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Please Dont Cry You Know Youre the Lucky One Lyrics

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1976 single by Julie Covington

"Don't Cry for Me Argentina"
The song and artist name in white font against a dark blue background.
Unmarried by Julie Covington
from the album Evita
B-side "Rainbow High"
Released 12 November 1976 (1976-xi-12)
Recorded 1976
Genre Pop
Length 5:27
Label MCA
Composer(southward) Andrew Lloyd Webber
Lyricist(s) Tim Rice
Producer(southward)
  • Lloyd Webber
  • Rice
  • David Land
Julie Covington singles chronology
"Ii Worlds Autonomously"
(1973) 		"Don't Cry for Me Argentina"
(1976) 		"Only Women Bleed"
(1977)

"Don't Weep for Me Argentina" is a song recorded by Julie Covington for the 1976 concept album Evita, later included in the 1978 musical of the same proper name. The song was written and composed by Andrew Lloyd Webber and Tim Rice while they were researching the life of Argentine leader Eva Perón. It appears at the opening of the get-go and 2nd acts, likewise as nearly the terminate of the prove, initially as the spirit of the dead Eva exhorting the people of Argentina not to mourn her, during Eva's spoken communication from the balcony of the Casa Rosada, and during her last broadcast.

The Evita album had taken iii–4 months to tape, since Rice was not satisfied with the intensity of the initial recordings. The vocal had a number of different titles before "Don't Cry for Me Argentina" was chosen as the last one. The song shares its melody with "Oh What a Circus" from the aforementioned show and lyrically consists of platitudes where Eva tries to win the favour of the people of Argentina. It was released in the United Kingdom on 12 November 1976 as the first single from the album, accompanied by national and trade ad, full-colour posters, display sleeves equally well as radio interviews.

The vocal reached number i on the Great britain Singles Nautical chart and earned a gold certification from the British Phonographic Manufacture (BPI), with over a million copies sold. It also reached the top of the charts in Commonwealth of australia, Belgium, Ireland, New Zealand and holland. "Don't Cry for Me Argentine republic" was critically appreciated, with Rice and Lloyd Webber winning the 1977 Ivor Novello honour in the category of Best Song Musically and Lyrically. When Evita moved to a London theatre, Covington—who had become disenchanted with the whole project—refused to reprise the role of Eva, and the role went to Elaine Paige. "Don't Weep for Me Argentina" has been covered by multiple artists, including The Carpenters, Olivia Newton-John, and Sinéad O'Connor also as actors Lea Michele and Chris Colfer from the Television receiver series Glee‍.

In 1996, American singer Madonna played the championship function in the pic adaptation of the musical and recorded her rendition of "Don't Cry for Me Argentina". Released as the 2nd single from the film soundtrack on 16 December 1996, her version received positive reviews from music critics who praised her vocal performance. A separate version called the "Miami Mix", which included re-recorded vocals in English and Castilian and an Argentinian bandoneon, was promoted to radio. Madonna's version reached number one on the European Hot 100 Singles chart and the national charts of the Czechia, French republic, Republic of hungary, and Spain. It also became a pinnacle-ten striking on the US Billboard Hot 100 and many other charts worldwide, while attaining gold or platinum in six countries.

Background and development [edit]

A man wearing a grey suit sitting with his hands closed

An old man outside

"Don't Cry for Me Argentine republic" was written past Andrew Lloyd Webber and Tim Rice while they were developing Evita in 1976. Both were extremely intrigued past the stories surrounding the life of Eva Perón while researching her during the mid-1970s.[i] Evita was initially produced as an album, before existence adjusted for the phase, following a formula that Lloyd Webber and Rice had employed during the production of Jesus Christ Superstar, their previous musical. The duo had written the songs for a female singer with skilful vocals.[2]

Rice and Webber'southward research showed that Eva had non in reality delivered any major oration on the day of her husband Juan Perón's inauguration ceremony, but not long after becoming Argentina's new First Lady she started making highly emotional speeches, the intensity of which they wanted to capture with "Don't Weep for Me Argentina". The song was composed to appear at the opening and near the end of the show, initially as the spirit of the dead Eva exhorting the people of Argentina not to mourn her, and finally during Eva's voice communication from the balustrade of Casa Rosada.[3] Its melody is like to the opening song of the musical, "Oh What a Circus", and puts accent on Eva'due south funeral. As "Oh What a Circus" concluded with the character Che's sarcastic questioning of the mourning behind Eva's expiry, "Don't Cry for Me Argentina" started with merely few lines beingness sung, while the residual of the song was reserved for the finale.[3]

