | |
and tried to get this swirling feeling going with the lyrics. | 0:05:07 | 0:05:13 | |
# Starry, starry night | 0:05:13 | 0:05:16 | |
# Flaming flowers that brightly blaze | 0:05:18 | 0:05:22 | |
# Swirling clouds in violet haze | 0:05:23 | 0:05:27 | |
# Reflecting Vincent's eyes of China blue | 0:05:27 | 0:05:31 | |
# Colours changing hue... # | 0:05:31 | 0:05:34 | |
When I was about 12 years old, | 0:05:34 | 0:05:35 | |
I was just watching an episode of the Simpsons, | 0:05:35 | 0:05:38 | |
and Vincent came on one day. | 0:05:38 | 0:05:40 | |
And I was just like, "Wow, what is that song?" | 0:05:40 | 0:05:42 | |
I had no interest in music before or anything like that. | 0:05:42 | 0:05:45 | |
And so I went away and found out what it was, | 0:05:45 | 0:05:48 | |
and I just couldn't stop playing it for some reason. I don't know why. | 0:05:48 | 0:05:51 | |
And I didn't even start playing guitar at that point, I think. | 0:05:51 | 0:05:54 | |
That kind of opened the door for me. | 0:05:54 | 0:05:56 | |
# Starry, starry night... # | 0:05:56 | 0:05:58 | |
CHEERING AND APPLAUSE | 0:05:58 | 0:06:01 | |
# Paint your palette blue and grey | 0:06:01 | 0:06:05 | |
# Look out on a summer's day | 0:06:05 | 0:06:08 | |
# With eyes that know the darkness in my soul | 0:06:08 | 0:06:12 | |
# Shadows on the hills | 0:06:12 | 0:06:16 | |
# Sketch the trees and the daffodils | 0:06:16 | 0:06:20 | |
# Catch the breeze and the winter chills | 0:06:21 | 0:06:25 | |
# In colours on the snowy linen land... # | 0:06:25 | 0:06:29 | |
And that song is written in the form, | 0:06:30 | 0:06:35 | |
exactly like a popular song of the 1940s would be. | 0:06:35 | 0:06:40 | |
It's two verses, a bridge, and a verse, with a chorus. | 0:06:40 | 0:06:45 | |
When we did the album, I felt that Vincent was the diamond. | 0:06:45 | 0:06:51 | |
I just thought it was just so beautiful, and it is. | 0:06:51 | 0:06:57 | |
It is just a beautiful song. It's a beautiful poem. | 0:06:57 | 0:07:00 | |
I was stunned by the beauty of that song. | 0:07:00 | 0:07:06 | |
You know, by the standards of the day, it wasn't a single. | 0:07:06 | 0:07:10 | |
It's a masterpiece. | 0:07:10 | 0:07:11 | |
It deserves to be a hit, but it didn't sound like a hit. | 0:07:11 | 0:07:15 | |
1971 was the year of Carole King's Tapestry. | 0:07:15 | 0:07:18 | |
And Neil Young, Harvest. | 0:07:18 | 0:07:21 | |
We are dealing with a point in time | 0:07:21 | 0:07:23 | |
where the Beatles have just broken up, | 0:07:23 | 0:07:25 | |
so we are starting to deal with solo Beatles very slowly. | 0:07:25 | 0:07:29 | |
You had a series of deaths, | 0:07:29 | 0:07:31 | |
Jimi Hendrix, Janis Joplin, | 0:07:31 | 0:07:33 | |
Jim Morrison of The Doors, Brian Jones. | 0:07:33 | 0:07:35 | |
James Taylor was very hot, you know, | 0:07:35 | 0:07:39 | |
and was doing some beautiful work | 0:07:39 | 0:07:41 | |
with those first two or three records that he made. | 0:07:41 | 0:07:44 | |
Elton John became a huge star that year. | 0:07:44 | 0:07:47 | |
And certainly Cat Stevens was emerging, | 0:07:47 | 0:07:50 | |
and that whole idea of the singer songwriter | 0:07:50 | 0:07:52 | |
where the performer not only performed the music, | 0:07:52 | 0:07:55 | |
but also wrote the song and expressed themselves. | 0:07:55 | 0:07:58 | |
Very folky kinds of music, I think. | 0:07:58 | 0:08:01 | |
Very acoustic kinds of music. | 0:08:01 | 0:08:03 | |
That is what I was drawn to, | 0:08:03 | 0:08:06 | |
and that's where I believe Don came out of. | 0:08:06 | 0:08:10 | |
I found an album called Bird On A Wire | 0:08:10 | 0:08:13 | |
which was a Tim Hardin record, | 0:08:13 | 0:08:16 | |
which was produced by a man named Ed Freeman, | 0:08:16 | 0:08:21 | |
so I said, "I want Ed Freeman." Because I liked that. | 0:08:21 | 0:08:24 | |
There was a certain elegant sound. I thought it was elegant. | 0:08:24 | 0:08:28 | |
Ed Freeman would put a lot of things on a recording, | 0:08:28 | 0:08:34 | |
and would blend some of those things very subtly. | 0:08:34 | 0:08:37 | |
The album that changed my life was Rubber Soul, | 0:08:37 | 0:08:40 | |
and I thought, "You know, OK, all restrictions are off. | 0:08:40 | 0:08:45 | |
"You can put any instrument on any song and you can get away with it." | 0:08:45 | 0:08:50 | |
This is what it sounded like when we recorded the whole... | 0:08:50 | 0:08:54 | |
This is everything we put in the song. | 0:08:54 | 0:08:57 | |
# Now I understand... # | 0:08:57 | 0:09:00 | |
There's a harpsichord, there is a piano, there is an oboe, | 0:09:00 | 0:09:05 | |
four tracks of marimba, strings, there is a harp. | 0:09:05 | 0:09:11 | |
There is everything but the kitchen sink in there. | 0:09:11 | 0:09:14 | |
So we recorded all that, | 0:09:14 | 0:09:15 | |
and then we took it all back out. | 0:09:15 | 0:09:18 | |
But the thing is, that we had to record all these things | 0:09:18 | 0:09:23 | |
to find the few things that worked. | 0:09:23 | 0:09:25 | |
# Now I understand... # | 0:09:25 | 0:09:29 | |
See, everything about the record is dictated by the guitar. | 0:09:29 | 0:09:36 | |
I was a guitarist. Um... | 0:09:36 | 0:09:40 | |
And I was a good guitarist, | 0:09:40 | 0:09:43 | |
and so I was very, very judgmental | 0:09:43 | 0:09:46 | |
about other people's guitar playing. | 0:09:46 | 0:09:49 | |
And I thought Don's finger picking was good. | 0:09:49 | 0:09:53 | |
But I did not like his rhythm guitar playing. | 0:09:53 | 0:09:56 | |
It was a big, major thing, you know, | 0:09:56 | 0:09:59 | |
he was very condescending about my guitar playing. | 0:09:59 | 0:10:02 | |
I had worked with other musicians at Columbia, and I just, you know, | 0:10:02 | 0:10:08 | |
took the instrument out of their hands physically. | 0:10:08 | 0:10:11 | |
Just walked into the studio | 0:10:11 | 0:10:13 | |
and took the guitar out of their hand | 0:10:13 | 0:10:16 | |
and said, "OK, you're not playing any more. | 0:10:16 | 0:10:18 | |
"Go away." | 0:10:18 | 0:10:19 | |
"We'll get a professional in here." I said, "You're looking at him." | 0:10:19 | 0:10:22 | |
And that started right off on the wrong foot. | 0:10:22 | 0:10:25 | |
This is where he fell down terribly as a producer. | 0:10:25 | 0:10:28 | |
You are there to make things good. | 0:10:28 | 0:10:30 | |
You know, "That was great, Don, you sang so great. Try one more time." | 0:10:30 | 0:10:34 | |
You know? "See if we can do this. Everything was great." | 0:10:34 | 0:10:37 | |
Rather than, "Yeah, I don't like that. That's not good." | 0:10:37 | 0:10:40 | |
That's how you kill a groove right away. | 0:10:40 | 0:10:43 | |
I wish I had been more supportive than I was. Um... | 0:10:43 | 0:10:49 | |
I wish I had known how to deal with | 0:10:49 | 0:10:55 | |
a delicate artist's ego | 0:10:55 | 0:10:57 | |
a little bit better than I did. | 0:10:57 | 0:10:59 | |
I don't think I was very good at doing that. | 0:10:59 | 0:11:01 | |
There was a lot of artistry that went into this album, | 0:11:01 | 0:11:04 | |
and a bunch of arguing also, | 0:11:04 | 0:11:06 | |
but it turned out OK. | 0:11:06 | 0:11:08 | |
But, see, the thing sounds complete with just the voice and guitar. | 0:11:09 | 0:11:13 | |
And in my mind, when I hear the record, think about the record, | 0:11:13 | 0:11:17 | |
it's basically voice and guitar until the bridge, | 0:11:17 | 0:11:20 | |
when I hear the marimba, | 0:11:20 | 0:11:22 | |
which was a brilliant idea to have that in there. | 0:11:22 | 0:11:25 | |
One of the first songs that I played on was Vincent. | 0:11:25 | 0:11:29 | |
I think we experimented with me playing vibraphone first, | 0:11:29 | 0:11:33 | |
because I am mainly a vibraphonist. | 0:11:33 | 0:11:35 | |
