Voi pensate a una canzone, tipo “All by myself” di Eric Carmen. Ve la ricordate? Era quella melassa formidabile degli anni Settanta di cui non ci siamo più liberati a ogni occasione buona, una specie di “Notte alta e sono sveglio” degli americani (il che la dice lunga sulle proporzioni artistiche tra noi e gli americani) che citava Rachmaninov. E vi viene in mente quell’altra citazione classica, quella della Patetica di Beethoven nella melensa “This night” di Billy Joel. Oppure Coolio che rifà rap le reiterazioni del Canone di Pachelbel. E di violini e orchestre in violini e orchestre vi ricordate di “Music” di John Miles, capolavoro barocco del pop di trent’anni fa a cui “Winding me up” di Alan Parsons è lontanamente paragonabile. Beh, e vogliamo parlare della versione lunga, sontuosa, di “MacArthur park” di Donna Summer, la “MacArthur suite”? Della “Don’t let me be misunderstood” lunga che Tarantino ha poi ripescato per la colonna sonora di Kill Bill? O dell’attacco di archi della versione lunga di “The power of love” dei Frankie Goes to Hollywood? Ma anche la mediocre “I want your sex” di George Michael, quando poi la allungano e la rilassano, ne combina delle belle. Che le canzonette sono brevi, e spesso danno il meglio con quel che vi si appiccica per allungare: l’introduzione nella versione “extended” di “Smalltown boy” dei Bronski Beat, la coda liberatoria di “Layla” di Eric Clapton o quella di “Sultans of swing” che i Dire Straits facevano solo dal vivo, col sassofono che uàu. E quando scopriste che nel cd c’era un’intro meravigliosa di “Your latest trick” dei Dire Straits che nel vinile non c’era? Beh, e gli ultimi tre minuti di pianoforte nello “Stambecco ferito” di Venditti? E allora – non è una coda, no – ma vi viene in mente il momento straordinario in cui Jackson Browne passa da “The load-out” a “Stay”, dove dice al pubblico “people stay, just a little bit longer…”. E poi l’entrata di ”Afterglow” nel medley finale del live dei Genesis, quello post Peter Gabriel. Voi pensate ad “All by myself” alla radio che ascoltavate da bambini. Che per annunciare cosa facevano al cinema, mettevano in sottofondo “Us and them” dei Pink Floyd, ma usavano anche un sacco “Falcon” della Rah Band e il tema di “Shaft”. Voi pensate a una canzone.
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Io ad esempio adoro quando David Bowie fa “and nothing NOTHING will keep us together” o quando in Everything Count versione live, da 101, Alan Wilder smette di suonare e il pubblico continua da solo.
Non so, mi fa sembrare tutto possibile.