Bye, Bye Miss American Pie

...Oh, and while the king was looking down, The jester stole his thorny crown. The courtroom was adjourned; No verdict was returned. And while lennon read a book of marx, The quartet practiced in the park, And we sang dirges in the dark The day the music died.

...Oh, 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.

And as the flames climbed high into the night To light the sacrificial rite, I saw satan laughing with delight The day the music died

He was singing, "bye-bye, miss american pie." Drove my chevy to the levee, But the levee was dry. Them good old boys were drinkin' whiskey and rye And singin', "this'll be the day that I die. "this'll be the day that I die."

"AMERICAN PIE"

Was It A Tribute To Buddy Holly?
Was It A Protest Song?
by Bill Griggs

I’ve received many letters recently asking about the lyrics to this extraordinary song penned by Don McLean. Although I first published this in Reminiscing #37 (July 1985), I’ve been asked repeatedly to print the explanations again, so I will. As you will discover, "American Pie" is actually a protest song about the music of the 1960s. Although Don McLean has always refrained from publicly explaining his lyrics, when I first showed him what I had written, he simply smiled. I asked how accurate it was and he said there weren’t any "glaring" mistakes. Each set of lyrics is followed by our explanation.

A long long time ago, 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
Here, McLean is talking about rock ‘n’ roll music of the 1950s and the "fact" that he still remembers it from "a long time ago". Also, he is stating that if he could play the music again, it would bring back memories and make people smile.

But February made me shiver, with every paper I’d deliver
Sad 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
No doubt here that McLean is talking about the plane crash that took Buddy Holly from us. Notice the use of the pronoun "his" when talking about the widowed bride. Has this been a general statement without Buddy Holly in mind, the pronoun would have been "the". Also, McLean was delivering newspapers in 1959, thus, giving us a clue to his age. Most paper carriers are in their teens or younger.

But something touched me deep inside,
the day the music died
This last line of each verse is where I’ll probably receive the most argument. I believe the phrase "The day the music died" refers to the death of 1950's music in general of which that plane crash was a part. If you’ll bear with me a bit longer, I think you’ll see this much clearer.

(Chorus) Bye Bye Miss American Pie
Drove my Chevy to the levee but the levee was dry
And good ol’ boys were drinking whiskey and rye
Singing this’ll be the day when I die
This’ll be the day when I die
The conclusion about the phrase "American Pie" is that Don McLean is referring to the era of the 1950s, not just the music. You’ll see this as we get further along. When he drove to the levee and found it dry, McLean was referring to the fact that the music of the 1950s was no longer being produced or played. "Good ‘ol boys drinking..." also refers to the 1950s when "whiskey and rye" was the staple before drugs. "This’ll be the day when I die" is also important. As the pronoun "I" is used, we can only assume that Don McLean himself is representing the rock ‘n’ roll era of the 1950s. So, keep in mind that "American Pie" is the 1950's era, and Don McLean is the ‘50's music.

Did you write the book of love
And do you have faith in God above
If the bible tells you so
Do you believe in rock ‘n’ roll
can music save your mortal soul
then you can teach me how to dance real slow
McLean is telling us that 1950's rock ‘n’ roll had some beautiful love song type ballads, and he is simply asking you if that music had become part of your life. If so, then can you "teach" him about today’s music, of course, referring to the 1960s. As for "music saving your mortal soul", McLean is referring to the popular music of the day enhancing devil worship, drugs, mysterious lines in songs when records are played backwards, and so on.

Well, I know that you’re in love with him
‘Cause I saw you dancing in the gym
You both kicked off your shoes
Then I dig those rhythm and blues
Since McLean is representing rock ‘n’ roll music of the 1950s, the "him" in the lyrics is meant to be the music of the 1960s, which the teenagers of that era liked. However, McLean states that "he" likes rhythm and blues of the 1950s.

I was a lonely teenage broning buck
With a pink carnation and a pickup truck
But I know I was out of luck
The day the music died
Here, McLean is lonely because 1950's music has been dominated by 1960's music, along with the movements of that era. That’s why he was "out of luck". When the music of the 1950s died, McLean, representing the music, also died. Then it is followed by the chorus explained previously.

