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Music from Disney Films CD, Bande originale, Import

5 étoiles sur 5 1 commentaire client

22 neufs à partir de EUR 7,76 8 d'occasion à partir de EUR 3,98

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Détails sur le produit

  • CD (25 octobre 1990)
  • Nombre de disques: 1
  • Format : CD, Bande originale, Import
  • Label: Mis
  • ASIN : B000002GFM
  • Autres éditions : Cassette  |  Album vinyle
  • Moyenne des commentaires client : 5.0 étoiles sur 5 1 commentaire client
  • Classement des meilleures ventes d'Amazon: 230.144 en Musique (Voir les 100 premiers en Musique)
  •  Voulez-vous mettre à jour des informations sur le produit, faire un commentaire sur des images ou nous signaler un prix inférieur?

Liste des titres

Disque : 1

  1. Hi Diddle Dee Dee (An Actor's Life For Me)/Little April Shower... - Ken Nordine, Bill Frisell, Wayne Horvitz, Natalie
  2. Baby Mine - Bonnie Raitt & Was (Not Was)
  3. Heigh Ho (The Dwarfs Marching Song) - Tom Waits
  4. Stay Awake/Little Wooden Head/Blue Shadows... - Suzanne Vega, Bill Firsell, Wayne Horvitz
  5. Castle In Spain/I Wonder - Buster Poindexter & The Banchees Of Blue , YMA Sum
  6. Mickey Mouse March - Aaron Neville
  7. Feed The Birds/Whistle While You Work/I'm Wishing... - Garth Hudson, NRBQ, Betty Carter, The Replacements
  8. Someday My Prince Will Come - Sinead O'Connor
  9. Pink Elephants On Parade/Zip-A-Dee-Doo-Dah - Sun Ra & His Arkestra, Harry Nilsson
  10. Second Star To The Right - James Taylor
  11. Desolation Theme/When You Wish Upon A Star - Ken Nordine, Bill Frisell, Wayne Horvitz, Ringo St

Descriptions du produit


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Format: CD
enfin, un homage ou sont réuni la crème des interprètes pour illustrer à leurs manières les grands classique disney, une alternative salutaire à l'étiquette "guimauve" des chansons de films de disney.
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Commentaires client les plus utiles sur Amazon.com (beta)

Amazon.com: HASH(0x96ef2b10) étoiles sur 5 55 commentaires
17 internautes sur 17 ont trouvé ce commentaire utile 
HASH(0x96e6b330) étoiles sur 5 Wonderful Interpretations of Disney Tunes 9 janvier 2001
Par James Jones - Publié sur Amazon.com
Format: CD
There's a lot more in the music of Disney films than one--than _I_--thought, and the musicians here do a fine job of making it clear, giving you a different point of view but always with respect for the music. You can tell that in Tom Waits's vision, the dwarfs sweat, belong to the UMW, and head out for a beer after a day at the mines. Buster Poindexter's utterly over-the-top "Castles in Spain" is as much fun to listen to as it clearly was for him to sing. "Feed the Birds" is heartbreakingly beautiful, as is Bonnie Raitt's "Baby Mine." Ken Nordine's soundscapes set the mood at the beginning and especially near the end. Disney film music is not just for kids, and this CD proves it.
24 internautes sur 26 ont trouvé ce commentaire utile 
HASH(0x96e6b384) étoiles sur 5 The Mouse never roared like this ... 8 janvier 2000
Par Marcus Wright - Publié sur Amazon.com
Format: CD
Disney Music can sometimes seem a little too ... well ... Disney. Neat, catchy little tunes sung by voices that you just KNOW have never seen a zit in their lives. Subject matter that is trite at best, portraying characters so cute that they're almost embarrassing.
Embarrassing, because even at thirty years old, you still whistle Zip-A-Dee-Doo-Dah from "Song of the South" when you're happy.
Don't you?
Fear not, closet Disney-phile. This album takes all those songs from your favorite movies, and gives them an adult twist. This album will serve a two-fold purpose. First, you can get your fix of Disney anytime your middleaged-child heart desires. But most importantly, if you get "caught" by your friends, you can pass it off as serious music.
Whether a mere fresh coat of paint (as with "I Wanna Be Like You" from Jungle Book) to a slight sarcastic tone on old favorites (Sinead O'Conner singing "Someday My Prince Will Come" -- 'nuff said there!), to downright spooky versions of bettime songs (Suzanne Vega's acapella version of "Stay Awake"), to absolutely twisted rehashes of formerly tired standby's (Tom Waite rebuilds "Heigh Ho" in his own graven image), this album is a fantastic work. It not only transforms these scores into wonderful new pieces of art, but it also remains true to the basic spirit of Disney. Perhaps it is irreverent in places. Yes, it may even poke a little fun at our favorite childhood icon. But it is still a respectful tribute to the original artists who put these tunes in our heads in the first place.
25 internautes sur 28 ont trouvé ce commentaire utile 
HASH(0x96e7a090) étoiles sur 5 Alternating dark , melancholy and wistful, good but for grown-ups only 15 mai 2006
Par Mark Paul Suszko - Publié sur Amazon.com
Format: CD
I found that listening to this work end to end is going to put you in some peculiar moods. The overall feeling is definitely downbeat, even the up-tempo songs have a decidedly ironic and dark bent. My favorite song in this album has to be the exceptionally soulful rendering of "Baby Mine" by Bonnie Raitt; it turns the sentimental mother-child ballad into something more on the romantic side. I have often slow-danced this one with the wife, and you can really feel a hot intensity under the surface of this number. James Taylor's "Second Star To The Right" is exceptionally wistful in his trademark style. Sun Ra's cover of "Pink Elephants" remains true to the original while retaining the peculiar spacy Sun-Ra vibe. One of the more "accessible" Sun-Ra performances I've ever heard.

