"Circle Of Life - Nants' Ingonyama" "Circle Of Life" Written & Composed by Elton John & Tim Rice "Nants' Ingonyama" Written & Composed by Lebo M & Hans Zimmer Performed by Carmen Twillie African Vocals Performed by Lebo M Arranged & Produced by Hans Zimmer
"I Just Can't Wait To Be King" Music by Elton John Lyrics by Tim Rice Performed by Jason Weaver with Rowan Atkinson & Laura Williams Arranged & Produced by Mark Mancina
"Be Prepared" Music by Elton John Lyrics by Tim Rice Performed by Jeremy Irons with Whoopi Goldberg, Cheech Marin & Jim Cummings Arranged & Produced by Hans Zimmer
"Hakuna Matata" Music by Elton John Lyrics by Tim Rice Performed by Nathan Lane & Ernie Sabella with Jason Weaver & Joseph Williams Arranged & Produced by Mark Mancina & Jay Rifkin
"Can You Feel The Love Tonight" Music by Elton John Lyrics by Tim Rice Performed by Joseph Williams & Sally Dworsky with Nathan Lane, Ernie Sabella & Kristle Edwards Arranged & Produced by Mark Mancina
"The Morning Report" Written by Elton John Lyrics by Tim Rice Performed by James Earl Jones, Jeff Bennett & Evan Saucedo Produced by Mark Mancina Executive Music Producer: Chris Montan Vocal Production & Arrangement by Lebo M Additional Orchestrations by David Metzger Music Production Supervisor: Tom MacDougall Music Production Manager: Andrew Page Music Production Coordinator: Deniece LaRocca-Hall Recorded & Mixed by Steve Kempster Music Editor: Adam Smalley Technical Consultant: Chuck Choi Additional Engineering by Jonathan Allen & Don Hoffman Assistant Engineers: Brian Dixon & Chris Clark Music Production Assistant: Joel Berke Recorded & Mixed at Signet Sound Studios, Abbey Road & Audio Department
"Warthog Rapsody" Music by Elton John Lyrics by Tim Rice Performed by Nathan Lane & Ernie Sabella Arranged by Hans Zimmer & Bruce Fowler Produced by Hans Zimmer, Jay Rifkin & Mark Mancina Mixed & Recorded by Jay Rifkin & Alan Meyerson
Songs by Elton John & Tim Rice Original Score Composed & Arranged by Hans Zimmer
"We Are All Connected", "Elephant Graveyard", "Remember Who You Are" & "The Rightful King" Written by Hans Zimmer & Lebo M
Disc One Tracks 19 & 21 Produced by Jay Rifkin Disc Two Tracks 3 - 9 Produced by Hans Zimmer & Adam Smalley
Music Production Services: Steven Kofsky Album Remixed & Compiled by Alan Meyerson Mix Assistant: John Witt Chapman Music Recorded & Mixed by Jay Rifkin Additional Recording by Steve Price, Mike Farrow & David Appelt Album Mastered by Gavin Lurssen at Lurssen Mastering Song Vocal Arrangements by Hans Zimmer, Lebo M & Andrae Crouch Additional Vocal Arrangements by Mark Mancina, Bobbi Page & Bruce Fowler Score Choral Arrangements by Lebo M, Nick Glennie-Smith, Mbongeni Ngema & Andrae Crouch South African Voices by Committed Artists Choir & Friends African Vocal Solos & Lyrics by Lebo M Additional African Vocals by Mbongeni Ngema Choir Masters: Lebo M, Mbongeni Ngema, Nick Glennie-Smith & Andrae Crouch Orchestra Conducted by Nick Glennie-Smith Orchestrations by Bruce Fowler & Nick Glennie-Smith Panpipes by Richard Harvey
Music Editor: Adam Smalley Music Preparation: Dominic Fidelibus Music Contractor: Reggie Wilson Vocal Contractors: Tonia Davall, Alfie Silas, Mbongeni Ngema & Bobbi Page Music Production Assistance: Nico Golfar (U.S.A.), Maggie Rodford (U.K.) & Eric Stark (South Africa)
Music Recorded at Remote Control Productions, LA ; Ocean Way Studios, L.A. ; Snake Ranch, London ; Angel Studios, London ; BOP Studios, Mmabatho, S. Africa
Recording Assistants: Brett Newman & Steven Stern (L.A.), & Alister Glyn & Tanja Somers (S. Africa)
Additional Score Mixed at Remote Control Productions, Santa Monica, CA
Sound Programming: Bob Daspit Studio Manager for Remote Control Productions: Shalini Singh Assistants to Hans Zimmer: Cynthia Park, Christopher Ward, Mitchell Lamm & Antonia Bogdanovich Album Compiled by Hans Zimmer & Jeff Rona
Hans Zimmer wishes to thank: Jeffrey Katzenberg, Andy Hill, Don Hahn, Tom Schumacher, Roger Allers, Rob Minkoff, Peter Schneider, Chris Montan, Tom MacDougall, Mitchell Leib, Zoe Leader, Anna Curtis, Laura Gonzalez, Ryan Hopman, Michael Kelly, Mark Levy, Dani Markman, James Martin, Jim Presley, Rob Souriall, Renee Stutzman, Chip Sweeney, J.V.T., Jillian Abood, Kelly Bush, BeBe Lerner, Rae Murillo & the ID team, Candace Carlo, Chuck Choi, Kathy Davis, Ari Emanuel, Daniel Kresco, Chaz Labrecque, Stephanie McNally, Amos Newman, Ryan Ouchida, Stephen Paine, Bradley Rainey, Chris Strong, James, Trish & Max Golfar, Catherine Sanderson, Seth Waldmann, Christian Wenger, Monica Zierhut, Vicki Zimmer, Jake, Annabel, Max & Suzanne Zimmer & everyone at Remote Control Productions
