Showing posts with label Tim Rice. Show all posts
Showing posts with label Tim Rice. Show all posts

Saturday, July 16, 1994

July 16, 1994: The Lion King soundtrack hit #1

image from fanpop.com

Originally posted June 10, 2011. Last updated September 3, 2018.

The Lion King (soundtrack/cast)

Elton John/Tim Rice/Hans Zimmer

Soundtrack Released: May 30, 1994

Stage Debut: July 8, 1997


Sales (in millions):
US: 11.0 S, 1.0 C
UK: 0.3 S
IFPI: --
World (estimated): 18.4 S+C


Peak:
US: 110-S, 162 C
UK: 4 S
Canada: 15-S
Australia: --

S soundtrack
C cast album

Quotable: --


Genre: Disney/show tunes


Album Tracks – Soundtrack:

  1. The Circle of Life (CARMEN TWILLIE)
  2. I Just Can’t Wait to Be King (JASON WEAVER)
  3. Be Prepared (JEREMY IRONS)
  4. Hakuna Matata (NATHAN LANE/ ERNIE SABELLA/ JOSEPH WILLIAMS)
  5. Can You Feel the Love Tonight? (JOSEPH WILLIAMS/ SALLY DWORSKY)
  6. This Land (HANS ZIMMER)
  7. To Die For (HANS ZIMMER)
  8. Under the Stars (HANS ZIMMER)
  9. King of Pride Rock (HANS ZIMMER)
  10. The Circle of Life (ELTON JOHN) ((8/27/94, #15a US, #11 UK, #2 AC, airplay: 2 million)
  11. I Just Can’t Wait to Be King (ELTON JOHN)
  12. Can You Feel the Love Tonight? (ELTON JOHN) (5/21/94, #2a US, #14 UK, #1 AC. sales: ½ million, airplay: 1 million)

Notes:

A 2004 special edition added “an unreleased song, ‘The Morning Report,’ sung by Jeff Bennett, James Earl Jones, and Evan Saucedo” SL and written by John & Rice, “and yet another remix of Elton John’s ‘Can You Feel the Love Tonight,’ this time with added percussion.” SL

Click here for the chart codes for singles/hit songs.


Album Tracks – Cast Album:

  1. Circle of Life (Tsidii Le Loka)
  2. Grassland Chant (Ensemble)
  3. The Morning Report (Samuel E. Wright)
  4. The Lioness Hunt (Ensemble)
  5. I Just Can’t Wait to Be King (Scott Irby-Ranniar)
  6. Chow Down (Tracy Nicole Chapman)
  7. They Live in You (Samuel E. Wright)
  8. Be Prepared (Ensemble)
  9. The Stampede (Ensemble)
  10. Rafiki Mourns (Tsidii de Loka)
  11. Hakuna Matata (Max Casella)
  12. One by One (Ensemble)
  13. The Madness of King Scar (Heather Headley)
  14. Shadowland (Heather Headley)
  15. The Lion Sleeps Tonight (Lebo M)
  16. Endless Night (Jason Raize)
  17. Can You Feel the Love Tonight (Heather Headley)
  18. He Lives in You (Reprise) (Jason Raize)
  19. Simba Confrots Scar (Robert Elhai)
  20. King of Pride Rock/Circle of Life (Reprise) (Heather Headley)

Review:

“Walt Disney Pictures had its fourth straight massive hit with an animated movie musical in the summer of 1994 with its tale of the coming of age of a young lion. The movie studio changed composers, replacing Alan Menken, who wrote The Little Mermaid, Beauty and the Beast, and Aladdin, with Hans Zimmer (instrumental score) and Elton John (songs); lyricist Tim Rice, who took over on Aladdin after the death of Howard Ashman, remained in place.” WR

“Elton John doesn’t seem like a natural choice to write for a Disney musical, but he rose to the task on The Lion King, transcending his usual penchant for the softest of soft rock.” AZ He “took a leaf from the Paul Simon Graceland songbook and filled his music with references to South African mbaqanga.” WR John’s “collaboration with Tim Rice (former writing partner of Andrew Lloyd Webber) helps connect the soundtrack to the theatrical lineage of all Disney musicals – so much so that, like Beauty and the Beast, The Lion King was eventually adapted for Broadway.” AZ

However, from a content standpoint, “there wasn’t that much of it.” WR “but that didn’t keep this album from topping the charts as the movie harvested hundreds of millions of dollars all summer.” WR “Undistinguished songs like Can You Feel the Love Tonight? are far outnumbered by stirring, stately tunes that lent the film so much of its sense of pageant and play.” AZ