I thought that we should try it on marimba. | 0:11:35 | 0:11:37 | |
The marimba is an ancient instrument, really. | 0:11:42 | 0:11:45 | |
It is an African instrument, and, you know, | 0:11:45 | 0:11:48 | |
it has a very, very low register. | 0:11:48 | 0:11:50 | |
And the bars are made out of rosewood, African rosewood. | 0:11:50 | 0:11:54 | |
And so it has this, like an ancient sound to it. | 0:11:54 | 0:11:58 | |
This really beautiful sort of lush... | 0:11:58 | 0:12:02 | |
# Now I understand | 0:12:02 | 0:12:06 | |
# What you tried to say to me | 0:12:06 | 0:12:10 | |
# How you suffered for your sanity | 0:12:10 | 0:12:15 | |
# And how you tried to set them free | 0:12:15 | 0:12:18 | |
# They would not listen | 0:12:18 | 0:12:20 | |
# They did not know how | 0:12:20 | 0:12:25 | |
# Perhaps they'll listen now... # | 0:12:25 | 0:12:29 | |
Initially, I wrote an arrangement for strings | 0:12:29 | 0:12:33 | |
that went through the entire song. | 0:12:33 | 0:12:37 | |
What I wanted to get into the Vincent song | 0:12:37 | 0:12:40 | |
and the record was wind, air, circling. | 0:12:40 | 0:12:46 | |
This kind of, like the air flowing through a window | 0:12:47 | 0:12:51 | |
when you see the curtains flutter. | 0:12:51 | 0:12:53 | |
In mixing, Don insisted that we leave the strings out | 0:12:53 | 0:12:57 | |
until the very end. | 0:12:57 | 0:12:58 | |
And this was one of our... | 0:12:59 | 0:13:02 | |
..one of our heated discussions, | 0:13:03 | 0:13:06 | |
and I have to admit that he was right. | 0:13:06 | 0:13:09 | |
He was absolutely right. | 0:13:09 | 0:13:10 | |
It works perfectly that the strings come in at the very end. | 0:13:10 | 0:13:13 | |
And that's what he did, with those strings at the end. | 0:13:13 | 0:13:17 | |
It's like the wind suddenly comes through the window. | 0:13:17 | 0:13:21 | |
You know, that's how I think about it when I hear it. | 0:13:21 | 0:13:24 | |
You know, I'm singing the last part and it becomes just so beautiful. | 0:13:24 | 0:13:29 | |
STRINGS PLAY # Now I think I know | 0:13:29 | 0:13:34 | |
# What you tried to say to me | 0:13:34 | 0:13:38 | |
# And how you suffered for your sanity | 0:13:38 | 0:13:43 | |
# And how you tried to set them free | 0:13:43 | 0:13:46 | |
# They would not listen | 0:13:46 | 0:13:48 | |
# They're not listening still | 0:13:48 | 0:13:51 | |
# Perhaps they never will. # | 0:13:52 | 0:13:58 | |
If you are a good songwriter, every now and then | 0:14:03 | 0:14:05 | |
you'll come across something that is alive. This is alive. | 0:14:05 | 0:14:09 | |
For a long, long, time before my father died, | 0:14:09 | 0:14:12 | |
I was sick at home with asthma. | 0:14:12 | 0:14:16 | |
I would get this in the spring, I would get it in the fall, | 0:14:16 | 0:14:19 | |
and I would be home for a month, way behind in school. | 0:14:19 | 0:14:22 | |
Didn't have a lot of friends. | 0:14:22 | 0:14:26 | |
Couldn't get along with people. I was used to doing things my own way. | 0:14:26 | 0:14:30 | |
So I started to fall in love with records and music and radio. | 0:14:30 | 0:14:35 | |
Because I had a lot of time on my hands when you are sick, you know. | 0:14:35 | 0:14:38 | |
I think the big thing that happened was the guitar | 0:14:38 | 0:14:42 | |
and the five-string banjo later on. | 0:14:42 | 0:14:45 | |
My father basically had a heart attack right in front of me. | 0:14:45 | 0:14:48 | |
Late at night, like, one in the morning, | 0:14:49 | 0:14:51 | |
and I had to call the ambulance, | 0:14:51 | 0:14:54 | |
call the police, and he didn't want me to do that. | 0:14:54 | 0:14:58 | |
Basically, I took over. | 0:14:58 | 0:15:00 | |
And he was always a very authoritarian, Scottish, | 0:15:00 | 0:15:04 | |
you know, he ruled. | 0:15:04 | 0:15:06 | |
All of a sudden, he said, "Don't call the police." | 0:15:06 | 0:15:08 | |
I said, "I'm calling the police. I'm calling the ambulance right now." | 0:15:08 | 0:15:11 | |
You know, I said, "You lay down on the bed." I was in charge. | 0:15:11 | 0:15:14 | |
15 years old. | 0:15:14 | 0:15:16 | |
From that point on, I have been in charge. | 0:15:17 | 0:15:20 | |
And... So he... | 0:15:20 | 0:15:23 | |
Ha! | 0:15:23 | 0:15:25 | |
He had a smile. | 0:15:25 | 0:15:27 | |
He was all wrapped up... He was on his stretcher, | 0:15:27 | 0:15:31 | |
and they were taking him out. | 0:15:31 | 0:15:32 | |
He wasn't going to live but a few more hours, | 0:15:32 | 0:15:34 | |
but he looked up at me and he smiled. | 0:15:34 | 0:15:36 | |
And he said, "You are a man now." | 0:15:36 | 0:15:38 | |
HE LAUGHS | 0:15:38 | 0:15:39 | |
# The grave that they dug him had flowers | 0:15:39 | 0:15:43 | |
# Gathered from the hillsides in bright summer colours | 0:15:43 | 0:15:48 | |
# And the brown earth bleached white | 0:15:48 | 0:15:51 | |
# At the edge of his gravestone | 0:15:51 | 0:15:54 | |
# He's gone | 0:15:54 | 0:15:56 | |
# But eternity knows him | 0:15:56 | 0:15:59 | |
# And it knows what we've done... # | 0:15:59 | 0:16:03 | |
The Grave was a dream. | 0:16:04 | 0:16:06 | |
You know, I mean, I had the... | 0:16:07 | 0:16:10 | |
I, along with millions of other young men, | 0:16:10 | 0:16:12 | |
I had the war in Vietnam nipping at our heels all through the '60s. | 0:16:12 | 0:16:16 | |
By 1971, it was absolutely clear that the Vietnam War was a disaster. | 0:16:16 | 0:16:23 | |
And all America could do was to try | 0:16:23 | 0:16:25 | |
to get out. As their President said, "Peace with honour." | 0:16:25 | 0:16:29 | |
Which basically meant we need to extricate ourselves | 0:16:29 | 0:16:31 | |
without looking too bad about it. | 0:16:31 | 0:16:33 | |
I just lucked out. I was the only guy to come back on the bus | 0:16:33 | 0:16:36 | |
that day from New York. | 0:16:36 | 0:16:38 | |
Everybody else went in the army. | 0:16:38 | 0:16:40 | |
Because I had this asthma, you know, they kept me away from school | 0:16:43 | 0:16:45 | |
all those years and doctors' letters, | 0:16:45 | 0:16:48 | |
and the guy said, "You're out." | 0:16:48 | 0:16:50 | |
I said, "Huh? What? I'm out?" | 0:16:50 | 0:16:53 | |
He dreamt about a soldier and his experience at the front line. | 0:16:53 | 0:16:57 | |
This soldier lost his life. | 0:16:57 | 0:17:00 | |
A kid that I had gone to high school with, | 0:17:00 | 0:17:03 | |
a young Irish kid, nice boy, came into the bar that night, | 0:17:03 | 0:17:07 | |
and said, "Yay, boy, we are going over to Vietnam." | 0:17:07 | 0:17:09 | |
And he got killed, like, right away. | 0:17:09 | 0:17:11 | |
# When the wars of our nation did beckon | 0:17:11 | 0:17:15 | |
# A lad barely 20 did answer the calling | 0:17:15 | 0:17:19 | |
# Proud of the trust that he placed in our nation | 0:17:19 | 0:17:23 | |
# He's gone. | 0:17:23 | 0:17:24 | |
# I'll cover myself with the mud and the earth | 0:17:26 | 0:17:32 | |
# I'll cover myself | 0:17:32 | 0:17:35 | |
# I know I'm not brave | 0:17:35 | 0:17:38 | |
# The earth, the earth | 0:17:38 | 0:17:41 | |
# The earth is my grave... # | 0:17:41 | 0:17:45 | |
Now the guitar... | 0:17:45 | 0:17:46 | |
ACOUSTIC GUITAR PLAYS | 0:17:46 | 0:17:50 | |
You must have release, you know, | 0:17:53 | 0:17:55 | |
you have tension and release in music. | 0:17:55 | 0:17:58 | |
You also have to start quiet in order to get loud. | 0:17:58 | 0:18:02 | |
That is something I had to learn. You can't be loud all the time. | 0:18:02 | 0:18:05 | |
If you start quiet, and then you build, you have dynamics. | 0:18:05 | 0:18:09 | |
The Grave didn't become the anthem for the anti-Vietnam protest. | 0:18:09 | 0:18:14 | |
The song's time certainly came in 2003. | 0:18:14 | 0:18:18 | |
