United Kingdom, while in the United States, the track was released on 11 February 1997. Barney Kilpatrick, VP of promotion for Warner Bros. Records, said that "the only reason this mix is being done was to accommodate 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 film with the song, not the single remix. There were also talks of releasing an Evita EP, containing remixes of "Buenos Aires", "Don't Cry for Me Argentina" and "Another Suitcase in Another Hall", but it never materialized. Recording and composition Recording sessions for the film's songs and soundtrack began in September 1995, and took place at the CTS Studios in London with Madonna accompanied by co-actors Antonio Banderas and Jonathan Pryce. However, trouble arose as Madonna was not completely 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 not have musicians listen to her. Also, unlike her previous soundtrack releases, she had little to no control over the project; "I'm used to writing my own songs and I go into a studio, choose the musicians and say what sounds good or doesn't [...] To work on 46 songs with everyone involved and not have a big say was a big adjustment", she recalled. 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 contemporary studio while the orchestration would take place somewhere else. She also had alternate days off from the recording. According to the singer, she was very nervous during the first day of recording. She allegedly found herself "petrified" when it came to doing the song; "I had to sing 'Don't Cry For Me Argentina' in front of Andrew Lloyd Webber [...] I was a complete mess and was sobbing afterward. I thought I had done a terrible job", she recalled. 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 pop to cater to the contemporary music scene. According to the sheet music published by Musicnotes.com, Madonna's version of the song is set in common time, with a slow groove tempo of 90 beats per minute. Madonna's