However, “while it is hard to argue with the ecology lesson behind Circle of Life or the impossibly infectious rumba of Hakuna Matata,” SL there’s really only “about five songs here, three of which are repeated at the end in versions by John.” WR

Then this “already padded soundtrack was further padded with four excerpts from Zimmer’s score.” WR Of course, some would suggest that “the true heart of the original soundtrack…was the…inspiring and majestic score.” SL

In 1997, The Lion King was turned into a stage musical directed by Julie Taymor. It featured “actors in animal costumes as well as giant, hollow puppets.” WK It debuted on July 8, 1997 at the Orpheum Theatre in Minneapolis, Minnesota and premiered on Broadway on October 15, 1997 at the New Amsterdam Theatre. It is still running (although now at the Minskoff Theatre) after 8500 performances, now making it the “third longest-running show in history and the highest grossing Broadway production of all time, having grossed more than $1 billion.” WK

It opened in London on October 19, 1999 at West End’s Lyceum Theatre and is still going after 7500 performances. “In September 2014, The Lion King became the top-earning title in box-office history for both stage productions and films, surpassing the record previously held by The Phantom of the Opera.” WK


Review Sources:

Awards:


Related DMDB Link(s):


Friday, November 19, 1976

Nov. 19, 1976: studio album of Evita released

First posted November 14, 2010. Last updated September 4, 2018.

Evita (studio/cast/soundtrack)

Andrew Lloyd Webber/Tim Rice (composers)

Studio Album Released: Nov. 19, 1976

First Stage Production: June 21, 1978

Soundtrack Released: Nov. 12, 1996


Sales (in millions):
US: 1.0 C, 5.0 S
UK: 0.3 SR, 0.6 S
IFPI: 2.0 S
World (estimated): 1.3 C, 18.0 S


Peak:
US: 105 C, 2 S
UK: 4 SR, 11-S
Canada: --
Australia: --

SR Studio Album
C Cast Album
S Soundtrack

Quotable: --


Genre: show tunes


Album Tracks – Studio/Cast Album:

  1. Cinema in Buenos Aires, 26 July 1952
  2. Requiem for Evita / Oh What a Circus
  3. On This Night of a Thousand Stars / Eva and Magaldi / Eva Beware of the City
  4. Buenos Aires
  5. Goodnight and Thank You
  6. The Lady's Got Potential **
  7. Charity Concert / I’d Be Surprisingly Good for You
  8. Another Suitcase in Another Hall
  9. Dangerous Jade *
  10. A New Argentina
  11. On the Balcony of the Casa Rosada / Don’t Cry for Me Argentina
  12. High Flying, Adored
  13. Rainbow High
  14. Rainbow Tour
  15. The Actress Hasn’t Learned the Lines (You’d Like to Hear)
  16. And the Money Kept Rolling (In and Out)
  17. Santa Evita
  18. Waltz for Eva and Che
  19. She Is a Diamond
  20. Dice Are Rolling * / Eva’s Sonnet *
  21. Eva’s Final Broadcast
  22. Montage *
  23. Lament
* Unique to cast album
** Unique to studio album

Album Tracks – Soundtrack:

Disc 1:

  1. Cinema in Buenos Aires, 26 July 1952
  2. Requiem for Evita
  3. Oh What a Circus (ANTONIO BANDERAS / MADONNA)
  4. On This Night of a Thousand Stars (JIMMY NAIL)
  5. Eva and Magaldi / Eva Beware of the City (MADONNA / JIMMY NAIL / ANTONIO BANDERAS)
  6. Buenos Aires (MADONNA)
  7. Another Suitcase in Another Hall (MADONNA)
  8. Goodnight and Thank You (MADONNA / ANTONIO BANDERAS)
  9. The Lady's Got Potential (ANTONIO BANDERAS)
  10. Charity Concert / The Art of the Possible (MADONNA / JIMMY NAIL / ANTONIO BANDERAS) **
  11. I’d Be Surprisingly Good for You (MADONNA / JONATHAN PRYCE)
  12. Hello and Goodbye (MADONNA / JONATHAN PRYCE / ANDREA CORR) **
  13. Peron’s Latest Flame (MADONNA / ANTONIO BANDERAS) **
  14. A New Argentina (MADONNA / ANTONIO BANDERAS / JONATHAN PRYCE)
Disc 2:
  1. On the Balcony of the Casa Rosada 1 (JONATHAN PRYCE)
  2. Don’t Cry for Me Argentina (MADONNA)
  3. On the Balcony of the Casa Rosada 2 (MADONNA) **
  4. High Flying, Adored (ANTONIO BANDERAS / MADONNA)
  5. Rainbow High (MADONNA)
  6. Rainbow Tour (ANTONIO BANDERAS / GARY BROOKER / MADONNA)
  7. The Actress Hasn’t Learned the Lines (You’d Like to Hear) (MADONNA / ANTONIO BANDERAS)
  8. And the Money Kept Rolling (In and Out) (ANTONIO BANDERAS)
  9. Partido Feminista (MADONNA) **
  10. She Is a Diamond (JONATHAN PRYCE)
  11. Santa Evita
  12. Waltz for Eva and Che (MADONNA / ANTONIO BANDERAS)
  13. Your Little Body Is Slowly Breaking Down (MADONNA / JONATHAN PRYCE) **
  14. You Must Love Me (MADONNA) **
  15. Eva’s Final Broadcast (MADONNA)
  16. Latin Chant **
  17. Lament (MADONNA / ANTONIO BANDERAS)
** Unique to soundtrack.

