Ella también

When Ella también plays, the silence that precedes it is already part of the song. There are no drums or distortions, just the Ovation of Luis Alberto Spinetta and the piano of Diego Rapoport weaving a ballad where each note seems to fall in slow motion. The song was born in 1970 as part of a rock opera that Almendra never premiered, titled Señor de las Latas. Two decades later, in 1982, Spinetta rescued it for his album Kamikaze, where it became the second track: an intimate piece where the acoustic guitar and the keyboard converse leisurely, as if each chord were breathing.

The first time Ella también was performed live was at the concert Spinetta y las Bandas Eternas, where Rapoport participated as a special guest. That same year, Spinetta chose it to close his performance at the Festival de la Solidaridad Latinoamericana, during the Guerra de Malvinas, alongside Barro tal vez. Two months after his death, Pedro Aznar performed it at a free concert on the Costanera Sur. There, at minute 24, as Aznar sang “sube a las hojas y cae hasta el mar,” a shooting star crossed the sky. The audience, witnesses to the moment, erupted in applause, as if the song, his absence, and the sky had decided to meet in that instant.