Some of the greatest love songs of the past 70 years have come from
Disney movies, so it makes sense that they would be the theme of several
albums. One of those is The Essential Disney Love Song Collection,
an 18-track album featuring six songs lifted straight from the movies,
11 “romantic renditions” of movie songs and one song original to the CD.
While I’m a little disappointed at some of the songs excluded –
particularly Candle on the Water from Pete’s Dragon and Jolly Holiday from Mary Poppins
– and I’m a bit puzzled about the reasons for having this mix instead
of all established recordings or all new ones, I found it a pretty nice
collection overall.
When You Wish Upon a Star - I like that the beginning of this track includes a musical nod to Little Wooden Head,
the sweetly quirky song Geppetto, my favorite character in the movie,
sings to Pinocchio before he comes to life. Craig Toungate performs the
song against lush instrumentation, and something in his tonal quality
reminds me of Jiminy Cricket. While I don’t really consider this a love
song, I seem to keep encountering it in that context, and it’s not too
much of a stretch to make it fit.
Can You Feel the Love Tonight
- The general sound of this one is very similar to the movie, though
the voices, especially the singing voices, are obviously different.
Assuming the names are listed in order, Dennis Razze and Toungate are
Timon and Pumbaa here, and they approximate their voices pretty well for
their banter, but Alicia Kay, Virgil Seals and Patty Rowell have a
significantly distinct sound. While I prefer the original version, this
one is almost as good.
True Love’s Kiss - The first song
on the album that is the original rather than a new recording. Amy Adams
has such a perfect Disney princess voice, and she bubbles over with
innocent enthusiasm here as she imagines the ecstasy of the kiss that
will change her life. James Marsden, when he finally shows up here,
makes a wonderful complement to her, and the uncredited woodland
creatures are adorable. The song mostly feels like a slightly
tongue-in-cheek nod to Snow White and the Seven Dwarfs’ I’m Wishing / One Song; it is very sweet and slightly silly.
Bella Notte
- I love the mandolin and accordion that usually accompany this song,
as well as the thick Italian accent on the singer. Those elements are
present in this new version performed by Joe York and Scotty Roberts, so
I’m happy with this track, which clocks in at under a minute and a
half.
Kiss the Girl - Samuel E. Wright is so wonderfully
expressive as Sebastian, the Jamaican-accented crab who serves as King
Triton’s advisor in The Little Mermaid. This is another original,
so you’ve got his wonderful performance, along with all those great
reggae-ish instruments that help set a mood that is both exotic and
persuasive.
So This Is Love - Meredith McCall sings this new version of the Cinderella
classic, another short one at just over a minute and a half.
Accompaniment is minimal, with strings and occasional harp plucking; the
main thing distinguishing this is York’s presence as the very
stately-sounding prince. I’m torn, but I think I might like it even
better as a duet.
Once Upon a Dream - This Sleeping Beauty
tune has very similar accompaniment and a comparable feel to it. York
is the prince again, and he sounds about the same as in the last track,
which works because really, while Phillip is more developed than his
predecessors, it’s easy to get those three early Disney princes mixed
up. Another nice duet.
A Whole New World - Given the
immense popularity of the movie version, performed by Brad Kane and Lea
Salonga, I’m not surprised this was one of the tracks that stuck to the
original. It’s an exhilarating ballad with the music evoking the joy of a
world-traversing magic carpet ride and the eager voices reflecting the
thrill of awakening love. I’ve read many comparisons of Tangled’s I See the Light
with this song, and they are apt, though I still consider the latter an
exquisite song in its own right. In fact, I prefer it, but that doesn’t
stop me from loving this exuberant duet as much as I ever did.
Something There - Interestingly, this album includes two songs from Beauty and the Beast,
and both are the original versions. While this is not as iconic as the
title song, which comes later, I like it better, since it feels much
more down-to-earth and personal. The other one is grandiose and
archetypal; I prefer listening to these specific characters express
their confusion and wonder as their feelings for one another change, not
to mention the astonishment and excitement of their enchanted
observers. It’s such a perfect movie moment.