Singles/Hit Songs:

  • Don’t Cry for Me Argentina (JULIE COVINGTON) c (11/12/76) #1 UK
  • Another Suitcase in Another Hall (BARBARA DICKSON) c (2/7/77) #18 UK
  • Don’t Cry for Me Argentina (SHADOWS) c (12/78) #5 UK
  • You Must Love Me s (11/2/96) #18 US, #10 UK, #15 AC, gold single
  • Don’t Cry for Me Argentina (MADONNA) s (12/28/96) #8 US, #3 UK, #21 AC
  • Another Suitcase in Another Hall (MADONNA) s (3/29/97) #7 UK

Click here for the chart codes for singles/hit songs.

Review:

Like they had with Jesus Christ Superstar, Andrew Lloyd Webber presented Evita first as a studio album and then developed it into a stage production. It wasn’t a monstrous hit in the U.S. like the studio version of Superstar had been, but in the UK, it spawned a #1 hit with Don’t Cry for Me Argentina and a top 20 hit with Another Suitcase in Another Hall. R-C

For the opera based on the real-life Eva Peron, Webber “naturally drew upon Latin themes, at least of an ersatz sort (On This Night of a Thousand Stars aped PĂ©rez Prado’s 1955 hit ‘Cherry Pink and Apple Blossom White’), to add to his taste in pop/rock and affection for Puccini.” R-C For his part, Rice “had a big, rich story to tell about a social-climbing peasant who achieves the highest rungs of power, only to succumb to early death.” R-C He used “the fictional Che (based on Latin American revolutionary Che Guevara), to challenge Evita’s ruthlessness. The subject matter attracted the criticism that it glamorized a fascist, but Rice’s very point was to present a cautionary tale about the deceptive appeal of such a person.” R-C

“The choice of Julie Covington, who could negotiate the musical range of the title role and sing without warmth, was perfect; no stage successor matched her willingness to make Evita unsympathetic C.T. (Colm) Wilkinson's Che was her match, and the rest of the cast sang effectively.” R-C

Twenty years later, Madonna took the lead in the film version. She gambled on it establishing her “as a proper movie star and respected actress.” R-S She “gives a startlingly accomplished and nuanced performance,” R-S but it “is impossible to listen to her without getting the impression that she is trying really hard to be credible.” R-S

As such, the soundtrack “remains curiously unengaging,” R-S although it is “an exquisitely produced and expertly rendered” R-S “audio document of the entire film, since there is no dialogue in the movie.” R-S “Even with the faults, Evita has its merits, including the written-for-film ballad You Must Love Me, and is worth investigating. It just isn't the definitive work that it wishes to be.” R-S


Review Sources:

Awards:


Related DMDB Link(s):


Tuesday, October 12, 1971

Jesus Christ Superstar opened on Broadway

Jesus Christ Superstar

Andrew Lloyd Webber/Tim Rice

The Studio Album:


Released: November 21, 1970


Peak: 13 US, -- UK, 13 CN, -- AU


Sales (in millions): 0.5 US


Genre: show tunes


The Cast Album:


Released: January 8, 1972


Peak: 31 US, -- UK, -- CN, 110 AU (1992 Australian cast album)


Sales (in millions): 6.0 US


The Soundtrack:


Released: June 30, 1973


Peak: 21 US, 23 UK, -- CN, -- AU


Sales (in millions): 1.0 US


Tracks:

Song Title (date of single release, chart peaks) Click for codes to charts.

