Firenze, 27 marzo 2020 – “Per anni, i fan di Bob Dylan hanno parlato con una sorta di timore reverenziale della canzone più lunga che abbia mai pubblicato, “Highlands”, un brano del 1997 che durava 16 minuti e 31 secondi. Ora, 23 anni dopo, si è leggermente superato. Mentre l’orologio ha suonato a mezzanotte sulla costa orientale venerdì mattina, Dylan ha pubblicato una nuova canzone, ‘Murder Most Foul’, che dura 16 minuti e 57 secondi, ed è un’epica libera associazione sull’assassinio del presidente John F. Kennedy nel 1963″.
Comincia così l’articolo che ‘Variety’ ha pubblicato online in queste ore, per quello che è uno dei veri eventi della primavera musicale 2020: il ritorno di Dylan con un brano inedito, il primo da 8 anni a questa parte, il primo dopo la vittoria, nel 2016, del Nobel per la Letteratura. Come sottolinea “Variety” la “monumentale” – lunghissima – canzone prende ispirazione dall’assinio di Jfk: il titolo in italiano potrebbe essere tradotto l’omicidio più disgustoso, più cattivo. Pubblicandola sui suoi profili social – ora disponibile su numerosi servizi di streaming, come Spotify, Apple Music e Soundcloud, oltre a YouTube – Dylan l’ha corredata di un messaggio nel quale si intravede un sottile riferimento alla crisi del Coronavirus: “Saluto i miei fan e follower con gratitudine per tutto il vostro supporto e la vostra lealtà nel corso degli anni. Questa è una canzone inedita che abbiamo registrato qualche tempo fa e che potreste trovare interessante. State al sicuro, state attenti e che Dio sia con voi”.
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La voce di Dylan, su un tappeto melanconico e romantico di piano e archi alla Leonard Cohen, scandisce parola per parola, pur arrochita in maniera chiara, assolutamente intellegibile, il gigantesco nuovo poema in musica: parte come fosse un racconto di cronaca: “Fu un giorno buio a Dallas, nel novembre ’63. Un giorno che vivrà nell’infamia. Il presidente Kennedy era molto in gamba. Una buona giornata per vivere e una buona giornata per morire. Portato al macello, come un agnello sacrificale…“.
Partendo dalla cronaca, Dylan dapprima si sdoppia, e s’incarna nel Kennedy morente (“Mi chino a sinistra e ho la testa sul grembo di mia moglie“) così come nell’assassino, anzi gli assassini: “Abbiamo già qualcuno pronto a prendere il tuo posto“. Poi le liriche s’innalzano in volo, con Dylan che intesse il flusso di coscienza attraverso mille riferimenti pop – l’America dell’illusione e del suo declino – dal sogno dei Beatles e Woodstock agli Who e Stevie Nicks, da Monk a Charlie Parker, da Shakespeare a Buster Keaton a Marilyn e a “Via col vento“ (“francamente, signorina Scarlett, me ne infischio”), diventando così da coscienza personale, coscienza collettiva.
Secondo la canzone, l’uccisione di Jfk “proprio lì davanti agli occhi di tutti“ è “il più grande trucco magico“. Non solo: il brano recita ancora: “Il giorno in cui l’hanno ucciso qualcuno mi ha detto: Figlio l’età dell’Anticristo è appena iniziata“. Ed è questo quello che canta Dylan oggi, è l’Apocalisse – o la rivelazione – quel che Dylan oggi sente il bisogno di raccontare.