After the song was equanimous, Lloyd Webber and Rice were struggling to find a suitable musical extra for the songs and the titular role, since the but one they knew, Yvonne Elliman, had moved to the United States. One day they were watching the British musical television show, Rock Follies, where they noticed actress and singer Julie Covington, who played an aspiring stone musician. Covington had played in London musicals like Godspell, and her acting abilities in Stone Follies convinced Rice and Lloyd Webber to sign her for Evita.[4]

Covington was extremely intrigued past their proposal, considering Eva Perón to be a non-commercial idea for a musical. However, she thought that the songs were great compositions and signed on for recording them. Lloyd Webber and Rice immediately started recording, and the first demos were those of "Don't Cry for Me Argentina", "I'd Exist Surprisingly Healthy" and "Buenos Aires", with just pianoforte equally an accompaniment. They moved on to sign a deal with MCA Records, to release an album based on the songs, however with extremely poor royalty rates since the record company executives did not expect the album to be a success. In the concurrently, singers for all the other roles of the musical were also signed, and the bandage moved to Olympic Studios in 1975 to start recording.[4]

Recording and limerick [edit]

Personnel working on the Evita album included recording engineer David Hamilton-Smith, Simon Philips on drums, Mo Foster on bass, Joe Moretti and Ray Russell on guitars and Anne Odell on keyboards. David Snell played the harp while Anthony Bowles conducted the London Philharmonic Orchestra, while some other choir called the London Boy Singles was directed by Alan Doggett. Members of The Grease Band, including bassist Alan Spenner and rhythm guitarist Neil Hubbard, likewise played on the album. It took a total of 3–4 months to finish the recording.[four]

The intensity which Rice looked for in the track was not immediately achieved during recording, because it is a sentimental ballad and considering of its lyrics.[iii] Equally the delivery date of the recording approached, they got more than tense since near of the anthology was put together. Just this song was left as they could non decide on the final title, and Rice tried out names which did non make sense within the political and dramatic atmosphere of the story. They had initially tried out diverse lyrics as the main hook and title of the vocal including "It'south Only Your Lover Returning" and "All Through My Crazy and Wild Days" amongst fears that mentioning Argentina would reduce the commercial appeal.[five] Rice recalled, "What a crass decision! Information technology was probably the only fourth dimension (honest) that I had made the mistake of caring more about a lyric's potential outside the show than its importance within it, and as a issue both song and show suffered."[3] Covington had already recorded the phrase "Don't Cry for Me Argentina" for using it in the beginning of the show. Presently before the album was finally mixed, Lloyd Webber suggested to Rice that the line also worked as the title of Eva'south speech. As soon as Covington recorded with the new name, the song fit "perfectly" in the mood of the sequence and was included in the album.[3]

The title of the song comes from an epitaph on a plaque at Eva Perón's grave in the La Recoleta Cemetery in Buenos Aires. The plaque was presented past the metropolis's taxi drivers' matrimony and roughly translates equally: "Don't cry for me Argentina, I remain quite well-nigh to you lot."[6] Roger Ebert of the Chicago Sun-Times wrote "For years I accept wondered, during 'Don't Weep for Me, Argentine republic,' why we were not to cry. Now I understand: Nosotros need not weep because (a) Evita got everything out of life she dreamed of, and (b) Argentine republic should weep for itself. Even poor Juan Peron [sic] should shed a tear or 2; he is relegated...to the condition of a 'walker,' a presentable man who adorns the arm of a rich and powerful woman as a human fashion accessory."[seven] The song's lyrics are a "string of meaningless platitudes" co-ordinate to Rice, who felt that information technology worked equally an emotionally intense only empty speech communication past a "megalomaniac woman" trying to win the favor of the Argentines. It features the lyrics "And as for fortune, and equally for fame / I never invited them in / Though it seemed to the world they were all I desired / They are illusions".[3]

