MARY POPPINS

MUSIC AND LYRICS BY RICHARD M. SHERMAN AND ROBERT B. SHERMAN

ADAPTED AND CONDUCTED BY IRWIN KOSTAL © 2014 Disney Enterprises, Inc.
© 2014 Disney Enterprises, Inc.
 Within
It wasseveral
a “John weeksthethe brothers
Baptist had
thing, from the six
Instead, hoursdispatched
Chris of recorded our material
musicfrom
written five songs Lebo
only African.” for various
stepped projects upinand that incredibleAndy
supervisor, series of meetings.
Hill, who flew A little
to over
production with two more in the works, but 50 years later, those story meetings were
gave his now famous cry that opens
had no real deal with the studio. During one
Johannesburg
brought with
to life again whenLebotheywhile Hans
were re-enacted
the movie
particular and lives
meeting, on in every
Walt reached over to stage began working with the orchestra
on the silver screen in the critically lauded 2013
aversion
shelf and of the show
removed a book since.
with a red cover. and mixing
Disney at Air
film Saving Mr. Lyndhurst
Banks. Studio
 
He turned to the brothers and said, “Ever hear in London.
We looked everywhere for the final Seeing that Mary Poppins was going to be a
of Mary Poppins?” After the meeting, the young
singer who could sell with
this incredible full-blown
Then one musical,
morning the Shermans
my phone wanted
rang
songwriters were spinning ideas. They
anthem that Tim someone from The Great White Way to
wanted to change the and
time Elton
period had given
to 1910, at an insanely early hour. It was Andy.
orchestrate their score in a Broadway style.
and
us.they
Wetook six chapters
wondered wasfrom the book
it Seal or and “Don, listen to this!” He held out the
Walt immediately signed Irwin Kostal, who
joined
Harrythem into a single
Belafonte storyline.
or Janet The book
Jackson? phone so Iwoncould
had recently the hear
Oscarthe
®
formass
his work on
itself had no cohesive storyline, as it was just
Finally, we all realized that no one African
West Story – warming
Side choir and would up laterwith
go on to score
Lebo.
a series of various adventures. Within a few
wouldthey beat The Sound of Music,
a songChitty-Chitty
of protestBang Bang, and
weeks, hadthe passionofand
a collection songauthentic-
sketches They sang against
ity of the
attached studio
to their storysinger,
and met Carmen
with Walt. Twille,
He
Bedknobs
apartheid andcalled “OneMr.
Broomsticks. ByKostal’s
One,”incredible
and
It started as an idea He’d do it for her, sort of a dad’s
way to take his young daughter to
was
who veryhadimpressed,
laid down “Youwhat think shestorythought,
and that’s
arrangements created a musical texture that
it was powerful, joyful, tearful
is as instantly identifiable as Mary Poppins and
from Disney studio head good.”
had been Then he justleaned
a demo back track.
in his chair and said, unspeakably great.
the fairytale ball. herself. In fact, they are considered some of the
“Sing me that ‘Bird Woman’ song again.” After
Jeffrey Katzenberg, to make a coming I have finest
Hans finished theever
arrangements mixputin toLondon
paper and are
Lebo M was a South African singer, the song awas feeling
over Waltthe writing
remainedprocess silent for was
a
of age story set in Africa. We even still a subject of study in musical arrangement
Originally introduced to
called it “Bambi in Africa” although the songwriter
As well as using who “Tallhad Paul,”
worked
commissioned to write several additional
on the soundtrack of a few films. He’d
the brothers were
with Hans
moment,
agonizing
allinto
about.”
then
the The
forsaid,
early
“That’s
Hans.
brothers
Hewhat
hourssmiled;
often
of theWalt
theworked
story is
got their
morning,
with Zoë
classes
a phenomenon
to
at his the
throughout
this Academy Award
side.
like ®no
TheAs
world. film
youbecame
otherscore,
-winning
listen
beforeyou or
Mary Poppins
working titlebywas
his daughter,
King of the Diane, in the
Jungle. Rock and Roll Songs for the young starlet. message. He walked across the room and
  pulling up music to match the can hearChris
since. for yourself
actedthe onsheer genius of his
the zeitgeist of the
1940’s, Walt Disney instantly saw
It felt like a dusty National Geographic the potential been parking cars in L.A. to make ends sat at the edge of his sofa. He leafed through
orchestrations – from the twelve
of this magical nanny long before the studio In July 1960
meet. He was the brothers
going towere be invited to
the perfect Shakespearean
the story notes and plot. music One score night he had
the brothers movie and commissioned a glockenspiels
complete
idea and having just hit with The Little The Disney Studio to demonstrate a song been listening to give theof carousel life in the by“Jolly Holiday”
even attempted a live-action feature. For years, voice for thewas film, just onein thing: had prepared and to withBrahms’
a wry smile requiem,
said, album music inspired The Lion
and that Annette to perform a film called sequence, to the use of six cellos and six violas
Mermaid
Walt tried to getBeauty
the filmand
rightsthe produceit
to Beast, “Don’t
tryingforget
to find to stipulate
the right themusical
seven songs King. The album, Rhythm
to achieve the soothing and hypnotic sound of the
was
Mary next tofrom
impossible toTravers
get people Lebo
The had disappeared.
Horsemasters. Jimmy Johnson explained we’ve already taken when theydeath. write up
Poppins author P.L. – but to
how were
important this new song expression for Mufasa’s It your
was inPridelands,
“Stay Awake.” became a best-selling
His musical counterpoint hit,of
no avail.
to workAsontheit.years passed, Walt never forgot We coming over to was,
Han’s and offered contract.” Contract? At that moment Walt
then, deep into the production, that “A
and Spoonful
a showcaseof Sugar” forand “JollyHans
Lebo, Holiday”
andin the
the story of this magical nanny and was sure a bit of advice as he told the pair to remember Disney signed his first and only staff songwriters.
Tim Rice hadit would
been come
writing lyrics on recording
that Walt didn’tstudio like to listen
to be calledto“Mr.
theDisney.”
first   Hans realized he was writing this not Horse
the rest Raceofsequence
the music is truly
crew.inspired and is one
Without
that someday, to fruition. The Shermans were
 Aladdin and joined the show as lyricist. arrangement
It turned out that of this
“Circle
wasn’tofgoingLife”toand,
be a as only for Zoë, butthenalsoteamed
for hisupdad, with the of Robert Sherman’s favorite
knowing it, the album would later musical moments.
By 1958, Walt had already established himself Don DaGradi to create a single story out of the
It was Tim
a major playerwhoin thesuggested
entertainment Elton John as ifmeeting
industry
by fate, with a filmdropped
Lebo executiveby or to
director –
say hello father
many Mary who,Poppinslike books.
Simba,Ashe’d lost at
the team worked become
Mary thewas
Poppins Walt’s masterpiece
musical foundationonfor
they hours
just were tobefore
demonstrate we all their song to
arrived. Hans film.
his
not songwriting
only in animated partner; probably
film, live-action film,the
and Walt Disney himself. ona young age. unrelated films, they continued
several other JulieEverything
Taymor’shebrilliant
had created to that point
stage
pulled
  him off the street and put him – animation, music, live action, special effects,
television,
last person but one
also with
would the think
grand ofexperiment
when working
At another on “The Poppinshe
session Project”
labored under
over the adaptation of the film.
As
in they
front entered
of a his office, Walt
microphone. instantly
There put
wasn’t were all leading to this point. After the premiere,
of Disneyland.His
you say “musicalfledgling
set in record
Africa,”label but the guidance of Walt. Once a cohesive story and
Walt
The received a letter from one home
of Hollywood’s
(Disneyland/Buena Vista Records) was looking them at
even a ease and
glass then expressively
divider to separate began
him a“Be Prepared”
collection of songswith Jeremy
met with Walt’sIrons
approval, next year, Hans took the
choice was inspired. telling the two a story about twins with divorced vocalizing
Walt once again over a raucous
approached P.L.march
Traversofon
founding
Oscar® fathers
for BestandScore
master*,producer
Zoë had
to debut their first artist – Annette Funicello. from the room full of engineers and Samuel Goldwyn, dated September 11, 1964,
When
As thethis former
story Mouseketeer
grew and Elton’s sangdemos
“How parents who conspire to get their parents back getting
hyenas, thewhile
film rights.
gettingThis direction
time, Mrs. Traversfrom been to the party of a lifetime and
filmmakers eatinglegendary
Chinesestorytelling
food. style, which read:
Will I Know
came in, it My
was Love?”
clearonwe an needed
episode ofa The third together.
he acted
In Walt’s
out every nuance of the story.
finally
Rob agreed
and Roger to come to out“make to theit studio
moreand Hans had indeed honored his father in
Adventurestoof spin
partner Spin and
these Marty, The Disney
demos into gold Studio Hans played “Circle of Life” for usBut
forthe see what had been done – with the idea that
Leni Riefenstahl.” “Once in a lifetime –way
an unimaginable and only
withonce – a picture
music that
two
was inundated with requests for the record.
 
and score the film. Chris Montan, the first time. We listened to it andthe
brothers were shaken. This
movie they had written the song for. Then one
was not if she liked what she saw, she may give the comes along which cannot be compared to any
still echoes around the world today
okay for the film. other and to which no other can be compared.
