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Don McLean debuted in 1963, in the heyday of the Greenwich Movement, but
got a recording contract only when that scene had evaporated.
Tapestry (Media Arts, 1970) included unassuming, romantic ditties such as
Castles In The Air and And I Love You So, but
American Pie (EMI, jan 1971) sent shock-waves around the world, thanks to
the nine-minute saga American Pie, a cryptic history of rock music
relying on jumping piano riffs, a majestic refrain and the counterpoint of
accordion and harmonica, lyrical mandolin, and majestic waltzing rhythm
and thanks to the
haunting ballad Vincent (Van Gogh).
If We Try and Dreidel, the highlights of
Don McLean (UA, 1972), were hardly in the same style: Don McLean took
the liberty to abandon a successful stereotype, an action seldom recorded in
the annals of popular music.
Homeless Brothers (UA, 1974) went further down the process of
decostructing Don McLean, by presenting him as a sort of Neil Diamond for
families (Wonderful Baby, La La Love You), despite the
Legend Of Andrew McGraw.
Prime Time (1977), Chain Lightning (1979),
Believers (1981) and
Dominion (1983), a live album with an orchestra,
had nothing in common with the singer-songwriter of American Pie.
With Love Tracks (Columbia, 1987) he even converted to country music.
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