When Tangled, Disney’s 50th animated feature, came out last year,
I heard a lot of negative comments about the music. While not all of
the songs had the instant stickiness of some of those from the glory
days of the Disney Renaissance, I thoroughly enjoyed each one, and I See the Light
replayed in my mind – and on my computer – countless times in the weeks
that followed. I read that master composer Alan Menken hoped to achieve
a blend of medieval music and 1960s folk rock, which happens to be my
favorite genre, so I guess I was predisposed to like it. At first, I did
find the poppishness of some of the numbers, particularly Rapunzel’s
first big song, a little discombobulating, but in the end, I think it
really works, and in addition to the excellent character songs with
lyrics by Glenn Slater, we’ve got an absolutely enchanting score from
Menken that I could listen to again and again.
Something That I Want
- I’m starting at the end here because I want to get the end-credits
number out of the way. As has generally been the case with Disney movies
since they began to include these radio-ready closers, I find it less
engaging than the rest of the songs but still enjoy it well enough.
Written and performed by Grace Potter, it’s a very upbeat song with
peppy percussion largely provided by clapping. The song has a tween pop
feel to it and covers the same basic territory as the movie’s big love
song as she describes two people searching for themselves and finding
each other, though it’s less romantic in nature and more generic. Still,
it sums up the basic gist of the movie well. “I want something that I
want, something that I tell myself I need, something that I want and I
need everything I see.”
When Will My Life Begin? - This
song starts off the album, and it’s a lively number whose guitar-heavy
pop sound makes it sound almost as fit for radio as the end-credits
track. The guitar riff reminds me a lot of Peter Gabriel’s Solsbury Hill.
I don’t know if the homage was intentional, but the songs seem to have a
thematic connection as Gabriel wrote that song while embarking upon a
solo career and Rapunzel, played by the honey-voiced Mandy Moore, longs
to break out of her monotonous life in the tower and forge a new path.
Plus, we have the comparable imagery of city lights and the glowing
birthday lights that Rapunzel longs to see. The manic feel of this song
is an indication of all the pent-up energy Rapunzel has built up in 18
years of never being allowed to go outside, though I must say that for a
gal who doesn’t get out, she certainly accomplishes a lot during the
day. “And so I’ll read a book or maybe two or three. I’ll add a few new
paintings to my gallery. I’ll play guitar and knit and cook and basic’ly
just wonder, when will my life begin?”
When Will My Life Begin? (Reprise 1)
- This track, half as long as the first but much more sedate, isn’t in
the movie but nicely captures Rapunzel’s inner turmoil. She doesn’t want
to be ungrateful, but she really would like to get out of the house.
Slight guitar and violin accompaniment is all that’s needed here to
accentuate her yearning. “I’ve got so many things I should be thankful
for. Yes, I have everything except, I guess, a door…”
Mother Knows Best - As soon as I heard this song from stage veteran Donna Murphy, I thought of Master of the House from Les Miserables.
Along with a similar tempo and melody in places, it’s a comical
villains’ song that revels in taking advantage of others. Mother Gothel,
the ancient woman who raised Rapunzel and requires her enchanted hair
to survive, doesn’t openly gloat that she is taking advantage of her,
but her smug tone is evidence enough. Murphy pours all her dramatic
flair into this one as Gothel puts on a show for Rapunzel, swinging
wildly between condescension, dire concern and crippling guilt
inducement. If Marie from Everybody Loves Raymond could express
herself in song, the results might sound very much like this. Here we
quickly establish the twisted psychological hold Gothel has on Rapunzel
as she swiftly switches between insulting and coddling her. The most
Broadway-sounding of the tracks, with an extra section excluded from the
movie. “Go ahead, get trampled by a rhino. Go ahead, get mugged and
left for dead. Me, I’m just your mother, what do I know? I only bathed
and changed and nursed you…”
When Will My Life Begin? (Reprise 2)
- Now we’re back to Rapunzel for the final repetition of her
longing-for-adventure theme. About halfway between the first two in
length and tempo. Much of the track is simply instrumental and a good
chunk of the lyrics is just a list of all the stuff she can do now that
she’s outside. The first half is quite hesitant, but exuberance takes
over once she reaches the ground. “Just smell the grass! The dirt! Just
like I dreamed they’d be! Just feel that summer breeze – the way it’s
calling me. For like the first time ever, I’m completely free!”
I’ve Got a Dream
- Disney has a curious tradition of raucous bar songs. This lively
number is firmly in the tradition of such rowdy sequences as The Happiest Millionaire’s Let’s Have a Drink on It, Pete’s Dragon’s I Saw a Dragon and Beauty and the Beast’s Gaston.
Instead of one person being the focal point, this song really gets
everyone in on the act as all of the Snuggly Duckling’s
intimidating-looking pub thugs reveal the deepest desires of their
hearts. Funny, sweet and oddly inspiring, the accordion- and piano-heavy
ditty has a bit of a ragtime feel to it. In addition to Moore and
Zachary Levi, we’re treated to the spectacle of Brad Garrett and Jeffrey
Tambor waxing melodic. This track is pure fun. “Can’tcha see me on the
stage performin’ Mozart? Tickling the ivories ‘til they gleam? Yes, I’d
rather be called deadly for my killer show-tune medley ‘cause way down
deep inside, I’ve got a dream.”
