While the world attends the financial earthquake caused by the fight without barracks for the domain of the artificial intelligence sector, Alejo Stivel brings a little humor to the matter raising his hand so that we will all look what he has done with … She: a video clip in which he and his collaborator Joaquín Sabina meet themselves to sing themselves to sing ‘I was an animal’ In virtual quartet format. The last single of the former tequila has served to unite these two figures twenty -six years after working together in the iconic ’19 days and 500 nights’ (in which Stivel served as a producer), and the view of the results, they have been past as dwarves.
-The video remains between hilarious and chilling. What did you think of Sabina?
-That is exactly the word I was going to use, chilling. For Joaquín it was a surprise, after seeing him he sent me a message that said: “I knew you were intelligent, but not that you were artificial” (laughs). He liked it a lot and the result left him very surprised. I was also surprised, I even give me the moment when I hug myself as a young man. When I was rolling it, I hugged another person, but just imagining being hugging myself with forty years less excited.
-It seems that the ‘timing’ has measured to launch it, in full media maelstrom with the AI.
-What has coincided with Depseek’s mess has been a coincidence, because it has been made for six months. What happens is that it has been difficult to manage with the high spheres of the industry, because they still do not have all this well assimilated and do not know where to throw. In this case, everything is approved by the artists, Joaquín and I sing, there are no artificial voices, but still we are still at a time of legal limbo that has made us cost us many conversations with different levels before approving the exit of the video.
-So that has found that the industry goes with lead feet with this issue.
-Completely. The same is happening as when the digital format broke up. Until everything was regulated, there were many doubts. I have a friend who works in Brussels, in the European Commission that is carrying all the issues of AI and copyright, and when he saw the video he said: “This is perfect, no law is violated.” But in the executives of Universal and Sony they saw the project as something delicate and I had to obtain approvals from chief chief, rising from ranks until we arrived above and gave the final OK.
“I resist denigrating the urban scene, but some do not even make programming, and use devices that give it all done”
-Welling the video clip, I have found that the two are united by love for cats. Years ago I was at Sabina’s house and had for the least six or seven.
-Yes, totally, we both love them. He I think he had six, but they already died and unfortunately there is only one, the great Margarito, who is now the king of the house. Just the other day I told Jimena (Sabina’s wife) if they were not going to take more, and told me that you can’t because Margarito would feel invaded.
-How do you think the AI will affect the office of a producer, and the session musician?
-When the computers with musical programming appeared, everyone said: “The work for musicians is over.” But there are always people like me who prefer the musical atmosphere that is generated with a band recording live. Now in the urban world there are producers who do not even schedule musical bases, but use devices that emulate what you want and give you everything done.
-Do you think that characters like Bizarrap, who have revolutionized the figure of the producer, are actually ‘less producers’?
-Yes, well, everything has changed a lot. I resist denigrating what is happening now because this is the story, things change. Quincy Jones and Frank Sinatra recorded with forty live musicians and did it in a shot. At the later time, we could already record the shots we would like until it was perfect, and Quincy and Frank could come and tell us: “The thing is less authentic.”
-I don’t know if Van Gogh’s ear liked that he revealed that his first album did not record it, but session musicians … of all the groups he has produced, has he had to do the same with any other ?
-There have been cases in which I have had to get a specific musician out of the recording, but so, to have to remove the entire whole group, no.
-They will be pissed off, I suppose.
-They are only pissed off when after doing that, the album sells millions of copies. Then they say “Alejo’s bastard did not let me touch.” When I did it with Van Gogh’s ear they were present in the study, they gave everything approval and learned a lot watching the process, having fun and in a good mood. But the problem is that when a group sells a lot, they are already believed to be good. And then they put themselves in a “pussy, this uncle did not let me touch and I am good.”
-The ego of the debutant, I suppose.
-I will be debutant as a soloist next March, because it will be the first time I touch with my band in a concert hall. We have always acted at festivals and at village parties, but on March 13 it will be my first time in the room, at the Barceló Theater in Madrid. I really want to come to have a good time, because I do not amount to concerts, amount parties.
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