Annette was
Disney’s headso popular
of music, thatkept
Jimmycoming
Johnson, then
of thethe directors,
brothers nervously Robtold Minkoff,
Walt that the   Hans’ long time collaborators and forever after.
head of Disneyland/Buena Vista Records, was Roger
film he Allers
just and
described I huddled
was not in the
what they had In 1961,Glennie-Smith
Nick P.L. Travers, Don and DaGradi, MarkRichardMancina A picture which writes a new page in motion
back to a sound we had
charged with finding some contemporary
heard on a worked
and RobertinSherman adjacent rooms on
all gathered songs
at the or
studio. picture history. A picture which has such
prepared.
corner to “Well,
talk. why didn’t
Hans thoughtyou stop
he me?
was
small
materialfilm
for called The One
her to sing. Power day,ofMoe
One. Preskell, Let’s hear what Instead,
you’ve got.” Richard went and For
cuemany long days, these
arrangements. In four
a finalpeopleact sat
of inwhat
the universal appeal that it is pure delight to
It was Hans Zimmer’sbased score.
getting fired. it was magical Sherman’s crowded
Don Hahn
a records employee in New York, was over to the piano and played “Strummin’ Song.”
we wanted more. This time they were appeared to be office
lunacy, hammering
Hans wanted out the to Father, Mother, Children, Grandparents, and
Producer – it makes no difference who.
driving across the Washington Bridge when he Walt listened, and after it was finished quietly minutest details. Don, Richard and Robert would Grandchildren
Hans didn’t want to do it. He felt
heard a song that would be perfect for Annette after
no a crytheinidea
thefor wilderness thatandwould gotheir
tell to South
versionAfrica to record
of the story, choirs
the Shermans
pondered a few seconds said, Thehave
You Lion King
made it – Mary Poppins”
particular
– “Tall Paul.”affinity
Once hetowards
discovered animation.
who the beacon the animals
“That’ll work” – his highest to Pride Rock they
compliment in over the sound track.
would play their songs, and Mrs. Travers would
But in the were,
songwriters end, he called
saw itbackas atochance
Californiato thesoonopening
learned. Notscene. only was “Strummin’ Song” sound off, disapprove, and expound on the ideas Time has proven those statements to be just
*Winner for Best Original Score 1994
OSCAR is a registered trademark and service mark of A.M.P.A.S.
® ®

and something
do told Tutti Camarata.
he could Salvador
share“Tutti”
with used in The Horsemasters, the brothers were she created for her beloved character. It was as valid today as they were when Mr. Goldwyn
Camarata
his was the daughter,
six-year-old label’s first A&R
Zoë.Director asked to submit songs for the film Walt had a very difficult experience. Fortunately for us, wrote them nearly 50 years ago.
and legend in his own right. Tutti immediately described that day as well – The Parent Trap. a good portion of this meeting was recorded
contacted Richard and Robert Sherman.   on tape. On Disc 3, we have included excerpts © 2014 DISNEY ENTERPRISES, INC.
© 2014 Disney Enterprises, Inc.
 At that time, compact discs were new and CD release
It was of the Mary
a “John Poppins soundtrack
the Baptist thing, With the songs
Instead, Chrisalready mixed, for
dispatched ourthemusic
most
we were preparing the material for what (CD-
only016). ThoughLebo
African.” they were
steppedable to
upinclude
and part, I focusedAndy
supervisor, on theHill,
score. Knowing
who flewthatto
would be our second and third CD releases – all the instrumental bridges that were removed, several of the songs were edited together for
The Disney Collection Volumes 1 and 2 (our
gave his now famous cry that opens
as I mentioned above, this project was still an Johannesburg with Lebo
the previous releases, I would now have towhile Hans
first release was Irwin Kostal’s digital recording the movieand
experiment and lives
some on in every
limitations stage
were still beganthem
re-edit working withthe
to include thescore.
orchestra
An example
of Fantasia). One of my first assignments was versionTwo
imposed. of the show
of the since.were the
sacrifices and
of thismixing
would be at “The
Air Lyndhurst StudioThe
Pavement Artist.”
to listen to all the transfers of the songs for underscore and the six-minute dance track appeared on the previous CD, it begins
in London.
The Disney Collection to see if I heard any flaws
We looked everywhere for the final
sequence in “Step in Time.” with a version of “Chim Chim Cher-ee.” But
in the recordings and identify them. I was singer who could sell this incredible Thenis one
there no realmorning
ending to mythephone
cue. The rang
reprise
particularly amazed at how great the songs anthem that Tim and Elton had given atthe
of an track,
insanely early hour.
that occurs when theIt was
rain Andy.
begins
from Mary Poppins sounded. Not too long us. We wondered was it Seal or to wash away
“Don, listenthe tochalk
this!”drawings
He held at the
outendtheof
after that, I was out in the vault with Ron Kidd, Harry Belafonte or Janet Jackson? the “Jollyso
phone Holiday”
I could sequence,
hear the wasmassedited on to
then Director of Product Development. “The Pavement Artist” track to conclude the
I mentioned how great the recent CD releases
Finally, we all realized that no one African
“Chim Chimchoir warming
Cher-ee” up Now,
melody. with for Lebo.
this
of The Disney Collection sounded – in particular would beat the passion and authentic- They sang a song of protest
release, the track flows more like the film andagainst
the Mary material.
sort Itofwas then that ity of the studio singer, Carmen Twille, apartheid
leads into thecalled “One By
“Jolly Holiday” One,” and
sequence, and the
It started as an idea He’d do Poppins
it for her, a dad’s
I suggested digitally restoring and remixing
way to take his soundtrack
young daughter to disc. who had laid down what she thought, reprise
it was has returned joyful,
powerful, to its rightful
tearful place
andafter
from Disney studio head the Mary Poppins for compact had been just a demo track. “Supercalifragilisticexpialidocious.”
unspeakably great. Also by
the fairytale ball.
Ron loved the idea, as Mary Poppins is one going back to the original recording sessions,
The Soundtrack History
Jeffrey Katzenberg, to make a coming By 1997 I had become Senior Producer with
of his favorite
Lebo M was films, but he
a South told mesinger,
African that the I have
over a feeling the
12 soundtrack writing under
restorations process was
my belt, IHans
was ablefinished thesections
to include mix in ofLondon
score that
of age story set in Africa. We even record company had just re-released the album agonizing
and I was given fortheHans. He often
opportunity worked
to revisit the were
withedited
Zoë at outhisof side.
the film for film
The timingbecame
reasons.
The Mary Poppins soundtrack was released in songwriter who had
called
1964 (BV it 4025)
“Bambi inthe
with Africa”
film and although
containedthe on cassette and vinyl (BVworked
5005) and with Hans
it didn’t intoPoppins
Mary the early soundtrack
hours (60615). Though
of the morning, For example, when like
a phenomenon we first
no meet
otherBert as theor
before
working title Inwas on the soundtrack of a few films.
do very well in the marketplace. I stressed that it He’d I pulling
was ableup to restore thematch
six minutes One Man Band, we come in nearly halfway
only the songs. fact,King
specialof the Jungle.
endings and
been
would parking
not be the cars
same,in that
L.A.we toshould
makegoends back
music to the of since. Chris
through acted ofon“Jolly
his rendition theHoliday.”
zeitgeistHowever,
of the
It felt like
musical a dusty
bridges were National
specifically Geographic
recorded for “Step in Time,” the underscore was still out
and
meet. remix
He the
was album
going fromto the
be original
the elements
perfect Shakespearean plot. One night he had
of reach. However, I knew that in a mere seven movie and commissioned a complete
the entire cue was recorded by the “Ba nd” and is
the album
idea and so the songs
having just could
hit withbe re-edited
The Little to
showcase the as theyfor
voice hadthedone for just
film, The Disney Collection and,
one thing: beenit would
years listening to Brahms’
be Mary Poppins 40threquiem,
Anniversary, album of
included heremusic
in its inspired
entirety. The by same
The Lion
holds
Mermaid andvocal elements
Beauty and without the long
the Beast, it to my knowledge, no one had digitally remixed trying
and I justto findbethe
might ableright musical
to revisit this soundtrack true
King.forThethe carousel
album, Rhythmmusic thatofcomes
the in
instrumental passages that underscored the film. Lebo had disappeared.
was
This wasnext to impossible
a common practiceto get people
in those days, as and restored a soundtrack album for compact yet again. Thenfor
expression in 2000,
Mufasa’sI was death.
given a wonderful
It was after the Penguin
Pridelands, becameDancea–best-selling
there was more hit,
to
the work
generalon it. was that the average We disc. were
Ron was alreadyover
coming convinced,
to Han’s but he said opportunity. recorded than was ultimately used in the film.
rule-of-thumb
that it was an unusual risk as no one
then, deepI was intocommissioned
the production, by thethatDisney and a showcase for Lebo, Hans and
listener would be bored in these passages. recording studio to listen to thehad done
first family to restore a 17 hour recorded interview
Hans realized he was writing this not
There are instances like this throughout this
the soundtrack.
rest of theInmusic
Tim Rice had been writing lyrics on it before and that
With that, “A Spoonful of Sugar,” “Jolly Holiday” arrangement of “Circle of Life” and, as we would need something that Walt had done for his daughter’s book – new all, thiscrew.
versionWithout
of the Mary
and “Stepand
Aladdin joined
in Time” hadthelargeshow as lyricist.
instrumental special to really get the go ahead for such a only
The forofZoë,
Story but also
Walt Disney. Thisfor his dad,
restored the
interview knowing
Poppins it, the album
soundtrack would
is the most later
complete
It was Tim who suggested Elton John as ifproject.
by fate, Lebo dropped
I reached over and pulledby tothesay“Maryhello father
was to bewho,used like
in theSimba,
film Walt: he’dThelost
ManatBehind edition
become thatthe
has musical
ever beenfoundation
released. for
sections removed. This album broke all records
his
and songwriting
remained in the partner;
Top 10 ofprobably the
the Billboard just hours
Poppins before
Pre-Demo” we
from all
thearrived.
shelf, Hans
“Does the Myth. When
a young age. Richard Sherman – who by now Julie Taymor’s brilliant stage
Chartperson
for an unprecedented number anyone him
pulled knowoff thatthe
thisstreet
is here?”and Ron’s
putjawhim had become a close friend – heard what I had
last one would think of of
whenweeks.
dropped as Iaexplained what the tape was. At another session he labored over find adaptation of the film.
in front of microphone. There wasn’t done, he told me of a recording that I might
you sayI was
In 1987, “musical
hired as settheinDepartment
Africa,” but the
Clerk “Be Prepared”
interesting. A couplewith of daysJeremy Irons
later, he showed The next year, Hans took home the
in Product
choice was Development
inspired. for Walt Disney even a glass divider to separate him
up at my office
vocalizing withasix
over 1/4” tapes
raucous – theyofwere
march Oscar® for Best Score*, Zoë had
Records. As part of my duties, I was to maintain from the room full of engineers and the
As
the the
Master story
Tapegrewvault. and
This Elton’s demos
was an absolute filmmakers eating Chinese food. hyenas, while story
Mary Poppins getting meetings.
directionI soon went to
from been to the party of a lifetime and
work restoring all these recordings. For the CD,
came
treat, for in,nowit was
I wasclear we needed
in charge a third
of all the masters I Rob
editedand the Roger
six plus to
hours“make it moredown to
of discussion
Hans had indeed honored his father in
of all the albums
partner to spinI grew
theseupdemoswith. Oninto
occasion,
gold Hans played “Circle of Life” for us for Leni Riefenstahl.” an unimaginable way with music that
about 46 minutes – making sure to preserve the
Iand
would periodically go through
score the film. Chris Montan, these tapes the first time. We listened to it and story arclong
by only removing a few tangents and still echoes around the world today
and play them. One day, I came across an then the directors, Rob Minkoff, Hans’ time collaborators In celebration
Disney’s head of music, kept coming repeat conversations. Seeing that Richard had
NickreelsGlennie-Smith and foreverofafter.
