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专辑英文名: American Pie
专辑中文名: 美国派
歌手: Don McLean
音乐风格: 流行
版本: [SACD-r]
发行时间: 1971年
地区: 美国
语言: 英语
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概述:
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[B]专辑介绍:[/B]
August 22, 2006
"American Pie" 不是派，是道愤怒拼盘
Don McLean 对1960 年代的悲观看法与尖锐批判不一定人人认同，但作为一个价值观明确的社会观察者，他用了非常富联想力的词句，唱出心底最沉痛的声音，光是其中的原创与反省精神，便值得乐迷尊敬了。
1969 年追随民谣传奇大师 Pete Seeger 参与哈德逊河环保运动的经验，让 Don McLean 的创作才华被民谣前辈赏识，进而开始灌录唱片。1971 年10 月发行的《American Pie》是 Don McLean 的第二张专辑，挥别前一年首张专辑《Tapestry》因为发行公司无力宣传带来的鬱闷，更换新东家后的这张专辑一夕之间将 26 岁的 Don McLean 推向乐坛顶峰，与专辑同名的主打歌 "American Pie" 和献给画家梵谷的 "Vincent (Starry Starry Night)" 迅速传遍全球，成为 Don McLean 创作生涯中最具代表性的两首歌曲。
这两首歌的观点一温柔一严厉，"Vincent" 以怜惜画家梵谷的曲高合寡来抒发自己知音难寻的创作心情，由於旋律优美，经常被商业广告所採用；"American Pie" 则严词批判美国社会与文化在变迁年代中的各种妥协与败坏，堪称是一首用心良苦的史诗民谣。
虽然 "American Pie" 里的评论鏗鏘有力，但是 Don McLean 也刻意避免直接点名道姓，而是採用诸多比喻及隐喻来传达想法，其用字遣词足以显现 McLean 的文学功力。
从 "American Pie" 单曲发行以来，外界便开始自行解读歌词的涵义，但从来没有获得 Don McLean 本人的证实。现在最普遍的看法是认为 "American Pie" 是献给 23 岁就死於坠机意外的摇滚先驱 Buddy Holly（与其同机身亡的尚有 The Big Bopper 和刚刚以 "La Bamba" 红遍全球的 17 岁拉丁歌手 Ritchie Valens），对於这点，Don McLean 倒也没有否认。
1960 年代的美国处境困窘，对外因为陷入美苏冷战、古巴危机、越战等国际纠纷而灰头土脸，对内则为黑人民权运动、两性平权运动，以及学生运动疲於奔命，动盪的国内外局势让美国民眾身心俱疲，难怪 Don McLean 格外怀念起美好的1950 年代。
Don McLean 的偶像 Buddy Holly 外表斯文，多才多艺，他生前创作的知名作品不少，现在大都已经变成1950 年代的象徵歌曲，譬如 "Everyday" 和 "Peggy Sue Got Married"，Holly 在1959 年 2 月 3 日清晨意外过世时，McLean 还是个利用晨间送报打工的13 岁青少年，正沉醉於音乐世界中，期待有天自己的乐团能够在舞会中为大家演唱，让大家随音乐起舞。"American Pie" 完成於1970 年前后，刚刚挥别纷扰的1960 年代，距离 Holly 过世大约十年。
笔者第一次听这首歌时年纪还小，还不懂 Don McLean 在唱些什么，国中时比较听懂了，觉得 McLean 真是个苦口婆心的傢伙，在他看来，1950 年代的美好时光早已随著 Buddy Holly 的过世而烟消云散（他一再强调 Holly 过世那一天就是音乐死亡之日），1960 年代的林林种种都令他感到幻灭与失望。
从 "American Pie" 的歌词中，可以约略归纳出 McLean 对1960 年代的几点感怀：
【浪漫的死亡】1960 年代自由主义思潮盛行，基於解除既有的社会禁制、打破团体间与两性间的权力支配，许多旧有的传统被以「意识型态」之名加以区隔，并予以解放，「性解放」是重要风潮之一，重视承诺与专一的爱情观不再是主流。
【纯真的死亡】1960 年代的摇滚乐从单曲走向长篇化与概念化，不再是让人欢乐和舞蹈的3 分鐘音乐，有的专辑与歌曲注入了革命左倾的思想、有的激发迷幻嗑药的耽溺、有的助长暴力与邪恶的横行；音乐会不再是凝聚「爱」与「和平」的场合，反而成为传播药物与暴行的罪恶渊藪。
【理想的死亡】民谣前辈与乐团（指 Bob Dylan、The Byrds 合唱团）背弃民谣原音，分别投向摇滚与乡村音乐的怀抱，甚至坐拥桂冠，浪得虚名，令 Don McLean 感到不齿。
【信念的死亡】最后一个循善为政的美国总统约翰．甘迺迪与胞弟罗勃．甘迺迪先后於1963 年及 68 年遇刺身亡，黑人民权领袖金恩博士 (Martin Luther King) 也於1968 年遇刺，在丧鐘频敲的1960 年代，人们显然遗忘了宗教、神、爱与和平等信念，成为漂流外太空的孤独灵魂（1969 年 7 月 20 日，【阿波罗11 号】太空船载著3 位太空人成功登陆月球）。
Don McLean 对1960 年代的悲观看法与尖锐批判不一定人人认同，但作为一个价值观明确的社会观察者，他用了非常富联想力的词句，唱出心底最沉痛的声音，光是其中的原创与反省精神，便值得乐迷尊敬了。
Introduction
In the autumn of 1971 Don McLean's elegiac American Pie entered the collective consciousness, and over thirty years later remains one of the most discussed, dissected and debated songs that popular music has ever produced. A cultural event at the peak of its popularity in 1972, it reached the top of the Billboard 100 charts in a matter of weeks, selling more than 3 million copies; and at eight and a half minutes long, this was no mean feat. But this was no ordinary song, either: boldly original and thematically ambitious, what set American Pie apart had a lot to do with the way we weren't entirely sure what the song was about, provoking endless debates over its epic cast of characters. And these controversies remain with us to this day.
