• Voto:
Le potenzialità espressive di Oldfield sono sorprendenti, dopo un lavoro poco riuscito e un po' di compromesso fra tradizione personale e novità come "QE2", Oldfield realizza nel 1982 un disco che rimane la sua migliore produzione per tutti gli anni '80. "Five Miles Out" è un lavoro che non delude i fans del buon Mike e che regala alla musica ancora una volta una bella pagina di grande ispirazione e fantasia. La formula che Oldfield usa per la costituzione del nuovo lavoro ricalca quella già provata nel disco precedente, una suite per un lato del disco ( generalmente quello A) e una serie di canzoni o brani strumentali brevi per il secondo lato.
L'inizio di "Five Miles Out" è affidato alla suite "Taurus II", che a dispetto del titolo non è un continuità con la precedente "Taurus I" su "QE2"; il tema principale del brano è un andamento arabeggiante di chitarre e synth, l'uso dell'elettronica è più marcato e per le sue parti vocali Mike usa frequentemente il vocoder. L'evolversi di questa composizione è segnata da varie esplorazioni musicali, dal reggae alle atmosfere gitane fino ai suoni tipici dell'Europa del nord, Mike cita la musica celtica e quella scozzese, con grande uso di cornamuse, xilofoni e flauti. "Taurus II" è un'emozione crescente, la più riuscita composizione di questo tipo in un lavoro degli anni '80 di Mike, peccato che già dal successivo "Crises" Oldfield perda un poco la bussola, diventando a poco a poco l'ombra di se stesso.
Già negli anni '70 Oldfield aveva frequentato stabilmente le classifiche dei singoli con piccoli strumentali, canzoni di Natale o rivisitazioni di arie e brani folk inglesi, la prima canzone vera e propria ad avere un riscontro di classifica è "Family Man", brano dagli accenti elettronici e caotici che apre il lato B di "Five Miles Out", non è una grande composizione, le canzoni di Mike hanno il difetto di essere molto spesso troppo artificiali. Meglio quindi le senzazioni di pace che scaturiscono dall'ascolto di "Orabidoo", gioiellino che si apre con le note rilassanti degli xilofoni, il canto al vocoder di Mike però stona troppo con il resto. "Mount Teidi" è pura percussione, con Carl Palmer alla batteria, la conclusione è affidata a la title track, che narra di una sfortunata esperienza di volo di Mike, la musica è ancora una volta fortemente elettronica, il canto è diviso con la Reilly, il video che accompagna il brano è tetro tanto quanto la voce artificiale di Oldfield.
In conclusione "Five Miles Out" è un bel disco, pieno zeppo di suoni e belle senzazioni, il successivo "Crises" del 1983, celebra i dieci anni di attività di Mike, è ancora interessante ma dischi come "Islands" del 1987 o "Discovery" del 1984 sono veramente poca cosa.
Elenco tracce testi e samples
01 Taurus II (24:43)
Hush now baby made a start
There's a jewel in your heart
And a star that shines for you
Watching everything you do
Don't you cry though it may seem
You were born into a dream
There's another race to run
You were not the only one
Standing in the morning sun
Waiting though it had begun
May you never run aground
Or call into the deep deep sound
Stormy weather turns to blue
Here's a song to take with you
(mike oldfield)
(vocals: maggie reilly)
02 Family Man (03:45)
She had a sulky smile,
She took a standard pose as she presented herself.
She had sultry eyes,
She made it perfectly plain that she was his for a price.
But he said, "Leave me alone, I'm a family man,
And my bark is much worse than my bite!"
He said, "Leave me alone, I'm a family man.
If you push me too far, I just might...."
She wore hurt surprise
As she re-checked her make-up to protect herself.
She showed less than pride,
She made it totally clear that she was his for a price.
But he said, "Leave me alone, I'm a family man,
And my bark is much worse than my bite!
Please just leave me alone, I'm a family man.
If you push me too far, I just might...."
She gave him her look
That would have worked on any other man in sight.
He could not mistake,
She wanted to go back with him and spend the night.
But he said, "Leave me alone, I'm a family man,
And my bark is much worse than my bite!
Please just leave me alone, I'm a family man.