Mary Poppins’ 50th Anniversary,
unusually marked tape. It was labeled “Mary
back toPre-Demo.”
a sound we hadI heard
heardwere on indeed
a Roger Allers and I huddled in the these tucked away inand Mark
his files, Mancina
I gave the and the launch of Walt Disney Records’ Legacy
Poppins What Walt Disney Archives a copy of the 6 CD or
worked in adjacent rooms on songs Collection, we present an even more aural
small
the songs filmfrom called
MaryThe Power butofthere
One.were corner to talk. Hans thought he was
Poppins, cue
set forarrangements.
their files. As it turnsIn a out,
finalcopies
act of of what
that history for you. On Disc 2 you will hear the
other
It wassongsHans onZimmer’s
the tape that I didn’t recognize.
score. getting fired. Instead, it was magical and Don Hahn
pre-demo recordings of those songs
set became oftogreat
appeared be use whenHans
lunacy, production
wanted on to
In addition, the songs were performed by two we wanted more. This time they were Saving began just a few years later. Producer in the film – all from that reel
immortalized
Hans
men with didn’tonly want
a pianotofordo it. He felt no
accompaniment. after
It turnsa out
cry that
in the wilderness
no one knew thatthat would
the tape
go toMr.South Banks Africa to record choirs IThe
foundLion 26 years ago. It’s fascinating listening
King
particular
I soon realized affinity towards
that these “two animation.
men” were still existed.
beacon theAanimals
subsequent call to the
to Pride RockSherman
in over
For the the sound track.
soundtrack, those story meeting when you realize that at the time Richard and
noneinother
But the thanend,the hecomposers
saw it asthemselves
a chance –to the Brothers revealed that even they thought recordings were all I needed and before I Robert recorded them, no one knew if the
*Winner for Best Original Score 1994

Richard and Robert

opening scene. OSCAR is a registered trademark and service mark of A.M.P.A.S.
® ®

do something he Sherman.
could share “What a neat
with it was lost over twenty-five years previous. knew it, I was ordering the original three-track Poppins Project would even happen, let alone
little treasure,” I thought, and I returned the By February 1989, Ron was in the studio with orchestra session recordings and building the that these songs would become timeless classics.
his six-year-old daughter,
tape to its place on the shelf.
Zoë.
Richard and Robert Sherman, as well as Mary Poppins soundtrack I had dreamed
Irwin Kostal, mixing and mastering the first of 15 years earlier. © 2014 DISNEY ENTERPRISES, INC.
© 2014 Disney Enterprises, Inc.
Some of these familiar songs have interesting much to give that little extra something to be It was a “John the Baptist thing, Richard
Instead,Sherman. He was with our
Chris dispatched us during
music
stories themselves. For example, what is listed a better person for a better world. During only African.” Lebo stepped up and asupervisor,
great deal ofAndythe recording
Hill, who sessions
flewandto was
as “The Pearly Song” is actually what we know production, and even after, the Shermans would instrumental in working with the vocalists. It
today as “Supercalifragilisticexpialidocious.” be invited to Walt’s office on many a Friday gave his now famous cry that opens Johannesburg
was our main goalwith Lebothese
to record while Hans
songs exactly
Originally, the Shermans thought the word was afternoon. They’d discuss projects they were the movie and lives on in every stage began
the working
way both Richard withandthe orchestra
Robert originally
deliberate double-talk and not suitable for a working on or the events of the day. Then, at version of the show since. intended.
and mixing It’s certainly is an incredible
at Air Lyndhurst honor to
Studio
song title. But Walt felt differently, not only some point, Walt would turn to Richard and say, be
in aLondon.
part of bringing these legendary composers
should “Supercalifragilisticexpialidocious” “Play it.” After Walt passed away, there were We looked everywhere for the final works to light. As with any artist, each piece of
be brought home by the Banks children, many Friday afternoons Richard would go into singer who could sell this incredible Thenis one
work morning
a personal my phone
expression – theirrang
hearts and
it should go home with the audience Walt’s office and play it for him. This pre-demo anthem that Tim and Elton had given souls
at anare poured early
insanely into every
hour.aspect.
It was And when
Andy.
as well. So “The Pearly Song” became recording accurately represents what Walt us. We wondered was it Seal or a“Don,
song isn’t usedto
listen forthis!”
some He reason,
heldit out
surelythemust
“Supercalifragilisticexpialidocious” – and is heard on those Friday afternoons – have hurt. But, what’s best for the film is what
now included in countless dictionaries and just Richard Sherman and a piano. Harry Belafonte or Janet Jackson? phonebefore
comes so I could
all. hear the mass
considered part of the English language. Finally, we all realized that no one African choir warming up with Lebo.
You may notice there isn’t a pre-demo We present here, seven of the Lost Chords of
version of “A Spoonful of Sugar.” You see,
would beat the passion and authentic- They sang a song of protest against
Mary Poppins. Along with the original pre-demos
ity of the studio singer, Carmen Twille, apartheid called
have “One By One,” andand
It started as an idea at thedo
He’d
song
time
(as
it the
well
for pre-demo
as
her, sort was
many
way to take his young daughter to others
of arecorded,
such
dad’s this
as “The Life who had laid down what she thought,
and demos, we
it was powerful,
recorded new versions
fully orchestrated
joyful,
in thetearful and
way that may have
from Disney studio head I Lead,” “Fidelity Fiduciary Bank” and “Sister had been just a demo track. been done weregreat.
unspeakably the songs included in the film.
the fairytalehad
Suffragette”) ball.not yet been written. We’ve asked Russell Schroeder to write the
Jeffrey Katzenberg, to make a coming I have a feeling the writing process was Hans
liner finished
notes theLost
for these mixChords
in London
along with
of age story set in Africa. We even Lebo M was a South African singer, love.” As he continued to pace around the
agonizing for Hans. whatever artatwas
hisfound
side.and/or created for
called it “Bambi in Africa” although the songwriter who had worked with Hans office, it percolated in hisHe often
mind. Then, worked with Zoë The film became
into the early hours of the morning, those sequences. like no other before or
a phenomenon
“Chim Chim Cher-ee” was inspired by a on the soundtrack of a few films. He’d remembering when Mary wants the children
working
sketch of atitle
littlewas KingSweep
Chimney of theDon Jungle.
DaGradi to go to
pulling sleep,
up she
music sings
to “Stay
match Awake,”
the and the since.
As Christoacted
you listen on the zeitgeist
these pre-demos, you willofnotice
the
It felt like a dusty National been parking cars in L.A. to make ends
doodled during an early PoppinsGeographic
story meeting. gears in his imagination
Shakespearean plot. began
One tonight
spin, “and
he had many
moviechanges between those and
and commissioned the new
a complete
Turning to having
his brother,
justRobert remarked in a meet. He was going to be the perfect every time Mary sings the word requiem,
DOWN, we go recordings.
idea and hit with The Little
voice for the film, just one thing: been listening to Brahms’
UP with the music… that’s Mary Poppins-ish!”
album of These
musicdemos werebyonly
inspired Theintended
Lion as
musical tempo:
Mermaid and “One
Beauty Chimney,
and the Two Chimney,
Beast, it notes for Richard and Robert during the earliest
Three Chimney Sweep,” and soon the song Lebo had disappeared. trying
Thus, theto find(which
song the right musical
essentially became Mary’s stages The
King. of album, Rhythm
production. of months
Since then, the and (in
was next to impossible to get people
was born. However, you may notice the pre- expression
theme) was born. for Mufasa’s death. It was Pridelands,
some became
cases) years a best-selling
of perfecting hit, of
every aspect
to
demowork on it.
version “feels” different than what you We were coming over to Han’s then,“The deepEyes into the production, these
and aworks, they have
forbecome more polished.
recording studio to listen to the first When of Love” was dropped,that it showcase Lebo, Hans and
may be familiar with. That’s
Tim Rice had been writing lyrics on due to the fact Hans realized hecome was towriting this Chord”
not the rest of the music crew. Without
became what we’ve call a “Lost
it was originally composed in a strictly minor arrangement of “Circle of Life” and, as
Aladdin and joined the show as lyricist. –only
a song for composed
Zoë, but foralso
a Disney
for filmdad,
his that, the
for knowing it, the album would later
key. Richard Sherman felt something was not
It wasright,
quite Timand who as hesuggested
continued Elton
to workJohnon theas if by fate, Lebo dropped by to say hello one reason
father or another,
who, like Simba, endedhe’dup goinglost unused.
at become the musical foundation for
Interestingly, discovering the Mary Poppins
melody,
his he reharmonized
songwriting partner; it asprobably
to not be thestrictly just hours before we all arrived. Hans a young age. Julie Taymor’s brilliant stage
pulled him off the street and put him pre-demo started a tradition for me. For each
minor (it shifts into a major
last person one would think of when key at times) which adaptation of the film.
soundtrack
At another I was fortunate
session he enough
labored to over
restore,
eventually led to the Academy Award ® winning in front of a microphone. There wasn’t
you say “musical set in Africa,” but the Instead, the Sherman Brothers composed a I “Be
tried Prepared”
to include at with least one corresponding
Jeremy Irons The next year, Hans
song we know today. even These new recordings aretook home
a result of thethe
choice was inspired. lovely aballad
glassfordivider
Mary titledto separate
“The Eyeshim of Love.” Lost Chord. After all, these lost gems were
vocalizingbyover a raucous march of Sherman
Oscar® Brothers’
for Best on-going
Score*, creative
Zoë had process.