George Michael wanted to record that song as a protest | 0:18:18 | 0:18:21 | |
for the American-led invasion of Iraq. | 0:18:21 | 0:18:24 | |
He was the only one that did. | 0:18:24 | 0:18:26 | |
You know, nobody else did anything. | 0:18:26 | 0:18:29 | |
They had us so completely cowered by that Patriot Act, | 0:18:29 | 0:18:33 | |
and fearing that if anybody really was vocal and protested, | 0:18:33 | 0:18:39 | |
they could end up in some, you know, | 0:18:39 | 0:18:42 | |
maximum security prison, and you would never hear from them again. | 0:18:42 | 0:18:45 | |
Don phoned me up and he said, | 0:18:45 | 0:18:47 | |
"Alan, you've got to watch Top Of The Pops tonight. | 0:18:47 | 0:18:50 | |
"George Michael is going to sing my song, The Grave." | 0:18:50 | 0:18:53 | |
# But the silence of night was shattered by fire | 0:18:53 | 0:18:59 | |
# As guns and grenades | 0:18:59 | 0:19:01 | |
# Blasted sharp through the air | 0:19:01 | 0:19:04 | |
# One after another his comrades were slaughtered | 0:19:05 | 0:19:11 | |
# In a morgue of marines | 0:19:11 | 0:19:14 | |
# Alone, standing there | 0:19:14 | 0:19:17 | |
# He crouched ever lower | 0:19:17 | 0:19:19 | |
# Ever lower with fear | 0:19:19 | 0:19:22 | |
# They can't let me die | 0:19:22 | 0:19:25 | |
# They can't let me die here | 0:19:25 | 0:19:28 | |
# I'll cover myself with the mud and the earth | 0:19:28 | 0:19:33 | |
# I'll cover myself | 0:19:33 | 0:19:35 | |
# I know I'm not brave | 0:19:35 | 0:19:40 | |
# The earth, the earth | 0:19:40 | 0:19:44 | |
# The earth is my grave. # | 0:19:44 | 0:19:50 | |
Don's always been really impressed by George Michael. | 0:19:50 | 0:19:54 | |
So The Grave, perhaps one of the smallest songs in reputation | 0:19:54 | 0:19:58 | |
to begin with on American Pie, | 0:19:58 | 0:20:00 | |
got its own life, thanks to another major music star. | 0:20:00 | 0:20:04 | |
When I was 14, I was in love with The Weavers. | 0:20:07 | 0:20:11 | |
The Weavers were Pete Seeger, Fred Hellerman, and Ronnie Gilbert, | 0:20:11 | 0:20:14 | |
and Lee Hays. | 0:20:14 | 0:20:16 | |
The sound of the four of them was just stunning. | 0:20:16 | 0:20:20 | |
I mean, it was just thrilling to hear. | 0:20:20 | 0:20:23 | |
One day, I must have been 14, maybe, 15, I said, | 0:20:23 | 0:20:28 | |
"I wonder if their names are in the phone book." | 0:20:28 | 0:20:30 | |
I called the operator, you know, in Manhattan Directory, and said, | 0:20:30 | 0:20:34 | |
"Do you have a number for Fred Hellerman in Manhattan?" | 0:20:34 | 0:20:37 | |
"Yes, we do." | 0:20:37 | 0:20:38 | |
And they gave me the number. I called it, you know? | 0:20:38 | 0:20:41 | |
And one by one, I guess he told The Weavers about me | 0:20:41 | 0:20:44 | |
and I would call them and got to know them and then | 0:20:44 | 0:20:48 | |
Erik Darling said, "Why don't you come to the house and we can play?" | 0:20:48 | 0:20:52 | |
Erik became an influence, helped refine Don's musical style, | 0:20:52 | 0:20:57 | |
the clarity of his singing and the quality of his guitar playing | 0:20:57 | 0:21:02 | |
and then, later, he wrote to Pete Seeger and asked him | 0:21:02 | 0:21:06 | |
why he believes in Communism. | 0:21:06 | 0:21:08 | |
This immediately grabbed Pete Seeger's attention | 0:21:08 | 0:21:12 | |
and they struck up a friendship. | 0:21:12 | 0:21:15 | |
He was very much..."do it yourself and learn about everything". | 0:21:15 | 0:21:19 | |
So that rubbed off on me, I mean, certainly, | 0:21:19 | 0:21:21 | |
and it was a tremendous experience. | 0:21:21 | 0:21:24 | |
You know, I wasn't always in agreement with him politically, | 0:21:24 | 0:21:27 | |
but I was in agreement with him about the value of human life and | 0:21:27 | 0:21:33 | |
the value of culture and the value of diversity and the value of love. | 0:21:33 | 0:21:38 | |
This is something that so many poor people, poor kids, black, | 0:21:38 | 0:21:44 | |
white, whatever you want to say, in this country have not had | 0:21:44 | 0:21:48 | |
this realisation that you can do anything. | 0:21:48 | 0:21:52 | |
They're taught that they're stupid, not worthy. | 0:21:52 | 0:21:55 | |
They don't realise that they can do anything. | 0:21:55 | 0:21:59 | |
The only reason I got as far as I did was | 0:21:59 | 0:22:02 | |
because I was just a powerhouse back in 1969. | 0:22:02 | 0:22:06 | |
I ended up being in debt for 20,000, which was a lot of money, | 0:22:06 | 0:22:10 | |
in order to finance the first album, Tapestry, | 0:22:10 | 0:22:13 | |
and had no solid indication that it was going to come out any place. | 0:22:13 | 0:22:18 | |
Alan Livingston was the president of the newly-formed | 0:22:18 | 0:22:23 | |
Media Arts Label. | 0:22:23 | 0:22:26 | |
Livingston had previously worked as chief executive | 0:22:26 | 0:22:28 | |
at Capitol Records and he signed Don McLean | 0:22:28 | 0:22:31 | |
and as an initial advance, | 0:22:31 | 0:22:34 | |
Don received 25,000 and financing for the production of the album, | 0:22:34 | 0:22:39 | |
which wiped out his debts and put him | 0:22:39 | 0:22:42 | |
in a much more comfortable position. | 0:22:42 | 0:22:45 | |
So I was able to give my mother money every week for three | 0:22:45 | 0:22:47 | |
years and move her back into the house that she had had to leave | 0:22:47 | 0:22:51 | |
seven years before. | 0:22:51 | 0:22:53 | |
I remember listening to his first album and thinking, erm... | 0:22:53 | 0:22:58 | |
This was quite unusual for a singer-songwriter at that time. | 0:22:58 | 0:23:02 | |
And I Love You So and Castles In The Air, those were terrific songs. | 0:23:02 | 0:23:07 | |
But I don't think in any way Don was a household name. | 0:23:07 | 0:23:11 | |
# And if she asks you why, you can tell her that I told you | 0:23:11 | 0:23:15 | |
# That I'm tired of castles in the air | 0:23:15 | 0:23:19 | |
# I've got a dream I want the world to share | 0:23:19 | 0:23:22 | |
# And castle walls just lead me to despair... # | 0:23:22 | 0:23:26 | |
I love Nat King Cole, Ella Fitzgerald, and I would try | 0:23:26 | 0:23:30 | |
to learn to sing some of the slow songs that Sinatra would sing. | 0:23:30 | 0:23:35 | |
It's not so hard to sing a fast one, you know. Just connect the dots. | 0:23:35 | 0:23:39 | |
But a slow song, we really | 0:23:39 | 0:23:41 | |
understand... | 0:23:41 | 0:23:44 | |
..every millisecond | 0:23:44 | 0:23:48 | |
of time | 0:23:48 | 0:23:50 | |
is important. | 0:23:50 | 0:23:52 | |
And that's a wonderful thing to work on. | 0:23:52 | 0:23:55 | |
# And I love you so | 0:23:55 | 0:24:00 | |
# People ask me how | 0:24:02 | 0:24:06 | |
# How I've lived till now | 0:24:06 | 0:24:10 | |
# I tell them I don't know... # | 0:24:12 | 0:24:16 | |
I was always very dark. I'm a dark... I'm a blue person. | 0:24:16 | 0:24:22 | |
You know, there's just kind of a blue tinge to things, you know. | 0:24:22 | 0:24:26 | |
And it's really kind of a pointless way to be, you know, | 0:24:26 | 0:24:31 | |
when you have so much good fortune as I've had, | 0:24:31 | 0:24:35 | |
and I'm aware of that, but I guess it's the Scottish in me | 0:24:35 | 0:24:39 | |
or something, I don't know what it is. | 0:24:39 | 0:24:42 | |
But it's hard to shake. | 0:24:42 | 0:24:44 | |
You know, I'm always waiting for the other shoe to drop or looking | 0:24:44 | 0:24:47 | |
around the corner and thinking, "What's going to go wrong?" | 0:24:47 | 0:24:50 | |
# Yes, I know | 0:24:53 | 0:24:59 | |
# How loveless life can be | 0:24:59 | 0:25:04 | |
# The shadows follow me | 0:25:06 | 0:25:10 | |
# And night won't set me free... # | 0:25:10 | 0:25:14 | |
And I Love You So went on to be a hit record | 0:25:14 | 0:25:17 | |
