Category Archives: Hall of Fame

American Pie – A Single by Don McLean: Hall of Fame Induction

Alan Fairley: Edinburgh, November 2021

No song in history has ever managed to re-create the effect on me than that which was generated by American Pie, Don McLean’s anthemic eight minute chronology of the 1960s.
It was the first song that made me want to study its lyrics, to find out the hidden meanings behind the words and to interpret the message which this hitherto unknown musician, with a distinctly Scottish name, was trying to project.
I’d only started taking an interest in music a couple of years earlier and my tastes revolved largely around the mainstream rock bands of the time, ie Cream, Deep Purple, Led Zeppelin, Black Sabbath etc and I was aware that such behemoths of the musical world paid scant attention to the lyrical content of their offerings which were based mainly on instrumental virtuosity.
Jack Bruce, in a Cream documentary, made it clear that the message behind the songs he played along with Eric Clapton and Ginger Baker was largely irrelevant in comparison with the actual music while Ian Gillan of Deep Purple acknowledged that the lyrics to the band’s flagship single Black Night were merely a collection of random words to supplement the main feature of the song, ie Ritchie Blackmore’s blistering  and unforgettable guitar riff.

When I first heard American Pie on the radio in early 1972, I was mildly intrigued by the lyrical content but the radio version was merely a heavily edited three minute sampler of the 8 min 33 sec album track, a teaser with a catchy chorus about chevies and levees designed to catch the listener’s attention but it was sufficient to have me jumping on the no 13 bus to Cambridge Street and hand over my hard earned two pounds 25p (sorry no pound sign on this Korean keyboard) before walking away with the actual album tucked into an iconic Listen Records ‘Cheap’n Nasty’ carrier bag.

When I finally got home and listened to the title track, it was night and day in comparison with the radio taster. A beautifully constructed song… four verses and choruses bookended by a passionate and emotional prologue and epilogue, telling the story of the 1960s from the tragic plane crash death of Buddy Holly in 1959 to the horrific killing of a black man at the hands of a gang of Hell’s Angels during a Rolling Stones concert in Altamont, California ten years later.

The theme of death reverberates throughout the song as McLean ends each stanza with the line ‘The Day the Music Died.’

I’m not going to offer my interpretation of the song here – plenty others have done so before me but, other than those already mentioned, there are reasonably clear references to The Beatles, Bob Dylan, The Byrds, Janis Joplin, James Dean and other more cryptic nods to religion, politics, teenage romance and the American youth culture of the time.

Fifty years on, I never get tired of listening to the song and I still pore over the lyrics, searching for some hidden meaning that no-one else has yet found. When I’m performing at open mic sessions, if I feel the mood is too quiet, I’ll play it and inevitably get the crowd singing along.

Irrespective of age or any other social demographic, its a song, or at least a chorus, which everybody knows word for word. One man who refuses to offer his interpretation of the song is McLean himself. 

When asked “What does American Pie mean?” His standard response is “It means I never have to work again.”

‘You’re So Vain’ A Single By Carly Simon: Hall Of Fame Induction


Paul Fitzpatrick: London, October 2021

If I was to transport myself back to December 1972, and look around my bedroom wall I would be surrounded by posters of Led Zeppelin, The Faces, The Who, The Stones, Bowie, etc…. a sea of white men with long hair brandishing shiny Stratocaster’s or menacing Les Paul’s.

Ashamedly, women at this point just didn’t figure in my record collection and whilst I grew to love Tapestry by Carole King, No Secrets by Carly Simon and the glorious Court & Spark by Joni Mitchell, the first step to those feminine treasures was a 45 rpm Single – Carly Simon’s self penned classic, ‘You’re So Vain’.

I first heard this tour de force in December 1972 at a point when the airwaves were awash with Glam Rock, Xmas singles and Novelty songs, one of which, ‘My Ding-A-ling’ by Chuck Berry was the nations current number one single.

I fell in love with ‘You’re So Vain’ the first time I heard it… Carly’s voice, the lyrics, the playing, the production and of course the ringing endorsement that was Mick Jagger on backing vocals.
Mick didn’t do guest vocals for anyone, he was Mick bleedin’ Jagger, the guvnor, but here he was singing his little heart out as an uncredited backing vocalist for this unknown hippy chick with the luscious lips.

It was 4 mins 19 secs of perfection as far as I was concerned.


I remember going Xmas shopping that year and having just enough money left to buy myself a single… the contenders were Bowie’s ‘Jean Genie’, Free’s ‘Wishing Well’ or ‘You’re so Vain’… all great songs and all newly released.