Webber'due south orchestral accompaniment added a different level to the runway, with its composition consisting of pizzicato strings, and its flowing tempo introducing Covington's opening vocals. The vocal jumps from being light to heavy and extravagant, with one section of information technology being hummed past choral voices. Equally the final lyrics goes, "But all you have to do is look at me to know / That every word is true" is sung, the London Philharmonic Orchestra comes into play with a huge climax and ends.[3] According to the sheet music published by Music Sales Group, the song starts with a sequence of G/D–Aseven/D–D–Bm/D, changes to E–E/D–A/C ♯ –Eseven–A–D, with the chorus featuring a chord progression of A–Bm–Dmajseven–Gmaj7–G–F ♯ 10007.[8] The song is composed in the cardinal of C major with Covington's vocals spanning from the nodes of E3 to Thou ♯ 5.[9] According to Snelson the song is non merely based on J.S.Bach's Prelude in C Major but also on Gounod'due south Ave Maria adaptation.[10]

Release and reception [edit]

"Evita was always intended to be a stage prove. And 'Don't Cry for Me Argentina' was very specifically written to be a central moment in the theatre, but the fact it became a hitting was incidental. I couldn't really understand how information technology became such a big hit. Information technology was 6 minutes long, it had a minute instrumental past the London Symphony Orchestra and Julie Covington refused to promote it. It even went to number i in the disco chart, which I just couldn't understand. I asked a friend of mine who was a DJ, why was it so popular—he said, 'Because DJs are playing it to clear the dance floor'."[11]

—Rice talking about the song'southward success to the Official Charts Company

Following the completion of the recording of the anthology, the Evita squad switched on to full promotion of the release, with photographer Tony Snowdon shooting the promotional pictures.[12] The unmarried version of "Don't Cry for Me Argentina" was released in the United Kingdom on 12 November 1976,[13] accompanied by national and trade advertizement, full-colour posters, brandish sleeves as well as radio interviews. Another song from the musical, "Rainbow High", was listed as its B-side. MCA marketing manager Stuart Watson explained to Billboard that their chief goal was to "get an explanation of the story of Eva Perón over to the public".[fourteen] The song received critical appreciation, with The Sun Times calling it a "masterpiece". However, Rice and Lloyd Webber felt that they needed more promotion to attain the general audience who would buy the record. They had initially decided for a number of television show appearances and performances, but Covington was uninterested in the project birthday and refused to promote it further. Her reasons included wanting to perform the song with the aforementioned studio orchestra and accompaniments, and she was also against a unmarried release from the anthology.[15]

The song was never performed live on British music evidence, Top of the Pops, since Covington refused and whenever information technology was featured on the prove, a montage of images of the real Eva was shown in the backdrops. All the same, during the week information technology was number 1, she appeared in the audience.[sixteen] Rice and Lloyd Webber and so targeted BBC Radio ane, which was in its infancy, only still popular among the general crowd. They had a fairly tight selection of songs they aired on their channels, and Radio 1 completely refused to add together "Don't Cry for Me Argentine republic" in their playlists. Rice and Lloyd Webber panicked and were almost on the verge of releasing another track from Evita called "Another Suitcase in Another Hall", recorded by Barbara Dickson, as the 2d single. But Radio 1 finally relented and started playing the song due to positive response from audiences.[xv]

"Don't Cry for Me Argentine republic" debuted at number 37 on the UK Singles Nautical chart on the calendar week catastrophe 25 Dec 1976. It started climbing up the chart just for 3 weeks it was kept from reaching the top spot by David Soul'south "Don't Surrender on Us". On the calendar week ending 12 Feb 1977, the song reached the top of the charts.[17] It was start certified silver in January 1977, and then certified gold a month later by the British Phonographic Industry (BPI), selling virtually one million physical copies in the United Kingdom.[18] [19] Together with digital sales since information technology has sold most i.01 one thousand thousand copies according to the Official Charts Company.[20] The single besides reached the top of the charts in Commonwealth of australia, Belgium, Ireland, New Zealand and Netherlands; in the latter land it sold around 100,000 copies.[21] [22] Seeing the success of the single, Rice and Lloyd Webber proceeded with promoting the song in the United States. Nevertheless, the personnel at MCA Records' United states of america office were not able to come to terms regarding how to promote the adult contemporary oriented track; it was ultimately never sent to Peak 40/CHR radio, and did not appear on any US charts.[12]