for Perry Como in 1974, and was recorded by Elvis Presley. | 0:25:17 | 0:25:23 | |
In fact, featured on Elvis Presley's last live album. | 0:25:23 | 0:25:28 | |
I also got married in 1969. | 0:25:28 | 0:25:33 | |
I was very needy. | 0:25:33 | 0:25:36 | |
I needed someone and I really didn't know anything about marriage, | 0:25:36 | 0:25:42 | |
I didn't know anything about relationships, | 0:25:42 | 0:25:45 | |
but I was desperately lonely. | 0:25:45 | 0:25:47 | |
And I married a girl, a very smart girl, | 0:25:47 | 0:25:52 | |
who was supportive of my music, | 0:25:52 | 0:25:56 | |
but it wasn't a good marriage. | 0:25:56 | 0:26:00 | |
# Morning comes and morning goes with no regret | 0:26:00 | 0:26:05 | |
# And evening brings the memories I can't forget | 0:26:07 | 0:26:11 | |
# Empty rooms that echo as I climb the stairs | 0:26:12 | 0:26:17 | |
# Empty clothes that drape and fall on empty chairs... # | 0:26:18 | 0:26:23 | |
Empty Chairs is the song of someone leaving someone and loneliness, | 0:26:24 | 0:26:30 | |
and you can't get lonelier than, you know, | 0:26:30 | 0:26:33 | |
empty clothes hanging on empty chairs. | 0:26:33 | 0:26:38 | |
Well, Empty Chairs is a sort of distance cousin of Vincent. | 0:26:39 | 0:26:43 | |
And I never really wrote any song that was similar to another one in | 0:26:43 | 0:26:46 | |
my whole life, but for some reason, this song came out and it's the same | 0:26:46 | 0:26:51 | |
thing, two verses, a bridge, and a verse, with a sort of a chorus. | 0:26:51 | 0:26:57 | |
That's the harpsichord. | 0:26:57 | 0:26:59 | |
HARPSICHORD PLAYS | 0:26:59 | 0:27:01 | |
That's neat. | 0:27:01 | 0:27:03 | |
I like that. | 0:27:03 | 0:27:06 | |
That's pretty. | 0:27:08 | 0:27:10 | |
How'd that get left out?! | 0:27:10 | 0:27:12 | |
And one thing, you know, these records were handmade. | 0:27:12 | 0:27:15 | |
All records were handmade. | 0:27:15 | 0:27:17 | |
That is to say a lot of times, we'd have to go and find hands, | 0:27:17 | 0:27:20 | |
you know, in the studio to pull, | 0:27:20 | 0:27:23 | |
to push parts up to certain marks that were made on tape, | 0:27:23 | 0:27:27 | |
at key moments. | 0:27:27 | 0:27:29 | |
So, all right, raise the strings now, slowly, to that, | 0:27:29 | 0:27:32 | |
and it was exciting. | 0:27:32 | 0:27:34 | |
It was my girlfriend who called me on the phone and said, | 0:27:34 | 0:27:38 | |
"You've got to come to the Troubadour, | 0:27:38 | 0:27:40 | |
"you've got to see this amazing singer that I love," she said. | 0:27:40 | 0:27:45 | |
"Named Don McLean." | 0:27:45 | 0:27:47 | |
And I didn't want to go, I was going through a break-up, | 0:27:47 | 0:27:52 | |
I just wanted to stay in my apartment, I was 19 years old, | 0:27:52 | 0:27:56 | |
and reluctantly, I went to see him. | 0:27:56 | 0:28:01 | |
I had not heard of him before, and sitting in the club, | 0:28:01 | 0:28:05 | |
I just felt like all of a sudden, he was singing about me and my life, | 0:28:05 | 0:28:12 | |
especially when he started to sing this particular song. | 0:28:12 | 0:28:15 | |
The effect that I had and the song had on her caused her to | 0:28:15 | 0:28:20 | |
include me and the whole experience that she had in this poem. | 0:28:20 | 0:28:24 | |
What really got to me in the song was, | 0:28:24 | 0:28:27 | |
"And I wonder if you know that I never understood." | 0:28:27 | 0:28:32 | |
# And I wonder if you know | 0:28:32 | 0:28:36 | |
# That I never understood | 0:28:38 | 0:28:41 | |
# That although you said you'd go | 0:28:44 | 0:28:48 | |
# Until you did | 0:28:48 | 0:28:51 | |
# I never thought you would... # | 0:28:51 | 0:28:54 | |
And so when everybody filtered out of the club, | 0:28:56 | 0:28:58 | |
my girlfriend as well, I stayed there and I wrote a poem | 0:28:58 | 0:29:01 | |
on a napkin that was there, | 0:29:01 | 0:29:04 | |
and that poem became Killing Me Softly. | 0:29:04 | 0:29:08 | |
And the "him" is Don McLean. | 0:29:08 | 0:29:11 | |
# I felt all flushed with fever | 0:29:12 | 0:29:16 | |
# Embarrassed by the crowd | 0:29:16 | 0:29:19 | |
# I felt he found my letters and read each one out loud | 0:29:21 | 0:29:27 | |
# I prayed that he would finish | 0:29:29 | 0:29:33 | |
# But he just kept right on | 0:29:33 | 0:29:38 | |
# Strumming my pain with his fingers | 0:29:38 | 0:29:41 | |
# Singing my life with his words | 0:29:42 | 0:29:45 | |
# Killing me softly with his song | 0:29:47 | 0:29:50 | |
# Killing me softly with his song | 0:29:50 | 0:29:54 | |
# Telling my whole life with his words | 0:29:54 | 0:29:59 | |
# Killing me softly | 0:29:59 | 0:30:02 | |
# With his song. # | 0:30:04 | 0:30:07 | |
I remember when I first heard Roberta Flack singing it. | 0:30:10 | 0:30:13 | |
My version had started to go up the charts | 0:30:13 | 0:30:16 | |
and then she heard it on an airplane and she loved it, and by the time | 0:30:16 | 0:30:21 | |
she landed, she had contacted Quincy Jones and Joel Dorn, her producer. | 0:30:21 | 0:30:26 | |
# Killing me softly with his song | 0:30:26 | 0:30:30 | |
# Telling my whole life with his words | 0:30:30 | 0:30:33 | |
# Killing me softly | 0:30:33 | 0:30:37 | |
# With his song | 0:30:37 | 0:30:40 | |
# Oh | 0:30:42 | 0:30:45 | |
# Oh-oh-oh... # | 0:30:45 | 0:30:49 | |
You could see, mine is a very simple folk song, but hers, | 0:30:49 | 0:30:54 | |
she added these elements that I never would have imagined, | 0:30:54 | 0:30:57 | |
and she made it something that I could never have imagined | 0:30:57 | 0:31:00 | |
the song holding. And yet it did. | 0:31:00 | 0:31:03 | |
And I think I was so surprised that it resonated with so many people. | 0:31:03 | 0:31:08 | |
I'm not an entertainer. | 0:31:08 | 0:31:10 | |
There are aspects of entertainment to what I do | 0:31:10 | 0:31:13 | |
and I will entertain you, in order to get your attention, | 0:31:13 | 0:31:16 | |
maybe then to do something else. | 0:31:16 | 0:31:18 | |
Crossroads, I think, is a masterpiece. | 0:31:18 | 0:31:23 | |
It's a gorgeous piece of writing. | 0:31:23 | 0:31:24 | |
Crossroads, when I was playing it, seemed to be repetitive. | 0:31:24 | 0:31:28 | |
I was going from the G to the E minor to the A minor. | 0:31:28 | 0:31:31 | |
And then Ed said, | 0:31:31 | 0:31:33 | |
"We can get this really good piano player to play it," | 0:31:33 | 0:31:36 | |
and so they got Warren Bernhardt, a very sensitive player, | 0:31:36 | 0:31:41 | |
and so Ed created with Warren this track, and then I sang to it. | 0:31:41 | 0:31:47 | |
Turned out very well. | 0:31:47 | 0:31:48 | |
When I hear the opening strings, it's still very memorable. | 0:31:48 | 0:31:54 | |
# I've got nothing on my mind | 0:31:54 | 0:31:57 | |
# Nothing to remember | 0:31:57 | 0:32:00 | |
# Nothing to forget... # | 0:32:03 | 0:32:06 | |
See how beautiful it is. | 0:32:06 | 0:32:08 | |
# And I know that on the outside... # | 0:32:08 | 0:32:11 | |
All that stuff I was talking about, dynamics. | 0:32:11 | 0:32:15 | |
Quiet. | 0:32:15 | 0:32:17 | |
Loud. | 0:32:17 | 0:32:18 | |
Very liquid. | 0:32:20 | 0:32:22 | |
Fluid. | 0:32:22 | 0:32:23 | |
The melody is just so beautiful that it resonates with me, certainly, | 0:32:23 | 0:32:28 | |
and I think with a lot of people. | 0:32:28 | 0:32:30 | |
I think, when music is written in such a beautiful way, | 0:32:30 | 0:32:34 | |
there's no escaping it, really. | 0:32:34 | 0:32:36 | |
# So there's no need for turning back | 0:32:36 | 0:32:40 | |
# Cos all roads lead to where we stand... # | 0:32:43 | 0:32:46 | |
A lot of Don's music is sad. | 0:32:48 | 0:32:50 | |
I probably pushed for something - | 0:32:50 | 0:32:52 | |
do we have anything else that's a little bit more hit-like, please? | 0:32:52 | 0:32:58 | |
