Sdb-film: musical evergreen - my 333 favorite disney songs (part lii)

Before you know it, we have the top 30 of "Musical evergreen" reached. And they represent the next big jump in this hit list, as there are three songs in this block, to which I have a special bond. We to meet my favorite cartoon character, which comes from the time after Walt Disney, we are stranded in the middle of a group of dangerous scoundrels and thus in my favorite Disney franchise and my personal hero also makes another appearance. You can cut my affection for the fabrics with a knife from this block, so to speak. And after this edition, 25 songs remain.

Rank 30: Down to Earth from WALL • E
Music by Peter Gabriel and Thomas Newman, text by Peter Gabriel

The quiet and picturesque closing song of the outstanding Pixar masterpiece WALL • E is a very unusual Kand >Down to Earth is also an atypical Pixar song: If vocals can be heard in Pixar films, then these songs usually come from Randy Newman, who left his mark on the early Pixar films with his relaxed, nostalgic, slightly playful jazz sound. Avant-garde rocker Peter Gabriel didn’t try to adapt to that. Instead, Gabriel, asked by director Andrew Stanton (a big fan of Gabriel) for a song for WALL • E, composed a very characteristic song for him, which combined progressive rock with world music and a slightly experimental, occasionally esoteric arrangement. Usually not my music at all. But it develops its relentless appeal and, above all, it fits perfectly with WALL • E, a film that not only strikes an unprecedented content, but also musically. The film ends with Gabriel’s sensual, thoughtful Down to Earth, but it begins with the exuberant, optimistic, old-fashioned Put on your Sunday Clothes from the 60s musical Hello, Dolly! without this mixture coming out unnaturally in any way.
Down to Earth received the World Soundtrack Award and the Grammy for the best film song, as well as the song for the Golden Globe and the Oscar. Thomas Newman, a cousin of Randy Newman, worked Down to Earth very carefully and subtly into his film score, just as he influenced Peter Gabriel’s original composition of this song and a few bars of the beautiful, poetic piece Define Dancing from a breathtaking cosmic scene in the film Flow down to earth. That is why the stylistically different, previously unknown credits song does not hit you like a punch, but fits seamlessly into the overall work of art. Down to Earth is the perfect background music for the great end credits, with the help of which the song summarizes and tells the events of the film. The sensitive stanzas evoke a little bit of memories of good-natured narrators, who let us in on an important secret, while the catchy chorus, despite all the differentness of the music, lets us contemplate contentedly about the end of the story without inappropriately bursting with jubilation, since one is too big Celebration at the end of WALL • E doesn’t really offer. Down to Earth is a cautiously positive, thoughtful song that uniquely harmonizes with my favorite pixar film.

29th place: Happy, Happy Birthday to You (Donald Duck Version) from Donald Duck’s 50th Birthday
Music and lyrics by Michael Silversher & Patty Silversher

Despite his hoarse pattering voice is my big one >Mickey Mouse Club March won a Disney anthem (applicable to the US market) >Gummibärenbande (290th place) and Käpt’n Balu (95th place), all kinds of vocal performances for early Disney series (including Chip & Chap) and wrote songs for the sequels of Aladdin and Arielle. They are also responsible for the most agonizing and diabolically overjoyed sugar shock of earwig that has ever seen the world. They managed to compose the misguided, debild cousin of it’s a small world (after all): In harmony, from the TV series on Arielle, the mermaid. With Happy, Happy Birthday to You (Donald Duck Version) Silversher & Silversher, however, all the hatred that she has through the only song with which even a world conquest plan by Dr. Drakken would open up again, because this snappy congratulation song has charm and is catchy in an unobtrusive, uplifting way. A lively little song with which one can thank the greatest duck in the world for its existence.

28th place: I’ve been waiting for this day ("Waiting for this moment") from Tarzan – The Broadway Musical
Music and lyrics by Phil Collins (German version by Frank Lenart)

In the stage version of Disney’s Tarzan, Jane Porter is given an impressive and at the same time enchanting introduction: marked giraffe riffs and a mysterious background noise can be heard, while Jane speaks Latin generic names like spellbound. The music lights up, a playful melody sounds with smooth percussion and Jane explains how much the natural wonders surrounding her enchant you. The jungle landscape is blossoming into a heavenly garden, an increasingly euphoric Jane is completely engulfed by this long-awaited moment, can be carried away to the conclusion that her life has finally really started and that she never wants to leave this place again. The music accentuates Jane’s first rays of joy and the singing also emphasizes the longing that preceded this joy. The excited-enthusiastic-happy song also keeps a pleasantly brisk pace, yet leaves enough room for Jane’s sensual frenzy, which she describes as a temptation that she can finally surrender to. That’s why I’ve been waiting for this day a joyful and very beautiful song about achieving its goals.