Mother Knows Best (Reprise)
- Gothel returns with this reprise about half the length of the
original. There’s a darker, more dangerous tone to the song this time
around, and grandiose music surrounds Murphy’s scathingly sarcastic
vocals, at one point echoing a key musical phrase in the score of Beauty and the Beast,
which Menken also composed and nods to several times in the film.
Gothel is beginning to feel truly threatened, so she ramps up the
theatrics here as she plots a way to recover the source of her
longevity. “Rapunzel knows best! So if he’s such a dreamboat, go and put
him to the test! If he’s lying, don’t come crying. Mother knows best!”
I See the Light
- Ah, my favorite track – and one of my favorite Disney songs ever.
Even though you’re only getting half the effect here without the visual
spectacle of the floating lights, this is an absolutely gorgeous song.
The gentle acoustic guitar, occasional harp and magical woodwinds carry
this duet of self-discovery and love to greater heights. I’ve heard
comparisons between this and Aladdin’s A Whole New World,
and they’re fitting, since both involve a young couple on an adventure,
learning more about themselves and the world and falling for each other
in the process. They also both rhyme “here” with “crystal clear.”
For me, though, the song that sprang to mind first was The Greatest Adventure, the Glenn Yarborough-sung theme to Rankin and Bass’s The Hobbit.
“Who sits by the window will one day see rain,” that song cautions,
spurring Bilbo Baggins out of the comfort of his home into the journey
for which he is destined. When Rapunzel started in with “All those days
watching from a window,” my mind snapped to attention. Moore breathes an
air of innocence into Rapunzel’s words, while Levi infuses his with
dazed regret. Both have experienced a revelation. It’s a powerful moment
and a powerful song. I’m sad it didn’t win the Oscar. “And at last I
see the light, and it’s like the fog has lifted. And at last I see the
light, and it’s like the sky is new. And it’s warm and real and bright,
and the world has somehow shifted. All at once, everything looks
different now that I see you.”
Healing Incantation -
This shortest track on the album is very pretty with minimal
accompaniment providing a slightly mystical touch. Rapunzel is used to
singing this song repeatedly for the benefit of her “mother,” but here
she initiates the action, and there’s an earnest solemnity in her voice
as she works her magic upon her traveling companion. “Flower, gleam and
glow. Let your power shine. Make the clock reverse; bring back what once
was mine.”
Flynn Wanted - Now we’re into the purely
instrumental tracks. This one is filled with a sense of frantic pursuit,
with the brass particularly standing out and making me think of proud
palace horse Maximus tracking his thieving prey like a bloodhound.
Prologue
- Eerie and fairy tale-like as we hear Gothel recite the flower rhyme,
with her voice growing progressively younger, followed by an adorable
tiny tyke version of Rapunzel’s recitation. Short but sweet.
Horse With No Rider - Another song of hot pursuit, this one incorporates a sense of wonder and mystery and leads naturally into Escape Route, which includes a fun instrumental tribute to Mission: Impossible about halfway through and a jazzy lounge sound toward the end.
Campfire
- This contemplative track includes hints of a couple of the main songs
as Rapunzel and Flynn enjoy a quiet moment together. The
Celtic-flavored flute makes an especially lovely addition here,
reminding me a bit of James Galway’s work on the Return of the King soundtrack. Later on, meanwhile, this one puts me in mind of the prologue to Fellowship of the Ring.
Kingdom Dance
- This very Irish-sounding number is pure joy, with sprightly flutes,
fiddle and tambourine making it hard to resist getting up and dancing
yourself. It’s just so lively, especially once the hand-clapping begins
and the pace quickens. Kinda makes you want to break this one out at a
large gathering of people.
Waiting for the Lights -
Another quiet moment between Flynn and Rapunzel as she waits for the
fulfillment of her long-held dream. Gentle guitar, harp and piano come
together for this mellow, reflective track that erupts into a burst of
glory when the lights finally begin to appear.
Return to Mother - This mournful track reminds me of some of the music in the season six LOST episode Across the Sea,
which seems fitting since Gothel reminds me so much of the central
character in that episode. Threads of antiquity and despair mingle in
this disquieting piece.
Realization and Escape -
Starting out quiet, this one explodes into grandeur as Rapunzel
remembers the past so long hidden from her. The track turns dire as she
confronts Gothel about her new knowledge, with ominous percussion having
a particularly harrowing effect. Comical moments, particularly a few
seconds of what sounds like a Russian dance, mark the final part of the
track as Flynn makes his unconventional escape from prison with some
help from a motley crew of lovable thugs.
The Tear Heals - The longest track by more than a minute and a half, this one reminds me very much of Transformation from Menken’s Beauty and the Beast
soundtrack, which makes sense since the contents of the two scenes have
so much in common. At about the four-minute mark, it also reminds me
powerfully of one of LOST’s most tender friendship themes.
Immediately after this, Rapunzel returns for a final shaky recitation of
the incantation, followed by a thrilling orchestral return to I See the Light and concluding with a slow acoustic guitar rendition of the flower theme. This is the track that feels like the finale.
Kingdom Celebration - About half a minute shorter than Kingdom Dance,
this one feels more whimsical, with the instruments comically alluding
to the various pub thugs now living out their dreams. The melodious
burst of sound at the end concludes the instrumental portion on a high
note.
The Tangled soundtrack is one that, for me,
anyway, seems to get better with each successive spin in the CD player.
The rich fantasy tradition from which the movie itself draws is just as
evident in the music, and I truly think this is right up there with the
best that Menken has done. And that is saying a lot.
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