I Morphine sono sempre stati dentro il mio cuore. Anzi più precisamente la loro musica. Soffice, jazzata, intima come non mai. Come un'orchestrina giù ai piani bassi dove la voce è roca e il fumo tanto. Adoro incondizionatamente tutti gli album della band di Boston con una predilezione per "Cure For Pain", vero tesoro nascosto (almeno così mi piace pensare) degli anni '90. Come si sarebbero trasformati/evoluti se Mark Sandman non fosse tragicamente scomparso sul palco (attacco cardiaco) in una merdosa estate italiana?
Accresce in modo impressionante il rimpianto questo postumo "The Night" del 2000, realizzato in perfetto isolamento nello studio casalingo (ma piuttosto ben attrezzato) di Mark poco prima che morisse. Gli arrangiamenti qua appaiono più corposi con pianoforte, organo, qualche chitarra (pochissime in realtà), violoncello ed altre amenità varie ma l'umore del disco non cambia di una virgola rispetto a quello tipico dei Morphine: tenebroso, malinconico, denso. Anzi se è possibile le canzoni risultano ancor più introspettive e notturne. La voce di Sandman e più intensa e baritonale che mai mentre il sax (guarda caso baritono) di Dana Colley si intreccia in modo del tutto naturale sia con il basso (due corde, Mark diceva che bastavano e avanzavano) che con la batteria schematica e precisa di Billy Conway (famoso per il quasi inutilizzo dei piatti). Insomma diventa come sempre difficile descrivere un lavoro del genere in quanto le sonorità sono davvero uniche al mondo. Un'amalgama di influenze blues, jazz, persino lounge da cui il trio estrae la materia più oscura.
L'iniziale "The Night" è un piccolo gioiello sommerso dove la voce ti avvolge di sorpresa come il buio in un vicolo. E rimani lì ipnotizzato, senza possibilità di fuga peraltro impedita dall'immediato rilassamento sia fisico sia cerebrale. Ogni singola canzone ti penetra nel profondo ("Like a Mirror"), ti trascina in delicati mondi immaginari (la stupenda e arabeggiante "Rope on fire") e nell'attimo in cui la musica conduce alla finale "Take Me With You" sono sicuro che cercherete (a me succede così) di impedirne materialmente la conclusione...
Poi le liriche: Sandman è anche un grande songwriter, i suoi testi più che raccontare storie si concentrano sull'evocazione di immagini il più delle volte decadenti, angoscianti e claustrofobiche perfettamente in linea con il mood emozionalmente inquietante (ma allo stesso tempo ammaliante) della musica. Tutto questo per dire che "La Notte" è un titolo completamente azzeccato, anzi, direi perfetto. E' il momento in cui sicuramente è stato scritto, suonato ed è il momento in cui va ascoltato.
"L'attività analgesica della morfina si esplica su due versanti: innalzamento della soglia del dolore e contestuale riduzione della risposta emozionale al dolore stesso. Ciò significa che anche quando la sensazione di dolore non viene del tutto eliminata ma soltanto diminuita essa viene comunque resa molto più tollerabile se non trascurabile in relazione all'assenza dei suoi corollari emotivi: ansia, panico, paura, sofferenza, prostrazione."
Considerando anche che tale sostanza provoca anche forte dipendenza ora ditemi: c'è nome più consono di Morphine per descrivere la loro musica?
Elenco tracce testi e samples
01 The Night (04:48)
You're the night, Lilah
A little girl lost in the woods
You're a folktale
The unexplainable
You're a bedtime story
The one that keeps the curtains closed
I hope you're waiting for me
'Cause I can't make it on my own
I can't make it on my own
It's too dark to see the landmarks
And I don't want your good luck charms
I hope you're waiting for me
Across your carpet of stars
You're the night, Lilah
You're everything that we can't see
Lilah
You're the possibility
You're the bedtime story
The one that keeps the curtains closed
And I hope you're waiting for me
'Cause I can't make it on my own
I can't make it on my own
Unknown the unlit world of old
You're the sounds I've never heard before
Off the map where the wild things grow
Another world outside my door
Here I stand I'm all alone
Driving down the pitch black road
Lilah you're my only home
And I can't make it on my own
You're a bedtime story
The one that keeps the curtains closed
I hope you're waiting for me
'Cause I can't make it on my own
I can't make it on my own
02 So Many Ways (04:01)
Is this the way that you like it?