One Dance - This one is interesting because Jodi Benson, who plays Ariel in The Little Mermaid,
performs the song, but it’s a new rendition because this is from the
Broadway show and was originally recorded by Sierra Boggess. I have yet
to see the stage musical or listen to the cast recording, so this song
was new to me, but it’s easy to see how it would fit in. Ariel’s ardent
devotion to Eric despite their limited interaction is apparent. I
confess I’ve always struggled with Ariel, finding myself troubled by her
eagerness to cast off the world of her youth and so permanently
separate herself from the family and friends who love her. However, her
assertions here feel very true to her character.
Baby Mine
- This is obviously a song of love, but when I hear “love song,” the
implication is generally that we’re talking romance, especially when the
liner notes use the words “romantic renditions.” This new version by
Paige Morehead definitely feels like a lullaby, with guitar and keyboard
adding a gentle musical backdrop. It’s not romantic, but it’s very
tender.
I Won’t Say (I’m in Love) - This sassy “methinks she doth protest too much” song from Hercules
has the same basic sound to it as the original, with Rebecca Schoolar
taking on the role of emotionally wary Megara and Laura Benedict, Alicia
Jones and Chris Martin filling in as the Muses who aren’t buying her
objections. It’s a fun song, in part because it’s such a change from the
instant, unprotesting ardor of so many Disney heroines. Her practical
objections feel more realistic, while still leaving room for her true
attraction to peep through. Probably the peppiest song on the album.
If I Never Knew You - Jon Secada and Shanice perform this radio-ready end-credits duet from Pocahontas.
It’s the original version, which is interesting because it has much
more of a pop sound to it than the other straight-from-the-movie tracks,
which feel more like Broadway. One unusual aspect of Pocahontas
is that the main romantic couple does not end up together. Of course, in
real life, they weren’t a romantic couple at all; as fast and loose as
Disney played with history here, separating Pocahontas and John Smith at
the end definitely was the right call. This song is similar in many
ways to Wicked’s For Good, a duet celebrating a powerful
relationship that cannot last but that has changed both parties
profoundly. While I find the sound of the song a little over-the-top,
it’s a touching testament to the strength of a bond that will remain
although circumstances force a parting of the ways.
You’ll Be In My Heart - This new version of the Tarzan
song, performed by Rolan, is very short but still a great track, with
the strong male vocals complementing the jungle-inspired instruments. A
touching lullaby along the same lines as Baby Mine.
I Wonder - This Sleeping Beauty
track, a new rendition by Leslie French, captures the wistful sweetness
of the original in a mere 83 seconds. The harp is an especially nice
touch.
My Gift Is You - Craig Hella-Johnson and Leslie
Whitely perform this new song, a mellow Christmas love song that, based
on the liner booklet illustration, I take to be a duet between Mickey
and Minnie, though their voices sound nothing like the high-pitched
mice. This acoustic number is pretty standard domestic holiday fare,
full of cozy images like hot cider and falling snow and an overarching
assertion of mutual affection.
Beauty and the Beast -
Angela Lansbury’s mature British voice brims with wisdom and good will
in the final movie version on the album. The advanced age of her
character makes her especially suited to interpret what has been
happening between the title characters, and the timeless quality of the
song assures that it will continue to strike a chord for many years to
come.
Stay Awake - It makes sense that this
reverse-psychology lullaby would be a final song on an album, but I
confess I find it a strange choice for this album, since this is
most definitely not a romantic song, at least not in context. I suppose
that this rendition, sung by Karen Taylor-Good and accompanied by
delicate harp, could be interpreted in a romantic light, but that seems a
stretch. It is a beautiful performance, though, and whatever the type
of love at play, the desire for the addressee to have a good night’s
sleep is a caring sentiment.
This album fills a similar niche to Disney’s Fairy Tale Weddings
as it features mostly new recordings of classic Disney love songs.
Eight of the songs found in this collection are on that one as well,
though of course they sound different. Those looking for something
unique may be frustrated by the original tracks and those eager to
listen to songs they know and love may be thrown off by the new
versions, but for me, it works. The attractive liner booklet, which has a
red, white and pink color scheme and includes pictures of pertinent
characters, along with lyrics to the songs, is the icing on the cake. I
don’t know if I’d call this album “essential,” but it certainly makes
for easy listening.
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