Now for ten years we’ve been on our own
And moss grows fat on a rolling stone
But that’s not how it used to be
Lots of clues here. "For ten years..." refers to the period from 1959 to 1969 when 1950's music was simply forgotten and "on it’s own". "Moss grows fat on a rolling stone" could refer to the English group The Rolling Stones, but I believe it refers to Bob Dylan. His monster hit "Like A Rolling Stone" made Dylan a lot of money but music of that time seemed to stagnate, thus, "moss grows fat" etc. Then, McLean says it wasn’t always that way, "That’s not how it used to be".

When the jester sang for the king and queen
In a coat he borrowed from James Dean
In a voice that came from you and me
Here McLean is talking about the jester, whom most people agree is Bob Dylan. Some people believe that the "king" here refers to Elvis Presley, but then who’d be the queen? If you take all three lines together, Dylan performed for royalty in England wearing a leather jacket, reminiscent of a 1950's James Dean type character. McLean is saying that although 1960's music has "taken over", it is still borrowing heavily from the 1950s - "in a voice that came from you and me".

Oh, and while the king was looking down
The jester stole his thorny crown
The courtroom was adjourned
no verdict was returned
Assuming here that the "king" is Elvis Presley, McLean complains that while Presley was "away" from his audiences doing those awful movies, Dylan "stole" his musical crown. "Courtroom was adjourned, no verdict was returned" means that although Presley was the king of 1950's music, no one really captured that title from him in the 1960s. The 1960's had many musical stars, but no one personal superstar who overrode all the others. (The Beatles were a group.)

Then while Lennon read a book of Marx
The quartet kept practice in the park
And we sang dirges in the dark
The day the music died, we were singing
Here, "quartet" refers to the Beatles, as does "Lennon". In this country, reading a book by Karl Marx would be radical and unheard of. The Beatles, by that time, had been doing radical things with their music, which was unheard of. Because of that, "we", those from the 1950s, sang in the dark. That is, we played our ‘50's records, but to ourselves as the teenagers of the day were wrapped up in the ’60's music and movement. "Dirges" is funeral music, the music of the 1950's had died.

This is followed by the chorus explained previously.

Helter skelter, in the summer swelter
The birds flew off with a fallout shelter
Eight miles high and falling fast
They landed foul on the grass
McLean is lamenting that the music now (60's) had no direction, that the music was being affected by drugs ("grass") and that the music was turning "foul" (protest songs) because of the unrest, college demonstrations, and the war. Everything was "falling fast". The Byrds, by the way, were supposedly discovered by Bob Dylan.

The players tried for a forward pass
With the jester on the sidelines in a cast
Now the halftime air was sweet perfume
While the sergeants played a marching tune
We all got up to dance, but we never got the chance
Lots of info here. The "players" (artists of the 1960s) tried to change the music (go forward) but the jester (Bob Dylan) was still there (a part of the game but on the sidelines) but in a cast, obviously referring to the near fatal accident he had. Then, "The halftime air was sweet perfume" relates to the fact that "halfway" between 1959 and 1969 is 1964 which is when the Beatles (Sergeants) burst upon the scene with their new music (sweet perfume). While a marching tune is played, we all got up to dance, but couldn’t. The "marching tune" is the Beatles music a few years later ("Sgt. Pepper") when it evolved to the point that you could not simply dance to it, the music had become more narrative than musical.

’Cause the players tried to take the field
The marching band refused to yield
Do you recall what was revealed
the day the music died
The players (artists of the past) tried to take the field (become popular once again), but the marching band (The Beatles) refused to yield (They had become so popular, they overrode everyone else). Then McLean asks if you remember what was revealed when the music died (Do you realize what was lost when we traveled from the innocence of the 1950s into the turbulent ’60's.)

This is followed by the chorus explained previously.
Oh, and there we were all in one place
A generation lost in space with no time left to start again
So come on jack be nimble Jack be quick
Jack Flash sat on a candle stick
’Cause fire is the devil’s only friend
"All in one place" could refer to Woodstock although I rather doubt it. If you look ahead in the lyrics, I believe it refers to the December 6, 1969 concert at Altamont, California. Many of those attending were" lost in space" (on drugs). Jack Flash refers to the Rolling Stones, and in particular, Mick Jagger. He had been warned that his life was in danger there, thus, the motorcycle gang, the Hell’s Angels, were hired as part of the security force. "No time left to start again" means that the ’60's generation was now out of control and could never return to the good old days of the 1950's again.