Is this what you had in mind when you called above to the angels for the six hundred and sixty sixth time?
Hey, what about this? What about this. Shake it.
What do you want and how do you like it? How many times is this the right socket?
What do I wear and what do I say? Please tell me again how we get there.
Please tell me again how we get there.
So many ways to get a lift. So many ways to get your head unzipped.
Too late for anymore questions. The preamble is done. The overture's ended.
The drawbridge is up. Cat's out of the bag and looking for a sofa to scratch.
Looking for a sofa to scratch.
This the way that you like it.
This what you had in mind when you called above to the angels for the six hundred and sixty sixth time.
Hey, what about this? What about this. What about this. Shake it.
So many ways to get a lift. So many ways to get your head unzipped.
So many ways to get a lift. So many ways to get your head unzipped.
So many ways to get a lift. So many ways to get your head unzipped.
(Mark talking backwards for a second)
03 Souvenir (04:40)
I remember meeting you, we were super low. Surrounded by the sounds of saxophones.
And I remember being this close, but never alone. You gave me a little something to take home.
I dropped it on the floor. I dropped it on the floor. Dropped it on the floor. I dropped it
If I can only remember the name that's enough for me because names hold the key. Names hold key.
If I can only remember the name that's enough for me because names hold the key. Names hold key.
Souvenir of nothing.
Brought home a souvenir of nothing. It fits into a pocket.
A souvenir a souvenir of nowhere. Somewhere I've never been before.
I dropped it on the floor. I dropped it on the floor. Dropped it on the floor. I dropped it
If I can only remember the name that's enough for me because names hold the key. Names hold key.
If I can only remember the name that's enough for me because names hold the key. Names hold key.
A souvenir of nothing. A souvenir of nothing.
I remember meeting you, we were super low. Surrounded by the sounds of saxophones.
04 Top Floor, Bottom Buzzer (05:43)
First we'll pick Priscilla up. And then we'll stop for Jane.
And Mary Ellen needs a ride. We're going by her place.
We're going to a party. Our friends will all be there.
I got the directions. It's across the river somewhere.
We rang the top floor, bottom buzzer.
Top floor, bottom buzzer. Top floor, bottom buzzer.
The middle won't work. Ring the one under.
Priscilla's in the kitchen she's mixing drinks.
She's mixing one for me I think.
And one for Mary Ellen and one for Jane.
Priscilla, she knows how to use a shaker.
She doesn't get up as early as a baker. Uh huh.
There's a muchacha, teaching me to mambo.
There's my buddy Pete eyeing a bowl of combos.
Ramona and a man do a tango dip. Cheek to cheek, hip to hip, come on.
The window's open it's the heart of the summer.
More people coming looking for the number.
Mary Ellen sees them she has a little stutter. She yells...
T-top floor, b-bottom buzzer. Top floor, bottom buzzer.
Top floor, bottom buzzer. Top floor, bottom buzzer.
The middle won't work. Ring the one under. Come on. Woo.
It was later it was after two.
We found a bottle of good chartreuse.
The lights were green and gold. We played Latin soul.
By the time Priscilla put the Al Green on the bottle was gone.
On the top floor, bottom buzzer.
Top floor, bottom buzzer. Top floor, bottom buzzer.
The middle won't work. Ring the one under. Come on. Woo.
Top floor, bottom buzzer. Top floor, bottom buzzer.
Top floor, bottom buzzer. The middle won't work. Ring the one under. Come on. Woo.
05 Like a Mirror (05:26)
Like a mirror I'm nothing. I'm nothing. I'm nothing till you look at me.
I'm like a mirror. I'm like a mirror. I'm nothing till you look at me.
I'm like a mirror. I'm like a mirror. I'm nothing till you look at me.
I'm like a mirror. I'm like a mirror. I'm nothing till you look at me.
Martha Lee.
Leave your world, come to me. I'm closer to you than I seem.
Wish upon this melody and come to me Martha Lee.
Leave your world and join me soon. Leave your world behind.
