Fito Páez: "I love all my albums equally, I made them with the same passion"

We caught Fito Páez in the middle of the "quilombo" of rehearsals for his next tour.

Canceled after contracting covid in the spring, and dragging some "fatigue and mental fog", it celebrates the 30th anniversary of the album 'El Amor tras el amor' with two concerts in our country.

An LP that marked a before and after in Argentine rock and is still the best-selling in the country.

During the confinement due to the pandemic, he has done everything: he has composed 3 albums, a lot of music, he has participated in a series for Netflix, he has written an autobiography... It seems like he needed to get out all that he had inside and the pandemic has been the perfect excuse

I guess so.

For people like us, silence and having a lot of free time stimulates them a lot.

It is a land where a lot of situations that are linked to one's activity are fertilized.

It was almost logical too, with so much free time, to end up making music or writing.

In the Netflix series I participated as an advisor.

What I did do was write an autobiography until I was 30 years old.

If you do that you're going to have boring books.

All you want is to entertain the reader.

The reader is amused by adventures and conflicts.

On the contrary, I had to stop all the imagery so that everything would be more spectacular, in the sense that everything would be funnier, more likeable, terrible or more dramatic.

Except in the episode of the deaths of my life, of my mother, my father, my grandmothers, where there was murder.

In the rest, I had a lot of fun, there I got very sharp, as befitted the situation.

I believe that everyone's life can be biographed, absolutely all of them.

We all have joints, situations, experiences that make life still a strange place.

For this reason, it is always interesting to know or know the life of the other, the experience of the other or how the other moves in the same situation in a different way.

That's why the experience of reading a biography is always fun, knowing all the tricks there may be and not to mention the long interviews that become autobiographical books.

It seems to me that incredible things happen in every life.

Clearly the murder of my grandmothers in Rosario was the most complex because I had to deal with journalistic materials, court files, versions of protagonists, witnesses, relatives.

That was the most complex on the one hand.

And then make some decisions about how to deal with certain family complexities.

Where are all the actors of the scenes standing, the actresses of the scenes, according to how you put the point of view.

The decision was good: "The only one who is going to lose in this book is going to be me; I am going to try to be a charming loser."

Fito Páez during one of his concerts in Buenos Aires.EFE

A period of a dream because he was also young, he was 29 years old.

He was in love with Ceci Roth, which was one of my first, definitive, important romances.

It was a moment of the dream of youth, of hormone, of explosion.

The youth going forward.

And luckily, with the machine on.

I was still making music all the time and studying and messing around with this and that.

Luckily, Argentina was always a great musical laboratory, you don't have time to get bored: if you're not with Espineta, you're Charlie, if you're not with Nebbia, you're with [Gerardo] Gandini but with [Atahualpa] Yupanqui.

There are always materials to be able to study and learn.

He caught me in this ruckus.

I remember it as a dream and a beautiful moment of life, unforgettable.

No, not clearly.

No one in his right mind could think that.

We artists are marginal people.

At least I am a dilettante.

Things happen, of course, within the framework of a lot of rigor too.

Rigor at work is a more specific task.

I never had those business or commercial visions of knowing that I was developing something very special.

I love all my albums equally, I made them with the same passion.

Here there were surely many factors for it to be a clear success.

Sure, because if you're doing something beautiful, she inspires you.

But the figure of the muse needs to be explained a bit.

You want to be approved, you want to seduce the muse and you need the legitimation of the muses.

The muse is not a person who acts passively in one's life.

There are very strong figures in one's life.

The figure of the muse is one of them or the muse or whatever.

In my case it was many women.

Cecilia was one of them very special, both in praise and in seeking her approval, as well as in disapproval.

Sometime Fabi Cantilo will have said to me "keep that that doesn't work".

And that is also an action of a muse: "Hey, hey, hey, you're not here" I see the muse as a mythological figure, beautiful and even imaginary.

If you want to take it out of the context of feminism and real life.