Backwash and bear upon [edit]

When the cast of the London musical version of Evita was beingness decided, Rice and Lloyd Webber naturally approached Covington to play the titular role. However, she chose not to reprise the role. Producer Hal Prince wanted to bandage a relatively unknown extra to play Eva, and thus Elaine Paige was signed for the part.[23] [24] In 1977, Rice and Lloyd Webber received the Ivor Novello accolade in the category of Best Song Musically and Lyrically.[25] During the 1982 Falklands State of war between the United kingdom and Argentina, the vocal was sometimes played sarcastically by British regimental bands every bit they deployed to the Falklands. They changed the lyrics, singing it every bit "You don't affright me Argentina / The truth is we volition defeat you / Nosotros'll sink your carrier, with our Sea Harrier / And with our Sea Kings subs'll be sinking".[26] At the same time the Covington recording was banned from play on the BBC.[5] The song was too banned in the Philippines during the dictatorship (1972–86) of President Ferdinand Marcos. The life of former First Lady Imelda Marcos, Marcos' wife, is like to that of Evita Peron. The presentation of the musical Evita was repressed.[27] In the United States, the vocal is also closely linked with Patti LuPone, who performed the role of Eva in the original Broadway product of the show.[28]

Rail list and formats [edit]

  • 7" single[29]
  1. "Don't Cry for Me Argentina" – 5:24
  2. "Rainbow High" – 2:31
  • 7" Double hit single[30]
  1. "Don't Cry for Me Argentina" – 5:23
  2. "I Don't Know How to Dear Him" (Performed by Yvonne Elliman) – 3:55
  • 7" Old Gold single[31]
  1. "Don't Weep for Me Argentina" – 5:24
  2. "Another Suitcase in Another Hall" (Performed by Barbara Dickson) – 3:00

Credits and personnel [edit]

  • Julie Covington – vocals
  • Andrew Lloyd Webber – songwriter, record producer
  • Tim Rice – songwriter, record producer
  • David Land – record producer
  • David Hamilton-Smith – recording engineer
  • Simon Philips – drums
  • Mo Foster – bass
  • Joe Moretti – guitars
  • Ray Russell – guitars
  • Anne Odell – keyboards
  • David Snell – harp
  • London Philharmonic Orchestra – choir

Credits adapted from the 7" unmarried liner notes.[29]

Charts [edit]

Certifications [edit]

Madonna version [edit]

"Don't Cry for Me Argentina"
Don't Cry for Me Argentina Madonna.png
Unmarried by Madonna
from the album Evita
B-side
  • "Santa Evita"
  • "Latin Chant"
Released sixteen Dec 1996 (1996-12-16)
Recorded 1995
Studio Larrabee North and CTS
Genre Orchestral pop
Length 5:34
Characterization Warner Bros.
Songwriter(s)
  • Andrew Lloyd Webber
  • Tim Rice
Producer(s)
  • Nigel Wright
  • Alan Parker
  • Andrew Lloyd Webber
  • David Caddick
Madonna singles chronology
"You Must Love Me"
(1996) 		"Don't Cry for Me Argentina"
(1996) 		"Another Suitcase in Another Hall"
(1997)
Music video
"Don't Cry for Me Argentina" on YouTube

Background [edit]

In 1996, Madonna starred in the pic Evita, playing the titular role. For a long time, Madonna had desired to play Eva and even wrote a alphabetic character to director Alan Parker, explaining how she would exist perfect for the part.[51] Later securing the office, she underwent vocal grooming with coach Joan Lader since Evita required the actors to sing their own parts. Lader noted that the singer "had to employ her vocalism in a way she'due south never used it before. Evita is real musical theater — its operatic, in a sense. Madonna developed an upper register that she didn't know she had."[52] [53] From the moment she was signed in the flick, Madonna had expressed interest in recording a dance version of "Don't Weep for Me Argentine republic". According to her publicist Liz Rosenberg, "since [Madonna] didn't write the music and lyrics, she wanted her signature on that song... I think on her mind, the best way to do it was become in the studio and piece of work upward a remix".[54]

