Fito Páez released this Tuesday his new work, “EADDA9223”, in which he has recorded again, together with artists such as Elvis Costello, Chico Buarque, Andrés Calamaro, Lali Espósito, Nicki Nicole and Estrella Morente, the songs from his most successful album, “ El amor después del amor”, the best seller of Argentine pop rock, three decades after its publication.
Produced by the Argentinean Páez together with Gustavo Borner and Diego Olivero, the album gives a twist to the 14 songs on the original album, published in 1992: “You can, who says you can’t?”said the musician, while listening to the album in Buenos Aires with journalists, about this “wonderful and very difficult game” to revisit that work without it being considered a sacrilege.
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“This is a laboratory album, in the sense that a lot of research was done on how to arrive at or deal with such a situation already installed in the unconscious of others”added the artist, born in Rosario 60 years ago.
That people “have children” with the record
In “EADDA9223”, for whose new arrangements he surrounds himself with a great variety of musicians and in which the order was to modify everything “except the original lyrics and melody”, Fito’s voice sounds solo in two songs: “El amor after love” and “I think”. The rest are shared with artists from different countries and generations.
With his compatriots Lali Espósito and Nicki Nicole he interprets “Dos días en la vida” -which he had recorded on the original album with Fabiana Cantilo and Celeste Carballo-; with the also Argentine Nathy Peluso “La Verónica”; with the British Elvis Costello “Traffic in Kathmandu”; with the Brazilian Chico Buarque “Pétalo de sal” -who sang with Luis Alberto Spinetta 31 years ago-, and with the Chilean Mon Laferte “Sasha, Sissi y el círculo de baba”.
Without forgetting the Brazilians Marisa Monte in “Un vestido y un amor” and María Castillo de Lima in “Tumbas de la gloria”; to Andrés Calamaro and Knowing Russia in “La rueda mágica” -which he had originally sung with Charly García and Calamaro himself- and with the Spaniards Antonio Carmona and Estrella Morente “Detrás del muro de los lamentos”, which in 1992 he edited with Mercedes Sosa .
“There was no casting, but each singer or artist who participated was specifically asked for something very direct, not ‘take and do what you want.’ And all of them committed themselves ‘full’”Paez said.
Fito Páez
As an example, he remarked that Chico Buarque was starting a tour and one afternoon, at his “eighty pirulos (years)”, he stopped to go to a studio to record his voice. “And Elvis more or less the same. He was preparing a cycle in a theater. And he also stopped, he went to do it and what he ordered was tremendous, ”he said.
The list is completed with “La balada de Donna Helena”, with Wos and CA7RIEL, two of the main promises of Argentine urban music; “A rodar mi vida”, with David Lebón and the Spanish Leiva, and “Brillante sobre el mic”, with the American Ángela Aguilar.
At a time of strong media exposure due to the success of the Netflix series that narrates his life, Fito Páez, who in July will continue in Spain with the European leg of his tour “Love 30 years after love”remarked this Tuesday that before the release of an album he always has “zero expectation”.
But it was clear: “What I would like is for people to enjoy it, for people to fuck (fuck) with the record, to dance, to kiss, to have children. I would like that to happen with any record. This is all for emotion, it doesn’t make any other sense.”
