Nel lontano 2001 ho cominciato ad appassionarmi ai Blur tramite una raccolta di MTV Hits datata 1995 regalatami da una mia cugina allora speaker in una radio della mia città.
Tra le più belle canzoni c'era "Country House" dei Blur contrapposta a "Roll With It" degli Oasis. Durante l'estate avrei acquistato "The Great Escape", contenente la suddetta canzone. E col "The Best Of" in cassetta (tramite prestito di un amico) partiva la mia avventura coi Blur.
Dopo l'estate acquistai i primi due album del gruppo, "Leisure" e "Modern Life Is Rubbish". Nel caso del secondo mi ci sarebbe voluto un pò per familiarizzarci - ma la perseveranza mi avrebbe portato a realizzarlo come "album del mio cuore" (stessa sorte sarebbe toccata all'altro grande album di dieci anni dopo, "Think Tank").
Quando sono andato a Londra da turista nel 2008, senza saperlo avrei celebrato il 15° anniversario di questo capolavoro di nicchia: infatti si spiega la sua storia travagliata che oggi lo porta ad essere un album fondamentale del gruppo (ma non per il grande pubblico) che lo rende appunto tale (cioè di nicchia).
Spesso ho avuto un debole per gli album, che sono realizzati bene, ma che non ottengono un grosso successo: hanno una magia che a molti di successo spesso manca (e "Parklife" ha degli episodi che non sono esaltanti ("London Loves" e "Trouble in the Message Centre") ma suonano bene all'interno dell'album.
Il primo album della trilogia del Britpop nasce in un periodo particolare per il gruppo e per l'Inghilterra: i Blur tornano a casa da un disastroso tour negli Stati Uniti e alcuni del gruppo tra cui Damon sono disgustati dal punto di vista personale e anche culturale: l'Inghilterra è in una fase di stallo, con la fine quasi recente del Thatcherismo e una scena musicale che non dice più nulla di nuovo.
Allora Damon pensa di ribellarsi all'americanizzazione culturale del paese che si sta avendo col grunge dei Nirvana, ma non solo, andando al recupero dei "detriti" (come diceva lui) della cultura e della musica britannica.
Dal punto di vista culturale ci si riappropria del calcio, delle bevute al pub, della vita domenicale ecc..ecc... Dal punto di vista musicale si va indietro nei decenni col music-hall, lo ska degli Specials, i Kinks e via dicendo. Lo scopo è di ricreare un'inglesità che ovviamente è solo ideale perché non più possibile da riproporre nella realtà del momento.
"Modern Life" arriva al tavolo di David Balfe (della Food, sottoetichetta della Emi) che non lo vuole mandare nei negozi perché sarebbe un suicidio commerciale. Ci vogliono altre canzoni. Allora nascono i due singoli "For Tomorrow" e "Chemical World"
Una volta nei negozi "ML" arriva non oltre il 15° posto, facendo infuriare Balfe. Ma Damon cerca di convincerlo che come risultato è buono. All'inizio del tour di promozione dell'album il pubblico non tributa grandi onori al gruppo, ma dopo qualche mese i consensi cominciano ad arrivare.
E "For Tomorrow" ne merita di consensi ancora oggi! Solo l'inizio è tutto un programma, culturale, sulla gioventù del tempo: "He's a 20th century boy/with his hands on the rails/trying not to be sick again and/holding on for tomorrow" ("Lui è un ragazzo del ventesimo secolo/con le mani sulle sbarre/che prova a non stare male di nuovo e a/tener duro per domani").
Buon capolavoro e video istant classic, in bianco e nero della Londra turistica e del popolo misto che canta "la la la". Come l'ho vissuto! Quand'ero sul Tower Bridge e vedevo il Tamigi in lontanza, immaginando Damon galleggiare. O a Primrose Hill (uno dei luoghi della canzone) dove calcavo la terra dove alcuni del gruppo nel video facevano volare gli aquiloni e in una via trafficata scattavo una foto a un pullman che recava la scritta "Westway" (un'autostrada) sul display. Alla National Gallery immaginando alcuni di loro uscire dalla scalinata.
Ma il più bello di tutti, una sera col metrò fino a Gloucester Road e su fino a Emperor's Gate, un piazzaletto di gente facoltosa. Dopo aver scattato delle foto, tornavo di corsa verso il metrò gridando "Jim stops and gets out the car/goes to a house in Emperor's Gate..."*. MAGNIFICA.
Con "Advert" cominciano le canzoni realizzate con l'aggiunta di effetti speciali di macchine come si legge nel bellissimo e irripetibile booklet dell'album, una piccola opera d'arte. "Advert" è uno di quei brani particolari che si incontrano spesso in questo album. Io a Londra un giorno la canticchiai nel treno della metropolitana in ritorno all'ostello - e la vivevo!