For this, in August 1996, while yet mixing the film's soundtrack, Madonna hired remixers Pablo Flores and Javier Garza. Co-ordinate to Flores, the vocalist wanted something that "would be trip the light fantastic but faithful to the movie and to Argentina with a latin experience". Madonna herself said she wanted the remix to have a "Latin flavor and elements of Tango music". The mix was completed in 2 weeks at Miami and Los Angeles. Madonna had to re-record the vocals of the track in English language and Spanish, while an Argentinian bandoneon was added to the song's intro.[54] Named the "Miami Mix", information technology was sent to radio stations and DJs on tardily Dec 1996. The vocal was officially released as the soundtrack's second single on sixteen December 1996 in the United Kingdom, while in the United States, the runway was released on 11 February 1997.[55] [56] Barney Kilpatrick, VP of promotion for Warner Bros. Records, said that "the only reason this mix is being washed was to suit Top 40 radio [...] since we have a two-disc soundtrack, we're interested in selling albums, not singles". Warner Bros wanted to create buzz for the moving picture with the vocal, not the unmarried remix. There were likewise talks of releasing an Evita EP, containing remixes of "Buenos Aires", "Don't Weep for Me Argentina" and "Another Suitcase in Another Hall", simply it never materialized.[54]

Recording and composition [edit]

Recording sessions for the movie's songs and soundtrack began in September 1995, and took identify at the CTS Studios in London with Madonna accompanied by co-actors Antonio Banderas and Jonathan Pryce. However, trouble arose equally Madonna was not completely comfortable with laying downwardly a "guide vocal" simultaneously with an 84 slice orchestra inside the studio. She was used to singing over a pre-recorded track and not take musicians listen to her. Also, different her previous soundtrack releases, she had niggling to no control over the project; "I'one thousand used to writing my ain songs and I get into a studio, choose the musicians and say what sounds good or doesn't [...] To work on 46 songs with everyone involved and not take a big say was a big adjustment", she recalled.[57] An emergency meeting was held between Parker, Lloyd Webber and Madonna where it was decided that the singer would record her part in a more gimmicky studio while the orchestration would take place somewhere else. She also had alternate days off from the recording.[58]

Co-ordinate to the singer, she was very nervous during the commencement mean solar day of recording. She allegedly institute herself "petrified" when it came to doing the song; "I had to sing 'Don't Cry For Me Argentina' in forepart of Andrew Lloyd Webber [...] I was a complete mess and was sobbing later on. I thought I had done a terrible task", she recalled.[59] The final version recorded had many similarities to the original version by Covington, although it had a much faster pace and was created as an orchestral popular to cater to the contemporary music scene.[lx] According to the sheet music published by Musicnotes.com, Madonna's version of the vocal is set in common time, with a wearisome groove tempo of 90 beats per minute. Madonna's vocals on the song span from Giii to C5.[61] The song follows a basic sequence of C–F ♭ –C when Madonna sings "It won't be easy, yous'll think it strange", and changes to G7–C on the 2d poesy.[61]

Critical reception [edit]

Original version [edit]

Upon release, the song more often than not received positive feedback. J. D. Considine, from The Baltimore Sun, said it was one of the "big songs" from the soundtrack.[62] Peter Keough, from the Boston Phoenix, praised Madonna'due south "stunning commitment" of the runway. He wrote: "[Madonna] sings a softly lush soprano that captures Evita's repose vulnerability. Her full-lipped, precise notes stride across the song's grandiose orchestrations. Webber'due south songs let her all the room she needs to exist many things; she succeeds at them all".[63] Greg Kot from the Chicago Tribune, opined that "her estimation of the show-stopper 'Don't Cry for Me Argentina' doesn't try to outreach the many previous versions, simply instead brings it dorsum to earth with a low-key dignity".[64] Robert Christgau called information technology a "dismal rail" and criticized its mixing.[65] Writing for Entertainment Weekly, Chuck Arnold opined that "while credible, [Madonna's rendition] was not going to make anybody forget Patti Lupone".[66] The Guardian 's Jude Rogers wrote: "Distressing Andrew Lloyd Webber, but it's no 'Live to Tell'"; nonetheless, she praised the singer's vocal capacities.[67] A very positive review came from the Hartford Courant 's Greg Morago, who called the song "a calculated, theatrical triumph of shameless pandering and steely determination that parallels the pop diva's ain rise to the elevation. Madonna makes this vocal her own; she was born to play the chignon-coiffed, diamond-studded Santa Evita".[68] The Huffington Post 's Matthew Jacobs considered it as 1 of Madonna'due south most important songs, a "stand-in for the transition from Sexy Madonna to Adult Madonna".[69] Writing for the Los Angeles Times, David Gritten opined that "bear witness-stoppers similar 'Don't Cry for Me Argentina', which need to be belted out, sound comfortable for her".[lxx]