Tom Waits and Ken Nordine are commanding presences as well. The Tom Waits version of "Hi-Ho" made my wife's imagination conjure nightmare images of murderous doings in Gacy's basement; it creeps her out so badly, she refuses to hear one note of it. I prefer to imagine the dwarves in manic, Fred C. Dobbs-like pursuit of their underground treasure, working too fast in a mine full of hazards and fearsome environments... with a workplace like that, it's no wonder they'd really appreciate a Snow White coming into their lives. Perfect music if you are on your way to a job you hate...

I agree the Sinead O'Connor piece (Someday My Prince Will Come) and Suzanne Vega "Stay Awake" tracks are here mostly for their postmodern ironic effect, and I find them hard to listen to with patience. In Sinead's case, the shock value of her performance of this particular song choice gets dulled over time as people forget who she is and why her singing this is supposed to be funny.

The Nordine pieces, which bookend the album, really demand good headphones for best appreciation, and reward repeated listening. Cruising thru quotes of ee cummings, with puzzling snatches of what seems to be an audio montage of soundtrack clips from old Disney park attractions, and other spooky imagery, he conjures up a tour thru a darkened, haunted vault of musty film cans and ragged posters, the perfect place for an adult to look back on childhood perceptions and potentials and compare his youthful fantasies with the cold realities and incomplete goals and disappointments of old age. Pretty heavy stuff. Yet it manages to finish, if not upbeat, still, with a sense that we still have time left to wring meaning from our pasts, and to put ourselves on a path to personal redemption.

The whole album leaves me with this kind of feeling, as if I have passed unscathed thru something more dark and dangerous than I really understood, and survived to come out into sunlight on the other side. Like the old "dark ride" rollercoaster attractions of Disney's park, you will want to experience the ordeal of getting scared and surviving it again and again.
7 internautes sur 7 ont trouvé ce commentaire utile 
HASH(0x96e7a144) étoiles sur 5 Worldwide appreciation 4 octobre 2004
Par The Amazonite - Publié sur Amazon.com
Format: CD
Well... it's not that easy to add something significant to the other reviews as I share very similar feelings with all people loving this album. I found this vinyl, earmarked as "second choice", in a clearance shop in the periphery of Rome, Italy in spring 1990, paying some $3 for it (!!!), and since then it became one of my favourite albums. Were it not worth listening for the superb renditions of Susanne Vega or Sinéad O'Connor, it is just amazing to hear Michael Stipe doing backing vocals in "Little April Shower" or discover Bill Frisell and Wayne Horvitz performing in the opening medley and two more tracks. Were it only one reason to own this album, it would be the Tom Waits track, that with the parallel Brecht version in "Lost in the stars" (the 1985 album dedicated to Kurt Weill) are absolutely necessary to be able to own the complete Tom Waits hell collection. Last but not least, it's the eclectic producer Hal Willner that has to be credited for this incredible, everlasting music that unveils the very nature of disney world. It's very good news that this album is available in cd, I would have never believed. Quality wins at the end.
5 internautes sur 5 ont trouvé ce commentaire utile 
HASH(0x96e83f3c) étoiles sur 5 The Best Pop Album of The Eighties 5 janvier 2002
Par The Hammer - Publié sur Amazon.com
Format: CD
It will probably not surprise Walt Disney, in whatever forever he has found, to discover that filmmakers have surpassed his achievements in animation. He helped establish a school (Cal Arts) to insure exactly this. What must surprise and dismay him is how far backwards the art of original song has fallen from the level his films had taken it to. The mining of old, semi-obscure, and unhearalded album cuts for pre-fabricated musical snippets to push along vacuous vignettes--Hollywood's recent trend the past few years--must someday cease as all trends do. When it does, perhaps the original song, written specifically to be a role player in a film will have another chance to soar as it did for Disney.
With this album the extraordinary producer, Hal Wilner, former music director of Saturday Night Live, took his best shot at tearing these songs apart and failed purposely, magically and fantastically well. Mixing, mismatching, falling for puns, smashing musicians and musical styles against themselves, nearly begging the songs to give in, he brings together music written across a span of at least 30 years as if it all belongs here right now, as it clearly does. What is achieved is a restless, optimistic, timeless, wildly diverse beauty.
Ken Nordine's "damn everything, everything but the circus" starts the listener off with an unshakeable sense that the album will not turn out to be anything you'd expect. "Ah, exactly." one imagines Walt would say.
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