If you push me too far, I just might...."
She turned, tossed her head and then
She started to make her final exit line.
She showed real disdain,
As if explaining again she could be his for a price.
But he said, "Leave me alone, I'm a family man,
And my bark is much worse than my bite!"
He said, "Leave me alone, I'm a family man.
If you push me too far, I just might...."
But he said, "Leave me alone, I'm a family man,
And my bark is much worse than my bite!"
He said, "Leave me alone, I'm a family man.
If you push me too far, I just might...."
But he said, "Leave me alone, I'm a family man,
And my bark is much worse than my bite!"
He said, "Leave me alone, I'm a family man.
If you push me too far, I just might...."
He said, "Leave me alone, I'm a family man,
And my bark is much worse than my bite!"
He said, "Leave me alone, I'm a family man.
If you push me too far, I just might!"
03 Orabidoo (13:03)
Watch the skys dawning on you,
Soaring over country land.
Message comes from Kathmandu:
Sky is blue and clear.
Program your outing.
Gaze at clouds in this window pane.
Where is your wish going?
The wind to control you at night.
[ Chorus ]
O
Orabibi
Orabibiba
Orabibi
Orabibaba
Orabibibabi
[ Repeat Chorus ]
Lazing in the sun, we glide.
Soon you come from watch.
Touched, you save me just in time,
Storm is out to catch.
Program your chartering.
Gaze at clouds in this window pane.
Stay patched through onto me.
Crawling into trouble, that's plain!
[ Repeat Chorus ]
[ Repeat Chorus ]
Watch out! Storms in Kathmandu.
Calling from country land.
Message comes from Kathmandu:
Sky is blue and clear.
Program your outing.
Watching now your system for rains.
Clouds: forty storeys!
(Don't come in again like that, it isn't funny,
And I pay someone else to make the orchestration!)
Oh, island of the soul,
Valleys hushed and white with snow.
Ireland's eye...
You'll linger with me 'til the day I die.
Oh, how it hurts to go.
The waters ebb and flow.
The changing seasons come and go.
Ireland's eye...
Forever reaching up into the sky,
Oh, how I'll miss you so.
The sunlight dancing on your rocky shores,
The moonlight playing upon the water.
Your memory will stay with me forever more,
Wherever I may roam.
Stay with my dreams, I will see you!
Safe in my heart I will keep you.
05 Five Miles Out (04:16)
What do you do when your falling,
You've got 30 degrees and you're stalling out?
And it's 24 miles to your beacon;
There's a crack in the sky and the warning's out.
Don't take that dive again!
Push through that band of rain!
Five miles out,
Just hold your heading true.
Got to get your finest out.
You're Number 1, anticipating you.
Climbing out.
Just hold your heading true.
Got to get your finest out.
You're Number 1, anticipating you.
Mayday! Mayday! Mayday!
Calling all stations!
This is Golf-Mike-Oscar-Victor-Juliet
IMC CU.NIMB...icing,
In great difficulty, over.
The traffic controller is calling,
"Victor-Juliet, your identity.
I have you lost in the violent storm!
Communicate or squawk 'Emergency'!"
Don't take that dive again!
Push through that band of rain!
Lost in static, 18,
And the storm is closing in now.
Automatic, 18!
(Got to push through!) Trapped in living hell!
Your a prisoner of the dark sky,
The propeller blades are still!
And the evil eye of the hurricane's
Coming in now for the kill.
Our hope's with you,
Rider in the blue.
Welcome's waiting, we're anticipating
You'll be celebrating, when you're down and braking.
Climbing out.
(Climbing, climbing)
Five miles out.
(Climbing, climbing)
Five miles out,
Just hold your heading true.
Got to get your finest out....
(Climbing, climbing)
Five miles out,
Just hold your heading true.
Got to get your finest out....
(Climbing, climbing)
Climbing out.
Just hold your heading true.
Got to get your finest out....
(Climbing, climbing)
Five miles out,
Just hold your heading true.
Got to get your finest out....
(Climbing, climbing)
Climbing out.
Just hold your heading true.
Got to get your finest out....
(Climbing, climbing)
Climbing out.
Just hold your heading true.
Got to get your finest out...
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