A reviewer from Music Week rated information technology 5 out of 5, calling it "a potent and fairly faithful rendition".[71] In her review of Evita, Janet Maslin from The New York Times commented that the track was "tinglingly sung".[72] A negative review came from NME 'south Alex Needham, who wrote; "by 1996 Madonna was fast turning into the pop equivalent of Sunset Boulevard 's Norma Desmond, croaking, 'I'one thousand withal large! It's just the Top xl that got small!", and that "'Don't Cry For Me Argentina' stank and so, stinks at present".[73] Author Lucy O'Brien wrote in the book, Madonna: Like an Icon, that although Madonna'southward vocals lacked emotional complication in the tune, she nevertheless created a "compelling" version, "right upwards to its grand orchestral finale".[74] George Hatza from The Reading Eagle, said that "[Madonna] sings 'Don't Cry For Me Argentina' in a beautiful, soaring, goosebump-inducing contralto".[75] Peter Travers from Rolling Stone, wrote: "Madonna, to her credit, puts on quite a show. She sings. She tangos [...] She fifty-fifty belts out 'Don't Cry for Me Argentine republic' to prove she's merely folks".[76] Sal Cinquemani from Slant Magazine commented: "Easily one of Madonna'south greatest vocal performances to date, the vocaliser'south dramatic interpretation of Evita's unofficial theme song was both loyal and bizarrely autobiographical".[77] Spin 's Annie Zaleski wrote that the "nuanced but proud" rendition of the song "marked the start of Madonna'due south Serious Phase, ane where she counterbalanced youthful coquettishness with a more mature, introspective outlook".[78] J. Randy Taraborrelli, writer of Madonna: An Intimate Biography, wrote that "Every bit Evita Perón [...] she is supple and strong, and doesn't sound at all out of place".[79]

Remix version [edit]

AllMusic'due south Jose F. Promis praised the "Miami Mix" version of the song; "['Don't Cry For Me Argentine republic'] was transformed into a passionate, flowing trip the light fantastic toe number", highlighting Madonna's "truly impassioned performance which infuriated musical purists but delighted her fans and public alike".[eighty] In 2017, Billboard ranked the "Miami Mix" as the 95th greatest pop song of 1997; Andrew Unterberger wrote that the remix "is just as responsible for the vocal'south chart success equally Madonna'due south Celine Dion vocal ambitions, taking the vocal from the balcony to the trip the light fantastic toe floor and giving it back to the people".[81] In 2018, the same mag called the remix "a weirdly enjoyable menage à trois between Broadway, Latin and club music, with a pounding vanquish and lively tango that flourishes with Madonna's hostage delivery".[82] Similarly, Medium'south Richard LaBeau deemed the remix "bizarre in theory but works terrifically in execution".[83]

Chart operation [edit]