"Colin Zeal", "Pressure on Julian" e "Coping" seguono la stessa tendenza. "Coping" sa un pò di synth-pop anni '80 ed è meravigliosa nell'interpretazione di Albarn nei concerti dei Blur di quel periodo, insieme ad "Advert" e la dilatata e scassatimpani "Oily Water". "OW" è uno dei capolavori da tenere in disparte: la voce di Damon è un pò coperta dalla musica ma è fantastica, specie se ci immaginiamo Damon con l'espressione un pò allucinata (a tal proposito vi consiglio vivamente di cercarvi il concerto al Rock Music Hall di Koln su Youtube: roba da non credere).
"Blue Jeans" ambientato a Portobello Road me l'ero portata al famoso mercato del celebre 16 agosto di "The Good the Bad & the Queen" (vedasi la mia recensione): canzone piacevole, mentre "Chemical World" oggi, rispetto al 2001, non mi entusiasma eccessivamente (e il video non mi è mai piaciuto).
"Sunday Sunday" è un altro grande brano sulle tradizioni inglesi della domenica. Quando la "urlavo" (per modo di dire) nel tragitto da Piccadilly Circus (vicino all'ostello dove alloggiavo) a St.James's Park, non c'era quasi anima viva (ma era meravigliosa). Bello il video e fantastica la steel guitar suonata da Graham.
"Miss America" è l'ultimo grande brano: scritta dopo il tour americano, è un altro capolavoro per come si staglia la voce di Damon su una musica leggermente di sottofondo, un pò indolente e sonnacchiosa. Si può parlare di "arte" ancora negli anni '90? A sentire "Miss America", sì.
"Resigned" sta in "Modern" senza dire nulla di eccezionale e gli intermezzi di "Chemical World" e di questo ci stanno bene come gli intervalli di Primo e Secondo Tempo nei film trasmessi dalla Rai molti anni fa.
A concludere: "MLIR" vive un successo di piccole proporzioni come succederà in maniera simile (ma nel mondo) all'altro capolavoro di 10 anni dopo, "Think Tank", che invece di parlare solo al popolo inglese sembrerà allungare il raggio a tutto il mondo (occidentale e globalizzato). Anche nel 2003 una cultura in disfacimento...
Elenco tracce testi e video
01 For Tomorrow (04:19)
He's a twentieth century boy
With his hands on the rails
Trying not to be sick again
And holding on for tomorrow
London ice cracks on a seamless line
He's hanging on for dear life
So we hold each other tightly
And hold on for tomorrow
Singing
La la, la la la
La la la la la la la la (x3)
Holding on for tomorrow
...oh, oh, oh, oh, oh...
She's a twentieth century girl
With her hands on the wheel
Trying not to make him sick again
Seeing what she can borrow
London's so nice back in your seamless rhymes
But we're we're lost on the Westway
So we hold each other tightly
And hold on for tomorrow
Singing
La la, la la la
La la la la la la la la (x3)
Holding on for tomorrow
Trying not to be sick again
And holding for tomorrow
She's a twentieth century girl
Hanging on for dear life
So we hold each other tightly
And hold on for tomorrow
Singing
La la, la la la
La la la la la la la la (x3)
Holding on for tomorrow
Jim stops and gets out the car,
goes to a house in Emperor's gate,
Through the door and to his room,
Then he puts the TV on,
Turns it off and makes some tea,
Says Modern Life Is Rubbish I'm
Holding on for tomorrow,
Then Susan comes into the room,
She's a naughty girl with a lovely smile,
Says let's take a drive to Primrose Hill,
It's windy there and the view's so nice,
London ice can freeze your toes
Like anyone I suppose
I'm holding on for tomorrow...
02 Advert (03:45)
it is six oclock on the dot and i am half way home
i feel foul monthed as i stand and wait for the underground
and a nervous disposition does not agree with this
I need something to remind me that there is something else
you need a holiday somewhere in the sun
with all the people who are waiting
there never seems to be one
say something, say something else
advertisements are here for rapid persuasion
if you stare too long you lose your appetite
and a nervous disposition does not agree with this
you need fast relief from aches and stomach pains
03 Colin Zeal (03:16)
Colin Zeal knows the value of mass appeal
He's a pedestrian walker, he's a civil talker
He's an affable man with a plausible plan
Keeps his eye on the news, keeps his future in hand
And then he...
Looks at his watch, he's on time yet again
Looks at his watch, he's on time yet again
He's pleased with himself, he's pleased with himself
He's so pleased with himself, ah ha
While sitting in traffic, Colin thinks in automatic
He's an immaculate dresser, he's your common aggressor
He's a modern retard with a love of bombast
Keeps his eye on the news, doesn't dwells on the past
And then he...