It is very beautiful to have someone you want to like or to be legitimized by, even falsely.

It should never be history or the Olympus of the arts.

It is like an empty Olympus that never led anywhere, only to the paralysis of some would-be artists.

I remember with love and affection my muses and my musos.

It is unavoidable.

You live in a group, a tribe.

To me, the school where only the imagery of the stories that occur to a person prevails seems to me to be very good, possibly they are the artists who have brought the most beauty to art.

I don't consider myself an artist in that sense either. I live the world, I observe it, I tell it, sometimes I imagine things about it and I also put myself in the first person.

Because as Lennon was asked in the last interview they did in Rolling Stone: "Why do you always talk about you? Because he's the only thing I know," he said.

I found the question very nice.

Many artists that I love have done that: John Casavettes, Chico Buarque, Charlie García, Prince, Stevie Wonder, Chabuca Granda, Hugo Fattoruso... All of them have always shown in their experiences, on paper or in a sculpture or in a music or a movie.

Let's see, they have to take their side.

I like it when someone can expound on the situation.

You don't have to be here or there, because in the end you are entering the structures of others.

The important thing for people I think is to understand one's own and be unique in the sense and give the unique point of view.

And that is the freedom we talk so much about.

Later, he says, they co-opt votes for this or that group, it always ends up being a minor task because those issues are resolved in cabinets.

Finally, the issues for which one has worked in the sense, not me specifically, but the militancy of the world work, then they militate, those situations are resolved between cocks and midnight and they become part of another area of ​​negotiation where the militant remains totally excluded.

In that sense, I think I have never been so naive and I have known this fast mechanism and I have always taken my point of view for that of others.

Páez dedicated several of his songs to the women in his life.EFE

No, no, we don't know anything yet.

First one theorizes by saying, well let's investigate here and there.

Finally, when things go to paper and tape, we begin to see that the album was something else, luckily, than we had imagined and much more powerful and more flavorful.

We're starting now at the early mixes stage and the early mixes tell us how many guests the album is going to tolerate because it was already doing so well.

I'm going to do some tests with friends I know and love, some colleagues and we'll see how it works.

At the moment, the first mixes that arrived from Los Angeles are much more than encouraging.

I don't know whether to repeat the formula of the first album.

It will be defined in the coming months for sure.

I remember that interview.

That phrase came out very lightly in the conversation, there was no plan.

Yes, we had decided a couple of days ago that we were going to record the album and at one point the interviewer, who is very mischievous, asked me: "There before you had a Dream Team, and now who are you going to put on?"

And I said, well, "I encourage all of these" and that gained quite disproportionate media relevance.

Either way, that's likely to happen.

I'm not denying that this happens, but it needs a little more time to investigate and see if it's worth it.

To Naty more because she is a friend of hers, I know a little more about cooking than her music.

These artists move a lot on social networks, on Spotify, etc.

These platforms give a lot of visibility, but there are some who complain that they don't treat the artist as they really should. See, the rules in the industry have always been leonine and harsh.

It seems to me that the way that happens, also the younger boys, the younger girls, are more independent and move on their own and make a lot of money with Spotify.

It seems to me that each one in their period of life seizes it connected to that machine in a different way.

I'm not complaining, when I sign the next contract I'm going to try to change things a little more in my favor, but those are the rules of the game and welcome to the club.

The bigger your slice is, the better it will be for you and there will be applause from the audience.

No. I would have been nobody without Charlie, or Luis Alberto Spinetta and Litto Nebbia.

The three of them, apart from the questions of destiny that are linked to a thousand things and that we are not going to talk about now, but those three people, those 3 artists were central.

They marked the place where I was going to decide to live, have an experience with music and live through music.

And make a habit and have a life that I would have never imagined I would have in the sense of all that he gave me spiritually and the things that I was able to express through music.

I would definitely be nobody without them.

I am grateful to you with all my soul and I love all three of you.

It's like they are my family.

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