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Is this all there is to it? I mean does Hans Zimmer hold back any unreleased parts of the score?
There's an unofficial release of the score that contains two tracks missing from the Legacy edition : an alternate version of "We are all connected" and an alternate version of "Mufasa Dies".
Well, you have to remember this isn't a specialty label release. There are a few missing pieces if you have this set only:
-There is an alternate to Circle of Life that has not been heard. Not 100% sure it was recorded though. -The alternate to Disc 1 Track 2 that is used in the film. (unavailable outside of film) -An alternate to Disc 1 Track 3 (available in the bootlegs) -An unheard alternate to D1T10 (unavailable) -An alternate to D1T11 (heard in the bootlegs) -There are also several other pieces that never made it beyond demo stage. The most completed one of those would be "Be Prepared (Reprise)" which had two versions. Outside of working print versions of the film, these have not been released in any shape or form, and even in the working print versions, they are very low quality.
ggctuk, honest question (and no offense meant by it): why is it that you only ever comment on like three or four scores? You seem to comment on pretty much everything that anyone ever posts in the Lion King thread (I'm not sure whether to be impressed or scared by your knowledge of that score, incidentally, but I think we all have at least one score like that :p ), and you were fairly active in the Terminator Genisys thread last year, so you must visit the site often enough, but you almost never comment on any other scores. Are your tastes just that specific?
I know tons more about other scores than I do this one (my knowledge of the Star Wars prequel scores might be more awe-or-terror-inducing, particularly The Phantom Menace, which has been a pet project of mine for the last decade). Perhaps it's because by chance I don't happen to listen to a whole lot of Zimmer because he's not featured in a lot of the films I like to watch (I'm not a fan of DC films apart from the Dark Knight trilogy and I wasn't exactly awed by those scores, I've never seen Interstellar or Pirates of the Carribean either, and people seem to think quite highly of Interstellar for sure). I'd have talked more on Terminator Genisys but no bootleg page was ever created for it despite the fact that the complete score for that leaked in April.
So it's more a fact my knowledge of Zimmer scores seems concentrated given I listen to so few of them compared to other people, and compared to other composers' works.
If the alternate to CoL hasn't been heard, how do people know of its existence?
It was in a cue list that got leaked.
why would any one leak a cue list? what is the benefit of that?
It's from somebody who has the sheet music. It's more of a "I have something you don't have" posturing.
Is the sheet music a secret?
Not a secret per se. Certain people just like hoarding and trading 'rare' things (without the realisation said rare thing is actually just a digital copy and the only real rarity is the original sheet music)
This release is quite good but I suspect there is more in Hans's vault.
There's practically nothing left. In the words of a song from another famous Disney musical movie: let it go.
I'm too hoping for more. There are some songs I've heard before that aren't on the cds.
maybe we could start a petition? I dunno just a thought
As I said, there's nothing left. So there's no point.
That's... not entirely true...
Far beneath the grounds of the Disney studios over at Burbank lies a secret chamber, closely connected to the realm of El Diablo. Within it lies recordings of the various missing cues, cut songs, and demos not presented in the Legacy Collection. It was foretold that a chosen one would someday rise up and tunnel his way towards the forbidden chambers where the music still lies to this very day, and thus the world would soon hear what was unheard all that time ago and will reach a new stage of enlightenment leading to world peace, so sayeth the Ruler of Bethos.