However,
from the when
roomJulie fullAndrews
of engineerswas broughtand composed the great Disney composers.
As the story grew and Elton’s demos on board, she felt “The
filmmakers eating Chinese food. Eyes of Love” wasn’t hyenas,
They also while
provide getting
a brief direction
glimpse into afrom
classic been
We endtodisc
thetwo
party
with of
a a lifetime and
came in, it was clear we needed a third “Poppins-ish” enough. film’s
Robevolution
and Roger allowing you to imagine
to “make it morethese bonus
Hans track
had –indeed
the album
honored his father in
partner to spin these demos into gold Hans played “Circle of Life” for us for preliminary and early sequences.
Leni Riefenstahl.” version of the “Maryway
an unimaginable Poppins
with music that
So, “The Eyes of Love” was out, and now the
the first time. We listened to it and Overture.” In the film, the
and score the film. Chris Montan, Shermans needed a new song, and quickly. Disney
Hans’historian
long time and collaborators
author, Russell Schroeder, still echoes around
Main Title doesn’t have an
the world today
Disney’s head of music, kept coming then
Both thethebrothers
directors, wentRob home Minkoff,
perplexed. As went even further to unearth these songs by and forever after.
Nick Glennie-Smith and Mark Mancina ending, but transitions into
Robert Allers
Roger was pondering the situation,
and I huddled in the his son delving into Disney’s Animation Research Library
back to a sound we had heard on a Jeff returned home from school. When Robert worked
and the in
Disney adjacent
Music rooms
Library. He ondug songs
through or “The One Man Band.” For
“Feed the Birds” (originally
small film called The Power of One.titled “Tuppence corner to talk. Hans thought he was the original vinyl release of
asked how his day went, Jeff told him he had the
cueoriginal music
arrangements. lead sheets
In a and
final self-published
act of what
a Bag”) was one of the first songs the Shermans getting fired. Instead, it was magical and
It DonIrwin
1964, Hahn Kostal recorded
hadwas Hans
written forZimmer’s
Mary Poppins,score.
and it was directly we received his Salk vaccine that day. “Did it hurt?”
wanted more. This time they wereof
two volumes to
appeared of Disney’s
be lunacy, Hans where
Lost Chords wanted he to
aProducer
special ending for the
inspireddidn’t
by a story he asked Jeff. “No, they just put it in a lump not only presents the piano scores, but also
Hans wantin toMrs.
doTravers’
it. Hebooks.
felt no after
sugar aand cryweinatethe wilderness
it like that would
candy.” A spark
go to South Africa to record choirs
ignited in describes their intended purpose and
“Overture” that we are
At Walt’s suggestion, the title was changed The Lion
pleased King for the
to present
particular affinity towards animation. Robert and
beacon thethe next day
animals toatPride
the office, over the sound
Rockheinasked accompanying artwork. track.
At Walt Disney Records,
to “Feed the Birds (Tuppence a Bag)” which first time inOriginal
nearly Score50
1994years.
But in the end, he saw it as a
was the only thing altered from the original chance to Richard, “What
the opening scene. do you think of this title… a I’ve been privileged to produce several albums *Winner for Best
OSCAR ® is a registered trademark and service mark of A.M.P.A.S. ®
do something
composition. he could
It’s now widelyshare
knownwith that spoonful of sugar helps the medicine go down?” thus far on The Lost Chords – songs from The Randy Thornton
“Feed
his the Birds” was
six-year-old Walt’s favorite
daughter, Zoë. song. to which Richard replied, “That’s the weirdest Aristocats, The Rescuers, Peter Pan, and Cinderella. Restoration Producer
The meaning and emotion clearly were part thing I ever heard!” Then he stopped. “Wait! As with the songs from The Aristocats, for Mary ACADEMY AWARD ® and OSCAR ®

of Walt’s own philosophy – that it doesn’t take That’s a great way to say through the eyes of Poppins, we worked closely with are registered trademarks
and service marks of A.M.P.A.S. ®
© 2014 DISNEY ENTERPRISES, INC.
© 2014 Disney Enterprises, Inc.
The Lost Chords Walt Disney Records is pleased to present
seven of those deleted Mary Poppins songs in
and Sir Arthur
It was
operettas
Sullivan
a “John the for
from theLebo
only African.”
their British
Baptist thing,
late nineteenth
stepped century.
up and
could
of
provide.
Instead, Chris
“The Land of
supervisor,
Thedispatched
sinuous, languid
Sand”Hill,
Andy became
our melody
whotheflew
music
perfect
to
Mary Poppins proceeded into development both their original demo form and in newly accompaniment to the sinister snake Kaa’s
in much the same way Walt’s earlier classic recorded versions, as part of their The Lost gaveRight
The his now
Side famous cry that opens Johannesburg with Lebo while Hans
attempt to convince Mowgli to “Trust in Me.”
animated features had been fashioned – through Chords series of albums. As in the previous One
the ofmovie
the things
andthelivesSherman
on in Brothers
every stage began working with the orchestra
visual inspiration and song moments. In fact its albums released, the new recordings have been recognized
version of the show to
was the need justify Mary
since. North Pole Polka
and mixing at Air Lyndhurst Studio
early core development team consisted simply arranged with the objective to make them Poppins’ arrival at the Banks household. This Quite a bit of development work had been
was
Weaccomplished by making the
looked everywhere forparents distant
the final in London.
done for Mary Poppins, but unbeknownst to
of Walt, story artist Don DaGradi, and the sound as if they had been created at the time
Sherman Brothers. And mirroring the creative of the original film’s release, rather than trying from theirwho
singer children,
could Mr.sell
Banksthisbeing occupied
incredible the
Then Sherman Brothers, the
one morning myStudio
phonehadrang not yet
process of those earlier classics, many situations to impose a contemporary pop style for the with business and Mrs. Banks involved in her obtained the final motion picture rights from
anthem that Tim and Elton had given
suffragette activities. As a result, Jane and
at an insanely early hour. It was Andy.
author P.L. Travers. When her approval seemed
were explored and then replaced by something numbers. And as with The Aristocats album
even better. As a result, over thirty songs
us. Wearewondered
Michael without proper wasdiscipline
it Seal or and a bit “Don, listen
uncertain, to this!”feared
the Shermans He held outwork
all their the
for the The Lost Chords series, Walt Disney
were composed for characters or story points Records is once again indebted to Richard M. Harry Belafonte
mischievous and unruly. or Mary
JanetPoppins’
Jackson? purpose phone
had beenso I could
in vain. Walthear
Disneytheassured
mass the
and then revised or abandoned – the prime Sherman for the generous advice and assistance isFinally,
to set the
wechildren on thethat
all realized propernotrack
oneand brothers
African he had another
choir warming magical
up withproperty
Lebo. –
consideration always being what would work he provided in making these new recordings towould
make this
beatsomewhat
the passion fractured
andfamily whole.
authentic- Bedknobs and Broomsticks –
They sang a song of protest against standing by, for
best for a cinematic re-telling of the Poppins and for helping to ensure that these tuneful Many song moments were therefore devised in which many of the Poppins numbers could be
ity ofMary
the could
studio singer, Carmen Twille, apartheid calledthat“One By One,” and
It started as an idea
story. The final number of songs appearing in
the film was thirteen, that number’s unlucky
He’d
way
givento
do it for
and engaging
new take
life, his
her,song
“lost” sort
youngpleasure
providing
of a dad’s
moments
daughter
may be
and to
which
ofwho
how had
to approach
offer
laid down
the children
life inwhat
examples
sheway.
the right thought,
Mary
used. Even though
it wasrequired,
wasn’t powerful, when
alternative
joyful,
“The tearful
approach
North Pole andPolka”
from
stigma Disney studio
proving false head
when sheet music and appreciation Poppins
had been explains
justthe problems
a demo of “getting out of
track. was no longer needed
unspeakably great. for Mary Poppins, the
the fairytaleofball.the creative process involved
the wrong side of the bed” in this catchy song, song was revised for Bedknobs and Broomsticks
recording
Jeffrey sales soared for
Katzenberg, to the
makecaptivating
a coming in crafting this timeless, classic film.
score, Lebo M was a South African singer, I have
which a feeling
eventually didthe
not writing
find a homeprocess
in the was
final Hans only
(1971), finished
to be the mix from
dropped in London
that film also.
of ageand it was
story sethonored withWe
in Africa. botheven
Mary Poppins Melody (A Name’s a Name) agonizing
score. But in for Hans.1980s,
the early He often worked
and with some withMary
One ZoëPoppins
at his song
side.from
Thethe film became
around the
GRAMMY® and Academy Awards ®.
called it “Bambi in Africa” although the songwriter who had worked
In addition to expressing an aspect of Mary
with Hans
revision,
into the “The Right
early Side” of
hours relocated from Cherry
the morning, world sequence, however,
a phenomenon like nodidother
successfully
before or
on the soundtrack of a few films. He’d make
working title was King of the Jungle. Poppins’ philosophy, the Shermans felt this song Tree Laneup
pulling to music
the Hundred
to match Acre the
Wood for the since.it Chris
into Bedknobs
acted and Broomsticks
on the zeitgeist– “The
of the
It felt like a dusty National Geographic been parking
could serve as acars
theme in for
L.A. to one
Mary, make ends
which Disney Channel series Welcome to Pooh Corner.
