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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 powerful piano riffs and a catchy refrain, 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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