Oh, 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
And as the flames climbed high into the night
To light the sacrificial right
I saw Satan laughing with delight
The day the music died, he was singing
As McLean (representing the happy 1950s) watched Mick Jagger on stage (in the '60's with the riots, war, drugs, etc.), he clinched his fists with rage at the changes that had taken place. As the concert went on (flames climbed higher into the night), McLean then saw "Satan laughing with delight" (because of the presence of the Hell’s Angels, one of those attending the concert was stabbed to death). "He" (Satan) was laughing at all that was going on.

This is followed by the chorus explained previously.

I met a girl who sang the blues
And I asked her for some happy news
But she just smiled and turned away.
The "girl" here is Janis Joplin, and McLean asks her if she has any "happy news", that is, will the music ever return to the simplicity of the '50's. She smiles and turns away. I think she is simply answering "no" to the question. Others believe that this means that Janis started singing the blues then "turned away" (or dies - from that overdose). I believe it’s the former.

I went down to the sacred store
Where I’d heard that music years before
But the man there said the music wouldn’t play
McLean went to the music store to hear the music of the 1950's but the man in charge said he didn’t have any of that music played "years before", no one was playing it anymore.

In the streets the children screamed
The lovers cried and the poets dreamed
Not a word was spoken
The church bells all were broken
McLean refers to the street riots during that time of turmoil. The lovers cried because the U.S. was finally withdrawing from Viet Nam. No one "spoke" and church bells didn’t ring upon our veteran’s return simply because this was a war in which we basically did not win. We’d rather forget about it.

And the three men I admired most
The father, son, and holy ghost
They caught the last train to the coast
The day the music died.
The trilogy referred to here is not exactly a religious one. McLean is speaking of John F. Kennedy, Robert Kennedy, and Dr. Martin Luther King Jr. , three men who worked hard to bring about peace and understanding and all were murdered - thus, they caught the last train to the coast. Remember, Don McLean is talking about the American Pie, the 1950's era, not just about the music. So, with all that in mind, don’t you agree that "American Pie" is somewhat of a protest song?

Or you can go for another take... Try http://stason.org/TULARC/music-bands/american-pie/index.html Much of this can be found below...

THE ANNOTATED AMERICAN PIE

From: rsk@gynko.circ.upenn.edu (Rich Kulawiec) Subject: The Annotated American Pie

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.