Shakespearean plot. One night he had
Beautiful Briny.” In creating this new recording,
movie and commissioned a complete
could
meet. also
He bewasused as
going part
to of
bethe
thefilm’s
perfect Richard Sherman decided to take the best of the
idea and having just hit with The Little The Chimpanzoo
been listening to Brahms’ requiem, album of music inspired
lyrics and combine by them
The Lion
with lyric
underscore
voice for the to signal
film, Mary’s
just one presence.
thing: Another Mary Poppins
Mermaid and Beauty and the Beast, it song, “Stay Awake” was composed as a counter Michael and Jane first learn about the strange elements from the Bedknobs
Lebo had disappeared. trying to find the right musical
zoo in Timbuktu from this song, originally
King. The album, Rhythmand of Broomsticks
the
was next to impossible to get people melody to this song, and although “Mary Poppins expression forBert,
Mufasa’s death. It was revision.
Pridelands,And became
as originally planned for the
a best-selling film,
hit,
Melody” was eventually shelved, “Stay Awake” planned for Mary, and Uncle Albert to sing it is the animals from the North Pole who
to work on it. We were coming over to Han’s then,the,
during deep into high
literally, the tea
production, that
at Uncle Albert’s and a showcase for Lebo, Hans and
remained, becoming
recording studio one
to of thetofilm’s
listen themany
first song perform the number.
Tim Rice had been writing lyrics on highlights. In homage to that earlier approach, London home. When
Hans realized Jane and
he was Michael
writing thisbegin
not the rest of the music crew. Without
Aladdin and joined the show as lyricist. arrangement of “Circle of Life” and, as
the “Stay Awake” melody provides the bridge acting
only up,
forMary
Zoë,Poppins
but alsotellsfor
themhisthey
dad,might
the The Eyes of
knowing it, Love
the album would later
end up in the Chimpanzoo, a place where things Not only for its heartfelt message, but also for
It was Tim who suggested Elton John as section of this newdropped
if by fate, Lebo recording.by to saysequence
Another hello father who, like Simba, he’d lost
are topsy-turvy and the animals wander freely, at become
its the musical
lovely melody, foundation
the Shermans were surefor they
his songwriting partner; probably the just hours
within this before
song has we
Mary all arrived.
Poppins’ Hans
mirrored a younghumans
age. who reside in cages. Walt Juliecome
had Taymor’s
up withbrilliant
the ideal stage
signature song for
reflection singing the melody backwards. It was observing
last person one would think of when pulled him off the street and put him Disney, however, felt thehenumber was more Mary Poppins.of
adaptation However
the film.when Julie Andrews,
the basis of the similar mirror
in front of a microphone. There wasn’t sequence in At another session labored over
you say “musical set in Africa,” but the than the sequence needed, and so the amusing who was slated to portray Mary, first heard the
“A Spoonful of Sugar.” “Be Prepared” with Jeremy Irons The next
even a glass divider to separate him and uplifting “I Love to Laugh” is the only song planned songyear,
score,Hans took home
she mentioned the
to Walt
choice was inspired. vocalizingthere.
performed overTaking
a raucous march
a cue from of
story Oscarin® an
Disney foraside
BestthatScore , Zoë
she *liked had
everything
Admiral
from theBoom
room full of engineers and
As the story grew and Elton’s demos Admiral Boom has retained the food.
trappings of his sketches
hyenas,inwhile
which getting
the animals at the Chimpanzoo
direction from except
been to “ThetheEyes of Love.”
party of a She didn’tand
lifetime feel it
filmmakers eating Chinese are musically talented, was suitable as a recurring themehis forfather
Mary. Itin
came in, it was clear we needed a third years at sea by living in a house fitted out like a Rob and Roger to this recording
“make it moreemploys Hans had indeed honored
sailing played
Hans ship, complete
“Circlewithof aLife”
roof for
resembling
us for a those creatures for the vocals, rather than Mary simply lacked the necessary snap for the Poppins
partner to spin these demos into gold Leni Riefenstahl.”
Poppins or Bert. Also, when the animals play an unimaginable
character. way with music
Greatly disappointed, that
the Shermans
ship’sfirst
the upper deckWe
time. and listened
two sailors,toMr. Binnacle
it and
and score the film. Chris Montan, and Mr. kazoos,
Hans’ Richard Sherman himself joins in. still echoes
searched aroundapproach,
for another the world todayresult
the happy
Disney’s head of music, kept coming then the directors, Rob Minkoff, of
Barnacle, as mates. The
these two shipmates may be seen in early
presence long time collaborators
being the creation
and forever of “A Spoonful of Sugar,”
after.
Roger Allers NickLand
The Glennie-Smith
of Sand and Mark Mancina
back to a sound we had heard on a inspirational artand
and Ifor
huddled in the
singing parts within the One of theinsequences
the perfect melody to recur as part of the
corner
“Admiralto talk. song.
Boom” HansThe thought
two roleshe were
was finally worked adjacentintended
roomsfor onthe film or
songs underscore and a delightful song routine for the
small film called The Power of One. was
cuea arrangements.
trip around the world
In a via a magical
final act of what enchanting cleaning up the nursery sequence.
It was Hans Zimmer’s score. combined
getting into one
fired. first mate,
Instead, it was Mr.magical
Binnacle,and compass. About a dozen songs were devised Don Hahn
and wanted
we although more.
the songThiseventually
time didn’t work
they were appeared to be lunacy, Hans wanted to
for this sequence before it was dropped, but Producer
Russell Schroeder
Hans didn’t want to do it. He felt no within the film story, Irwin Kostal, the film’s go to ofSouth
several Africa
the songs did to record
travel, choirswith
sometimes Mr. Schroeder worked as an artist for The Walt Disney
after
music aarranger,
cry in the was wilderness
so taken by the that would
melody The Lion King
Company for twenty-nine years. In addition to Disney’s
particular affinity towards animation. beacon the animals to the
Pride Rock in over the
changes, intosound track. projects. “The Land
other Disney The Lost Chords Volumes 1 & 2, Russell authored several
he employed it as part of underscore of Sand,” one of those planned stops during other books
for Bestincluding Disney:
1994 The Ultimate Visual Guide,
But inLost
Original theChords end,concept
he sawart. it as a chance to for Admiral
the opening Boom’s
scene. appearance. This new
*Winner
and Mickey
Original Score
Mouse: trademark
My Life and
in Pictures.
the trip, will undoubtedly sound familiar. When
OSCAR ® is a registered service mark of A.M.P.A.S. ®
Top: Admiral Boom. Middle and bottom: The Chimpanzoo.
do something he could share with
Illustrations by Walt Disney Studios Artists arrangement takes its cue from the song’s Walt felt a song would strengthen the python
ACADEMY AWARD ® and OSCAR ® are registered trademarks
and service marks of A.M.P.A.S. ®
his six-year-old
 Disney Enterprises, Inc. daughter, Zoë. original inspiration – the type of musical number sequence in The Jungle Book (1967), he suggested
GRAMMY® is a registered trademark of the National Academy
of Recording Ar ts and Sciences.
that might have been composed by W.S. Gilbert the story artists ask the Shermans what they © 2014 DISNEY ENTERPRISES, INC.
© 2014 Disney Enterprises, Inc.
 It was a “John the Baptist thing, Instead, Chris dispatched our music
only African.” Lebo stepped up and supervisor, Andy Hill, who flew to
gave his now famous cry that opens Johannesburg with Lebo while Hans
The Mary Poppins Story the movie and lives on in every stage
version of the show since.
began working with the orchestra
and mixing at Air Lyndhurst Studio
Meeting Excerpts We looked everywhere for the final in London.
Before Mrs. Travers signed over the film rights to her beloved singer who could sell this incredible Then one morning my phone rang
character, she flew out to The Walt Disney Studio and had a
series of story meetings to discuss the outline and songs that anthem that Tim and Elton had given at an insanely early hour. It was Andy.
Walt, the Sherman Brothers, and Don DaGradi had prepared. us. We wondered was it Seal or “Don, listen to this!” He held out the
In 1961 for many long days, Mrs. Travers, Richard and Robert Sherman, Harry Belafonte or Janet Jackson? phone so I could hear the mass
and Don DaGradi sat in the Shermans’ office on the third floor of Finally, we all realized that no one African choir warming up with Lebo.
the Animation Building and discussed this very first outline would beat the passion and authentic- They sang a song of protest against
of the proposed Mary Poppins film.
ity of the studio singer, Carmen Twille, apartheid called “One By One,” and
It started as an idea He’d do it for her, sort of a dad’s
way to take his young daughter to who had laid down what she thought, it was powerful, joyful, tearful and
from Disney studio head the fairytale ball. had been just a demo track. unspeakably great.
Jeffrey Katzenberg, to make a coming I have a feeling the writing process was Hans finished the mix in London
of age story set in Africa. We even Lebo M was a South African singer,
agonizing for Hans. He often worked with Zoë at his side. The film became
called it “Bambi in Africa” although the songwriter who had worked with Hans into the early hours of the morning, a phenomenon like no other before or
working title was King of the Jungle. on the soundtrack of a few films. He’d
pulling up music to match the since. Chris acted on the zeitgeist of the
It felt like a dusty National Geographic been parking cars in L.A. to make ends Shakespearean plot. One night he had movie and commissioned a complete
idea and having just hit with The Little meet. He was going to be the perfect
voice for the film, just one thing: been listening to Brahms’ requiem, album of music inspired by The Lion
Mermaid and Beauty and the Beast, it trying to find the right musical King. The album, Rhythm of the
was next to impossible to get people Lebo had disappeared.
expression for Mufasa’s death. It was Pridelands, became a best-selling hit,
to work on it. We were coming over to Han’s then, deep into the production, that and a showcase for Lebo, Hans and
Tim Rice had been writing lyrics on recording studio to listen to the first Hans realized he was writing this not the rest of the music crew. Without
Aladdin and joined the show as lyricist. arrangement of “Circle of Life” and, as only for Zoë, but also for his dad, the knowing it, the album would later
It was Tim who suggested Elton John as if by fate, Lebo dropped by to say hello father who, like Simba, he’d lost at become the musical foundation for
his songwriting partner; probably the just hours before we all arrived. Hans a young age. Julie Taymor’s brilliant stage
last person one would think of when pulled him off the street and put him adaptation of the film.