But in the end, you just have to say, well, that's what he writes. | 0:32:58 | 0:33:03 | |
Everybody Loves Me, Baby, which is about the egotistical, | 0:33:03 | 0:33:08 | |
rich leader, who everybody is supposed to love, | 0:33:08 | 0:33:11 | |
except this one person who thinks he's a jerk. | 0:33:11 | 0:33:15 | |
It was during the Nixonian time period. | 0:33:15 | 0:33:18 | |
He was a wonderful catalyst for creativity. | 0:33:18 | 0:33:21 | |
This is Everybody Loves Me, Baby. | 0:33:21 | 0:33:24 | |
It's the only other upbeat song on the album. | 0:33:24 | 0:33:26 | |
And we wanted it to sound like a party. | 0:33:26 | 0:33:29 | |
And so it's a sloppy mess, on purpose. | 0:33:29 | 0:33:32 | |
-It sounds like this. -One, two, three, four! | 0:33:34 | 0:33:38 | |
# Fortune has... # | 0:33:44 | 0:33:47 | |
What's unusual about this is that we have a track of people, | 0:33:47 | 0:33:51 | |
I think there must have been a dozen people in the studio, | 0:33:51 | 0:33:54 | |
just carrying on, having a great drunken time, banging on every | 0:33:54 | 0:34:00 | |
percussion instrument they could find and yelling and screaming. | 0:34:00 | 0:34:04 | |
And this is what that track sounds like, solo. | 0:34:04 | 0:34:06 | |
VARIOUS PERCUSSION | 0:34:06 | 0:34:11 | |
Everybody Loves Me, Baby, I thought could have been a lot better. | 0:34:12 | 0:34:15 | |
That was one of the things where I think we dropped the ball. | 0:34:15 | 0:34:18 | |
Lyrically, it's OK, but I don't like the melody all that much. | 0:34:18 | 0:34:22 | |
I could have done a better job on that. | 0:34:22 | 0:34:26 | |
I didn't have the ideas to help the producer, but one thing, | 0:34:26 | 0:34:31 | |
I would have put voices on the chorus. | 0:34:31 | 0:34:34 | |
I think that could have made it a very catchy chorus. | 0:34:34 | 0:34:36 | |
He has got a really playful, acrobatic voice when he likes, | 0:34:36 | 0:34:41 | |
full of humour and kind of vigour | 0:34:41 | 0:34:43 | |
and effervescence, and that is to the fore on this song. | 0:34:43 | 0:34:46 | |
# You're all enslaved My own flag is forever waved by... # | 0:34:46 | 0:34:50 | |
This must have been a lot of fun to record. | 0:34:52 | 0:34:55 | |
I don't remember the session, exactly, but listening to | 0:34:55 | 0:35:01 | |
the multitrack now, I think we must have had a really good time. | 0:35:01 | 0:35:06 | |
It comes, I think, at a great moment in the album, | 0:35:06 | 0:35:09 | |
as far as the running order is concerned, when it really needs | 0:35:09 | 0:35:12 | |
a sort of energy lift and a kind of a humour lift. | 0:35:12 | 0:35:15 | |
And I would have it as a personal highlight. | 0:35:15 | 0:35:18 | |
This is the song, Babylon, | 0:35:18 | 0:35:20 | |
sometimes it's called By The Waters Of Babylon. | 0:35:20 | 0:35:23 | |
Babylon is an arrangement of Psalm 1:37. | 0:35:23 | 0:35:28 | |
I maintained a relationship with Lee Hays, who was | 0:35:28 | 0:35:30 | |
a member of The Weavers and he said, "Oh, hey, sing this song with me. | 0:35:30 | 0:35:37 | |
"And I'll sing it for you... | 0:35:37 | 0:35:38 | |
# By the waters... #" | 0:35:38 | 0:35:42 | |
He started to sing it. And he said, "Now..." | 0:35:42 | 0:35:45 | |
He sang the whole thing and said, | 0:35:45 | 0:35:47 | |
"See if you can remember how that goes." | 0:35:47 | 0:35:49 | |
So I remembered it, then he sang it against me. | 0:35:49 | 0:35:52 | |
He said, "Imagine a third part to that." So, I thought... | 0:35:52 | 0:35:56 | |
I heard it right away and I thought, "Oh, that's perfect," you know? | 0:35:56 | 0:36:00 | |
"And I know what I'll do with it. I'll make up a banjo part." | 0:36:00 | 0:36:04 | |
And although it's co-credited with Lee Hays, | 0:36:04 | 0:36:07 | |
in practice, Don McLean made the arrangement, | 0:36:07 | 0:36:11 | |
and insisted on giving 50% of the royalties from that | 0:36:11 | 0:36:17 | |
particular song to Lee Hays to thank him | 0:36:17 | 0:36:21 | |
for all he'd done in supporting his development in the 1960s. | 0:36:21 | 0:36:26 | |
# We lay down and wept | 0:36:26 | 0:36:30 | |
# And wept | 0:36:30 | 0:36:33 | |
# For thee Zion... # | 0:36:33 | 0:36:36 | |
It was one of the few times where Don actually sang more | 0:36:36 | 0:36:40 | |
than one part. | 0:36:40 | 0:36:41 | |
Ed wanted him to enhance it, but he didn't want to have | 0:36:41 | 0:36:45 | |
professional background singers come in and sing along with him. | 0:36:45 | 0:36:48 | |
He just wanted to use Don's voice. | 0:36:48 | 0:36:52 | |
# We lay down and wept | 0:36:52 | 0:36:55 | |
# And wept | 0:36:55 | 0:36:57 | |
# For thee Zion... # | 0:36:57 | 0:37:00 | |
It is a beautifully sung song. | 0:37:00 | 0:37:02 | |
We underrate how good a singer Don McLean is. | 0:37:02 | 0:37:05 | |
He has a very clear, beautiful, precise voice, but not a cold voice. | 0:37:05 | 0:37:11 | |
It's a voice which is, you know, full of feeling and emotion. | 0:37:11 | 0:37:14 | |
But he heard it and he said, "You sang it wrong." Cos it's... | 0:37:14 | 0:37:18 | |
# We lay down and wept | 0:37:18 | 0:37:20 | |
# And wept... # | 0:37:20 | 0:37:23 | |
I sang... # We lay down and wept... # | 0:37:23 | 0:37:25 | |
NOTE HIGHER: # And wept. # | 0:37:25 | 0:37:26 | |
Just a little note change. Instead of... # And wept... # | 0:37:26 | 0:37:29 | |
It's... # And wept. # | 0:37:29 | 0:37:31 | |
One note difference. But it makes a big difference. | 0:37:31 | 0:37:34 | |
BANJO PLAYS This is the banjo part | 0:37:34 | 0:37:37 | |
that I came up with. | 0:37:37 | 0:37:40 | |
It's in a funny tuning. | 0:37:42 | 0:37:43 | |
I think it's a G minor. | 0:37:43 | 0:37:45 | |
# Waters, the waters of Babylon | 0:37:46 | 0:37:50 | |
# We lay down and wept | 0:37:51 | 0:37:55 | |
# And wept... # | 0:37:55 | 0:37:57 | |
I DID sing it right. | 0:37:57 | 0:38:00 | |
# We lay down and wept | 0:38:00 | 0:38:04 | |
# And wept... # Yeah, I sang it wrong. | 0:38:04 | 0:38:06 | |
Sang it right the first time and wrong the second time. | 0:38:06 | 0:38:10 | |
That's funny. | 0:38:10 | 0:38:12 | |
# For thee Zion... # | 0:38:15 | 0:38:19 | |
So this was like a little finish to the whole album. | 0:38:19 | 0:38:24 | |
Just a period | 0:38:24 | 0:38:26 | |
put at the end of this whole experience. | 0:38:26 | 0:38:28 | |
With Babylon, you could end on a sense of mystery and beauty. | 0:38:28 | 0:38:32 | |
It kid of leaves it open and it gives you this kind of warm feeling. | 0:38:32 | 0:38:38 | |
And that's what albums at their best really did is that they take | 0:38:38 | 0:38:43 | |
you on a sort of an emotional | 0:38:43 | 0:38:44 | |
and intellectual journey over 40 minutes, | 0:38:44 | 0:38:48 | |
where it's not just a variety of song, | 0:38:48 | 0:38:51 | |
but a sort of thread of feeling, which kind of changes and weaves | 0:38:51 | 0:38:56 | |
around, that where you are at the end of it, | 0:38:56 | 0:38:59 | |
when you've finished side two of the album is different from where | 0:38:59 | 0:39:05 | |
you were at the beginning of it, | 0:39:05 | 0:39:07 | |
when you first put the needle on the beginning of side one. | 0:39:07 | 0:39:10 | |
# We remember thee | 0:39:10 | 0:39:14 | |
# Remember thee | 0:39:14 | 0:39:16 | |
# Remember thee Zion. # | 0:39:16 | 0:39:20 | |
I had most of the album written without American Pie. | 0:39:30 | 0:39:35 | |
In fact, they were going to call the album Empty Chairs or | 0:39:35 | 0:39:40 | |
something like that. | 0:39:40 | 0:39:42 | |
You know, American Pie hadn't been written. | 0:39:42 | 0:39:46 | |
But I wasn't happy with that. | 0:39:46 | 0:39:48 | |
You know, it's not right. I said, "It's not finished yet. | 0:39:48 | 0:39:50 | |
