Nightman Listens To – Madonna – Evita

Greetings, Glancers! It’s time to check out Madonna’s third and most successful soundtrack album Evita. Tim Rice and Andrew Lloyd Webber penned all of the work here and Madonna sings most of the songs, though she does get help by Banderas, Pryce, and old Crocodile Shoes himself Jimmy Nail. As you would imagine, it sold a crapload. I’m going to be going through the double disc edition, but I’m not a sadist – I’m only listening to the ones Madonna performs on. I expect these songs will be peppered with instrumental sections and that they will lose much without the visuals. Lets get this out of the way.

‘Oh What A Circus‘ opens just as I imagined – lots of lovely Latin guitars. Banderas starts the singing, telling of Eva’s life. There’s a familiar melody. No Madonna yet. This is nice though, no complaints. Backing vocals. Sudden rock outburst. That was pretty funny. Decent vocals from Antonio. Now a slower section. Is this Madonna? Now instrumental. Now Madonna, doing a bit from ‘Don’t Cry For Me’.

‘Eva and Magaldi/Eva Beware Of The City’ begins with some weird funk. Dark tones, all very theatrical as you would expect and lots of voices, changes in pace and style. Listening without the visuals means it sounds a little messy – a confusing mishmash of genres with people chanting and singing and talking, but I think it would all make sense on screen or stage. With all that said, it’s not too bad. I do have no idea what’s going on, but the music is fine.

‘Buenos Aires‘ starts with a train toot and some clapping. I think. Lots of percussion now. Madonna’s vocals seem a little stronger on the album – more powerful. This one is only okay – a little jazzy, a little funky, some nice strings in the middle, but no obvious hooks. It then turns into a James Bond instrumental for the final section.

‘Another Suitcase In Another Hall’ starts like a traditional hit rather than a product of a musical. It’s very sweet with lyrics of uncertainty and exploration and yearning. This one does have hooks and apparently was a single, but I don’t remember it. I’d listen to this one again, very nice.

‘Goodnight And Thank You’ has a big brass celebration opening. This segues into a softer section before the Banderas verse. Madonna joins in for a more traditional duet. Then they sing about soap. And doing up trousers. It just about passes the listening without visuals test.

‘Charity Concert/The Art Of The Possible‘ has clapping, and South American rhythms. Then it ends. Then it starts again. Another duet. Well, it’s mostly Antonio. Then it ends again.

‘I’d Be Surprisingly Good For You‘ is another duet with lyrics overlapping closely. The music is mostly in the background, leaving breathy vocals. Madonna then takes over and it becomes a decent ballad – not as strong as that hallway song, but still good.

‘Hello And Goodbye‘ is light and fluffy in its opening moments, a little like elevator music. Then it’s a little sultry, then tender, then more tender as it calls back a previous song.

‘Peron’s Latest Flame‘ has a brass, war era sitcom intro. It sounds like the rich don’t like Evita’s antics. Now the rich are singing. I’m not hearing Madonna yet. Drum collapse. Future sounds. Now Madonna. More chanting. More future sounds. This is very ‘musical’.

‘A New Argentina’ has a mysterious in tone beginning but finds its feet when Madonna sings – the melodies by this point are familiar – it’s the ‘I’ll Be Good For You’ tune again. It breaks away eventually for a heavier sound with choir and guitars. Madonna belts out the vocals well in several places. This one goes on for ages. It’s mostly good, but it does stretch the patience when listening without the benefit of seeing what’s going on.

‘Don’t Cry For Me Argentina‘ is the one we all know. We’ve already heard motifs in the songs up to this point, but now it’s going all the way. If I’m honest I don’t remember too much about the song about from Madonna singing the title and a few more words. Big string intro, soft, mournful vocals. The verses stretch out, teasing the listener and getting the lyrics across. It’s one of Madonna’s better vocals. The chorus is fine, more understated than what I remembered and it balances well with the verses rather than outstripping it.

‘On The Balcony Of The Castle Rosada (Part 2)’ begins with some excited whispering. We get crowd noise and choir singing which builds in pace and urgency. We then get a spoken section, an inspired speech. We finish with a brief choir blast and short Madonna line.