Looks at his watch, he's on time yet again
Looks at his watch, he's on time yet again
He's pleased with himself, he's pleased with himself
He's so pleased with himself, ah ha
He's pleased with himself, he's pleased with himself
He's so pleased with himself, ah ha
And then he...
Looks at his watch, he's on time yet again
Looks at his watch, he's on time yet again
He's pleased with himself, he's pleased with himself
He's so pleased with himself, ah ha
He's pleased with himself, he's pleased with himself
He's so pleased with himself, ah ha
He's pleased with himself, he's pleased with himself
He's so pleased with himself, ah ha
He's pleased with himself, he's so pleased with himself
He's so pleased with himself, ah ha
He's a modern retard, he's terminal lard
He's an affable man, with a carrotene tan
Because Colin Zeal's ill
Colin Zeal's ill
Colin Zeal's ill
'Cos Colin Zeal knows
04 Pressure on Julian (03:31)
Only the magical transit children sing, sing the lullaby bah, bah, bah,
Sitting on the pavement sucking on a long straw, it's colorful,
It's colorful, but it washes you out
Here is my violence and here is the excuse,
I learned it all but only second hand
Falling into walls well, what is it with you,
you'd never know never know, never know
We planned it all this way, we planned it all this way
Pressure on Julian
Swimming in yellow pissy water, sand getting in between the ears,
No blood in head in this bloody weather, irate people with
Yellow tongues
Only the magical transit children sing, sing lullaby bah, bah, bah
Falling into walls, well what is it with you, you'd never know
Never know, never know.
[OVERVOICE] There was pressure on Julian, pushing trolleys in the car park from b to a then back to b, pressure on Julian, he keeps passing out, poor little snout, the birds are singing at night, pressure on Julian
Falling into walls well, what is it with you, you'd never know,
Never know, never know
There was pressure on Julian, pushing trolleys in the car park from b to a then back to b, pressure on Julian, he keeps passing out, poor little snout, the birds are singing at night, pressure on Julian
06 Blue Jeans (03:54)
Air cushioned soles
i bought them in the Portabello road
on a saturday
i stop and stare a while
a common pastime when conversation goes astray
and don't think i'm walking out on this
coz she don't mind
whatever i say
whatever i say
i don't really want to change a thing
i wanna stay this way forever.........
blue, blue jeans
i wear them every day
theres no particular reason to change
my thoughts are getting banal
i cant help it but i wont pull out hair another day
you know it's to be with you
07 Chemical World (03:45)
The pay-me girl has had enough of the bleeps
So she takes the bus into the country
Although she got herself rosy cheeks
She didn't leave enough money to pay the rent
The landlord says that she's out in a week
What a shame she was just getting comfy
Now she's eating chocolate to induce sleep
In a chemical world, it's very, very, very cheap
And I don't know about you
But they're putting the holes in, yes, yes
It's been a hell of a do
They've been putting the holes in, yes, yes
Peeping Thomas has a very nice view
Across the street at the exhibitionist
These townies they never speak to you
Just stick together so they never get lonely
Feeling lead, feeling quite light-headed
Had to sit down and have some sugary tea
In chemical world, in a chemical world
It's very, very, very cheap
And I don't know about you
But they're putting the holes in, yes, yes
It's been a hell of a do
They've been putting the holes in, yes, yes, yes
I don't know about you
But they're putting the holes in, yes, yes
It's been a hell of a do
They've been putting the holes in, yes, yes
And now she's found about you
But they're putting the holes in, yes, yes
Well I don't know about you
They've been putting the holes in, yes, yes
Until you can see right through
Until you can see right through
Until you can see right through
09 Sunday Sunday (02:38)
Sunday, Sunday here again in tidy attire
You read the color supplement, the TV guide
You dream of protein on a plate, regret you left it quite so late
Together the family around the table, to eat enough to sleep
Oh the Sunday sleep
Sunday, Sunday here again a walk in the park
You meet an old soldier and talk of the past
He fought for us in two world wars
and says the England he knew is no more
He sings songs of praise every week but always falls asleep
For that Sunday sleep
You dream of protein on a plate, regret you left it quite so late
Together the family around the table to eat enough to sleep
And mother's pride is you epithet, that extra slice you will soon regret
So going out is your best bet, then bingo yourself to sleep
Oh the Sunday sleep
10 Oily Water (05:00)
Lead in me and me in water
Dangling in my word
I swallowed too much oily water
It keeps slipping down my spine
In a sense of self decline
Growing fat on sound
It's only an early morning dream
And the whole world will be alright
My head is full of suspicion
I'm coming home sometime