In the U.s., the popularity of the "Miami Mix" version of the song enabled it to go the song with the virtually radio adds, and jumped to number 18 on the Hot 100 Airplay chart. Need for the song connected to increase forcing Warner Bros. to release the CD single, and the song becoming eligible to chart.[54] Information technology debuted on the Billboard Hot 100 at number 17 the calendar week of 22 February 1997,[84] selling 46,000 units in its commencement-week.[85] The single ultimately peaked at number 8 the week of i March 1997.[86] "Don't Weep for Me Argentina" reached number ane on the European Hot 100 Singles, the calendar week of 8 February 1997.[87] The track also ranked inside the top twenty of Billboard 's Adult Contemporary and Developed Top 40 charts while the "Miami Mix" reached the top of the Billboard Hot Dance Social club Songs chart.[88] [89] [xc] It ranked at number 87 on the yr end nautical chart for 1997.[91] In Canada, the song debuted on the RPM Top Singles nautical chart at number 34, the week of ten March 1997.[92] It ultimately reached a peak of number xi, the week of seven April 1997.[93] In the Great britain, the song reached number 3 on the week of 28 December 1996, and was present on the summit 100 for a total of 13 weeks.[94] The song was certified aureate past the British Phonographic Industry (BPI) on 19 Nov 2021 for sales and streams exceeding 400,000.[95] [96] In Italy, it reached the 2nd position on the Musica e dischi chart.[97] In Australia, "Don't Weep for Me Argentina" peaked at number 9 on the ARIA Singles Nautical chart, staying on this position for one week and a total of 13 weeks on the chart.[98] On the year-finish ARIA charts, the song ranked at number 56.[99] In France, it topped the SNEP Singles Chart for one calendar month.[100] In Ireland, the vocal peaked at number 8, the week of 19 Dec 1996.[101] The single likewise proved to be a commercial success in other countries such as Belgium, Federal republic of germany, Spain and the Netherlands, where it managed to have elevation 5 placement.[98] [102]

Promotion and alive performances [edit]

No official video was shot for the song. Instead, the scene from the motion-picture show, where Eva performs the song at the balcony of the Casa Rosada, was used.[103] In 1993, ii years before being cast in Evita, Madonna performed an impromptu version of the song during her starting time visit to Argentine republic with The Girlie Show Globe Tour.[104] Eight years subsequently, on her 2001 Drowned World Tour, an instrumental version of the song was used as an interlude, featuring several dancers doing a Tango number.[105] The operation on 26 August 2001, at The Palace of Auburn Hills, outside of Madonna's hometown of Detroit was recorded and released in the live video anthology, Drowned Earth Tour 2001.[106] On the Buenos Aires stop of her Sticky & Sweet Bout in December 2008, afterwards performing "You Must Love Me", Madonna too performed "Don't Cry for Me Argentine republic" every bit scenes from Evita played on the backdrop screens.[107] The performances of both songs in the metropolis were recorded in the live DVD titled, Pasty & Sweet Tour (2010).[108] The vocaliser one time once again performed the song in Argentina during The MDNA Bout in December 2012. For the operation, she had the give-and-take "Eva" painted across her dorsum.[109] Madonna also did a "passionate rendition" of "Don't Cry for Me Argentina" during the Miami stop of her Rebel Middle Tour on 23 January 2016, accompanied by acoustic guitar.[110] On 6 Dec, Madonna performed "Don't Cry for Me Argentina" during the Carpool Karaoke segment of The Late Tardily Show with James Corden.[111]

Track listings [edit]

2021: Digital EP

  1. "Don't Cry for Me Argentine republic" (Radio Edit) – 4:50
  2. "Don't Cry for Me Argentine republic" (Miami Spanglish Mix) – 6:57
  3. "Don't Weep for Me Argentina" (Miami Mix Edit) – 4:29
  4. "Don't Cry for Me Argentina" (Miami Mix) – half-dozen:51
  5. "Don't Cry for Me Argentina" (Miami Spanglish Mix) – half-dozen:57
  6. "Don't Cry for Me Argentine republic" (Miami Mix Culling Ending) – 7:59
  7. "Don't Cry for Me Argentina" (Miami Dub Mix) – 6:23
  8. "Don't Cry for Me Argentina" (Miami Mix Instrumental Version) – 6:55
  9. "Don't Cry for Me Argentina" (album version) – v:31

Charts [edit]

Certifications and sales [edit]

Other versions [edit]

"Don't Cry for Me Argentine republic" has been recorded by a number of actors portraying Eva Peron in subsequent productions of Evita including Elaine Paige (1978 Original London Cast Recording), Patti LuPone (1979 Original Broadway Cast Recording) and Elena Roger (2006 London Cast and 2014 Broadway Cast Recordings). Marti Webb, who succeeded Elaine Paige in the original London production of Evita, covered the vocal on her album Won't Alter Places, produced by Andrew Lloyd Webber in 1981, and also included information technology in 1995 on the album, Music and Songs from Evita. AllMusic's Joe Francis complimented the recording.[161]

The Shadows' 1978 version of "Don't Weep for Me Argentine republic" was a top-v hit in the Great britain