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 4/3/93

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 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" and "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. The pickup truck has endured as a symbol of sexual independence and potency, especially in a Texas context. (Also, Jimmy Buffet does a song about "a white sport coat and a pink crustacean". :-) )
But I knew that I was out of luck The day the music died I started singing... Refrain (Verse 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. Or, finally, it could refer to the Rolling Stones themselves; a lot of musicians were angry at the Stones for "selling out". Howard Landman points out that John Foxx of Ultravox was sufficiently miffed to write a song titled "Life At Rainbow's End (For All The Tax Exiles On Main Street)". The Stones at one point became citizens of some other country merely to save taxes.
But that's not how it used to be When the jester sang for the King and Queen: The jester is Bob Dylan, as will become clear later. There are several interpretations of king and queen: some think that Elvis Presley is the king, which seems pretty obvious. The queen is said to be either Connie Francis or Little Richard. But see the next note. An alternate interpretation is that this refers to the Kennedys -- the king and queen of "Camelot" -- who were present at a Washington DC civil rights rally featuring Martin Luther King. (There's a recording of Dylan performing at this rally.)
In a coat he borrowed from James Dean: In the movie "Rebel Without a Cause", James Dean has a red windbreaker that holds symbolic meaning throughout the film (see note at end). 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 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 "Marx-Lennon" wordplay has also been used by others, most notably the Firesign Theatre on the cover of their album "How Can You Be In Two Places At Once When You're Not Anywhere At All?" . Also, a famous French witticism was "Je suis Marxiste, tendance Groucho."; "I'm a Marxist of the Groucho variety".
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. Well, now, wait a minute; that's probably too obvious. It's possible that this line and the next few refer to the 1968 Democratic National Convention. The "sweet perfume" is probably tear gas.
While sergeants played a marching tune: Following from the thought above, the sergeants would be the Chicago Police and the Illinois National Guard, who marched the protestors out of the park and into jail. Alternatively, this could refer to the Beatles' "Sgt. Pepper's Lonely Hearts Club Band". Or, perhaps McLean refers to the Beatles' music in general as "marching" because it's not music for dancing. Or, finally, the "marching tune" could be the draft.
We all got up to dance Oh, but we never got the chance: The Beatles' 1966 Candlestick Park concert only lasted 35 minutes. Or, following on from the previous comment, perhaps he meant that there wasn't any music to dance to.
'Cause the players tried to take the field, The marching band refused to yield.: Following on from the Chicago reference above, this could be another comment on protests. If the players are the protestors at Kent State, and the marching band the Ohio National Guard... This could be a reference to the dominance of the Beatles on the rock and roll scene. For instance, the Beach Boys released "Pet Sounds" in 1966 -- an album which featured some of the same sort of studio and electronic experimentation as "Sgt. Pepper" (1967) -- but the album sold poorly. 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 Cuban Missile Crisis; the candlesticks/fire refer to ICBMs and nuclear war.
And as I watched him on the stage My hands were clenched in fists of rage No angel born in hell Could break that satan's spell: While playing a concert at the Altamont Speedway in 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: The most likely interpretation is that McLean is still talking about Altamont, and in particular Mick Jagger's prancing and posing while it was happening. The sacrifice is Meredith Hunter, and the bonfires around the area provide the flames. (It could be a reference to Jimi Hendrix burning his Stratocaster at the Monterey Pop Festival, but that was in 1967 and this verse is set in 1968.)
I saw satan laughing with delight: If the above is correct, then Satan would be Jagger.
The day the music died He was singing... Refrain (Verse 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 West, one of the great rock and roll venues of all time. Alternatively, this refers to record stores, and their longtime (then discontinued) practice of allowing customers to preview records in the store. (What year did the Fillmore West close?) It could also refer to record stores as "sacred" because this is where one goes to get "saved". (See above lyric "Can music save your mortal soul?")
But the man there said the music wouldn't play: Perhaps he means that nobody is interested in hearing Buddy Holly et.al.'s music? Or, as above, the discontinuation of the in-store listening booths.
And in the streets the children screamed: "Flower children" being beaten by police and National Guard troops; in particular, perhaps, the People's Park riots in Berkeley in 1969 and 1970.
The lovers cried and the poets dreamed: The trend towards psychedelic music in the 60's?
But not a word was spoken The church bells all were broken: It could be that the broken bells are the dead musicians: neither can produce any more music.
And the three men I admire most The Father Son and Holy Ghost: Holly, The Big Bopper, and Valens -- or -- Hank Williams, Presley and Holly -- or -- JFK, Martin Luther King, and Bobby Kennedy -- or -- or the Catholic aspects of the deity. McLean had attended several Catholic schools.
They caught the last train for the coast: Could be a reference to wacky California religions, or could just be a way of saying that they've left (or died -- western culture often uses "went west" as a synonym for dying). Or, perhaps this is a reference to the famous "God is Dead" headline in the New York Times. David Cromwell has suggested that this is an oblique reference to a line in Procol Harum's "Whiter Shade of Pale", but I'm not sure I buy that; for one thing, all of McLean's musical references are to much older "roots" rock and roll songs; and secondly, I think it's more likely that this line shows up in both songs simply because it's a common cultural metaphor.
The day the music died: This tends to support the conjecture that the "three men" were Holly/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. ( Jennings was the bass player for Holly's band at the time. Some people say that Holly had chartered the plane for his band, but that Valens and/or Richardson was sick that night and asked to take the place of the band members.)

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?

Still other :-) notes:

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. ;-) ---Rsk ]

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.
Don Wegeng mentioned that some of his comments came from an interpretation broadcast by radio station WIFE (AM) in Indianapolis, which was the most popular station in Indy when American Pie was a hit.

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)
	landman@hal.com (Howard Landman)
	wegeng@eso.mc.xerox.com (Don Wegeng)
	al@jupiter.nmt.edu (Al Stavely)
	David (D.C.) Cromwell

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.
	4/2/93	Rearranged much of the text, incorporated more feedback
		from readers, and move the credits and history to the end.

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