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Home Argentine Music The Beats turns 35: two Argentines turned into the most famous Beatles in the world

The Beats turns 35: two Argentines turned into the most famous Beatles in the world

The band formed by brothers Patricio and Diego Pérez will play this Thursday, April 8 at Parque Centenario in their first face-to-face recital. At the time of the show, the group spoke with Ser Argentino to explain the band's anniversary and the return to concerts.

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The Beats

The famous phrase points out blunt. “Persevere and you will triumph,” says short but at the same time challenging a concept that brothers Patricio and Diego Perez asserted with a surprising discipline, allowing them to retrace a path that takes three and a half decades of unlimited success. The idea of honoring the Beatles ceased to be a whim at home to become the irrevocable goal of the past 35 years, a mission that artists realized with great talent without neglecting details. As a result of the effort that the performers put in every step developed, a few years after the start came their deserved glory when in Liverpool they declared them “The best beatle band in the world”, a planetary title that they look with hidalguide and talent without underestimating any aspect. This pair of brothers who must have battled with some member changes in the roles of Paul Mc Cartney and Ringo Starr, has long ago been a guarantee of excellent music, fun and exciting shows where the chance to be with the “Fabulous Four” live transforms into a shocking reality and seductive. “The Beats” is recognized not only by the world industry, but fundamentally that of the Argentine public, which 35 years ago sold out tickets in a matter of minutes when they put a date on sale.

 

As with all the musicians involved in important tours, the group of brothers Patricio (George Harrison) and Diego Pérez ( John Lennon ), accompanied by Eloy Fernández ( Paul Mc Cartney) and Esteban Zanardi ( Ringo Starr ), had to suspend all their commitments when Argentina entered ASPO mode (preventive social and compulsory isolation), to cancel public meetings. During 2020 this colossal formation developed two recitals in the format of “autoshow” in San Isidro and also a captivating and hypnotic performance via streaming that almost collapses the Internet nationwide during the schedule of that performance. Now, with the ability to perform live shows with face-to-face audiences, naturally with the obvious health restrictions, the formation of the Pérez brothers will make an event on the stage of Parque Centenario this Thursday at 20 hours. A few hours from the concert expected by his legendary fans, Patricio Pérez agreed to break the traditional silence held by this qualified tandem of artists, to give an exclusive note to Ser Argentino, an extensive conversation in which they left no aspect unanalyzed: ;

 

The Beats

 

 Before recording an album was an extensive process with demos, producers to define what was going on an album and then the response of people buying the albums. Becoming an artist was a much longer path than expected, compared to what is happening today. It seems that the concept of the word artist would have changed a lot in these pandemic times, right?  

 Patricio Perez:  Yes, today a person records a song, uploaded it to the Internet and after five seconds he proclaims himself “artist”, it's all very rare. Also anyone who has access to an instrument and executes it is doing “art”, better, worse, rating is already another topic, the truth is that there are tools available to everyone and at home can have a recording studio, which 20 years ago did not happen. It's also a way for the world to get involved with music and technology, and I'm old school.

 

 How have they coped with the whole issue of the pandemic and confinement?  

 Patricio Pérez:  We came with a work maelstrom that was quite intense, because we were constantly touring, from Wednesday to Sunday, traveling all over Argentina and sometimes touring the world, we didn't even have time for ourselves. This stop at some point did me pretty well, maybe it sounds like an exaggeration, but we were very screwed by shows everywhere. A couple of months is fine, but after that lapse we started to walk our heads, obviously now I miss what the “old world” was, obviously the stages and relate to people, with people that have to do with music. As you said at the beginning, music is an artisanal process, which also has to do with a connection that goes beyond music, there has to be a connection of the soul and with what happens, all this is lost, it fades when one can not see with people and make personal contact. The first month at home I took it well, the second I wanted to kill me (laughs).

 

 They streamed from what looked like a rehearsal room 

 Patricio Pérez:  Yes, that place is the studio we have, to record, rehearse and other tasks, the concert had a very special and unforgettable feature, it was the first recital we did with the return of Diego (Pérez). The truth for us was very important to get together to do that, because it is the time we have to get together with our peers, grab our instruments and start to sound all together again, it was a very exciting thing for us, mainly. While streaming is a cold thing, because one has no response from people and we don't know what happens on the other side, there is no applause, there is no gesture, absolutely nothing, what we lived when we played again together came very well.

 

The Beats

 

 Daniel Grinbank described streaming as a “minor palliative” for the artists' economy. What do you have from the artistic and commercial opinion of something like that?  

