Starry Starry Night

Don McLean

Overview

Acclaimed American songwriter Don McLean performs favorites at the Paramount Theatre in Austin, TX, for his first ever (despite his lengthy and notable career) television special, originally broadcast on PBS in March of 2000. Highlights include a performance of his classic "American Pie," along with "It Was a Very Good Year," "Castles in the Air," and others; duets with singer/songwriter Nanci Griffith of Texas; and a featured appearance of Garth Brooks. Interview clips and images that tell the story of his life in the music industry are integrated into the concert footage. Commemorating the life of a treasured American musician, Starry, Starry Night offers a glimpse at the inspiration behind McLean's accomplishments.

Product Details

Release Date:	10/21/2016
UPC:	0760137723493
Original Release:	2001
Rating:	NR
Source:	Pop Twist
Region Code:	A
Sound:	[Dolby Digital Surround EX]
Language:	English
Time:	1:15:00
Sales rank:	34,370

Special Features

Additional concert footage from 1970's, 1980's and 1990's; Home video of backstage at Hyde Park 1975

Cast & Crew

Performance Credits

Don McLean	Primary Artist,Vocals,Guitar (Acoustic)
Don McLean	Acoustic Guitar
Garth Brooks	Performer
Nanci Griffith	Performer
Ralph Childs	Electric Bass,Bass,Bass (Electric)
Jerry Kroon	Drums,Drums
Tony Migliore	Piano/Synthesized Strings,Piano,Keyboards
Mike Severs	Electric Guitar,Guitar (Electric)
Michael Severs	Guitar (Electric)

Technical Credits

Nanci Griffith	Guest Artist,Duet
Norman Petty	Composer
Buddy Holly	Composer
Danny Flowers	Composer
Felice Bryant	Composer
Don Swander	Composer
Don McLean	Executive Producer
Ervin Drake	Composer
Gary Menotti	Director
Roy Orbison	Composer
Marty Robbins	Composer
Terry Lickona	Producer
Dave Hieronymus	Engineer
Boudleaux Bryant	Composer
Chuck Haines	Engineer
Joe Melson	Composer
Don McLean	Arranger,Composer,Producer
Melvin Endsley	Composer

Editorial Reviews

Don McLean's third official live album, Starry Starry Night, isn't precisely the soundtrack to the video of his PBS special, from a November 2, 1999, performance at Austin, TX's Paramount Theater, so much as another permutation of the show. Nanci Griffith's contribution is present, but Garth Brooks's songs aren't (as he explains in the notes, there are two different video editions that don't overlap 100 percent with each other or this release). Backed by a quartet (including drummer), and with a synthesizer replacing the string arrangements used in the original broadcast, as a result of an unspecified technical problem, this performance doesn't sound like either of McLean's two earlier live albums. As this was a Texas concert, it made doubly good sense to open with Buddy Holly's "Every Day" (and include Holly's "Raining in My Heart"), and he also provides a pair of songs from his then recent Marty Robbins album, plus Roy Orbison's "Crying." The rest is all McLean's material, and it's interesting to realize, beyond "American Pie," "Vincent," and "And I Love You So," just how many of his songs have penetrated the consciousness, more subtly but just as surely as those others -- "Castles in the Air," "Winterwood," and "If We Try" have all achieved some familiarity. Some of the material, such as "Tulsa Time/Deep in the Heart of Texas," works better with the full band than, say, "Castles in the Air," which didn't need the drummer, however restrained the latter tries to be. McLean seems a little less relaxed overall as a performer than he was on his other live releases, and Griffith's harmonies are welcome on "And I Love You So," which is delightfully extended, and on "Raining in My Heart." Other songs come to life in fresh and unique ways here, such as "Jerusalem," for which the band moves to the fore, playing full out and, coupled with McLean's robust singing, creating a truly majestic sound. As for "American Pie," it's done with fairly heavy synthesizer accompaniment, and between the latter and the two guitars and bass, this can safely be called the "big band" version (perhaps almost the "folk-rock" version?) of the song. The best moment in the performance comes immediately after that song, when McLean sings "Superman's Ghost," which refers to the actor George Reeves and the dangers of typecasting and career dead-ends -- his performance here is so good that even if the rest of the show weren't any good (and it is very good) the double-disc set would be worth owning just for this track. And the best is saved for last with a particularly poignant rendition of "Vincent." ~ Bruce Eder