in front of a microphone. There wasn’t At another session he labored over
you say “musical set in Africa,” but the “Be Prepared” with Jeremy Irons The next year, Hans took home the
choice was inspired. even a glass divider to separate him
from the room full of engineers and vocalizing over a raucous march of Oscar® for Best Score*, Zoë had
As the story grew and Elton’s demos filmmakers eating Chinese food. hyenas, while getting direction from been to the party of a lifetime and
came in, it was clear we needed a third Rob and Roger to “make it more Hans had indeed honored his father in
partner to spin these demos into gold Hans played “Circle of Life” for us for Leni Riefenstahl.” an unimaginable way with music that
and score the film. Chris Montan, the first time. We listened to it and still echoes around the world today
then the directors, Rob Minkoff, Hans’ long time collaborators
Disney’s head of music, kept coming Nick Glennie-Smith and Mark Mancina and forever after.
back to a sound we had heard on a Roger Allers and I huddled in the
corner to talk. Hans thought he was worked in adjacent rooms on songs or
small film called The Power of One. cue arrangements. In a final act of what
It was Hans Zimmer’s score. getting fired. Instead, it was magical and Don Hahn
we wanted more. This time they were appeared to be lunacy, Hans wanted to Producer
Hans didn’t want to do it. He felt no after a cry in the wilderness that would go to South Africa to record choirs
The Lion King
particular affinity towards animation. beacon the animals to Pride Rock in over the sound track. Some of Don DaGradi’s sketches from
the Original
Mary Score 1994Story Meetings,
Poppins
But in the end, he saw it as a chance to the opening scene. *Winner for Best
OSCAR ® is a courtesy of Richard
registered trademark Sherman.
and service mark of A.M.P.A.S. ®
do something he could share with
his six-year-old daughter, Zoë.
© 2014 DISNEY ENTERPRISES, INC.
© 2014 Disney Enterprises, Inc.
 It was a “John the Baptist thing, Instead, Chris dispatched our music
only African.” Lebo stepped up and supervisor, Andy Hill, who flew to
gave his now famous cry that opens Johannesburg with Lebo while Hans
the movie and lives on in every stage began working with the orchestra
version of the show since. and mixing at Air Lyndhurst Studio
We looked everywhere for the final in London.
singer who could sell this incredible Then one morning my phone rang
anthem that Tim and Elton had given at an insanely early hour. It was Andy.
us. We wondered was it Seal or “Don, listen to this!” He held out the
Harry Belafonte or Janet Jackson? phone so I could hear the mass
Finally, we all realized that no one African choir warming up with Lebo.
would beat the passion and authentic- They sang a song of protest against
ity of the studio singer, Carmen Twille, apartheid called “One By One,” and
It started as an idea He’d do it for her, sort of a dad’s
way to take his young daughter to who had laid down what she thought, it was powerful, joyful, tearful and
from Disney studio head the fairytale ball. had been just a demo track. unspeakably great.
Jeffrey Katzenberg, to make a coming I have a feeling the writing process was Hans finished the mix in London
of age story set in Africa. We even Lebo M was a South African singer,
agonizing for Hans. He often worked with Zoë at his side. The film became
called it “Bambi in Africa” although the songwriter who had worked with Hans into the early hours of the morning, a phenomenon like no other before or
working title was King of the Jungle. on the soundtrack of a few films. He’d
pulling up music to match the since. Chris acted on the zeitgeist of the
It felt like a dusty National Geographic been parking cars in L.A. to make ends Shakespearean plot. One night he had movie and commissioned a complete
idea and having just hit with The Little meet. He was going to be the perfect
voice for the film, just one thing: been listening to Brahms’ requiem, album of music inspired by The Lion
Mermaid and Beauty and the Beast, it trying to find the right musical King. The album, Rhythm of the
was next to impossible to get people Lebo had disappeared.
expression for Mufasa’s death. It was Pridelands, became a best-selling hit,
to work on it. We were coming over to Han’s then, deep into the production, that and a showcase for Lebo, Hans and
Tim Rice had been writing lyrics on recording studio to listen to the first Hans realized he was writing this not the rest of the music crew. Without
Aladdin and joined the show as lyricist. arrangement of “Circle of Life” and, as only for Zoë, but also for his dad, the knowing it, the album would later
It was Tim who suggested Elton John as if by fate, Lebo dropped by to say hello father who, like Simba, he’d lost at become the musical foundation for
his songwriting partner; probably the just hours before we all arrived. Hans a young age. Julie Taymor’s brilliant stage
last person one would think of when pulled him off the street and put him adaptation of the film.
in front of a microphone. There wasn’t At another session he labored over
you say “musical set in Africa,” but the “Be Prepared” with Jeremy Irons The next year, Hans took home the
choice was inspired. even a glass divider to separate him
from the room full of engineers and vocalizing over a raucous march of Oscar® for Best Score*, Zoë had
As the story grew and Elton’s demos filmmakers eating Chinese food. hyenas, while getting direction from been to the party of a lifetime and
came in, it was clear we needed a third Rob and Roger to “make it more Hans had indeed honored his father in
partner to spin these demos into gold Hans played “Circle of Life” for us for Leni Riefenstahl.” an unimaginable way with music that
and score the film. Chris Montan, the first time. We listened to it and still echoes around the world today
then the directors, Rob Minkoff, Hans’ long time collaborators
Disney’s head of music, kept coming Nick Glennie-Smith and Mark Mancina and forever after.
back to a sound we had heard on a Roger Allers and I huddled in the
corner to talk. Hans thought he was worked in adjacent rooms on songs or
small film called The Power of One. cue arrangements. In a final act of what
It was Hans Zimmer’s score. getting fired. Instead, it was magical and Don Hahn
we wanted more. This time they were appeared to be lunacy, Hans wanted to Producer
Hans didn’t want to do it. He felt no after a cry in the wilderness that would go to South Africa to record choirs
The Lion King
particular affinity towards animation. beacon the animals to Pride Rock in over
Thesethe sound
sketches track.
highlight the visual development
But in the end, he saw it as a chance to the opening scene. that went into making the film. The characters *Winner for Best Original Score 1994
start to become recognizable in the story sketches OSCAR ® is a registered trademark and service mark of A.M.P.A.S. ®
do something he could share with and the locations begin to take shape.
his six-year-old daughter, Zoë. Illustrations by Walt Disney Studios Artists

© 2014 DISNEY ENTERPRISES, INC.

© 2014 Disney Enterprises, Inc.
 DISC ONE DISC two
It was a “John the Baptist thing, DISC Chris
Instead, three dispatched our music
only African.” Lebo stepped up and supervisor, Andy Hill, who flew to
1. BUENA VISTA FANFARE PRE-DEMOS gave his now famous cry that opens 1.Johannesburg
CHERRY TREE with LANELebo while Hans
2. OVERTURE 1. THE PERFECT NANNY the movie and lives on in 2. MR.
every BANKS DECIDED
stage began TO HIRE with
working A NANNY HIMSELF
the orchestra
Performed by Richard M. Sherman and Rober t B. Sherman
3. ONE MAN BAND 3. THE CHILDREN WRITE THEIR OWN ADVERTISEMENT
4. SISTER SUFFRAGETTE 2. JOLLY HOLIDAY version of the show since. and mixing at Air Lyndhurst Studio
Performed by Richard M. Sherman and Rober t B. Sherman 4. THE LINE OF APPLICANTS AND MARY POPPINS ARRIVES
Performed by Glynis Johns,
3. THE PEARLY SONG We looked everywhere for the final 5. NOTES ON in London.
MARY MEETING THE BANKS
Hermione Baddeley and Reta Shaw
5. THE LIFE I LEAD [SUPERCALIFRAGILISTICEXPIALIDOCIOUS] singer who could sell this incredible 6. UP TOone
Then THEmorning
NURSERYmy phone rang
Performed by David Tomlinson Performed by Richard M. Sherman
anthem that Tim and Elton had given 7. BERT AND THE TALKING
at an insanely early PICTURES
hour. It was Andy.
6. THE PERFECT NANNY 4. STAY AWAKE 8. A CAROUSEL HORSE RIDE TO THE SEASHORE
Performed by Karen Dotrice and Matthew Garber Performed by Richard M. us. We wondered was it Seal or
Sherman
9. THE RETURN HOME He held out the
“Don, listen to this!”
7. AIR MAIL • ADMIRAL BOOM 5. CHIM CHIM CHER-EE
Harry Belafonte
Performed by Richard M. Sherman and Rober t B. Sherman or Janet Jackson?
10. THE NEXT phone
MORNING so I could
WE MEET hearTHE theSWEEPmass
THE NOT-SO-PERFECT NANNIES
MARY POPPINS ARRIVES 6. I LOVE TO LAUGHFinally, we all realized that no one 11. UNCLE
African choirALBERT’Swarming up with Lebo.
Performed by Richard M. Sherman 12. A CHANGE IN THEsang WIND AND of ANprotest
ADVENTURE
8. A SPOONFUL OF SUGAR 7. TUPPENCE A BAG
would beat the passion and authentic- They a song against
Performed by Julie Andrews
[FEED
of aTHE BIRDS (TUPPENCE ity ofAthe BAG)]studio singer, Carmen Twille, WITH ADMIRAL
apartheid called BOOM “One By One,” and
It started as an idea Whistling: Julie Andrews
9. PAVEMENT ARTIST
Performed by Dick Van Dyke
He’d do it for her, sort
way to take his young daughter
dad’s
Performed by Richard M. Sherman
to GO FLY A KITE
8. LET’S
who had laid down what she thought,
13. THE BIRD WOMAN
it was powerful,
14. MR. BANKS AND THE COMPASS joyful, tearful and
from Disney studio head
10. JOLLY HOLIDAY the fairytale ball. Performed by Richard M. had
Sherman been just a demo track. 15. THE unspeakably
COMPASS SEQUENCE: great. TIMBUKTU
Jeffrey Katzenberg,
Performed by to Juliemake
Andrewsaand coming
Dick Van Dyke
Additional Vocals: Bill Lee, Ginny Tyler, Paul Frees, Lebo M was a SouthTHE LOSTsinger,
African CHORDS OF MARY I have a feeling the writing process was Hans finished the mix in OF
POPPINS
16. THE COMPASS SEQUENCE: THE LAND LondonSAND
of age story set in Africa. We even 9. MARY POPPINS MELODY 17. THE COMPASS SEQUENCE: TEA IN CHINA
Marc Breaux, Marni Nixon and Thurl Ravenscroft agonizing for Hans. He often 18.