 Patricio Perez:  What can I tell you about that new application?... playing in a theater in front of the audience is something magical. Steaming has no magic, there is no connection with people, although the functions are one calcadas to the other, the shows are different, the reaction of the audience is different. You can do in the same night two performances in the same theater, but there are very noticeable differences between the first and the second performance in front of the audience, even if we do the same display or the same repertoire the reaction is not the same, but they live different, I don't know how to explain that. I agree with Daniel that works like a “minor palliative”, what happens in times of  pandemic , that is like a leg not to stay “rengo”, in a certain way. way “walk” with that. For me streaming is not going to be the same, when people can normally return to theaters and fill a hall, there are concerts in stadiums and artists can get on stage without problems. I don't think at all that streaming is a work out or anything, at least for me. Maybe in the future that will help you add spectators who cannot be in that country's theatre on the date you play or who cannot reach the concert venue that day. That's what he's barbarian for. It's like a “witness camera” of what's going on, but it's not the same as being. We did a show in that mode, but most of all because the fans asked for it and a company organized everything so that it was free for the pubic. That's why we agree to carry it out.

 

 What about the pandemic and streaming did you ever reassess the ASPO what it really means to play in front of the audience?  

 Patricio Perez:  No, I already valued it before (laughter). The truth is, we've never been so long away from the stage, at most we were twenty days untouched, but no more than that, so all the time that happened without touching is a barbarity. It never happened to me since I started music, when we played in bowls for fifty people, but maybe something like that wasn't happening to me, we played every day. I don't know, it's weird, I need the audience, with all that magic that theatre has and there are people who want to listen to you, right? That's magical to me.

 

 Can you tell a little what that streaming experience was like?  

 Patricio Pérez:  It was a show in the rehearsal room, the performance was recorded and then some camera inserts were filmed, it was like a “fake vivo”, then tweaks were made to the recorded and aired on the date it was announced by the YouTube channel of company that sponsored it (don web). There were some things that was out of focus, because there were no cameramen and we had to retouch some shots where those images were not properly in focus. There were things that were half unclean that were corrected for the broadcast on that scheduled night.

 

The Beats

 

 What reading left for you the last theatrical show presented by The Beats, called at that time with the title of “Influencers”?  

 Patricio Perez:  Well, it's the last show we presented live, it was a show that my brother Diego wasn't on. We did it with Diego in the summer 2018-2019 in Mar del Plata, where we won a “starfish de mar”, but Diego in the season where we presented it is not, he didn't want to play in that season, he wasn't going to be present, but then he was there. Diego and I are the leaders and founders of this group, he and I have the power to handle our appearances within the group, in some case he decides not to appear, in a certain show I haven't been, someone replaces us, but there are always one of the two founders.

 

 How did you experience Diego's absence in the official performance of that 2019 show?  

 Patricio Perez:  Well, for me it's very rare because I live it in a special way because he's my brother, maybe the other companions in the band don't feel it that way, I started playing the guitar looking at him. It is a very important support and mood support, beyond its performance, his Lennon is impeccable, when he is not at me I lack everything because first of all he is my brother, his mood accompaniment. We tear this off together, and for me it's a huge hole that Diego isn't there. I'm still firm, delighted with what I do and I put all my passion on it. When we do a show, thinking of someone else who is not Diego, I assume it conscientiously knowing what it's going to be like with Diego's lack. That's why we're looking for other resources so that the show is not so affected.

 

 You admitted several times that it was always difficult to have the role of Paul Mc Cartney well represented in concerts and productions.  

 Patricio Perez:  Yes, it's very difficult.

 

 What happens in the case of Esteban Zanardi: is he a guest or another member?  

 Patricio Perez:  He's like another brother, he's 23 years ago in The Beats, he's already won the original member of the band, he is a main leg too, as well as Diego, me or Eloy, because Eloy has been over ten years ago. We as a threesome, Eloy, Zanardi and I play sometimes in the sound tests, we have millions of songs in the repertoire, we already started shuffling a lot of things, that's why the band already sounds like three. For example, Zanardi did all the roles in the group, we had some presentation where some got sick or whatever, it was always a wild card. He started as a keyboardist, but he also played Lennon, Harrison many times, they were ghosts recitals, but you give him an instrument and play it. For me it was very hard to change it to Esteban from keyboards, because I felt very supported, by him at concerts, someone super orchestrator, he doesn't have ten fingers, he has twenty (laughs), maybe it was something that people don't see, but we helped us with the sound. At the time when the drummer we had (Martin) left, it was terrible, because we had to modify all the aesthetics of the band, make the broadcast photos back, it's all very complicated, did not want to suffer what Kiss lives with the companions of Simmons and Stanley, but at least the Kiss were make up. We finally assumed that Esteban was Ringo and on the keyboards the person who replaced him is Fernando Monteleone, the keyboardist of “Virus”, who is now with us under Esteban's supervision, but these changes were very positive.

 

 You decided to publish with the group a series of books, of which only the first was known until now (The Beats 1234 analysis song by song), in which they face the process of recording the Beatles from the perspective of The Beats. For someone like you who got so much, they could have quietly gone the easiest way and in a short time of rest to publish an authoritative autobiography of The Beats, right? No one would have bothered with such a maneuver after so long doing this outstanding artistic activity...  