"I've got more to do. Something else I want to say." | 0:39:50 | 0:39:53 | |
A really big song I had in me, I knew I had this. | 0:39:53 | 0:39:56 | |
It's like a pregnancy. | 0:39:56 | 0:39:59 | |
And I knew it. | 0:39:59 | 0:40:01 | |
I was in this little gatehouse that I lived in | 0:40:01 | 0:40:05 | |
in Cold Spring on the Hudson, | 0:40:05 | 0:40:08 | |
and I shared that house with my first wife. | 0:40:08 | 0:40:12 | |
It was a happy life, because we had all these singers around and artists | 0:40:12 | 0:40:15 | |
and there were actors and there were poets | 0:40:15 | 0:40:18 | |
and there were biographers and there were painters. | 0:40:18 | 0:40:20 | |
It was a wonderful experience, very rich. | 0:40:20 | 0:40:22 | |
I just wanted to find this way of talking about America | 0:40:22 | 0:40:27 | |
that was big and that was dramatic, | 0:40:27 | 0:40:30 | |
but dramatic in a whole new way. | 0:40:30 | 0:40:33 | |
What happened to me is I had this little room in this gatehouse, | 0:40:33 | 0:40:38 | |
and I would sit up there with my guitar | 0:40:38 | 0:40:40 | |
and I had this old carpeting on the floor. | 0:40:40 | 0:40:43 | |
And I had a little bed in the corner. | 0:40:43 | 0:40:47 | |
That seclusion in the gatehouse in that small, rural community | 0:40:47 | 0:40:52 | |
was just what he needed. | 0:40:52 | 0:40:55 | |
So I was rocking in my little chair and all of a sudden, | 0:40:55 | 0:40:58 | |
I went over to the guitar, I had a little tape recorder. | 0:40:58 | 0:41:02 | |
And I just sang, "A long, long time ago," | 0:41:02 | 0:41:05 | |
to this whole thing, right through "the day the music died". | 0:41:05 | 0:41:08 | |
ACOUSTIC: # A long, long time ago I can still remember how | 0:41:10 | 0:41:14 | |
# That music used to make me smile | 0:41:14 | 0:41:17 | |
# And I knew if I had my chance That I could make those people dance | 0:41:19 | 0:41:23 | |
# And maybe they'd be happy for a while | 0:41:23 | 0:41:27 | |
# But February made me shiver | 0:41:28 | 0:41:31 | |
# With every paper I'd deliver | 0:41:31 | 0:41:34 | |
# Bad news on the doorstep | 0:41:34 | 0:41:36 | |
# I couldn't take one more step | 0:41:36 | 0:41:39 | |
# I can't remember if I cried When I read about his widowed bride | 0:41:40 | 0:41:45 | |
# But something touched me deep inside | 0:41:45 | 0:41:49 | |
# The day the music died... # | 0:41:49 | 0:41:54 | |
I said, "Oh, wow, this is really great. | 0:41:56 | 0:41:58 | |
"I don't know what it is, but it's really neat." | 0:41:58 | 0:42:00 | |
You know, and it spoke to me, like this was going someplace, | 0:42:00 | 0:42:04 | |
and I had to figure out where it was going. | 0:42:04 | 0:42:07 | |
Buddy Holly is the singer-songwriter | 0:42:07 | 0:42:09 | |
who remains by far the most influential on Don McLean. | 0:42:09 | 0:42:12 | |
For everything he did. You know, his gifts as a melodist, as a lyricist. | 0:42:12 | 0:42:17 | |
And as a sort of an outsider, | 0:42:17 | 0:42:19 | |
a rock star who didn't look like a rock star. | 0:42:19 | 0:42:22 | |
It was that moment of Don in his mid-20s, harking back to childhood, | 0:42:22 | 0:42:28 | |
to that moment of innocence, | 0:42:28 | 0:42:30 | |
before everything got complicated and adult and conflicted. | 0:42:30 | 0:42:35 | |
A month or two went by, and I just had it, | 0:42:35 | 0:42:37 | |
and didn't know what to do with it. | 0:42:37 | 0:42:40 | |
And then I said, "I want it to be a fast song, a rock and roll song." | 0:42:40 | 0:42:44 | |
So I came up with this crazy chorus. | 0:42:44 | 0:42:49 | |
"Bye-bye, Miss American Pie, drove my Chevy to the levee, | 0:42:49 | 0:42:53 | |
"but the levee was dry." | 0:42:53 | 0:42:54 | |
# Them good ole boys were drinking whisky and rye | 0:42:54 | 0:43:00 | |
# Singin' this'll be the day that I die | 0:43:00 | 0:43:02 | |
# This'll be the day that I die... # | 0:43:02 | 0:43:05 | |
I was in the shower a couple of months later, | 0:43:05 | 0:43:08 | |
and I got out of the shower all wet, | 0:43:08 | 0:43:10 | |
and I grabbed paper and I started writing. | 0:43:10 | 0:43:12 | |
"Did you write the book of love..." I just... | 0:43:12 | 0:43:15 | |
I just had this...this thing that came to me. | 0:43:15 | 0:43:19 | |
And then it goes... | 0:43:19 | 0:43:20 | |
# Did you write the book of love | 0:43:23 | 0:43:26 | |
# And do you have faith in God above | 0:43:26 | 0:43:30 | |
# If the Bible tells you so? | 0:43:30 | 0:43:33 | |
# Now do you believe in rock and roll? | 0:43:35 | 0:43:38 | |
# Can music save your mortal soul? | 0:43:38 | 0:43:41 | |
# And can you teach me how to dance real slow? # | 0:43:41 | 0:43:47 | |
And the four middle verses would be growing dissatisfaction, | 0:43:47 | 0:43:52 | |
growing anger, growing public unrest, if you will. | 0:43:52 | 0:43:57 | |
I don't know how to describe it. | 0:43:57 | 0:43:58 | |
I'd been to the March on Washington. | 0:43:58 | 0:44:02 | |
They tear-gassed a lot of people. | 0:44:02 | 0:44:05 | |
There was all that activity all day, but then the tear-gas dispersed | 0:44:05 | 0:44:09 | |
everybody and the streets were all empty. | 0:44:09 | 0:44:11 | |
And all that activity and, you know, | 0:44:11 | 0:44:14 | |
political anger and everything else had been dispersed. | 0:44:14 | 0:44:18 | |
I think I captured that in my head, and that was the last verse. | 0:44:18 | 0:44:22 | |
"I met a girl who sang the blues, I asked her for some happy news..." | 0:44:22 | 0:44:25 | |
She was, like, the only one left. | 0:44:25 | 0:44:27 | |
Everything else, all this other stuff that had happened | 0:44:27 | 0:44:29 | |
in the four verses before, | 0:44:29 | 0:44:30 | |
all this energy and activity had just dispersed, | 0:44:30 | 0:44:36 | |
and now it was just...the... | 0:44:36 | 0:44:38 | |
..the end. | 0:44:38 | 0:44:39 | |
# And in the streets the children screamed | 0:44:39 | 0:44:42 | |
# The lovers cried, and the poets dreamed | 0:44:42 | 0:44:46 | |
# But not a word was spoken | 0:44:46 | 0:44:48 | |
# The church bells all were broken | 0:44:49 | 0:44:53 | |
# And the three men I admire most | 0:44:53 | 0:44:56 | |
# The Father, Son and the Holy Ghost | 0:44:56 | 0:45:00 | |
# They caught the last train for the coast | 0:45:00 | 0:45:03 | |
# The day the music died | 0:45:03 | 0:45:09 | |
# And they were singin' | 0:45:09 | 0:45:12 | |
# Bye-bye, Miss American Pie... # | 0:45:12 | 0:45:18 | |
It came as a major shock and a major blow | 0:45:18 | 0:45:21 | |
to hear that Mediarts as a label were going out of business. | 0:45:21 | 0:45:26 | |
And this immediately threw into jeopardy | 0:45:26 | 0:45:28 | |
the future of the American Pie project. | 0:45:28 | 0:45:30 | |
One week, I was without a record company and the next week, | 0:45:30 | 0:45:34 | |
I was on United Artists, | 0:45:34 | 0:45:36 | |
which was a terrible record company at the time. | 0:45:36 | 0:45:40 | |
United Artists took over the business | 0:45:40 | 0:45:42 | |
and for Don McLean, took over the contract. | 0:45:42 | 0:45:46 | |
They were not a record label for a young guy like me, | 0:45:46 | 0:45:49 | |
doing what I was doing. | 0:45:49 | 0:45:50 | |
But they were trying to remake themselves | 0:45:52 | 0:45:54 | |
into something much better, which they did. | 0:45:54 | 0:45:56 | |
United Artists taking over Mediarts was perhaps a stroke of luck, | 0:45:56 | 0:46:01 | |
but gave Don McLean further momentum | 0:46:01 | 0:46:05 | |
in his development as a mainstream music star. | 0:46:05 | 0:46:10 | |
Then there were some practice sessions, | 0:46:10 | 0:46:13 | |
which I kind of liked how they felt, they felt pretty good. | 0:46:13 | 0:46:18 | |