  1. Overture
  2. Heaven on Their Minds
  3. What’s the Buzz/Strange Thing Mystifying
  4. Then We Are Decided s
  5. Everything’s Alright
  6. This Jesus Must Die
  7. Hosanna
  8. Simon Zealotes/Poor Jerusalem
  9. Pilate’s Dream
  10. The Temple
  11. Everything’s Alright sr (The Kimberlys, 3/20/71, 99 US – medley of “I Don’t Know How to Love Him” and “Everything’s Alright”; Yvonne Elliman, 9/25/71, 92 US)
  12. I Don’t Know How to Love Him (Helen Reddy, 2/20/71, 13 US; Yvonne Elliman, 4/24/71, 28 US)
  13. Damned for All Time/Blood Money
  14. The Last Supper
  15. Gethsemane (I Only Want to Say)
  16. The Arrest
  17. Peter’s Denial
  18. Pilate and Christ
  19. King Herod’s Song (Try It and See)
  20. Could We Start Again, Please? s
  21. Judas’ Death
  22. Trial Before Pilate (Including the 39 Lashes)
  23. Superstar (Murray Head, 1/31/70, 14 US; Assembled Multitude, 2/6/71, 95 US)
  24. Crucifixion
  25. John Nineteen: Forty-One

Songs followed by sr (studio release), c (cast album), or s (soundtrack) indicate that the song was unique to that version of the album.

Rating (all versions combined):

4.570 out of 5.00 (average of 17 ratings)


Awards:

(Click on award to learn more).

About the Album:

Jesus Christ Superstar didn’t follow the usual route for successful musicals – a nice run on Broadway accompanied by a cast album and then a movie and soundtrack version a couple years later. It started out as a studio album which topped the U.S. charts before being staged in a theatrical context. Composer Andrew Lloyd Webber, 21, and lyricist Tim Rice, 25, conceived it as a stage work, but when they couldn’t get the funding, they opted “to use an album as the vehicle for introducing the piece.” BE

The success of the studio album opened the door for a stage production. It debuted on Broadway at the Mark Hellinger Theatre on October 12, 1971. It sarred Jeff Fenholt, Ben Vereen, and Bob Bingham. When Vereen fell ill, Carl Anderson stepped into the role of Judas. They later took turns playing the role. It was met with mixed reviews – even Webber himself criticized it – and closed after 18 months. WK

In 1972, the show opened at the Palace Theatre in London with Paul Nicholson starring as Jesus and Stephen Tate as Judas. It ran for eight years, making it the longest-running musical in England at the time. WK

“The action largely follows the canonical gospels’ accounts of the last weeks of Jesus’ life, beginning with Jesus and his followers arriving in Jerusalem and ending with the Crucifixion. Twentieth-century attitude and sensibilities as well as contemporary slang pervade the lyrics, and ironic allusions to modern life are scattered throughout the political depiction of the events. Stage and film productions accordingly feature many intentional anachronisms."WK

“Audiences from across the age and cultural spectrum responded. Teenagers who didn’t know from Jesus, opera, or oratorios liked the beat, the hard rock sounds, and the singing and bought the album, as did parents who felt that the record offered a chance to understand some aspects of this youth culture around them, and especially its music – and so did some more forward-thinking clergy and theologians, who saw any opportunity to spread the word about Jesus where it wasn’t previously going as intrinsically good.” BE

The story focuses on Judas and his “political and interpersonal struggles” WK with Jesus. Judas “is depicted as a conflicted, tragic figure” WK alarmed by Jesus’ lack of planning and “relatively recent claims of his divinity.” WK Such a point of view was “as daring as you could get” WR and “perhaps downright sacrilegious” BE but “it succeeds in all ways.” WR

The fact that this was “full-blown rock music” BE was as remarkable as the subject matter. Similar ground had been covered with Hair but that was “really a pop/show-music pastiche, not rock.” WR Jesus Christ Superstar, however, was a “fairly radical rock/theater hybrid” BE making it the first to “successfully put rock music in a theatrical context.” WR The Who created the template with their 1969 album Tommy but it would be 1992 before it became a stage musical. It should also be noted that Jesus Christ Superstar is technically an operetta as it was completely sung without any spoken dialogue.

Deep Purple’s lead singer Ian Gillan served as the singing voice of Jesus while Murray Head was Judas and Yvonne Elliman was Mary Magdalene. The latter two had pop hits with “Superstar” and “I Don’t Know How to Love Him.”

In 1973, it was made into a film directed by Norman Jewison. It “was shot in Israel and other Middle Eastern locations. Ted Neeley and Carl Anderson were both nominated for 1974 Golden Globe Awards for their portrayals of Jesus and Judas…Though it attracted criticism from some religious groups, the film was generally well received.” WK

Combined, the original studio recording, cast album, and soundtrack have sold more than 7.5 million copies, with the cast album moving the mast majority.

Resources and Related Links:


Other Related DMDB Pages:


First posted 10/12/2011; last updated 10/3/2023.