Evita – The Motion Picture Music Soundtrack
Disc One
A Cinema In Buenos Aires, 26 July 1952
Requiem For Evita
Oh What A Circus
On This Night Of A Thousand Stars
Eva And Magaldi
Eva Beware Of The City
Buenos Aires
Another Suitcase In Another Hall
Goodnight And Thank You
The Lady’s Got Potential
Charity Concert
The Art Of The Possible
I’d Be Suprisingly Good For You
Hello And Goodbye
Peron’s Latest Flame
A New Argentina
Disc Two
On The Balcony Of The Casa Rosada 1
Don’t Cry For Me Argentina
On The Balcony Of The Casa Rosada 2
High Flying Adored
Rainbow High
Rainbow Tour
The Actress Hasn’t Learned The Lines (You’d Like To Hear)
And The Money Kept Rolling In (And Out)
Partido Feminista
She Is A Diamond
Santa Evita
Waltz For Eva And Che
Your Little Body’s Slowly Breaking Down
You Must Love Me
Eva’s Final Broadcast
Latin Chant
Lament
Released: November 12, 1996 (Double CD)
Released: July 29, 1997 (Single “Highlights” CD)
Buenos Aires was released as a Promo Only single on August 19, 1997. The Buenos Aires “Te Amo” remixes were never made commercially available. The promo single peaked at #3 on Billboard’s Hot Dance Music/Club Play.
Singles & Album Artwork:
Review:
All Music Guide — Stephen Thomas Erlewine
Madonna staked much of her career on Evita, gambling that it would establish her as a proper movie star and respected actress, as well as reviving her slumping musical career. Both the film and the soundtrack, while worthy efforts, fall just short of their goals, despite their numerous strong points. The double-disc soundtrack to Evita — which essentially is an audio document of the entire film, since there is no dialogue in the movie — is an exquisitely produced and expertly rendered version of Andrew Lloyd Webber and Tim Rice’s rock-inspired musical, yet it remains curiously unengaging. Part of the reason is Madonna’s performance. While she gives a startlingly accomplished and nuanced performance — her voice actually sounds like it matures over the course of the album — it is impossible to listen to her without getting the impression that she is trying really hard to be credible, which makes it difficult to connect with her. It doesn’t help that her supporting cast of Jonathan Pryce and Antonio Banderas are only fitfully successful; Banderas’ performance, in particular, suffers from being removed from the visuals. Even with the faults, Evita has its merits, including the written-for-film ballad “You Must Love Me,” and is worth investigating. It just isn’t the definitive work that it wishes to be.
CHECK OUT THE REST OF MADONNA’S ALBUM DISCOGRAPHY!