Pre-Demo worked withSEQUENCE:
Zoë at his THE side.NORTH
The film became
called it “Bambi 11. JOLLY HOLIDAY
in Africa” (REPRISE)
although the songwriter who hadPerformed worked with M.
by Richard Hans
Sherman and Rober t B. Sherman
into the early hours of the morning,
THE COMPASS
a phenomenon like no other
POLE
before or
Performed by Julie Andrews and Dick Van Dyke on the soundtrack of a few 10.films.
MARYHe’d POPPINS MELODY 19. THE RETURN HOME
working title
Penguin wasDaws
Waiters: KingButler,
of the
Peter Jungle.
Ellenshaw, Dal McKennon, pulling
Performed by Kate Higgins up music to match the20. EVERYONE since.
DESCENDS Chris ON actedCHERRY on the
TREE zeitgeist
LANE of the
It felt likeJ. aPatdusty
O’Malley,National
Richard Sherman and David Tomlinsonbeen parking cars in L.A. to11.
Geographic make
ADMIRAL ends BOOM Demo
Kazoo: Richard Sherman Shakespearean plot. One night he had 21. MARY
movie and DEPARTS
commissioned a complete
idea and having just hit with DANCE The Little meet. He was going to be the perfect Performed by Richard M. Sherman
22. HOLLYWOOD
12. PENGUIN
voice for the film, just one thing: 12. ADMIRAL BOOM been listening to Brahms’ requiem, albumSPOTLIGHT
of music inspired MICROPHONE by The Lion
Mermaid and Beauty Belly Slap Soft Shoe: Irwin Kostal
and the Beast, it Performed by Randy Crenshaw, Jeff Gunn and Dennis Kyle 23. THE SHERMAN BROTHERS REMINISCE
Kazoo: Richard Sherman
Lebo had disappeared. 13. THE RIGHT SIDE Pre-Demo trying to find the right musical King. The album,
ABOUT THEIR WORK ON MARY POPPINS
Rhythm of the
was next to impossible13. THE CAROUSEL to get people HORSES Performed by Richard M. Sherman andexpression for Mufasa’s death. It was
Rober t B. Sherman Pridelands, became a best-selling hit,
to work14. SUPERCALIFRAGILISTICEXPIALIDOCIOUS
on it. We were coming over to Han’s 14. THE RIGHT SIDE
Performed by Julie Andrews and Dick Van Dyke then, deep into the production, that
Performed by Juliana Hansen
and a showcase for Lebo, Hans and
Pearly Chorus: Richard Sherman, Julie Andrews recording studio to listen to the first Hans realized he was writing this not the rest of the music crew. Without
Tim Rice had been writing lyrics
and J. Pat O’Malley
on 15. THE CHIMPANZOO Demo
Aladdin and15. joined
PAVEMENTthe show ARTIST as lyricist.
(REPRISE)
arrangement of “Circle of Life” and,by as
Performed Richard M. Sherman
only for Zoë, but also for his dad, the knowing it, the album would later
16. say
THEhello
CHIMPANZOO
It was Tim who suggested Elton John as if by fate, Lebo dropped
Performed by Dick Van Dyke by to father and
Performed by Bob Joyce, Jeff Gunn, Randy Crenshaw who, like
Dennis Kyle Simba, he’d lost at become the musical foundation for
16. STAY AWAKE just hours before we all 17. arrived. HansOF SAND
his songwriting partner; Performed by probably
Julie Andrewsthe THE LAND a young
Pre-Demoage. Julie Taymor’s brilliant stage
ALBERT’S pulled him off the street and put him
Performed by Richard M. Sherman and Rober t B. Sherman
last person17.one TROUBLE
would AT thinkUNCLE of when 18. THE LAND OF SAND At another session he labored over adaptation of the film.
you say Performed
“musical 18.
setI LOVE
in TO LAUGH
Africa,” but the in front of a microphone.
Performed byThere wasn’t
Kate Higgins, Juliana Hansen, Jeff Gunn and Bob Joyce
by Ed Wynn, Julie Andrews and Dick Van Dyke
19. THE NORTH him POLE POLKA “Be Prepared” with Jeremy Irons The next year, Hans took home the
BRITISH BANK (THE LIFE I LEAD)even a glass divider to separate
Pre-Demo
choice was 19. A inspired. vocalizing
Performed by Richard M. Sherman over a raucous march of Oscar® for Best Score*, Zoë had
Performed by David Tomlinson and Julie Andrews from the room full of engineers and
As the story grew 20. THE NORTH POLE POLKA
hyenas, while getting direction from been to the party of a lifetime and
20. FEED THEand BIRDSElton’s demos A BAG)
(TUPPENCE filmmakers eating Chinese Performedfood.
by Jeff Gunn, Bob Joyce, Richard M. Sherman,
Performed by Julie Andrews
came in, it was21.clear we needed a third Rob and Roger to “make it more
Kate Higgins and Randy Crenshaw Hans had indeed honored his father in
FATHER’S FOOTSTEPS Hans played “Circle of Life” for us
21. THE EYESforOF LOVELeni
partner to spin these demos
22. FIDELITY FIDUCIARY BANK into gold Riefenstahl.”
Pre-Demo an unimaginable way with music that
and “Navckid Keyd” the first time. We listened to it and
Performed by Richard M. Sherman
and scorePerformed
the Banker
film. Chris
by David Montan,
Tomlinson
Chorus: Ar thur Malet, Bill Lee, 22. THE EYES OF LOVE Hans’ long time collaborators still echoes around the world today
then the directors, Rob Minkoff,
Disney’s head of music, Allankept
Daviescoming
Nick Glennie-Smith and Mark Mancina and forever after.
Thurl Ravenscroft, and William R. Cole Performed by Juliana Hansen

back to a sound23.we PANIC

had AT heardTHEon BANKa Roger Allers and I huddled in the BONUS TRACK
24. CHIM CHIM CHER-EE • MARCH OVER corner to talk. Hans thought worked in adjacent rooms on songs or
small film called The Power of One. 23.he was
OVERTURE Album Version
THE ROOFTOPS getting fired. Instead, it was magical and cue arrangements. In a final act of what Don Hahn
It was Hans PerformedZimmer’s by Dickscore.
Van Dyke, Julie Andrews,
appeared to be lunacy, Hans wanted to Producer
Karen Dotrice and Matthew Garber we wanted more. This time they were
Hans didn’t want to 25.do STEP it. IN
HeTIME felt no after a cry in the wilderness that would go to South Africa to record choirs
The Lion King
particular Performed
affinity bytowards
Dick Van Dyke, The Chimney Sweep
animation.
Chorus and Cast beacon the animals to Pride Rock in over the sound track.
But in 26.
theAend, MANhe HAS saw DREAMS
it as a (THE chance LIFEtoI LEAD/
the opening scene.
*Winner for Best Original Score 1994
OSCAR is a registered trademark and service mark of A.M.P.A.S.
® ®

do something A SPOONFUL
he could share with OF SUGAR)
Performed by David Tomlinson and Dick Van Dyke
his six-year-old 27. MR.daughter,
BANKS IS Zoë.DISCHARGED
28. LET’S GO FLY A KITE © 2014 DISNEY ENTERPRISES, INC.
Performed by David Tomlinson, Dick Van Dyke and the Londoners © 2014 Disney Enterprises, Inc.
 It was a “John the Baptist thing, Instead, Chris dispatched our music
only African.” Lebo stepped up and supervisor, Andy Hill, who flew to
gave his now famous cry that opens Johannesburg with Lebo while Hans
the movie and lives on in every stage began working with the orchestra
version of the show since. and mixing at Air Lyndhurst Studio
We looked everywhere for the final in London.
singer who could sell this incredible Then one morning my phone rang
anthem that Tim and Elton had given at an insanely early hour. It was Andy.
us. We wondered was it Seal or “Don, listen to this!” He held out the
Harry Belafonte or Janet Jackson? phone so I could hear the mass
Finally, we all realized that no one African choir warming up with Lebo.
Disc One would
Disc Three beat the passion and authentic- They sang a song of protest against
ity of the studio singer, Carmen Twille, apartheid called “One By One,” and
It started as“Buena
anbyVista
Music idea
Fanfare”
Irwin Kostal
He’d do it for her, sort of a dad’s
way to take his young daughter to
Mary Poppins Story Meetings
who had
Between laid
April 5thdown what
and April 10thshe thought,
of 1961, Mrs. Travers,itRichard
was powerful,
and joyful, tearful and
from Disney studio head
Published by Walt Disney Music the Company
fairytale(ASCAP).
ball. © Renewed. had been
Robert just and
Sherman, a demo track. sat in the Shermans’
Don DaGradi unspeakably
office on the great.
Jeffrey Katzenberg, toAllmake
Rights Reserved.
a coming third
I have floor of the Animation
a feeling Building
the writing and discussed
process was theHans very first outline the mix in London
finished
of age story set in Africa. We even Lebo M was a South African singer, of the proposed Mary Poppins film. Presented here are excerpts from
Original Songs Music and Lyrics by Richard M. Sherman agonizing for Hans. He often worked with Zoë at his side. The film became
called it “Bambi in Africa” although the songwriter who had worked with Hans
and Robert B. Sherman
those historic meetings.
into the early hours of the morning, a phenomenon like no other before or
working title was King of the byJungle. on the soundtrack of a few films. He’d
Published Wonderland Music been Company
parking(BMI).cars©inRenewed.