HZ threw away most of his demos, that's why the ones in this release aren't in good quality...
So no, don't expect anything more...
How can he throw away the demos? It's like throwing away old photos of your kids because they've grown up. Makes no sense at all.
Because Hans is only interested in "what's next", not in what he just finished... He doesn't look back...
That's a nice bit of PR there from Hans (as usual), but it's pretty selfish of him to toss out stuff when he knows full well that there's an audience for it. Surely it wouldn't hurt just to let it collect dust in a hard drive somewhere for future generations to one day enjoy?
We know that you're the troll in disguise, don't even try.
I'm not wearing anything.
Zimson, you're a moron, why don't you stop being such an idiotic drone for a change? Edward was exactly right in what he said.
Edmund, while I can see your viewpoint, I can counteract that with this: film score was not nearly as popular in the 1990s as it is now. There was no clamour for more complete scores, or demos of cues. So there was no incentive to keep anything that wasn't to be used. The demos served the purpose of demonstrating how the music would be played out, and when they were no longer needed, they were discarded.
I'm not expecting super high quality demos, I just want to hear something.
TurdMaster if any of this is true then I was probably right.
So, what about reprise of "Be Prepared" or different early versions of "Can You Feel the Love Tonight"? What about demos sang by Elton John? Didn't they exist?
There must be more. Someone has got to know something. It can't be right that The Lion King legacy edition consists of (barely) 2 cds when the movie is only 20 years old. Two! I mean Fantasia got 4 cds and that movie is from 1940, more than 50 years older than The Lion King! What's next? Snow White getting an 8 disk release? What gives??
So according to you, the number of disks a release has should be proportional to how recently it came out?? That's...interesting logic....
The Fantasia set is a special case as it includes the original soundtrack and the re-recording in a single package. They had the CD masters for both, so both got released in one set. Other Disney Legacy sets generally have two CDs, and contrary to your belief, older Disney Legacy releases actually have LESS than the newer films covered, primarily because anything before the rennaisance era... those masters are largely lost.
this release is grotesque
Care to explain that statement a little bit more, evt?
I just realized something about this score/release...A couple years ago, Hybrid said if they did a complete-ish score release, Hans would want it to have "all the suites and rejected stuff he wrote"...So I guess this means we're still missing quite a bit from here, if the composer himself wanted certain stuff put out and it hasn't been put out yet.
No actually doesn't have much left, he threw most of his demos, hence they had a hard time finding the demos for CD 2 and not in great quality... :) lol
i would also threw this shit hans did right
This guy and mukyat are quite clearly the same person...
I'm a little surprised at the lack of alternate versions, though. I don't know how much actually exists right now but there were two unused pieces on the leak and an alternate to D1T2 in the film. I just assume 'clean' sources for that could not be found.
Attempting to divert away to slightly more serious discussion...
So, in light of the other Legacy Collection releases and a certain other Disney film score that very recently leaked out, what do you guys think of this set now? Have the other Legacy Collection sets made you think this might not be as grand as it first appeared to be? Me, personally, I still love this set but in hindsight I do wish that given some sets have 3 discs of material that the same could have been done for TLK. I can assume there are reasons - after all, the material was not stored in the same way modern scores are. Having said that, the sessions leak had some material not present here.
Thanks for trying to regain a serious note in this thread. To answer your question, love this set. Of course there is always a desire form more, and I will always crave anything new and available, but in terms of the definitive version to own; this is it. I listen to this a ton, and love the additional content available.
whoever mixd it did a piss poor job cos u can hear it peak
The clipping has nothing to do with the mixing. Some of the tracks are mixed exactly the same as on the sessions yet have clipping. It's down to the person who mastered the album. Yes, that's a little annoying. That does not make this a bad set.
I will say this: I like this Legacy Collection, but I'm also glad that the bootleg leaks are still available, so I can hear the mixing that was actually in the film.
Not all the mixing that was present in the film was in the leaked version as several cues had more revisions before they got used in the film, though the leaked version is currently the only place to get two unused alternate pieces of music.