‘High Flying, Adored’ is a gentle ballad starting out with Antonio’s smooth vocals. It’s another good performance from him. Madonna comes in briefly at the end to mirror what Banderas has just sung.

‘Rainbow High‘ starts suddenly, Madonna’s quick vocals giving over to further choir voices – these two flit back and forth throughout. It’s another good performance by Madonna, giving it her all even as the timing and style transform.

‘Rainbow Tour‘ features more male vocals. This one is a little more cheesy, feeling very ‘Dr Zeus/Dr Zeus’. There’s a little bit of Madonna in the middle before returning to the blokes.

‘The Actress Hasn’t Learned The Lines You’d Like To Hear‘ starts with trumpets and annoying chorus vocals – like Greek Play Chorus, you know? Madonna comes in with some meandering vocals and lyrics. Familiar melodies come at last – there’s really only a handful of recurring motifs here, a few more wouldn’t have gone amiss for such a huge score. There’s some horror movie sounds for a while to change it up.

‘Pardito Feminista‘ features more crowd noise and speeches. Some singing too, quite a bit for a song shorter than two minutes long actually.

‘Waltz For Eva And Che‘ is just as it sounds. Antonio first. Madonna next. Melodies are largely sacrificed for the sake of lyrics and plot. Big waltz in the middle with splashing percussion.

‘Your Little Body’s Slowly Breaking Down‘ opens with a morbid and sad piano line and vocal deliver. Madonna joins in to give a more positive spin for this short track.

‘You Must Love Me’ is another short track. Man, all those ‘were do go from here’ lines are just reminding me of Buffy. This is a decent ballad, plaintive, and understated with just piano and violin along with Madonna’s voice.

‘Eva’s Final Broadcast’ seems like a downer. We know what is happening, so obviously it’s not a barrel of laughs. Madonna’s voice gives way to some sort of chanting, then she comes in again to add new words to the same old melodies. Then the big chorus comes back with a slight change. This one is theatrical, with wavering vocals, soundbites, and all the rest of it. We close with a few mournful minutes of choir voices.

‘Lament‘ closes the album, at least from my perspective. Madonna and guitar. Another good one. We get a jump scare surge of strings and full orchestra blasts before calming down and Antonio takes over.

Jeebus, that was long. But it was better than I was expecting. It doesn’t feel like a Madonna album, though her imprint is there. It feels like a musical, but there are songs which seem to live and breathe on their own. All the silly trappings of the stage are there, though they are not as annoying as I thought they would be and while there is an awkwardness in listening to the soundtrack without following the screen, plenty of the songs are good enough to warrant listening. There is quite a lot of repetition, and some songs are too long for purely listening to, but on the whole it’s a decent album and I could easily cut it down to a more respectable length and listen through it again.

Let us know in the comments what you think of the Evita soundtrack. Next time we see Madonna we’ll be going through Ray Of Light – an album I liked a lot when it was first released but haven’t heard since (actually, I stupidly posted Ray Of Light before posting this, so next time it will be Music)!

Desperado

Desperado

The film in which Rodriquez really came to prominence, Desperado is a continuation from his low budget effort ‘El Mariachi’, which deservedly gained him recognition from big studios as well as indie heroes such as Tarantino. The man with the guitar case full of guns is coming to town, looking for the man who killed the woman he loved. He sends a friend ahead of himself (Buscemi in another great performance) to set the scene- to tell the tale of a deadly encounter with the man who has become a legend, to try and find out if any locals have knowledge of Bucho, the one he believes is responsible for his lover’s death. When Banderas finally comes to town several bloodbaths ensue in glorious fashion, and he takes refuge with a local woman played with strength and guts by Salma Hayak. Naturally they fall for each other as The Mariachi gets to the bottom of the mystery.

The film has good performances from all, is very stylish and funny, with excellent dialogue, and the plot admittedly takes a step back to let the action have centre stage. The bullets fly everywhere, the action is fluid and original, and the stunts are all the more impressive because of the tiny budget. The sex scene is memorable, not because it is gratuitous, but because of the lighting and cutting, like much of the film. Violent and loud mouthed, but brilliant fun, and one for aspiring directors who have small budgets, proving that it can be done.

The DVD has a few decent extras- mainly the commentary.

Feel free to comment on the review and the movie- is this the best of the trilogy? Is this still the best from Rodriguez?