 Patricio Perez:  I think a biography of The Beats is uninteresting. That part of doing “autobombo” is not going to us, no. So we prefer to do something about the  Beatles  that is what we dedicate our lives to, which is what we are well informed about, from our perspective. All these years we have bought their instruments, their microphones and capacitors they have to record, even recently we bought a model of old console they used, is the one that was in EMI here in Argentina, with that machine was recorded to Atahualpa Yupanqui, Tom Sheridan, is a machine that has a lot of history about it, right? From that point did not come up with the idea that ended up coming true, that is, why not tell how the Beatles recorded each of their albums. There are many books that talk about the microphones or instruments that were used, but we were in the places where they recorded and that was our gaze, so our intention was to show how the recording of each Beatles song is made. The project comprises two books, the first one came out and now we put on the batteries with the second, we are missing some shots and also define the editorial, when facing this project I realized that things I had heard thinking they had been faced in one way, were made of another. They started recording on two channels and ended up recording in eight, something impressive what was achieved in audio for that time. They were very curious guys, they took a lot of time to process a sound, very passionate people, they had a lot to do with the recording processes that were done after they separated the group. In the way of those recordings Sinatra did singing in front of an orchestra in first take, they saw it as an example for their things, but at first they recorded everything together, in this book we wrote all three because it is a topic that catches us and passionate about.

 

The Beats

 

 Have you ever experienced any kind of wear that would enhance the end of the band?  

 Patricio Pérez:  It is very difficult to finish an artistic career when you are dedicating yourself to the Beatles, it is an artist who has all the colors inside the music and there are always colors to play with music, with what the Beatles did, you can put together ten million things, is divine what happens, you don't get tired of assembling something about them because it entertains you to face a thing like that about them. In addition, above all things, the Beatles let see their humor, which was very special, adapted theatrical things, in our shows we wanted all those things to be present as well.

 

 What was it like to make two dates last year in autoshow format?  

 Patricio Perez:  It was a tremendous thing, because we really wanted to play with people around us, but initially it was weird, because it's rare to see people inside their cars when you're playing. Not to mention that instead of applause there are honks, it's a strange process, but you also understand it when you go to a supermarket and everyone is with their face covered by the barbijo or face shield. For us to get together and play in front of people is the most amazing thing in the world, that was a party and now that we're going to be live in Parque Centenario as well. The drive-in was a very enriching experience and it worked barbarian, we had to make a second date on the same day of the first show. We learned that the different issues of culture addressed such formats, like Nito Artaza and his partner. In our recital there was PA for the public, it is not powerful recontras and people listen to it also by the FM that emits the sound of the stage. We adapted what we could do for 90 minutes live without the use of screen or mobile scenography, the back screen showed us always touching, so that we could see every last type located with the car in the background.

 

The Beats

 

 When do you think “old normal” will return to musical shows?  

 Patricio Pérez:  I don't know, at first I would have told you that, in the second half of 2021, probably, here's also the only tool there is for this to recover is the use of vaccines, that people want to apply it and everything is fine. But the logical thing is that until all the people at risk are not vaccinated, the question of old normal is not going to be unfortunately. The fear they wanted to impose was already imposed, most have it, there is the fear that a person next to you in the room coughing and a problem arises. At the same time you go through a theater that is closed and you want to die, or being inside you see that those places where there were crowds are now used at 25 or 30 percent capacity, you are rooted for a tear. It's terrible, because those of us who love this know what it means, entering a theater is a ritual, you go to the afternoon, you try sound and you get into the dressing room, it's a ritual that we miss horrors, we've put our back on all situations and we always go ahead laburando, we're laburant of this, there is a part of the industry that is stopped by this problem but you can not complain when you have to adapt to all these things, I don't know how it will continue after the shows, the question of streaming is an aspect that is going to be redefined. Today there is a lot of improvisation in all the modalities that are currently being used, it is a matter of trial and error, it is quite a great essay, because there is no set up.

 

 The last question. Just when the pandemic came they were about to release a show in which they were going to sing with great figures of contemporary Argentine music. What can you tell about that truncated show for health issues? I know there were a lot of Argentinean music figures dying to play with you.  

 Patricio Perez:  I don't know if they died, but they agreed (laughter), the title of the show that was suspended is “Icons”. We wanted to do something with the icons of music in Argentina, obviously performing songs by the Beatles, for example, Soledad, Los Nocheros, people who don't sing in English and do folklore, who have nothing to do with our stick. For us it was a nice challenge, to be with very outstanding artists such as César Banana Pueyrredón, Pipo Cipolatti, Los Pericos, Marcela Morelo had also joined, it would have been barbarian, a brutal experience. But well, it couldn't be done, he didn't leave us the health issue. I don't know if we can do it after the pandemic, because it took us a barbarian labor of logistics to put them together for a certain moment, it was difficult to find a calendar date, where everyone can, if we are lucky the show “Icons” would be likely to do in the 2022 season, let's see what happens in the world and if we don't die before (laughter).

 

 

 Photos Press The Beats 2021: Marisol Koren 

Publication Date: 07/04/2021

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