Excluding the songs, there was Scar's Dinner, which used a version that is still unreleased in any form bar the film. Then there was Stampede, which had alterations to its opening percussion and chorus mix. As Good As Dead PT1 had its ending mixed with additional snare percussion. Rafiki had some cuts and the ending was dialled out for a chorus-only fade. Homeward Bound had additional changes to its percussion, including an additional hit at the start and the removal of all percussion at the end, and they also modified "Simba and Nala Move In/End", mostly with standard editing but at the end they did alter the percussion mix.
Haha, I know what you mean about the Rafiki piece. Whenever he gets all excited over Simba still being alive, it always felt jarring when you can hear the end of that cue suddenly pop up without the full build up heard in the sessions/Legacy Collection. After being so used to listening to the score own its own so many times, one can never get used to that sudden change.
Anyway, I think more could have been added to the set, plus maybe instrumental versions of the songs too(in their faithful film mix to boot), but I'm mostly happy with how the set turned out. My only major grip is still that dopey cross-fading. Curse you, Pumbaa and your snorting!
What I always wanted to know: How much of Busa is actually Hans' music? Are the African choirs written by him or are they taken from a folk song? Maybe it's a stupid question but it's important to me since Lion King is probably my second favorite work by him.
yea it's probably a stupid question
Why exactly? Has this been discussed before?
I don't know if it's in fact a stupid question, I just said that it probably is
The Zulu lyrics were written by Lebo M (who also arranged the African vocals for the entire Lion King soundtrack and score), who also performed them with a South African choir.
Lebo also wrote the lyrics for "Nants' Ingonyama" and sings this opening chant before "Circle of Life" begins.
Who here knows when Zimmer will release the rest of the score?
hahah manuel why you gave as hit
What the hell is wrong with this thread? This whole page is just a mindless wasteland.
^Enter Timon & Pumba to the rescue.
You got the spammers who hate everything about the film but can't string together a coherent sentence. Then you got the hyper fanboys that think this is the greatest thing ever but still want more. Hell, I got accused once of being overly enthusiastic, but I've made my thoughts plain. This is it. This is what it is. Asking for more is completely pointless. If you want to have the rest of the score, why don't you just get a job with Walt Disney Records and ask for them? I honestly doubt there will ever be another release, aside from reissues.
And who asked for your opinion? Pipe down and run along.
stfu u garlic eatin peasent!!
It' s a comments section. General consensus is that you can share your thoughts. Don't like it? Then run along, kids.
"Garlic eatin peasant"... I'll have to remember to write that down... and shoot you in the head, you annoying dick.
this will always be hans best score. it won an oscar. so didnt interstellar. interstellar is clearly so inferior.
Using the Oscars to back up an argument, are we? FAIL
lion king is awesome, but it's not his best score. maybe his best first score, followed by many other best scores ;)
the oscar is no argument to think that it's the best one. but one thing i have to agree with you. interstellar isn't amazing. i'm tired of this back-step from him using those electro and synth sounds. hope he will get back very soon with some emotional orchestral scores.
i've never understood people when they said interstellar is his most emotional score. well i guess you've never heard his previous scores.
it's a shame he haven't won the oscars for lets say gladiator, thin red line, last samurai, pearl harbor. but interstellar it's understandable why not. same goes for inception and all the other scores from him that has the same sound style.
The Lion King is predated by such excellent scores as Backdraft, Days of Thunder, Black Rain, A League of Their Own, Cool Runnings, The Power of One, Radio Flyer...hardly his "best first score" in my books, nor even the best of that group!
It's a good score, and it sure helped Hans get recognition at a fairly early stage in his career, but I'm one of those who doesn't think it's quite a masterpiece.
forgot to mention Crimson Tide!
Doesn't predate Lion King.
"It's a good score, and it sure helped Hans get recognition at a fairly early stage in his career, but I'm one of those who doesn't think it's quite a masterpiece."
Nice to hear someone else have this opinion. I've always felt like I was alone!
Everyone is entitled to their opinion as flawed as it may be hahah
@Hybrid While The Lion King is my personal favorite and I find it to be one of his best works(it's also commendable how thematically dense it is for a score to a 85-89 animated minute feature), it definitely isn't his earliest top tier work. As previous replies noted, there's a good number of material that preceded it which were pretty outstanding.
@kens Using Oscars as for a reason why a score is superior to another is flawed logic. Let us not forget hilariously wrong choices like at the 83rd Academy Awards where The Social Network's soundtrack beat out the likes How To Train Your Dragon, Inception, and The King's Speech.
it is his best score by any measure. if you find the oscars flawed then look at the figures. the figures are always right.
It's all subjective, there is no point arguing either way, which is how it is for any art form.
Figures? What figures?