But however open to interpretation the lyrics may have been, the song's emotional resonance was unmistakable: McLean was clearly relating a defining moment in the American experience—something had been lost, and we knew it. Opening with the death of singer Buddy Holly and ending near the tragic concert at Altamont Motor Speedway, we are able to frame the span of years the song is covering—1959 to 1970—as the "10 years we've been on our own" of the third verse. It is across this decade that the American cultural landscape changed radically, passing from the relative optimism and conformity of the 1950s and early 1960s to the rejection of these values by the various political and social movements of the mid and late 1960s.
Coming as it did near the end of this turbulent era, American Pie seemed to be speaking to the precarious position we found ourselves in, as the grand social experiments of the 1960s began collapsing under the weight of their own unrealized utopian dreams, while the quieter, hopeful world we grew up in receded into memory. And as 1970 came to a close and the world this generation had envisioned no longer seemed viable, a sense of disillusion and loss fell over us; we weren't the people we once were. But we couldn't go home again either, having challenged the assumptions of that older order. The black and white days were over.
Bye bye, Miss American Pie.
• • •
The 1950s are fondly remembered as a kind of golden age in American history, a charmed moment in time when the country seemed more confident and hopeful than it has ever been. A period of unprecedented economic prosperity, it was the era when the majority of Americans, freed from the constraints of the Great Depression and World War II, took some time off from the uncertainties of life to simply enjoy themselves; and in a long, giddy parade of marriages, babies, automobiles, suburban homes and kitchen appliances, celebrated their achievement of the American Dream. Never before had the wealth of a nation been so widely distributed. But American enthusiasms during these years were rooted in more than just the good things that money could buy. Allied victories in World War II had been great moral victories for the country as well, and as the United States rose to economic and political world dominance in the postwar years, national pride went soaring right along with it. Americans at mid-century were mighty impressed with America—and happy for awhile:
In that era of general good will and expanding affluence, few Americans doubted the essential goodness of their society. After all, it was reflected back at them not only by contemporary books and m
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专辑曲目:
01. "American Pie" 8:33
02. "Till Tomorrow" 2:11
03. "Vincent" 3:55
04. "Crossroads" 3:34
05. "Winterwood" 3:09
06. "Empty Chairs" 3:24
07. "Everybody Loves Me, Baby" 3:37
08. "Sister Fatima" 2:31
09. "The Grave" 3:08
10. "Babylon" (Trad., arr. Hays and McLean) 1:40
11. "Mother Nature" 5:11
12. "Aftermath" 4:03 |