I plumped for Carly that day, probably as I was on my own, if I’d been with my pals I’d almost certainly have bought one of the others for fear of being mocked.
Sad I know, but such was the way of the world back then – how do you think Status Quo sold more records than Aretha Franklin in the UK??

In a similar vein, I can remember subsequent shopping trips where ‘Midnight at the Oasis’ by Maria Muldaur and Roberta Flack’s ‘Killing me Softly’ were covertly purchased.

Aged 14 I was used to deciphering songs about Norse Gods and ‘Deaf, Dumb & Blind kids’ but I instantly ‘got’ Carly’s lyrics and how they were aimed at a self-absorbed partner who loved himself so much that he assumed that the song could only be about him.

What I didn’t quite appreciate at the time was just how autobiographical the song was, until years later when all the speculation surfaced about who the song was actually about.

You can take your pick from – Warren Beatty, Jack Nicholson, Cat Stevens, James Taylor, Kris Kristofferson, David Bowie, David Cassidy or Mick Jagger, to name but a few.
You see, our Carly was a bit of a free spirit before settling down with Sweet Baby James.

Jack or Warren, who was so vain?

Reflecting on her list of suitors I remember thinking… it would be bizarre for Jagger to perform on a song that’s basically highlighting a major character flaw… until I realised that it was such an on-brand thing for Mick to do – he probably is that vain and as such was just doubling-down on the sentiment!

The songs protagonist was always a big secret (bit weird, as the album was called No Secrets!). However, in 2015 Simon confessed that the song is actually about three men (told you she was a bit of a gadabout!) and admitted publicly for the first time, that the second verse is about the Hollywood lothario Warren Beatty… who’s no doubt a bit pissed off that he’s having to share the honour.

I worry sometimes, probably unnecessarily, that all the speculation and noise about the songs muse (or muses) detracts from what a brilliant piece of music it is, but perhaps it helps to keep it relevant and that’s why current artists like Taylor Swift have adopted it as an anthem.


Consistently featured in most ‘Greatest Songs of all Time’ lists ‘You’re so Vain’ catapulted Simon into the public eye in 1972 and she went on to have a fantastic career on the back of her first big hit.

Looking back, in 1972 as a 14 year old with raging hormones another great attraction about Carly Simon was exactly that… the attraction of Carly Simon.

She was an absolute stunner, so whilst 14 year old girls had Donny or David or Marc up on their walls, a few of us had the album sleeve of No Secrets above our bed… of course, that was until our mates came round – then we had to get the Zep & Stones posters back up sharpish!

Isolated vocals of Simon & Jagger

‘tapestry’ (lp by carole king) – hall of fame induction.

(Post by John Allan, Bridgetown Western Australia – October 2021)

It was 1971 and I had just become an adult. I had turned 13 after all. My parents didn’t seem to agree and used words like ‘adolescent’,’teenager’ and phrases like ‘while your living under our roof’ and ‘these are the rules’.

Oh well, there was always the world of popular music to explore. School chums were opening up my mind with their various recent purchases. LPs were in and singles or 45s now a bit passé. Jethro Tull, Yes and Genesis were on my sonic radar but until I had enough spondulix, rifling through my brothers’ record collection would have to do.

What have we here then ? Blues, blues, more blues. A cover with a blue lady on it called ‘Blue’ by Joni MitchellI might come back to that one. This is a new one. A comely young lady sitting in the light of a window with a cat (called Telemachus incidentally) at her feet.

Tapestry” by Carole King.

This album is so much more than an anthem of love and lovers, lost, ended, distanced and discarded. Not simple piano ballads but a complex mix of rock, blues and gospel styles.

It opens with the tumbling bar blues of  “I Feel The Earth Move” which AllMusic critic Stewart Mason describes as “the ultimate in hippie-chick eroticism” and “sounds like the unleashing of an entire generation of soft-spoken college girls’ collective libido”. I’ll have what he’s having !

So Far Away” introduces Laurel Canyon alumni James Taylor on acoustic guitar.

Lyricist Toni Stern wrote the words for “It’s Too Late” in one afternoon after breaking up with the aforementioned Mr Taylor. I probably would have gone with ‘ you’re a pig James and I hate you. PS. I faked my orgasms !’ But then I’m not a lyricist or been dumped by James Taylor. (or faked an orgasm !!)