Don was not used to working with other musicians, | 0:46:18 | 0:46:21 | |
so I put him together with a couple of players, | 0:46:21 | 0:46:25 | |
bass and drums, who were very good players. | 0:46:25 | 0:46:28 | |
But they were also not slick studio players, | 0:46:28 | 0:46:33 | |
who had done thousands of sessions. | 0:46:33 | 0:46:37 | |
Rehearsals consisted of Rob Stoner playing bass, | 0:46:37 | 0:46:43 | |
Don on acoustic, | 0:46:43 | 0:46:44 | |
and I think occasionally also Ed on acoustic. | 0:46:44 | 0:46:49 | |
And me on drums. | 0:46:50 | 0:46:52 | |
So there was...there was no piano, no guitar, electric guitar. | 0:46:52 | 0:46:58 | |
The sort of ingredient X which makes it such a stunning record, | 0:46:58 | 0:47:04 | |
is a piano, by a guy called Paul Griffin, | 0:47:04 | 0:47:07 | |
who played with Bob Dylan, Dionne Warwick. | 0:47:07 | 0:47:11 | |
When we were about to record, | 0:47:11 | 0:47:13 | |
Ed told us that we needn't go into the room yet, | 0:47:13 | 0:47:18 | |
because he wanted to do a piece with the piano player, | 0:47:18 | 0:47:21 | |
who'd just showed up. | 0:47:21 | 0:47:22 | |
He came to me and said, "What am I supposed to do? | 0:47:22 | 0:47:24 | |
"I don't know how to do... I don't know how to play this." | 0:47:24 | 0:47:27 | |
I said, "Paul, don't worry about it, you'll figure it out." | 0:47:27 | 0:47:30 | |
What he did was that he free-associated the, as it were, | 0:47:30 | 0:47:34 | |
the emotion of the song, | 0:47:34 | 0:47:35 | |
but also he listened very clearly to the lyrics of the song. | 0:47:35 | 0:47:40 | |
And, yeah, the song is called American Pie, | 0:47:40 | 0:47:43 | |
because his piano playing is full of what you might call Americana. | 0:47:43 | 0:47:47 | |
When he came in and got it, | 0:47:47 | 0:47:49 | |
he just said, "Man, that was so great." He was pounding the piano. | 0:47:49 | 0:47:52 | |
But, you know, Ed Freeman found him, thank God. | 0:47:52 | 0:47:56 | |
It's a music which reaches to the Church, to the backwoods, | 0:47:56 | 0:48:01 | |
to the honky-tonks, to the Great White Way of Broadway. | 0:48:01 | 0:48:06 | |
It's all in there. | 0:48:06 | 0:48:07 | |
When Paul Griffin played the part that he did, it was such a relief | 0:48:07 | 0:48:11 | |
to me, because finally, I was in the pocket, | 0:48:11 | 0:48:14 | |
I was in the groove that I wanted. | 0:48:14 | 0:48:16 | |
I could feel this thing lift up and it was flying, | 0:48:16 | 0:48:19 | |
like I had imagined it would and how I had heard it in my head. | 0:48:19 | 0:48:23 | |
WITH PIANO: # Do you believe in rock and roll? | 0:48:23 | 0:48:27 | |
# Can music save your mortal soul? # | 0:48:27 | 0:48:31 | |
PIANO AND GUITAR ONLY | 0:48:31 | 0:48:35 | |
This is just acoustic guitar and Paul playing along. | 0:48:37 | 0:48:41 | |
And you can hear...this is the kind of miracle that happens in sessions | 0:48:44 | 0:48:51 | |
that you hope for, but doesn't always happen, obviously. | 0:48:51 | 0:48:55 | |
The combination just works perfectly, | 0:48:55 | 0:48:59 | |
and this kind of style that he came up with, | 0:48:59 | 0:49:02 | |
it's the perfect American Pie piano playing. | 0:49:02 | 0:49:06 | |
It blew me away, because I had long been a fan of Paul Griffin, | 0:49:08 | 0:49:13 | |
the pianist. | 0:49:13 | 0:49:14 | |
He was a great piano player. | 0:49:14 | 0:49:18 | |
And he shows up and he just plays the hell out of it. | 0:49:18 | 0:49:21 | |
The piano is the whole game. | 0:49:23 | 0:49:26 | |
He's all over this thing. | 0:49:26 | 0:49:27 | |
Very Ray Charles. | 0:49:27 | 0:49:31 | |
# ..the music died | 0:49:31 | 0:49:34 | |
# He was singing | 0:49:34 | 0:49:36 | |
VOCALS ONLY: # Bye-bye, Miss American Pie... # | 0:49:36 | 0:49:39 | |
In the body of the song, everybody is playing live. | 0:49:39 | 0:49:42 | |
And there are no splices. | 0:49:42 | 0:49:46 | |
The rhythm guitar, Don's rhythm guitar, piano, bass, drums, | 0:49:46 | 0:49:50 | |
electric guitar, they're all playing live. | 0:49:50 | 0:49:53 | |
There are no splices, there are no overdubs, that's the way it is. | 0:49:53 | 0:49:56 | |
Now, the beginning of the song, where there's just the piano, | 0:49:56 | 0:50:01 | |
I think the first verse had 12 splices. | 0:50:01 | 0:50:03 | |
Don is a free-form kind of performer. | 0:50:03 | 0:50:06 | |
He doesn't... You can't put a metronome to him. | 0:50:06 | 0:50:09 | |
So to get the piano and Don, which are both playing in free-form, | 0:50:09 | 0:50:16 | |
both together perfectly, at the same time, | 0:50:16 | 0:50:20 | |
we did a few takes and then cut it together | 0:50:20 | 0:50:25 | |
to make it a single flow. | 0:50:25 | 0:50:28 | |
Don is a wonderful singer, he was perfectly capable | 0:50:28 | 0:50:32 | |
of singing it perfectly all the way through the first time. | 0:50:32 | 0:50:37 | |
If he had wanted to sing it that way, he could have, | 0:50:37 | 0:50:41 | |
but he didn't want to. He wanted to improvise. | 0:50:41 | 0:50:44 | |
One of the things that I was doing a lot, when I made American Pie, | 0:50:44 | 0:50:50 | |
was singing, sort of way out there, sometimes. | 0:50:50 | 0:50:55 | |
And Ed didn't like that. | 0:50:55 | 0:50:57 | |
And he was probably right about that. | 0:50:57 | 0:51:01 | |
VOCAL AND ACOUSTIC GUITAR: # We were singin' | 0:51:01 | 0:51:04 | |
# Bye-bye, Miss American Pie | 0:51:04 | 0:51:05 | |
# Drove my Chevy to the levee But the levee was dry | 0:51:05 | 0:51:09 | |
# And them good old boys were drinkin' whisky and rye | 0:51:09 | 0:51:12 | |
# Singin' this'll be the day that I di-i-i-i-ie | 0:51:12 | 0:51:16 | |
# This'll be the day that I die... # | 0:51:16 | 0:51:19 | |
So I just edited out all his improvisations...er... | 0:51:19 | 0:51:22 | |
And I think eventually, we sort of arrived at some kind of an agreement | 0:51:22 | 0:51:28 | |
that that's the way it was going to be done, | 0:51:28 | 0:51:32 | |
is that he was going to sing it any way he wanted and that was fine, | 0:51:32 | 0:51:37 | |
and I was going to do anything I wanted to in editing his vocals, | 0:51:37 | 0:51:41 | |
and that was fine. | 0:51:41 | 0:51:43 | |
# I was a lonely, teenage broncin' buck | 0:51:43 | 0:51:46 | |
# With a pink carnation and a pick-up truck | 0:51:46 | 0:51:49 | |
# But I knew I was out of luck | 0:51:49 | 0:51:52 | |
# The day the music died... # | 0:51:52 | 0:51:56 | |
Each time you'd get to the end of "the day the music died", | 0:51:58 | 0:52:00 | |
that was a different thing that happened that day, | 0:52:00 | 0:52:02 | |
so that when you got to the chorus, each time, the chorus is enhanced | 0:52:02 | 0:52:07 | |
by the new information that you've had, by the last verse. | 0:52:07 | 0:52:12 | |
# And while Lenin read a book on Marx | 0:52:12 | 0:52:15 | |
# The quartet practised in the park | 0:52:15 | 0:52:18 | |
# And we sang dirges in the dark | 0:52:18 | 0:52:21 | |
# The day the music died... # | 0:52:21 | 0:52:26 | |
And then the next verse does it again, so it builds that way. | 0:52:27 | 0:52:30 | |
But the group had to play like that also. | 0:52:30 | 0:52:34 | |
The band had to play and build, and it had to be mixed that way, | 0:52:34 | 0:52:37 | |
so that it would build. And then it drops down... | 0:52:37 | 0:52:40 | |
..you know, to this end, which is a dirge, | 0:52:40 | 0:52:43 | |
it's like, you're standing in an empty street, or standing over, | 0:52:43 | 0:52:46 | |
you know, someone's gravestone or something | 0:52:46 | 0:52:49 | |
in some graveyard somewhere quiet, | 0:52:49 | 0:52:52 | |
thinking about all this stuff that happened. | 0:52:52 | 0:52:56 | |
So it's a complete, you know, circle. | 0:52:56 | 0:52:58 | |