If you mean sales, by that measure Justin Bieber is one of the greatest musicians in history and Fifty Shades of Grey is a literary masterpiece. That's even more ludicrous than using the Oscars.
What Edmund said.
LOL!! Edmund that made my day!!
Justin Bieber can go suck a railroad spike :P
Edmund forgot the first rule of being an intellectual: NEVER argue with an idiot. They'll bring you down to their level and then beat you with experience.
My music teacher when I was in school analyzed the scene where Mufasa (spoiler) dies. I never realized how much thought got into that. The transition from major (hope) to minor key (realization). I think from a "as written for picture" point of view it deserves the Oscar above all other. It even beats wall-to-wall game changer Backdraft Imo
"The transition from major (hope) to minor key (realization)"
To be fair that's a pretty basic and common composition technique.
THE LIN KING IS HIS BET WORK
Nothing outshines The Lion King
the lion king is suck movie
I kant speel
Eglish ad grammer. sckucks to
with all due respect. I think hans would agree that the lion king is his best and most beloved score. there is no hans zimmer without the lion king. it made him famous.
Zimmer doesn't really talk about his favorite scores (composed by him) much. But with some exceptions (Lone Ranger...?) he comes across as proud of all his scores once he has written them.
zimmer himself is the best example that THE Lion king is his best
Where did all these incoherent Lion King fanboys crawl out from under???
It's quite possible they're the same person, just with a different name... xD
They crawled out from under Pride Rock, duh! :P
i wud say it his worse score cos it s so retaded haha
This score was largely composed by Nick Glennie-Smith
The Lion King score is, of course, a masterpiece. Just watched the movie the other day and listened to the Legacy remaster and I was - once again - blown away. I totally agree with Turdmaster3000 (ahem...) that for a 90 minute feature it is incredibly rich and varied. Hans was a bold choice for the movie, as the movie itself was bold for that time, and it all paid off. For me, those melodies are soul-shattering, adrenaline-inducing and uplifting to this day. It's an iconic score through and through, instantly recongizable everywhere and not just for one solitary theme, as is the case for many of - and I'm just gonna say it - John Williams' scores.
You had me right up until the little jab at the end. Are you saying all Williams can do is write monothematic scores? Because that's pretty stupid if you are.
If you're just saying that Williams' scores are only recognized for the one theme, well, yeah...the public are idiots who are deaf to film music, but that's hardly Williams' fault. Nobody remembers much out of PotC other than "He's a Pirate" either, but we all know there's way more to those scores than that.
I'm pretty sure said jab was referring to how public audiences can only recall one theme from his scores. Although, I'd give them a bit more credit, as more often than not, they'd at least remember 2-4 more out of each of his particular iconic works, and only the secondary and less significant themes are not as identifiable for them.
Concerning The Lion King, I'm not sure the public recognizes many themes from the film(despite it containing around a dozen reoccurring motifs). It's mostly about the songs to them.
The most well recognized ones are really just the Mission-inspired theme for Simba, and the classically-inspired one for Mufasa. More often than not, they're both mistaken as just one theme altogether as well. If you just approached a casual fan of the work and asked them what their favourite particular theme was, they'd probably just give a vague "King of Pride Rock" answer, which actually contained lot more than just one theme.
Yeah, I meant it in terms of public recognition, not general thematic variety. Although, I must add, I do think Williams' secondary themese rarely match the main ones in terms of instant recognisability. There are exceptions ("Duel of the Fates", for example), but his secondary motifs are usually more subtle. I wouldn't throw PotC into the mix as an example, because as well known as it may be, it isn't THAT big of a beloved classic. The Lion King is, and is IMHO easily comparable to Star Wars or Harry Potter (although those are full theatrical franchises). And that being said, I really do believe that people in general are more likely to pick up on a Lion King's secondary (!!!) themes rather than the Star Wars or Potter ones.
Furthermore, I would actually compare the LK score to Shore's LoTR - many, many distinctive themes (Fellowship, Rivendell, Isengard, Rohan, Mordor etc.), and people will never fail in recognising them as belonging to LoTR.
WAY more people are going to be able to hum/recall Pirates than anything from the Lion King score, I'd say, let alone LotR or Star Wars or Harry Potter. Maybe it's just the people you hang out with but I've never gotten the impression that the score from Lion King has seeped into the public consciousness to that degree. Songs, sure, but not the score.
It's a delicate matter, to say the least :) Could be a basis for a nice social experiment.
