Dear all,

The best italian Rocker Massimo Priviero have made a new brilliant album:
Rock & Poems

Please visit the official website: www.priviero.com and listen some new songs
If you want to buy the album please contact our shop: shop@priviero.com

Lots of these songs came to life in the 60s and 70s when the road for a particular songwriting and performing style was being laid out. Thats the road I took. Years back I went down quite a few different roads, playing my songs along the way, also in the company of maps, books, jotters, diaries and lots of other stuff. Some of the songs roots stem from the pan-global culture that, for the past few decades, has posed practically no boundaries for various generations on their expression of music, poetry, emotions and freedom, in the most positive sense of the word. Some other songs were instead created specifically for this particular album. I have a tough time simply calling them covers even if, in most cases, thats what they are. I also have a tough time considering them just a tribute to my most loved artists. In fact, most of these famous songs have already been reworked in different styles and ways, leading to some remakes that are included in the album and which are far from their original cut, while others are a bit closer to their classic version. Somehow each piece gave natural insight into how it was to be played, letting the vocals and the instruments lead us down their own personal road. We alternated strength, energy, vulnerability, emotions, nostalgia and no-boundary musical roots. My roots are a mix of rock and poetry, a mix that expresses the essence of music. What compelled us to make this album is the belief that the songs we included in Rock and Poems are the synthesis of all that.
M.P.


 
I started playing as a kid about half way through the 70s when someone gave me a Dylan record. My childhood dream wasnt making records or being successful; I wanted to travel around the streets of Europe, playing the tambourine to support my 20-year old vagabond lifestyle. Thats just what I did a few years later. making for one of the most intense and craziest periods of my life.

Blowing In The Wind was the first song that ever graced my guitar and voice. Its been remade time and time again in a myriad of versions, but I was glad to meet back up with it this time around. The final product came out electric, backed by a solid vintage guitar sound, which also revokes an old live performance version At Budokan that I heard. I concentrated on the vocals in some parts, used a clear rhythm and then wrapped it up with an extra touch of gospel-style choir to give the lyrics the main stage right before the end.

The Sound Of Silence is a genial ballad for its melancholy and apparent fragility. Apart from that, its also a complex and constant commingling of sounds. I tried to give it a musical and emotional crescendo with both the vocals and instruments, trying to avoid its original timbres which are far from my own, whereas I did still willingly keep the fragile and timeless guitar incipit. I have for some time now held the lyrics .The words of the prophets are written on the subway walls to be one of the most beautiful phrases ever written.

Resistance is the English version of Dolce resistenza, my last Italian albums title track. Those who know me know that throughout my entire life, resistance, in different ways and forms, has always been a companion to me. Its what some once called the message. Resistance is my message (and hopefully not just mine alone). Its the most courageous, energetic, and idealistic part of emotions that pushes you to carry on and believe in something worthwhile. It was still being able to conjure this up, and see it in someone else, that led me to embody it in the guitars, piano and the progressive rhythms and harmonies of this song.

Chimes Of Freedom is one of the greatest songs ever written. The lyrics are the purest, most visionary and oneiric envisioning of poetry in its totality. The few supporting chords could accompany it for hours, like accompanying a poem. I chose a version that we usually do in concert following a recited intro that picks up as it goes along, and which also evokes the songs various rock remakes, one of which by Springsteen. Its like reading a book out loud, sung at the beginning at low tones picking up force along the way;. a book that you cant put down because you feel like youve found yourself immerged in a bigger picture thats bigger than you, your morals, your dreams

Ol55. With Waits I had lots to choose from, especially from the pure Waits songs. Nevertheless, quite a few years back I discovered him listening to this ballad which found its first success with the Eagles. Thats why I chose it for my strong tie to this song, in addition to its beauty. I tried to make a cross between my own interpretation and the Eagles version. Ol55 digs deep into the soul of wanderers from different walks of life. I dwelled on this concept, backing it up with an arduous equilibrium of sinewy guitars and accordion solos, producing seemingly contrasting sounds that are actually often part of one harmonious soul.

The Promised Land. Truthfully, in years of concerts, I never wanted to play Springsteen on stage, even if he is the only one to have had a European rock artist by his side for a period of his career at the beginning of the 90s: Little Steven Van Zandt, a guitar player and the producer of one of his albums. My travels during the 70s also contributed to this version of The Promised Land. Its a skeletal, pained, slow version where a guitar, mandolin and accordion back the crescendos of the original version, where the song is carried by a piano alone backing the voice, concentrating on the bleak voice which is left hanging in absolute silence, in a state where the presence of any other sound or noise would somehow taint the emotion.

The Great Pretender. When I was a little boy I used to watch my father listen and sing along with the Planters version playing on an old record player. Thats why Ive had this wonderful love song in mind for all these years. I ended up turning it inside out and trying it out with the band, until we wound up with a hard rock version. I think I was able to balance my memory and image of this song with the melody I gave to it.

Desperado. Solitary, outsider and, in some ways, even a loser (at least in my minds eye). Deep down, thats also a lot of what I am. The first Eagles (Browne and Young, for example) wrote great songs with this line of poetry, accompanying them with wonderful vocal combinations. This version is divided in two, opening up fragile and transparent, leading to an aggressive instrumental second part. Nevertheless, the voice remains the same throughout, as if ignoring the bands passing from light to heavy, supporting, protecting and encouraging its agony.

Marchin On is a song I wrote about lonely soldiers, in any given place and time, searching for a reason to march their march, fight their war and hate their enemy. The voice, rhythm, accordion, and emotional ups and downs, all march along this possibly senseless path; constantly opening and closing, purposely without ever completely abandoning the melody, but trudging on step by step to the end.

Have You Ever Seen The Rain is a great Creedence classic thats a pure and splendid pleasure to play. It gives you this feeling, often a sort of happiness and actual physical sensation. Thats why, among other things, I attempted to keep it close to its original version, taking it down the same path while adding a accordion to give it a Cajun touch. In this case, this touch kept it from getting nostalgic; on the contrary, it intensified the happiness and pleasure that making this kind of music often gives.

Lily Of The West is a gorgeous Irish melody (Lakes of Ponchartrain) thats been remade in many different ways around the world and with varying lyrics. Ive heard many versions of it, by big name artists and by fantastic garage bands alike, all preserving the sweetness and nostalgia of this tune. Thats exactly what I too tried to preserve, while changing the tone at the end to emphasize the story thats being told and try to done energy and solemnity to this wonderful, desperate love song.

We Shall Overcome. Piano, organ, voice. This is a song thats known to be obstinate. Ive been playing it in concert for years not as a self-consoling, self-celebrative nostalgic tribute, but much more simply as a mere endless yearning for peace.

M.P.


Art direction / Artwork / Photography by Eddy Valdameri