The lion king
Walt Disney records
The Lion King had its work cut out in 1994. At the time, the resurgent Disney’s music-making power-pairing of Howard Ashman and Alan Menken had steered the songs for The Little Mermaid, Beauty And The Beast and Aladdin to Oscar glory. When Ashman died in 1991, lyricist Tim Rice helped write Aladdin’s songs: but Ashman was still a damn tough act to follow.
Lebo M.’s Zulu opening cry to
The Lion King seems to roar with confidence, but the route there involved some Savannah-sized leaps of faith. Disney thought Elton John wouldn’t sign up, though Rice convinced them. As for composer Hans Zimmer, he doubted his suitability until personal tipping points swayed him.
Besides wanting to impress his six-year-old daughter, Zimmer latched on to the realisation that the story wasn’t about “fuzzy cartoon animals”, it was about Simba’s grief (see ‘Classic Scene’, p124). How he missed similar losses in other Disney films is anyone’s guess, but his decision to approach the score as a “requiem” for the father he lost as a child proved inspired.
Zimmer’s inspiration proved equally on-point when he recommended South African composer Lebo M. to Disney. Between M.’s voice and choir, Carmen Twillie’s serene vocal, Zimmer’s tender panpipes melody and the titanic climax, ‘Circle Of Life’s transporting overture sits on a par with those for 2001 or Star Wars.
Best heard on 2014’s expanded Legacy Collection reissue, Zimmer’s continued score sizes up expressively. With his expansive instrumentation rooted in story and setting, Zimmer delivers one of his most emotive melodies for the achingly gorgeous theme introduced on ‘We Are All Connected’. Meanwhile, darker themes shadow the Morricone-ish ‘Hyenas In The Pride Land’. His playful side also receives rare outings, before disparate dramatic elements merge to tremendous, narrative-driven effect on the majestic ‘The Rightful King’.
Rice and John’s songs serve melody and story with equal dexterity. While ‘I Just Can’t Wait To Be King’ fulfilled Rice’s desire for something “boppy and poppy”, ‘Hakuna Matata’ works character arcs and fart gags into its frisky melodic form. Elsewhere, ‘Can You Feel The Love Tonight’ answered Disney’s need for another ‘A Whole New World’, Oscar win included.
While John credited Rice for giving his career new life, Zimmer accelerated his ascendance to soundtrack superstar status with his own Oscar. Disney, meanwhile, attempted to replicate King’s roaring success with more pop-star soundtracks. Some chance. Until Frozen, Simba ruled Disney’s kingdom of music. Bet Zimmer’s daughter was impressed, too. Kevin Harley