Pirates of the Caribbean was my favorite Disneyland attraction before I even heard of the plans to film this waterway. With which I belong to a handsome team of avowed Disney Pirate fans. Because even if the Pirates of the Caribbean films are even more popular worldwide, the journey that triggered the whole (legitimate) pirate craze has convinced countless Disney Park aficionados of their qualities since the opening of their first incarnation in 1967. Together with Haunted Mansion (see number 50) it has the most loyal fans and is an absolute must for every typical Disney park lover. Be >For me, Pirates of the Caribbean embodies everything that I love so much at the Disney parks, because this attraction shows in all its elements what ambition and care the Disney Imagineers (im >At the end of the world score are one more reason to pull the tricorn in front of Hans Zimmer). But you also come across the menacing aspects of piracy in the attraction as soon as you drive through the Schatgrotte accompanied by an eerie instrumental version of the song and encounter pirate skeletons.
The most but, of course, this song will come from the action adventure blockbusters produced by mega-producer Jerry Bruckheimer. Authors Ted Elliott and Terry Rossio, who are enthusiastic about the ride, did an exemplary job and perfectly transferred the mood of the ride to a conclusive script that pays tribute to its role model in countless places without confusing or boring unsuspecting people. And of course, Pirates of the Caribbean had to open with the song, what else? The lively pirate anthem, a British nursery rhyme in the film universe that young Elizabeth Swan sings into the furniture on the bow of a ship and years later teaches the infamous pirate captain Jack Sparrow in an abandoned spot in the middle of the ocean, is as much a part of pirates as it is the bottle full of rum. It is noteworthy that the song was completely re-translated in a rare case of continuity spanning corporate groups. Because during the legendary saying "Dead Man Tell No Tales" was translated differently in the Pirates of the Caribbean films than, for example, in Muppets – The Treasure Island, the German film translation is based on a previously published, adequate original translation, which is based on a sing with us -V > Yo-ho, pirates have a good time but also for me the best non-Pixar / Non-Bruckheimer film that the disney studios have released over the past decade: The treasure planet, which is so nicely the way to the cinemas the year before the Pirates of the Caribbean found.
Despite all the love for Jack Sparrow, I prefer the theme park version of the song. Jack’s whispered lines in Curse of Karbik are really cool, but the original is simply better as an independent song without a Badelt Score under Sparrows Summerei and swelling He’s a Pirate afterwards.

26th place: no way back ("No way out") from bear brothers
Music and lyrics by Phil Collins (German version by Leslie Mandoki & Matthias Monka)

My favorite song from the second Disney masterpiece with music by Phil Collins caused a lump in my throat when I went to the cinema. I did not expect such a scene (especially after the exuberant moments just before). To classify the content: the unsecured, young Kenai was transformed by the great spirits as punishment for his senseless vengeance on a bear, whom he blamed for the death of his older brother, into his totem animal, which he despised. On his trip to the mountain "where the lights touch the ground" Kenai gets to know the little bear Koda, not knowing that the overly friendly chatterbox that she expects in the fishing grounds has become an orphan through his fault. Shortly after Kenai finally learned to accept his new existence as a bear, he and his new friends (41) won a fishing game. When it is finally the turn of the cheeky Koda, he tells how he was separated from his mother. At that moment, Kenai realizes the terrible truth and the pangs of conscience he consume so much that he feels compelled to teach Koda as soon as possible, which is why he will never see his mother again. While Kenai confesses the unspeakable to his friend, Phil Collins begins to sing this incredibly sensitive ballad. A real Disney goosebumps moment that caught me on the cold foot, finally I dragged myself against the sense of duty bucking into the cinema, expecting an unbearably sweet and undramatic swan song on Disney’s cartoon tradition. And then there is this heavy, guilty, minimally working music to which Phil Collins tries to eat up self-loathing and grief, to express the condolences for Koda in words. A film moment, as you can see it primarily from Pixar knows.
The despair and hopelessness that resonate in this song are unmatched in the Disney masterpiece canon. Phil Collins, who made the unprecedented effort to sing several non-English versions for both Tarzan and Bear Brothers, really feels for this song, he immerses himself in Kenai and you can hear how difficult it is for him to make this confession and Koda to find comforting words. I like the German version the best because it sounds the most sensitive and the most vulnerable, followed by the Italian one. The (English-speaking) single release extends the song by a clear piece and gives it a redeeming, liberating conclusion, in which an inhibited optimism finds its way into the piece. The finale is a bit of a gospel piece, while the first half has more of a more classic pop ballad than the unusually melancholic version of the film, thanks to the mix that stands out more with the instruments, the piano and electric guitar support.

Sdb-film: musical evergreen – my 333 favorite disney songs (part lii)

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