You can take the Saturn Line. In no time, no time.
I know a ship that's leaving soon. Oh, in fact this afternoon.
So don't forget your parachute. I'll be there to catch you.
And you my future constellation. Climb up here in the sky with me.
Leave your world and come to me. I'm closer to you than I seem.
Oh, wish upon this melody and come to me. Come to me.
Leave your world and join me soon. Martha Lee. Martha Lee.
I know a ship that's leaving soon. In fact this very afternoon.
So don't forget your parachute and I'll be there to catch you.
I'm like a mirror. I'm like a mirror. I'm nothing till you look at me.
I'm like a mirror. I'm like a mirror. I'm nothing till you look at me.
07 Rope on Fire (05:36)
Hand over hand up the lifeline, luckily the knots stay tight.
Silhouettes of the two of us climbing, climbing up a rope on fire.
Climbing up a rope on fire.
Trapped in a room in a fortress, running outta air to breathe.
Only seconds to go and we'll break free, I didn't think that we would reach.
Only the two of us can disconnect the bomb.
And save ourselves before the oxygen is gone.
I'll call for backup, you start to scream.
It's not the first time we've been in this dream.
She ripped the wings right off my back.
She whispered deep, keep it on the track.
She said you're no angel, no angel anymore.
All the wheels are coming loose. Close-up shot of a burning fuse.
The sky is filled with question marks. Will the chains come apart?
These few seconds that I've left to go. Flames and chaos down below.
And the earth opens wide. Got to climb a rope on fire.
Look at the clock. Look at the clock.
Make it to the car but the car won't start.
Me try to move the car but there's no more time.
We'll have to climb a rope on fire.
Hand over hand up the lifeline, luckily the knots stay tight.
Silhouettes of the two of us climbing, climbing up a rope on fire.
Climbing up a rope on fire. Climbing up a rope on fire.
Only the two of us can disconnect the bomb.
Then save ourselves before the oxygen is gone.
I'll call for backup. You start to scream.
It's not the first time we've been in this dream.
09 The Way We Met (02:59)
No there's nothing too romantic about the way we met.
That's not to say it doesn't make a certain sense.
Maybe it's just the kind of people that we are.
That's not to say whether it's right or wrong.
It's not right or wrong. It's not right or wrong.
There's no cute story that we tell together.
Laughing and finishing each other's sentences so charmingly.
Truth is it was all an accident.
Just like it is for everybody else.
But then again it was all and accident.
Just like the way it is for everybody else.
Later we had toast, took turns sitting on the windowsill.
Like two fields of wheat, sent signals cross the kitchen sharp and sweet.
There's no cute story about the way we met.
We just woke up one day in bed.
Shouted out for alarm clocks. Where's the remote control?
Put the blankets and the chairs against the windows and doors.
And stayed close together, trying to stay warm, oh.
Now there's nothing too romantic about the way we met.
That's not to say it doesn't make a certain sense.
Maybe it's just the kind of people that we are.
It's gone to far to be right or wrong. Now, now, now, now.
10 Slow Numbers (03:58)
Lazy boys and shy Dianes. One at a time, single file.
They counted the low numbers as they walked by.
I count a high number. A low number. Among the slow numbers.
The number four means nothing to me but the number four means death to Chinese.
Number seven is lucky in Japan. Here we don't give a damn.
But on the elevator, no thirteenth floor.
On the elevator, no thirteenth floor.
Thirteenth going up. Going up... Going up...
Relaxing as I wait in line. Some of the numbers lose their smiles.
Specially the numbers one through nine.
Because they're only seating parties of ten or higher.
For the dancing the question mark sticker and the mermaid kickers.
The number four means nothing to me but the number four means death to Chinese.
Number seven's lucky in Japan. Here we don't give a damn.
But on the elevator, no thirteenth floor.
On the elevator, no thirteenth floor.
Going up... Going up... Going up...
Carico i commenti... con calma
Altre recensioni
Di lux
"Mark, ma non avevi detto di togliere per aggiungere? Qui hai aggiunto per togliere, ma perché?"
"A me questo pare un disco generalmente privo di mordente, il sax che in passato si incastrava magnificamente col basso a due corde di Mark qui ha perso incisività."