I've swallowed too much oily water
It keeps slipping down my spine
In a sense of self in decline
Lying on my back
It's only an early morning dream
And so the whole world will be alright
12 Villa Rosie (03:55)
Practice doesn't make perfect when you're interbreeding
Speaking drivel can it get confused with heavy breathing
Mixing drinks at water holes get snarled up in the suburbs
Meandering through this and that you are suspected of vagueness
When work is done, go to Villa Rosie every night (we're waiting)
So form a queue at villa Rosie every night (so tasty)
Across the common every day you come across the fine line
But wearing boots can prevent the leeches in the long grass
Eating between meals stifles the appetite is it healthy
Coming home that nagging doubt there in your belly
And all the while at villa Rosie every night (we're tasting)
A sweeter life at Villa Rosie every night (so tasty)
All losers come to Villa Rosie every night (we're waiting)
So form a queue at Villa Rosie every night (so tasty)
Don't break your back at Villa Rosie every night (we're tasting)
A sweeter life at Villa Rosie every night (so tasty)
13 Coping (03:24)
Primal evil what am I
Tongue-tied until the day I die
There's no love made with mermaids
It's just distraction or so they say
And I'm too tird to care about it
Can' t you see it in my face my face
When I feel this strange can I go through this again
It's a sorry state you're getting in
The same excuse is wearing thin
There's no self control left in me
What was not will never will be
And I'm too tired to care about it
Can't you see it in my face my face
When I feel this strange can I go through this again
14 Turn It Up (03:21)
Kazoo, kazoo you are mine, kazoo kazoo every time
Turn it up, turn it off, turn it in (x4)
Anyway you choose, anyway you choose at all
Sometimes you get too much, some days it all gets too much
Kazoo, kazoo you are mine, why do you turn your back on me?
Turn it up, turn it off, turn it in (x4)
Anyway you choose, anyway you choose at all
Some days you do too much, some days it all gets too much
Kazoo, kazoo you are mine, kazoo kazoo every time
Turn it up, turn it off, turn it in (x4)
15 Pop Scene (03:14)
A fervoured image of another world
Is nothing in particular now
And imitation comes naturally
But I never really stopped to think how
And everyone is a clever clone
A chrome coloured clone am I
So in the abscence of a way of life
Just repeat this again and again...and again
Hey, hey come out tonight
Hey, hey come out tonight
Popscene, all right
I'm leaving town to run away
Right into your twisted arms
No queues and there's no panic there
Just dangling your feet in the grass
My lack of natural luster now
Seems to be losing me friends
So in the abscence of a way of life
Just repeat this again and again...and again
Hey, hey come out tonight
Hey, hey come out tonight
Popscene!
Hey, hey come out tonight
Hey, hey come out tonight
Popscene, all right
Hey, hey come out tonight
Hey, hey come out tonight
Popscene!
68 When the Cows Come Home (03:49)
Good morning
Wake up
Wake up with purpose and polite efficiency
Stuff vitamin pills down your health guarantee
A kiss and cuddle with a lucky girl
You get fed and watered
Makes your hair curl
And when the day draws in
You put on a record
Put on something gentle
And wait for the cows to come home
Wake up a little voice says
To you eagerly
You musn't let yourself sink financially
Don't listen to the accusation that you're tight
You could be the first man on your street to get it right
And when the day draws in
You going to go into waltz time
For once it was a good time
Wait for the cows to come home
All your life
Ha da de da da
Ha da de da da
Ha da da de da
Ha da de da da da
Wake up with purpose and polite efficiency
So you get fed and watered with good company
And when the day draws in
You go into waltz time
For once it's a good time
Wait for the cows to come home
All your life
- Flequi
69 Peach (03:56)
Chemical Eats
Best part of the peach
You're always the way you are
What of that going to close you in
You got a gaping hole in your head
Id let the birds nest there instead
Aha aha aha aha
A gun in your pocket
And hair in a locket
Around your neck
From the girl you once loved
where is she now, you've gone crazy
You've got a gaping hole in your head
I'd let the birds nest there instead
Aha aha aha aha
You've got a gaping hole in your head
I'd let the birds nest there instead (x4)
Aha aha aha aha
Carico i commenti... con calma
Altre recensioni
Di charles
Questo non è sostanzialmente né un disco brit-pop né un disco indie-rock.
Se bisogna spendere degli euro per un disco dei Blur, di certo non va fatto per questo album, forse il peggiore album della band di Colchester.
Di temi
"Tra l'ottobre 1991 e il marzo 1993 compirono la travagliatissima gestazione di 'Modern Life Is Rubbish'... è strano, perché il materiale contenuto è estremamente originale e piacevole."
"L'album ha lasciato il segno, e gruppi di oggi lo testimoniano: i primi album dei Kaiser Chiefs sembrano un po' scopiazzati da questo."
