In the midst of a renewed furor for his music and after the success of his autobiographical series, fito paez He returned to the charge this Tuesday with the expected reversal of his classic album “The love after Love”, whose original turned 30 years old in the middle of a series of allusive shows that had their peak in the Vélez Sarsfield stadium.
The brand new/old album is titled “EADDA9223”, alluding to the years in which both the album and its new facet saw the light of day, and includes versions of his classics with luxury guests such as Elvis Costello, Chico Buarque, Mon Laferte, Marisa Monte and David Lebón, among others.
Lali, Diego Olivero and Gustavo Borner also participate in this new version, which is available on digital platforms but which was also released on CD, vinyl and cassette, and which was recorded in different studios around the world with production by Páez himself, Diego Olivero and Gustavo Borner. Nicki Nicole, Nathy Peluso, María Castillo de Lima, Mateo Sujatovich, Antonio Carmona, Estela Morente, Wos, Ca7riel and Ángela Aguilar.
With this stellar cast, plus the orchestrations of the Czech National Symphony – with which he had already worked on the album “Futurología Arlt” -, and different instrumentations and treatments for each song, “EADDA 9223” takes a proper distance from the original production, perhaps the great key to establishing itself as a work in itself, with its own flight and free from winks that require prior knowledge of the songs, beyond being great classics.
“Of course it’s impossible to tie (an album like “Love after love”). You’re looking for something else. Things don’t have to tie, win, or lose. In the humanities, that doesn’t exist”, Fito Páez endorsed when Télam consulted him about it during the press conference offered in a previous listening of the new album.
The artist stressed that the idea of looking for something that impacts in a similar way to the original record resides in the listener, but who was not in it when it came to getting down to work.
“This is where the idea of the sacrilegious thing appears, a little jokingly and a little seriously, of allowing oneself to do it without a sacred look, as if I couldn’t re-record a certain thing because it means something very important to a lot of people. Well guys, You can also. Who says you can’t? On what sacred table does it say that you can’t play that, if music is a game?” Fito clarified.
At this point, he recognized that there was a good share of “audacity” and “a freedom to be able to generate a different effect” on listeners.
With this album, Páez thus closes a frenzy that began in 2022, on the occasion of the 30th anniversary of the release of El amor después del amor and that included a series of memorable concerts at the Movistar Arena and that culminated this year in Vélez, and also the launch of her memoir and subsequent autobiographical series on Netflix.
I am an author and journalist who has worked in the entertainment industry for over a decade. I currently work as a news editor at a major news website, and my focus is on covering the latest trends in entertainment. I also write occasional pieces for other outlets, and have authored two books about the entertainment industry.