A Whole New World (Aladdin, 1992)Ī song that can survive being performed a d eux by Peter Andre and Katie Price is clearly a song that is exceptionally well constructed. And, like the best 60s sunshine pop, something shady lurks beneath the carefree breeziness of its tune: lyrics that offer a masterclass in passive-aggression.
The writer of Hamilton, Lin-Manuel Miranda, came up with this homage to the 60s sunshine pop of the Turtles or the Association. 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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