I can ask any of the people and they'll remember the music from the Stampede sequence and the film ending. Likewise, they'll remember the music from ROTK "The Ring is mine" scene, the Fellowship theme and Sauron's theme. And people seem to recall the Star Wars Main theme, Duel of the Fates and even the Droid March quite well. So I'd say that your assumption that the general public can't recognise more than one theme from other scores is wrong. It all depends on taste: some people will remember certain films' themes better than others, and that goes for all film scores, including this one.
My experience has been the same as Edmund's. I've never heard any non-score-fan point out the greatness of the Lion King score, just its songs, but I've heard tons of people, whether film score enthusiasts or not, say that they love POTC's music.
Why would someone be disappointed? This is the complete score. What exactly are you disappointed of?
It's the Internet. Someone's always disappointed.
I am disappointed only in the brick-walled mastering. Why is every audio album made so loud these days?
I was really only annoyed by the cross-fading. Some minor differences here and there that I preferred from the old mix were a little missed too, but nothing substantial was lost. Overall, it's a really solid release.
Overall it's a cleaner mix than the the original tracks. The original complete score sounds a bit out of date today.
A little disappointed by the lack of alternate cues, and by the brickwalled loudness in places. But otherwise it takes pride of place as the first of six Legacy sets on my shelf. Not least because the mix doesn't sound as fake and synthetic as before.
No offense, but that's called "Dynamics" and it's sad that pop-music-damaged people are complaining about it.
Can't stand pop music. It's just obvious when you put the 'dynamic' version against the sessions in a couple of places. It's really only noticeable in one track anyway (Elephant Graveyard) unless you're out to look for everything 'wrong' with this set. Like I said, it's still a significant part of my collection. It's the lack of alternates that disappointed me a little more, though I'm sure there's a reasonable explanation for their non-inclusion. And as I also said, the omission of synthetic elements is a big plus.
yes this score is great disappointment and so am I
Aw, don't be so down on yourself louie. Don't go down on yourself
Apparently some reviews on foreign language Amazon sites have shown up that claim that the snoring noise at the beginning of track 19 disc 1 has been removed on newer copies of the cd. Can anyone confirm? Thanks.
That 'snoring' is holdover from track 18. It's meant to be there as it's part of the transition. It's not difficult to edit it out if you use the OST anyway.
whats so special about this release? is it worth spending hard earned money on?
It's the complete score of the film, not the measly 15 minutes of score all the previous albums had. So yes, if you're a fan of The Lion King's score (and not just its songs), then this comes warmly recommended. lol.
It's not complete, but it's pretty close. It doesn't contain any alternates beyond the demos. There are three that I am aware of - one each for tracks 2, 3 and 11 - the latter two can be heard on the bootleg though. I'm told Stampede, Circle of Life and Be Prepared may have alternates that were written but were not likely to have been recorded, and there were two cues that never made it past sketch form.
Just get spotify.
What's spotify got to do with the contents of this release?
This legacy release is outstanding! The mix sounds great. Does anyone know if there's any cues on the bootlegs that didn't make it into the Legacy Collection so I can make one super Lion King album to settle this once and for all?
Two cues are on the bootleg that are not in this set:
-The original version of "We Are All Connected". This uses the Rifkin mix, but you can easily edit the section into the Legacy track. -The alternate for "Mufasa Dies". Again, it is the Rifkin mix, but you can edit the alternate section into the Legacy track.
As well as this, the album and bootleg all contain different mixes of the cues and songs. My own 3CD edit opts to include select cues at the end of disc 2 from the bootleg at the end of disc 2 and the original album at the start of disc 3 to cover the most significant differences between the two.
Sounds like the demos for the rest of the score weren't available. Hope they get found someday.
There's also two versions of the Be Prepared Reprise that weren't finished (the instrumental was finished by the sounds of things, as were Irons' vocals but the hyena chorus wasn't).
