The series on the first 30 years of Fito Páez’s life, El amor después del amor, is consolidated as the most watched on the Netflix platform in Argentina and among the 10 most watched Spanish-language series.
It highlights the performances, the script and the settings, but most of all its soundtrackwhich moves on emotions, not only to the life and work of Fito Páez, but to our history as a country over the past 30 years.
Behind every melody and taking care of every chord, there are the vital musicians of the Páez band, Diego Olivero -bassist- and Carlos Vandera -singer and guitarist-, with the widely achieved mission of making the musical compositions dialogue with the performances, thus forming, together with the direction of the series, his own account of those inspired and stormy years of the artist from Rosario.
Together with Gustavo Borner, who worked from Los Angeles, are the music series producers. The songs chosen by Regia and Libretto had to be adapted to the story to be told and for this they had to pass through their hands (and their ears).
re-recorded songs
The story of Fito in images: a sunset in Buenos Aires in which someone promises immortality to conquer loves and hearts in the “old world”, a respirator who seems to dance between earth and sky together with a baguala who knows how to hurt and love to the point of dead bones, a “cover boy” or from Rosario, willing to turn everything upside down in order not to die of love.
For Love after love those old recordings would not be used, but new versions have been maderecorded on the set, “to have the atmosphere of the time and get the emotion of that sound, it seemed essential to us that the instruments were played at the moment”, explains Carlos Vandera in dialogue with clarion.
In this regard, Diego Olivero remembers those endless days of recording and finds one of the secrets of success in what Vandera tells.
“When the power of those songs appeared, the atmosphere of the shoot was completely transformed.. Sometimes the set would turn into a party at 3 in the morning and after 10 hours of work. There we heard with Carlos that if this were moved to the houses something very big would have happened,” says Olivero.
Carlos and Diego’s work had three phases: pre-production, recording with the musicians on set and post-production. Both emphasize how “remarkable it is to work with this level of detail where nothing has been overlooked.” And in that perfect march, the music had a primary function and they exemplify it with one of the most emotional scenes.
The power of images and music
In a moment, the beautiful baguala DLGwhich closes the disc twists since 1985, it begins with a chaya, which rhythmically merges with an artificial respirator.
Olivero explains that to achieve this effect it was necessary to change the tempo of the song a bit. “He It was a genius of directing, which together with a redefinition of the first verse creates a very elevated atmosphere,” explains who has been collaborating with Páez since 2010, in the recording of the album. Trust.
“All the songs – says Vandera – they were made specifically for the script and tried to tell a part of the story. Nothing sounds like Fito’s records, but at the same time they had to satisfy the emotion with which they were created”.
And he adds: “We were a small cog inside a large apparatus, which is immense. When you see the number of departments working for a 20 second scene. you understand what your responsibility is and you know you have to do it perfectly.”
Find Charly, find El Flaco
Among the biggest challenges they remember is that of help the actors give voice to those songs that have marked the life of all Argentines. “You had to look not for just any Luis (Spinetta) but for “that” Luis. Same with Charly, and not to mention Fito. That was a very large building,” says Diego.
To which Carlos adds: “It is very difficult to sing the songs of Fito, Charly or Spinetta. These are songs that have become very embedded, but the actors have done an impeccable job.
Vandera exemplifies with Julian Kartunactor and singer who made Spinetta recording with Fito Páez lalala, “You had to concentrate on his singing, separating into syllables. Looking for his saying and the silences of him for being Skinny ”.
“In the meantime -he adds-, with Andy Chango we knew we had to ask him to relax and put his energy into it. Yes he did. He was about to appear that Charly with the two-tone mustache ”.
“What surprised me was Gioacchino Baglietto (who played his father Juan Carlos)”, recognizes Olivero, at the moment he specifies: “When he made the song Mirtha backseven hours of footage was recorded and it never lost energy, we couldn’t believe it.
I have a Fito in my voice
Agustin Britos is a Uruguayan singera fan of Páez, chosen by Vandera and Olivero to sing the songs interpreted by the actor who impersonates Fito (Iván Hochman).
“When Carlos called me, I couldn’t believe it. He asked me for a version of Love after love which I had to do the same day and borrow a microphone. After 48 hours they told me that I had been selected and that I had to go to Buenos Aires to register,” he says clarion.
And he underlines: “The truth is that I feel like I’m living a dream. An immense happiness to see a finished product that fills me with pride. I will always be grateful to Carlos and Diego for this opportunity.”
Agustín explains that the construction of those chants required “a very specific Fito with higher registers than those of today”, but first of all focus on the “heartbreaking moment I was having”.
In this regard, the singer tells how the performance of Iván Hoffman, in the role of Páez, helped him: “I saw him run and you had to get Fito agitated or angry and he was fundamental in that construction”.
One of the moments that moved him most were the duets with Julián Kartun in the role of Spinetta. “Julián Kartun didn’t play, Luís played and this was very emotional for me and for all of us who were in the recording, I still remember seeing the participants cry and it moved me,” he concludes.
Source: Clarin
