Written by Tim Rice and Andrew Lloyd Webberthe song is presented during a sequence where Eva throws out her husband 's mistress on the streets. The latter sings the track, wondering about her future and coming to the conclusion that she would be fine.
Dickson was enlisted by the songwriters to record the track after hearing her previous work. Rice and Webber asked her to record the song using a higher than usual pitch, so that she sounded like her character. Featuring instrumentation from guitarmarimbaharp and keyboard"Another Suitcase in Another Hall" finds Dickson singing in a soprano voice. Critically appreciated, the song was released as a single on 7 Februaryand reached number 18 on the UK Singles Chart.
Dickson has stated that she did not like her recorded version of the track and employed a different arrangement during her future live renditions. Another notable version was recorded by American singer Madonna who played the part of Eva for the film adaptation of the musical.
It was released on 3 Marchby Warner Bros. Unlike the musical, in the film the track was sung by Madonna's character instead of the mistress. Upon its release, the song garnered positive response from music critics and reached the top-ten of the charts in Italy and the United Kingdom. From a production point-of-view, it also allowed Grandage to show ruthlessness of Eva, when Juan allows her to throw his "mistress" away. The girl is ultimately left on the streets with nowhere to go, and there she sings the song.
It is a particularly poignant melody that should play with an audience's emotions. The mistress clearly knew what she was doing sleeping with an older man, and yet there is something expletive about it as well.
Eva's bitchiness should be enjoyed by an audience, but they should also be investing in the plight of a young girl's eviction. The narrative of this section is so well structured that it is obvious the journey of the mistress is complete by her exit. This allows the audience to invest in a single moment while also learning more about Eva and Peron's character as they move forward in the story. Dickson and her manager, Bernard Theobald, had a discussion with Rice and Webber about in the musical, but her voice was declared "too delicate" for singing the numbers on Evita.
So they offered her one-song which was not sung by Eva's character, and that was "Another Suitcase in Another Hall".
Dickson recalled that during the recording sessions, Webber asked her to sing in a higher range than her usual, since the "mistress" character was a teenager, and should have sounded younger. A soft strummed guitar in broken chord patterns heralds the introductory music. Dickson sings the opening verseand the chorus which is repeated twice as she asks, "So, what happens now?
The song finishes with the mistress asking the question, "Where am I going to? Eva is the center of attention [in the song] but the lyric does not allow a transfer of meaning outside of the context of her story.
Part of the song's popularity lies in the way it finds an image—the suitcase in the hall—to express the nomadic nature of modern civilization, the feeling of urban rootlessness that many people experience. The theme of constant moving strikes a resonant note. A Another suitcase in another hall samantha barks dating Guidethat her vocals portrayed different kind of emotions, with standard pitch correction in the lower middle C.
Her vocals contrast the lyrics with an "underlying coolness", while the light voice enabled Dickson to sing the lines "So, what happens now? The song is high-pitched to make its syllables appear as difficult to sing.
After the first single from the Evita album, " Don't Cry for Me Argentina ", achieved commercial success, "Another Suitcase in Another Hall" was released as the second single on 7 February How lucky Lloyd Webber and Rice are to have Julie Covington and now Dickson, to add the flesh and bones to songs which might otherwise be wrecks of soppy melodrama.
It was present for a total of seven weeks on the chart. Due to the high-pitch employed in the recording, Dickson Another suitcase in another hall samantha barks dating in later years that she "never liked the original [track] for that reason. The song has seasoned over the years with my singing of it. While performing it later point of time on her concerts, Dickson sang it in her actual tone, saying that although the track "might have been written for a teenage girl, but the experience of being abandoned by a man is one, women of all ages can relate to.
I think you have to be honest with songs and with yourself. Credits adapted from the single's liner notes. English singer Elaine Paige recorded the song for her album Stages. InMadonna starred in the film adaptation of the musical, titled Evitaplaying the role of Eva; she had desired to play the part for a long time and even wrote to director Alan Parkerexplaining how she would be perfect for the part.
Lader noted that the singer "had to use her voice in a way she's never used it before. Madonna developed an upper register that she didn't know she had.
However, trouble arose as Madonna was not comfortable with laying down a "guide vocal" simultaneously with an 84 piece orchestra inside the studio. She was used to singing over a pre-recorded track and Another suitcase in another hall samantha barks dating have musicians listen to her.
Also, unlike her previous soundtrack releases, she had little to no control over the project. She also had alternate days off from the recording. Madonna's version of the song begins with the same soft strummed guitar in broken chords. The song was officially released as the soundtrack's third single on 3 March AllMusic 's Jose F. Promis, wrote that "the song finds Madonna giving an understated and inspired performance [ Hischak called it "plaintive".
Yes kids, she [Madonna] can sing". Phonograph record — The groove usually starts near the periphery and ends near the center of the disc. The phonograph disc record was the medium used for music reproduction until late in the 20th century. It had co-existed with the cylinder from the late s.
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