When the whole album was finished, I turned to Don's manager and said, | 0:52:58 | 0:53:03 | |
"That's all very well and good for an album, | 0:53:03 | 0:53:05 | |
"but what are we going to do for a single?" | 0:53:05 | 0:53:07 | |
And he said, "Oh, we're going to release American Pie." | 0:53:07 | 0:53:10 | |
And I said, "You've got to be kidding!" | 0:53:10 | 0:53:12 | |
There had been long singles before. | 0:53:12 | 0:53:15 | |
Like A Rolling Stone by Bob Dylan in 1965 | 0:53:15 | 0:53:18 | |
was, I think, about seven minutes long. | 0:53:18 | 0:53:21 | |
Hey Jude by the Beatles in 1968, much the same. | 0:53:21 | 0:53:25 | |
It was 8 and a half minutes long, you just don't, not in those days. | 0:53:25 | 0:53:29 | |
In those days, if you had a record | 0:53:29 | 0:53:31 | |
that was three minutes and four seconds long, | 0:53:31 | 0:53:34 | |
you put 2 minutes 57 on the label, | 0:53:34 | 0:53:36 | |
so that DJs would actually play it, | 0:53:36 | 0:53:39 | |
because they wouldn't play anything longer than three minutes. | 0:53:39 | 0:53:43 | |
We had to break it up and put it on two sides of a 45, | 0:53:43 | 0:53:48 | |
which was an awful idea. | 0:53:48 | 0:53:50 | |
It was just awful. | 0:53:50 | 0:53:51 | |
It sort of faded out halfway through the middle of a verse, | 0:53:51 | 0:53:57 | |
and then reprised on the second side of the 45. It was terrible. | 0:53:57 | 0:54:02 | |
We actually did get it all on a 45rpm record on one side. | 0:54:02 | 0:54:09 | |
We did a technical thing called half-speed cutting. | 0:54:09 | 0:54:15 | |
Then the record company rejected it, | 0:54:15 | 0:54:17 | |
because the jukeboxes wouldn't play the whole thing - | 0:54:17 | 0:54:21 | |
they were set to lift the needle out of the record | 0:54:21 | 0:54:24 | |
at a certain point in time, | 0:54:24 | 0:54:26 | |
so that the needle wouldn't go into the paper of the record | 0:54:26 | 0:54:32 | |
and hurt the needle. | 0:54:32 | 0:54:34 | |
And then, everybody of course went and bought the album, | 0:54:34 | 0:54:37 | |
so they could hear the song without having to turn the record over. | 0:54:37 | 0:54:41 | |
I was shocked when it came out and it hit number one instantly. | 0:54:41 | 0:54:46 | |
The thing about American Pie the single, | 0:54:46 | 0:54:49 | |
it wasn't just a big hit single, it was a phenomenon. | 0:54:49 | 0:54:52 | |
I remember in the fall of 1971, | 0:54:52 | 0:54:54 | |
just the song literally seemed to explode. | 0:54:54 | 0:54:58 | |
Give people something with tunes and imagination, | 0:54:58 | 0:55:03 | |
and they will go for it and they will love it. | 0:55:03 | 0:55:05 | |
American Pie, and American Pie the single specifically, | 0:55:05 | 0:55:09 | |
propelled him to instant superstardom in 1972. | 0:55:09 | 0:55:13 | |
Newspapers running stories about the song, about Don McLean. | 0:55:13 | 0:55:18 | |
Investigative reporters were going out of their way | 0:55:18 | 0:55:23 | |
to find stories about Don McLean. | 0:55:23 | 0:55:25 | |
There's stories of them searching his trash, planting women | 0:55:25 | 0:55:30 | |
in his dressing room - perhaps all the trappings of superstardom. | 0:55:30 | 0:55:35 | |
If I were to go to a town, I was always on the news, | 0:55:35 | 0:55:37 | |
I was always on the CBS Evening News. | 0:55:37 | 0:55:39 | |
I was always... Anything I did was news. | 0:55:39 | 0:55:41 | |
Um...which was a lot for me to handle. | 0:55:41 | 0:55:45 | |
When my kids were in grade school, it was part of their English lesson. | 0:55:45 | 0:55:53 | |
It was actually in the textbooks of the schools in this country. | 0:55:53 | 0:56:00 | |
The lyrics are fascinating. They are fantastic. | 0:56:00 | 0:56:03 | |
You know, they are full of sort of culture, | 0:56:03 | 0:56:05 | |
but also there's a mystery involved. Everybody loves a mystery. | 0:56:05 | 0:56:07 | |
Who is the jester? What does "eight miles high" mean? | 0:56:07 | 0:56:12 | |
That particular song was just so historic, | 0:56:12 | 0:56:15 | |
and all of us, you know, | 0:56:15 | 0:56:16 | |
paused and wondered what the heck he was talking about. | 0:56:16 | 0:56:19 | |
We all had our own theories about it. | 0:56:19 | 0:56:21 | |
And I love that he has never actually said what it was about. | 0:56:21 | 0:56:24 | |
Don himself has said, "If I actually have to start explaining | 0:56:24 | 0:56:28 | |
"what a song means, line by line, | 0:56:28 | 0:56:30 | |
"then it has kind of failed as a song." | 0:56:30 | 0:56:32 | |
Sometimes just let the mystery resonate, you know? | 0:56:32 | 0:56:37 | |
American Pie does mean a lot of different things | 0:56:37 | 0:56:41 | |
to a lot of different people, | 0:56:41 | 0:56:43 | |
and that's part of the genius of writing what is a hit song. | 0:56:43 | 0:56:48 | |
You know, people can listen to it and they can get whatever meaning | 0:56:48 | 0:56:52 | |
out of it they want, whatever suits them. | 0:56:52 | 0:56:55 | |
The producer Ed Freeman thinks the song told the story | 0:56:55 | 0:56:59 | |
of America in the 1960s. | 0:56:59 | 0:57:01 | |
It's like a funeral oration for America | 0:57:01 | 0:57:05 | |
that allowed the Americans to grieve and to move forward. | 0:57:05 | 0:57:10 | |
After American Pie came out, | 0:57:10 | 0:57:13 | |
there was an article about it in Life magazine, | 0:57:13 | 0:57:17 | |
and two weeks after the article came out, | 0:57:17 | 0:57:19 | |
there were some letters to the editors about it. | 0:57:19 | 0:57:22 | |
And one of them came from a woman | 0:57:22 | 0:57:24 | |
who said that her husband was missing in action in Vietnam, | 0:57:24 | 0:57:30 | |
-and... -HIS VOICE BREAKS | 0:57:30 | 0:57:32 | |
..that she used to cry and feel sorry for herself a lot, | 0:57:34 | 0:57:39 | |
until she heard the full version of American Pie, | 0:57:39 | 0:57:44 | |
and it made her realise how much we had all lost. | 0:57:44 | 0:57:49 | |
And, um... | 0:57:50 | 0:57:52 | |
I think that says it about as well as I've ever heard it said. | 0:57:52 | 0:57:57 | |
It's the loss of that innocence, | 0:57:57 | 0:58:00 | |
and the innocence is what died in 1959, when Buddy Holly died. | 0:58:00 | 0:58:05 | |
Not the music, as such, but what the music meant to him, | 0:58:05 | 0:58:11 | |
as a sort of idealised innocence of happiness and joy. | 0:58:11 | 0:58:17 | |
That went. | 0:58:17 | 0:58:19 | |
Don wanted to do his version of Sgt Pepper, | 0:58:19 | 0:58:22 | |
and it was supposed to be a concept album. | 0:58:22 | 0:58:26 | |
And for the life of me, I didn't understand the concept, | 0:58:26 | 0:58:30 | |
but then, eventually, I did. | 0:58:30 | 0:58:34 | |
If you look at the lyrics in the songs, it's all about loss. | 0:58:34 | 0:58:38 | |
It just really made me feel good, and it was just beautiful. | 0:58:38 | 0:58:43 | |
It's like a symphony. | 0:58:43 | 0:58:44 | |
That is where I think he's rated, | 0:58:44 | 0:58:46 | |
I think he is rated along with the greatest songwriters of all time. | 0:58:46 | 0:58:50 | |
My songs will be around a long, long time from now. | 0:58:50 | 0:58:54 | |
Because they already have been around almost 50 years. | 0:58:54 | 0:58:56 | |
And I've been alive for that, so who knows what will happen when I die? | 0:58:56 | 0:59:01 | |
# And they were singin', what? # | 0:59:01 | 0:59:03 | |
AUDIENCE SINGS AND CLAPS ALONG: # Bye-bye, Miss American Pie | 0:59:03 | 0:59:08 | |
# Drove my Chevy to the levee But the levee was dry | 0:59:08 | 0:59:13 | |
# And them good old boys were drinking whisky and rye | 0:59:13 | 0:59:17 | |
# Singing this'll be the day that I di-i-i-ie. # | 0:59:17 | 0:59:25 | |
RAPTUROUS APPLAUSE | 0:59:25 | 0:59:28 |