-"Circle Of Life" is almost identical to the album version, with the addition of having the extra choir at the end that the album omits. -"Didn't Your Mother Ever Tell You Not To Play With Your Food?" contains the "Scar's Dinner" cue as it appears on the sessions leak, just with the gap omitted. -"We Are Connected" - this contains the film insert at long last. The chorus arrangement is also different from the previous leak. -"Hyenas In The Pride Lands" - this is the same as the sessions, though the mixing is a little different. It leads into "I Just Can't Wait To Be King", which is the film version (Nala and Simba duet on that one line Nala solos on in the album). -"Elephant Graveyard" contains a slightly different mix. -"I Was Just Trying To Be Brave" contains a different choral mix. -"be Prepared" is identical to the album. -"Simba, It's To Die For" is identical to the earlier leak. -"Stampede"... now, where to start! It sounds COMPLETELY different! The previous leak, the album and the film combined this version of the cue and the demo cue and omitted a few parts of the chorus. The ending is a little weak compared to the film version, but the chorus sounds much more epic. -"Mufasa Dies" - Again, a different choral mix. -"If You Ever Come Back We'll Kill You" - Has a different mix compared to the film. -"Bowling For Buzzards" - pretty much the same as the sessions but the pan flute is mixed differently. -"Hakuna Matata" - This is the film version. -"We Gotta Bone To Pick With You" - pretty much identical to the sessions leak. -"Kings Of The Past" There's less of a gap between the two parts and the chorus is mixed differently. -"Nala, Is It Really You?" From what I can hear this is pretty much the same as the sessions. it leads directly into "Can You Feel The Love Tonight", which likewise appears largely the same, though the chorus mix sounds different for sure. That then leads into "Remember Who You Are" which again is largely the same as before, just with different pan flute and chorus mixing. -"This Is My Home" The chorus is much more prominent at the start. Hawaiian War Chant appears mixed onto the end of the piece. -"The Rightful King" The mixing for this is substantially different. Heck, the ending chorus actually sings ALA the musical instead of "Ahhh"ing. It makes it sound a damn sight better.
-"The Morning Report" - pretty much the same as the SE. -"Warthog Rhapsody" - the mix is different, alluding to the fact that this was a demo cue. -"We Are All Connected (Demo)" - aside from the obvious, the middle section is completely different, sounding akin to the Busa section of "Hyenas In The Pride Lands". -"I Was Just Trying To Be Brave (Demo)" - There's not much to say. This is a demo. -"Stampede (Demo)" - bits of this piece are clearly mixed into the film version. The opening is different and the percussion at the start more powerful. -"Mufasa Dies (Demo)" - This is NOT the same "Alternate" Mufasa's dead that did not appear on the earlier leak (it's listed on the bootleg page here) but is an earlier arragement of the cue on Disc 1. -"This Is My Home (Demo)" - The obvious demo instrumentation aside, the chorus hums. Literally. -"The Rightful King (Demo)" - This has the most demo elements, being the longest piece. The end has actual choir though. -"Circle Of Life (Instrumental Demo)" - lacks any background vocals and it contains the interlude that the film version uses. Beyond this point, everything is the same.
I'm impressed at your summary and deductions, ggctuk. Great job!
Does anyone actually have this Mufasa's Dead Alternate?
Look for Disc 2, track 6, capti7.
Isn't it basically the complete score bootleg?
@ T-Mann036 - Thanks :D @ capti7 - sure. Hybrid does. @ Zimson - this is not the bootleg. Yes, it contains the complete score, but the bootleg could be considered the film mixes while this set should be considered as Hans Zimmer's original intentions. The quality is completely different: it feels more lively. There are many more subtle changes that would make my post a heck of a lot longer than it is right now.
Found the Mufasa's Dead Alternate and as far as I can tell it's exactly the same as track 11 from the bootleg just without the part where the hyenas chase Simba out of the Pridelands.
There should be a different part of it which is Mufasa's theme played on pan pipes replacing some of the material.
Then I've been scammed :O
thank you ggctuk !!
According to the updated review on Filmtracks, the Legacy Collection still doesn't have Zimmer's original "Circle of Life" score track (the rejected cue that was replaced by the song); they said that it had been available in one of the bootleg Internet uploads of the full score, yet apparently, the Instrumental Demo on Disc 2 is not it. Would anyone have any ideas as to where this lost score track could be found?
Some comments on the score review:
"Didn't Your Mother Ever Tell You Not to Play With Your Food" is still not the official version of "Scar's Dinner" that played in the original film. The final film version played a strings-only version of the first part of "Scar's Dinner" (up to the point where Scar catches Zazu in his mouth, which is where the cue ended.
In the film, the fade in from "Hyenas in the Pride Lands" into "I Just Can't Wait to Be King" removed the drums in the opening, and started right at the panpipe melody.
The film version of "Be Prepared" removed Scar's opening soliloquy, and added the echo & laughter of the hyenas' vocals in the final mix. Really wish that version could have made the album. :(
At the end of the film version of "If You Ever Come Back We'll Kill You", Timon & Pumbaa's theme was looped twice; it only loops once on this album. Perhaps that's why they added the alternate cue of it, "Bowling for Buzzards," but I was still hoping the film's mix of the cue would be here.