The Carpenters recorded the vocal for their 1977 anthology, Passage, coupled with "On the Balcony of the Casa Rosada" which precedes it in the musical's score.[162] The same year, Olivia Newton-John released the song as a single from her tenth studio album, Making a Good Matter Meliorate.[163] In 1978, the Shadows recorded an instrumental version that reached number 5 on the United kingdom Singles Chart.[164] Likewise in 1978 Shirley Bassey recorded the song for her album, The Magic Is You. Simon Cuff from the Daily Express praised the rendition, saying that Bassey "more covers the footing" with information technology.[165] She recorded it again in 1993 for her anthology Sings the Songs of Andrew Lloyd Webber. Vocalizer Tom Jones' interpretation of the song on his 1979 album, Rescue Me, received negative reviews, with biographer Lucy Ellis describing it as "the well-nigh ludicrous massacre on the LP".[166] American disco group Festival released a version in 1979, a single off of an unabridged LP of disco covers of songs from Evita. Paloma San Basilio performed the song when she played the titular office on the Spanish accommodation of the musical in 1980.[167] Nacha Guevara, who as well starred in the musical in 1986, has performed the song live several times.[168]

Singer Sinéad O'Connor recorded "Don't Cry for Me Argentine republic" on her album Am I Non Your Girl (1992). Her version received mixed response, with Joy Press from Spin who described the rendition equally "a melodramatic, sweeping 'Je ne regrette rien'—style apologia. O'Connor had a calling. Obsessed with purity and truth, she pitched herself somewhere between Christ and the Virgin Mary, every bit an asexual visionary whose suffering was Inextricably Intertwined with the pain of Republic of ireland and of the world."[169] Released as a CD maxi single, the song reached number 31 in Belgium Flemish region and number 44 in Netherlands.[170] An piece of cake listening encompass version of the song by The Mike Flowers Pops reached number thirty in the UK singles charts in 1996.[171] A punk stone version was recorded by alternative band Me Outset and the Gimme Gimmes in 1999 for their second studio album, Are a Elevate. Angus Cargill, author of Hang the DJ: An alternative book of music lists was shocked by the consummate revamp of the song as punk rock, saying that "in that location's a dark appeal in here, like the idea of taking a cattle prod to your grandma'due south".[172]

Information technology is covered past Lloyd Webber'due south younger brother and cellist Julian on the 2001 album, Lloyd Webber Plays Lloyd Webber.[173] Another version was recorded in 2010 by Telly series Glee 'due south actors Lea Michele and Chris Colfer, as the characters Rachel Berry and Kurt Hummel respectively. Information technology was sung equally a duet with each vocalist taking a dissimilar stanza and performing before a dissimilar audience in a divide-scene.[174] Their solo versions were also in Glee: The Music, The Complete Flavour Two and reached number 67 in the United Kingdom and number 97 in Usa.[175] [176] Multinational quartet Il Divo recorded it on their 2011 album, Wicked Game, and performed it live on tours. The group's vocalization was considered suitable for musical numbers like "Don't Weep for Me Argentina", by Ben Walsh from The Independent.[177] Nicole Scherzinger performed the song alive at the Andrew Lloyd Webber: 40 Musical Years tribute bear witness. Louis Virtel from The Backlot complimented her vocals, saying that the performance "has to be seen to be believed, as Scherzinger'southward crystal-clear vocal soars like a glittery javelin".[178]

Run across also [edit]

Notes [edit]

  1. ^ Clark 2015, p. 53
  2. ^ Rice 2012, p. 25
  3. ^ a b c d e f chiliad Rice 2012, p. 23
  4. ^ a b c Rice 2012, p. 22
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  9. ^ "The All-time Broadway Songs Always" (4 ed.). Canvas Music Plus. Retrieved 13 August 2015.
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  11. ^ Company 2012, p. 28
  12. ^ a b Rice 2012, p. 28
  13. ^ "New releases". Music Calendar week: 43. 13 November 1976. ISSN 0265-1548.
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References [edit]

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External links [edit]

  • "Don't Cry for Me Argentine republic" (Il Divo (AOL Sessions) on YouTube

perezsprome.blogspot.com

Source: https://en.wikipedia.org/wiki/Don%27t_Cry_for_Me_Argentina

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