Photograph: Allstar/Walt Disney Pictures 22. Sometimes, Disney songs work because they hit their emotional target, and sometimes they work because they’re just infernally catchy, lodging in your brain whether you want them to our not: a cod-Gallic ode to gluttony sung by a candlestick, Be Our Guest fits into the once-heard-never-forgotten-without-extensive-therapy category. Be Our Guest (Beauty and the Beast, 1991) The big ballads and comedy songs garnered most of the attention, but one of The Lion King’s greatest moments is this alternately witty and chilling evocation of evil, the music’s darkly militaristic take on a tango underlined by the distinct hint of the Nuremberg rally about the scene in the film it scores. The film that kicked off the “Disney renaissance”, The Little Mermaid was more knowing than the organisation’s previous work, complete with a villain inspired by the drag queen Divine and Under the Sea, on which jaunty calypso masked social comment and the thought-provoking lyric: “Darling it’s better, down where it’s wetter.” 24. Dr John appeared elsewhere on the soundtrack, but, produced differently, Friends on the Other Side wouldn’t have sounded out of place on his dark 1968 debut album Gris Gris.
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Randy Newman’s soundtrack for The Princess and the Frog offered up a series of wonderful pastiches of New Orleans music, from R&B to zydeco, but its greatest moment may be this paean to voodoo.
Friends on the Other Side (The Princess and the Frog, 2009) Mother Knows Best (Tangled, 2010)įor all Disney’s increasing interest in commissioning songs rooted in mainstream pop, its films can still feature stuff that sounds like traditional Broadway, such as this fabulously hammy inventory of the world’s ills, from violence and disease to “large bugs”.
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I 2 I (A Goofy Movie, 1995)Īn overlooked film released to a lukewarm critical response, A Goofy Movie nevertheless contained one hidden smash in the Tevin Campbell and Rosie Gaines-sung I 2 I, heavy on the breakbeats and synth stabs, and audibly constructed as a homage to Gaines’ sometime collaborator Prince. And the deadpan “Why should I care? / Even when I cross the line, I got street savoir-faire.” 28. The music is very much of its era, but Billy Joel seems to have interpreted his brief as “write lyrics in the style of Lou Reed”, with references to the Bowery, St Mark’s Place and the Chelsea hotel. Why Should I Worry? (Oliver & Company, 1988)Ī lost song from Disney’s 80s doldrums. In a certain light, it sounds like the kind of thing the acid-addled Brian Wilson dreamed up for the Beach Boys’ Smile album.Ģ9. It is not clear if Little April Shower is supposed to sound as sinister and hallucinatory as it does – the middle section of the song, with its wordless, seasick vocal chorus and surging orchestration seems to cast a pall over its cuter moments.
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