L.A. to make ends Hollywood
pulling upSpotlight
music Microphone
to match the since. Chris acted on the zeitgeist of the
It felt like a dusty National
All rightsGeographic
reserved. Dick Tufeld interviews
Shakespearean the stars,
plot. Onecomposers
night he and hadmusicalmovie
director for commissioned a complete
and
idea and having just hit with The Little meet. He was going to be the perfect
Mary
beenPoppins
listening(c. 1964)
to Brahms’ requiem, album of music inspired by The Lion
Original Score
Mermaid and Beauty and the Beast, it by Richard M. voice
Sherman for the
and film,
Robert just
B. one
Sherman thing: Julie Andrews, Dick Vanright
Dyke,musical
Richard M. Sherman, Robert
Except Tracks 2, 5, 7, 9 - 13, 15,
Lebo 19, 25
had and 27:
disappeared. trying to find the King.B.TheSherman
album, Rhythm of the
was next to impossible to get people and Irwin Kostal
expression for Mufasa’s death. It was Pridelands, became a best-selling hit,
Music by Richard M. Sherman, Robert B. Sherman and Irwin Kostal
to work on it. We were coming over to Han’s then, deep Brothers
into theReminisce
production, that Work on and a showcase for Lebo, Hans and
Arranged and Conducted by Irwin Kostal The Sherman About Their Mary Poppins
Tim Rice had been writing
Recordedlyrics
betweenon April 12,recording studio to listen to the first
1963 and December 20, 1963 Hans realized
Recorded in Richard heSherman’s
was writinghomethis not 1989. the
February resttheof the music crew. Without
Includes
Aladdin and joined theAll Songs
showPublished
as lyricist. arrangement
by Wonderland Music Company of “Circle
(BMI).of©Life” and, as
Renewed. complete
only fordemo Zoë,recordings
but alsoof:for“Chim Chim the
his dad, Cher-ee, ”knowing
“Let’s Go Fly it,athe
Kite,”album would later
All rightsElton
It was Tim who suggested reserved.
John as if by fate, Lebo dropped by to say hello “The
father Eyes of Love”
who, likeand “Feed he’d
Simba, the Birds
lost(Tuppence
at a Bag).
become” the musical foundation for
his songwriting partner; probably the just hours before we all arrived. Hans a young age. Julie Taymor’s brilliant stage
Restoration Producer: Randypulled Thornton him off the street and put him All Songs Music and Lyrics by Richard M. Sherman and Robert B. Sherman
last person one would think of whenRon Kidd and Ted
Associate Producer: Kryczko All
AtSongs
another Published by Wonderland
session he labored Music
over adaptation
Company (BMI). © Renewed.of the film.
you say “musical set The
in Africa,” in front of a microphone. There wasn’t
Sherman but the Reminisce Produced
Brothers by Ted Kryczko All
“Be rights reserved. with Jeremy Irons
Prepared” The next year, Hans took home the
choice was inspired. Restoration and Mastering: Jeff Sheridan divider to separate him
even a glass
vocalizing over a raucous march of Oscar® for Best Score*, Zoë had
Edited by Randy Thornton
from the room full of engineers and Screenplay by Bill Walsh and Don DaGradi
As the story grew and Elton’s demos filmmakers eating Chinese hyenas,
Based while
on the Marygetting
Poppinsdirection
books by P. from
L. Travers been to the party of a lifetime and
came in, it was clearSongs Digitally Mixed
we needed a thirdby Shawn Murphy, Bruce Botnick and Jefffood.
Sheridan Rob and Roger to “make it more Hans had indeed honored his father in
Research by Jack WadsworthHans and Randy Thornton Co-producer: Bill Walsh
partner to spin these demos into gold played “Circle of Life” for us for Leni Riefenstahl.” an unimaginable way with music that
Liner Notes by Randy Thornton Directed by Robert Stevenson
and score the film. Chris Montan, the first time. We listened to it and Music and Lyrics by Richard M. Sherman and still echoes around the world today
then the directors, Rob Minkoff, Hans’ long time collaborators
Disney’s head of music,
DisckeptTwocoming Robert B. Sherman
Nick Glennie-Smith and Mark Mancina and forever after.
back to a sound we AllhadSongs
heard onand
Music a Lyrics byRoger Allers and I huddled in the
Richard M. Sherman and Robert B. Sherman Music Arranged and Conducted by Irwin Kostal
worked in adjacent rooms on songs or
small film called The Except
PowerTrackof One. corner to talk. Hans thought he was
23: Music by Richard M. Sherman, Robert B. Sherman cue arrangements.
Special Thanks: Richard M.InSherman,
a final act of B.
Robert what
Sherman,
It was Hans Zimmer’s andscore.
Irwin Kostal
getting fired. Instead, it was magical and Don Hahn
we wanted more. This time they were Irwin Kostal, Les
appeared to Perkins, StaciaHans
be lunacy, Martinwanted
and Mr. Hensley
to Producer
Hans didn’t want to AlldoSongs
it. HePublished
felt noby Wonderland
after a
Music Company
cry in the
(BMI).
wilderness
© Renewed.
that would go to South Africa to record choirs
All rights reserved. Creative Direction: Dave Snow and Steve Gerdes The Lion King
particular affinity towards animation. beacon the animals to Pride Rock in over the sound track.
Package Design: Steve Gerdes
But in the end, he sawTheitLost
as Chords
a chance to Poppins
of Mary Produced scene.
the opening by Randy Thornton Original Paintings and Illustrations: Lorelay Bové
*Winner for Best Original Score 1994
OSCAR ® is a registered trademark and service mark of A.M.P.A.S. ®
do something he could Recorded
shareMixedwithand Mastered by Jeff Sheridan
Arrangements
his six-year-old daughter, Zoë. by Jerry Cleveland
The Lost Chords Liner Notes by Russell Schroeder
© 2014 DISNEY ENTERPRISES, INC.
© 2014 Disney Enterprises, Inc.
 It was a “John the Baptist thing, Instead, Chris dispatched our music
only African.” Lebo stepped up and supervisor, Andy Hill, who flew to
gave his now famous cry that opens Johannesburg with Lebo while Hans
the movie and lives on in every stage began working with the orchestra
version of the show since. and mixing at Air Lyndhurst Studio
We looked everywhere for the final in London.
singer who could sell this incredible Then one morning my phone rang
anthem that Tim and Elton had given at an insanely early hour. It was Andy.
us. We wondered was it Seal or “Don, listen to this!” He held out the
Harry Belafonte or Janet Jackson? phone so I could hear the mass
Finally, we all realized that no one African choir warming up with Lebo.
would beat the passion and authentic- They sang a song of protest against
ity of the studio singer, Carmen Twille, apartheid called “One By One,” and
It started as an idea He’d do it for her, sort of a dad’s
way to take his young daughter to who had laid down what she thought, it was powerful, joyful, tearful and
from Disney studio head the fairytale ball. had been just a demo track. unspeakably great.
Jeffrey Katzenberg, to make a coming I have a feeling the writing process was Hans finished the mix in London
of age story set in Africa. We even Lebo M was a South African singer,
agonizing for Hans. He often worked with Zoë at his side. The film became
called it “Bambi in Africa” although the songwriter who had worked with Hans into the early hours of the morning, a phenomenon like no other before or
working title was King of the Jungle. on the soundtrack of a few films. He’d
pulling up music to match the since. Chris acted on the zeitgeist of the
It felt like a dusty National Geographic been parking cars in L.A. to make ends Shakespearean plot. One night he had movie and commissioned a complete
idea and having just hit with The Little meet. He was going to be the perfect
voice for the film, just one thing: been listening to Brahms’ requiem, album of music inspired by The Lion
Mermaid and Beauty and the Beast, it trying to find the right musical King. The album, Rhythm of the
was next to impossible to get people Lebo had disappeared.
expression for Mufasa’s death. It was Pridelands, became a best-selling hit,
to work on it. We were coming over to Han’s then, deep into the production, that and a showcase for Lebo, Hans and
Tim Rice had been writing lyrics on recording studio to listen to the first Hans realized he was writing this not the rest of the music crew. Without
Aladdin and joined the show as lyricist. arrangement of “Circle of Life” and, as only for Zoë, but also for his dad, the knowing it, the album would later
It was Tim who suggested Elton John as if by fate, Lebo dropped by to say hello father who, like Simba, he’d lost at become the musical foundation for
his songwriting partner; probably the just hours before we all arrived. Hans a young age. Julie Taymor’s brilliant stage
last person one would think of when pulled him off the street and put him adaptation of the film.
in front of a microphone. There wasn’t At another session he labored over
you say “musical set in Africa,” but the “Be Prepared” with Jeremy Irons The next year, Hans took home the
choice was inspired. even a glass divider to separate him
from the room full of engineers and vocalizing over a raucous march of Oscar® for Best Score*, Zoë had
As the story grew and Elton’s demos filmmakers eating Chinese food. hyenas, while getting direction from been to the party of a lifetime and
came in, it was clear we needed a third Rob and Roger to “make it more Hans had indeed honored his father in
partner to spin these demos into gold Hans played “Circle of Life” for us for Leni Riefenstahl.” an unimaginable way with music that
and score the film. Chris Montan, the first time. We listened to it and still echoes around the world today
then the directors, Rob Minkoff, Hans’ long time collaborators
Disney’s head of music, kept coming Nick Glennie-Smith and Mark Mancina and forever after.
back to a sound we had heard on a Roger Allers and I huddled in the
corner to talk. Hans thought he was worked in adjacent rooms on songs or
small film called The Power of One. cue arrangements. In a final act of what
It was Hans Zimmer’s score. getting fired. Instead, it was magical and Don Hahn
we wanted more. This time they were appeared to be lunacy, Hans wanted to Producer
Hans didn’t want to do it. He felt no after a cry in the wilderness that would go to South Africa to record choirs
The Lion King
particular affinity towards animation. beacon the animals to Pride Rock in over the sound track.
But in the end, he saw it as a chance to the opening scene. *Winner for Best Original Score 1994
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do something he could share with
his six-year-old daughter, Zoë. © 2014 Disney Enterprises, Inc. 
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