“Way Over Yonder” would not be out of place among the congregation of a deep south Gospel church (praise be).

Who hasn’t, after the shittiest of days, sat themselves down in a darkened room and dripped a tear into their tumbler of malt whisky/can of special brew/advocaat and babycham/mug of chamomile tea (select appropriate beverage) listening to “You’ve Got a Friend” whether King’s or JT’s version.

The Shirelles had a pop hit in 1961 with “Will You Love Me Tomorrow”. Composer Carole slows it down to an achingly soulful ballad with backing vocals from James Taylor and Joni Mitchell (where have I seen that name before ?)

And who can forget Aretha’s 1967 empowering rendition of  “(You Make Me Feel Like) A Natural Woman” tastefully performed here by it’s creator.

I’ve skipped over a few tracks but there are no dull moments to be found on “Tapestry” every song a gem of an anthem.

So everybody, get your child or grandchild, male, female or non-binary, rip out their earbuds, nail their feet to the floor, put the record on the turntable (Yep, I’m talking vinyl, baby) crank it up and say ‘THIS IS WHAT IT’S ALL ABOUT !!’

Sorry, might of got a wee bit carried away there !

My life has been a tapestry
Of rich and royal hue
An everlasting vision
Of the ever-changing view

You’ve got that right CK. 50 years on and you’ve got that right.

‘live in europe’ (lp by rory gallagher) – hall of fame induction.

(Post by Colin ‘Jackie’ Jackson of Glasgow –October 2021)

(Click for the dedicated page, and all items inducted to the Hall of Fame.)

The first item to be inducted into the Once Upon a Time in The ‘70s Hall of Fame is my copy of the ‘Live In Europe,’ LP by Rory Gallagher. (I’m nothing if not predictable.)

I don’t know why, but I bought this for the going rate of around £2.25 (in postal orders) via some mail order record store advertised in Sounds magazine. I can vividly remember the excitement I felt whenever I came home from school. For about ten days, I was disappointed, but then it arrived  … with a note stating my remittance was (I think) about 25p short. Yet the nice, ever so trusting people at the record store just asked I send another postal order with my next order.

However, by the time I‘d saved enough from my paper round to buy my next LP, I’d discovered Listen Records and Virgin Records in Glasgow. I never did order from the MO store again.A few months later, I read in Sounds, the company had gone bust! Was it my 25p that sent them over the edge?

I’ve carried that burden of guilt now for forty-nine years!

(LP cover – back.)

The record itself, though: this was ‘big boys’’ music!

A mix of self-penned and rearranged standards, the seven tracks blew me away with their intensity. Driven by the furious bass playing of Gerry McAvoy, and crashing drums of Wilgar Campbell, Rory’s searing Stratocaster playing cuts through like a knife. His playing has everything – little flecks of jazz inspired backing to his quieter vocal moments; big, chunky heavy riffs, like in his own composition, ‘Laundromat,’ and of course, the blues! Whether it be fast and loud as in the opening’ ‘Messin’ With The Kid’ or the slower, almost metronomic ‘I Could Have Had A Religion,’ Rory pre-empted, and answered, the query posed by Deacon Blue, seventeen years later: yes – not only can a white man sing the blues, he can damn well play them too!

(Recording from The Marquee Club, London, 6th April 1972.)

Yet, though heavily blues influenced, ‘Live In Europe’ has such a variation in sounds that it remains fresh and exciting from start to finish – even after almost fifty years of regular play!.

Pistol Slapper Blues’ is an acoustic cover of Blind Boy Fuller’s song from ‘nineteen twenty something or other,’ as Rory himself says; ‘Going To My Home Town’ is one of Rory’s own compositions – a real stomper of a track, the famous Strat being swapped for a mandolin. ‘In Your Own Town’ is another of Rory’s, this time almost ten minutes of heavy blues and spectacular guitar playing. Album closer is ‘Bullfrog Blues,’ another ‘traditional’ blues song written the Twenties and re-arranged by Rory. It’s a truly explosive ending, with terrific bass and drum solos thrown in for good measure.

The production and sound quality is top notch, something that can’t be said for many ‘Live’ albums and I can attest the album truly replicates the sound and atmosphere of a Rory concert.

Not only was ‘Live In Europe’ my proper introduction to heavy rock, it also took me down the rabbit hole of blues music – a tunnel I am still exploring. It’s influenced my music of choice from a spotty fourteen year old to grumpy old git, and remains the most treasured record in my collection.

It unequivocally deserves a place in the Hall of Fame.