"Hakuna Matata", while including the extended film instrumental interlude, is still missing the final lyric of "Hakuna Matata" from Nathan Lane at the very end.
I actually liked this new mix of the end credits song at the end of "The Rightful King". The film version (and 2010 bootleg) emphasized the background instrumentation as well as the vocals, but in this version, the vocals are front and center, and all the instrumentation is dialed back.
All in all, I was partially disappointed with the new mixes of this score. I was also disappointed that they didn't include the song instrumentals on this album either (like the ones from Zimmer's "Follow Your Dreams" promos). Plus,removing the brass from "Stampede" and the low woodwind from "Remember Who You Are" were detrimental, IMO. Don't get me wrong; despite all of my whinings and complaints, it's still a great album, but you may need to hold on to whatever bootleg cues you have if you want a fuller presentation of the music that actually made the film.
Do yourself a favor, don't read this guy, he gets half of it wrong anyway... And trust me I know what I'm talking about when we discuss bootlegs...
The original mix used a lot of demo elements. Those Stampede horns? From the demo. That duduk in Remember? Sounds like a synth, and so I'd have to say it probably came from a demo too. Those End Title strings? Again, from the demo. You'd be surprised how many elements from the demos ended up in the final mix.
As for the FYC promo, nobody I know - and I know enough people to say this with a fair amount of confidence - has ever heard of the FYC promo ever even existing. The only 'evidence' I ever got was a track that turned out to be from the original boot anyway (mono and all). All the evidence also suggests that this 'version' of Circle of Life never even existed in the first place.
Filmtracks is not a reliable source for info for any score.
"I actually liked this new mix of the end credits song at the end of "The Rightful King". The film version (and 2010 bootleg) emphasized the background instrumentation as well as the vocals, but in this version, the vocals are front and center, and all the instrumentation is dialed back."
I meant to say: I actually DISLIKED this new mix.
Oh, and those end credits elements such as the strings being boosted in the original mix? From the demo too.
Don't like? Don't buy. As for me, this chapter of my score-collection has been closed for a while. I'm perfectly satisfied with how everything came out here. It sounds more natural. It means that only one animated score that remains unreleased so far is on my holy grails list (not RCP-related).
No need to get self-righteous, ggtuck. I was just giving some honest constructive criticism. I actually DID buy the album (and like it), and I don't regret buying it. I just plan on cherishing the bootleg versions along with it, where they're available.
this release was highly anticipated. now no talk. why?
Because everything that needs to be said has been. Just look below.
Though it would be nice to have the sheet music too, but that is another kettle of fish.
why is timons name misspelled in the booklet? who makes such mistake? its my favorite character. and why brahms requiem, says don hahn, when its clearly inspired by mozarts requiem?
Yes, I was wondering that myself. I'm also wondering about Hans' rather meager comments on the demo material. Like he didn't have more than 3 minutes time to write something down for this special release.
What makes you think Zimmer wrote the notes on the demo material?
I want to add that it says that Zimmer did write the notes, but it probably went under the eyes of the editor who may or may not have made adjustments to what Zimmer wrote in order to fit into the booklet. Then again, Zimmer apparently doesn't even like listening to his own work, so he may not be aware exactly of the content of the demos.
how come peak audio too loud? how can make professional mixer such mistake?
This has been the case on the majority of film score releases of the last 10 years or so. Nothing new, sadly, although it does bear mentioning.
I am also a little poed over this choice to brickwall/compress, especially when you can hear how the signature brass has been shoved into the background. A total contrast to the score in the movie, on all formats. You heard that Zimmer sound in concert hall acoustics, now its a distant cousin. Yes, this brought other instruments to the front, and you can hear more activity in the choirs, but I think the good quality bootleg sounds better, although it's missing some inserts and added layers. Check out the perc section in the finale of "Rightful King". Some distortion or feedback?
That 'signature brass' was all from the demos, rendered and mixed in by Jay Rifkin.
As much as I like the new mix, I have to agree the loudness war really harms this release. It's passable some tracks, but others like Elephant Graveyard suffer from very noticeable distortion as a result. I can't believe they treated this album, which is supposed to be an archival release, in this manner. Therefore, and the fact that they are free from crossfades, the recording sessions are still to be retained, IMO. This release is a companion, not replacement to that version.
I still like this release and hope it sells well, and the upcoming Disney Legacy are spared from the loudness war.
right you are. elephant graveyard particularly bad is.