Maa 1991 Mp3 Song Download
Francisco Raya
The brilliant and timeless Beauty and the Beast dominated Best Original Song at the 1991 Oscars, with three tunes composed by the duo of Ashman and Menken, and deservedly so. It also marked the first animated film to garner a nomination in Best Picture, keeping the likes of Boyz 'n the Hood and Thelma & Louise on the sidelines.
In terms of which of the three Beauty nominees I admire most, it's awfully hard to knock the Academy's selection of the title song - it's a splendid, supremely romantic song, performed heavenly by Angela Lansbury. I also adore "Be Our Guest," a splashy ensemble number that's right about on-par with "Under the Sea" in sheer energy and enthusiasm. But I actually most love "Belle," the picture's delightful opening number, which rings of Ashman-Menken's "Skid Row (Downtown)" from Little Shop of Horrors and other great, ensemble-driven opening tunes from Broadway.
The more agreeable of the remaining two contenders is Bryan Adams' smash hit "(Everything I Do) I Do It for You," from the ho-hum Kevin Costner starrer Robin Hood: Prince of Thieves. For better or worse, the record, which spent most of the summer of '91 atop the Billboard Hot 100, is the epitome of early '90s adult contemporary, competently performed and produced but more than a tad schmaltzy and overbaked. It is, however, more satisfying than "When You're Alone," a dreary Hook number from John Williams and Leslie Bricusse, who struck lightning the prior year on Home Alone but completely miss the bullseye this time around.
Instead of settling on the old standbys of Williams and Bricusse, the Academy should have certainly recognized the incredible Eric Clapton, whose heartbreaking, Grammy-winning "Tears in Heaven" was featured on the Rush soundtrack.
"From its opening "excuse-moi"s and "ooh-la-las," 1991's vibe is an almost comically caricatured version of extravagance and luxury. The title track's beat is runway-ready and Banks, reclined but in control, unfurls her lines like somebody chiseled is feeding her grapes. Like "212", it's an introductory statement, but this time Banks is in no hurry; a few minutes roll by before she gets to the breathy but bombastic hook, "NY rose me, most high chose me/ Let me know what I can-can-can-can do for you"."[1]
The list on this page is for all #1 hit Pop singles for 1991 using proprietary methods. The results in this chart are not affiliated with any mainstream or commercial chart and may not reflect charts seen elsewhere.
After their major blow-up in fame, U2 was seeking reinvention. They achieved it with Achtung Baby, which branched away from their usual stadium-rock sounds and inched towards influences of alternative rock and industrial music. In my opinion, this album has some truly amazing songs, some of which are highlights of their entire catalog, but also some songs that are hard to get into.
The guitar in this song is so freaking cool. Plus, the lyrics are really interesting. This song has a very aggressive and angry feel to it in the verses, and then the chorus feels more happy and inspirational. I really like the chorus of this song.
Below, Bryson and Lansbury take us back to the makings of their respective "Beauty and the Beast" hits, telling us what actually happened at the Oscars and on Jay Leno, and what they honestly think of 2017's reboot.
Lansbury: We recorded it in New York, and we were recording with [a playback of] the New York Philharmonic. I think we were all excited and I had an interesting time getting to New York, actually, on that occasion. Our plane had been forced down due to there being a bomb [threat], which is sort of frightening, and we had to make a forced landing. And then we started off again and I got to New York just in time to do the recording of course, and that was thrilling. And thank goodness, and with God's help, I was able to record the song in one take, which is kind of exciting. And I hadn't really thought about doing that, but as it turned out, the take that they accepted was the first take, the first and only take that I ever did as the song. That's the take you hear in the movie [laughs].
Bryson and Dion recorded together in a separate studio session from Lansbury. They sang with a glass partition between them, so that they could still see each other while preventing any audio bleeds. Dion and Bryson's duet version was released as the only single from the movie's soundtrack.
Bryson: When you're a great singer like [Dion], oftentimes you find yourself in situations where you have to dial back. I learned that from doing duets: the key to it is to play to your duet partner's strength and weaknesses equally. So essentially that renders [it] into a situation where there are no weaknesses because you're playing to them both equally.
We never said a word to each other until we walked into the studio, [that] was our first greeting. And when you're just greeting someone for the first time, it's all about being polite and trying to make your potential duet partner feel comfortable with you. I mean, she knew my work and I knew her work. We knew each other through our music. Not through personality. And that's the other thing that made her apprehensive, you know? You don't know what's real and what's not real until you're actually in the studio with that person and they're standing across from you, facing you. Is it the real deal or is it not? Are they the real deal or are they not? You don't know really until then. Because you can fix anything in studio [laughs]. Trust.
Lansbury: I don't think Disney themselves knew or realized that that song would be the key song to that particular part of the story. And you know, these things happen in the entertainment business. Certainly one song becomes the song. Because there were many other wonderful songs in the movie. But because it was a little teapot and she was such a romantic, I think that was the thing about Mrs. Potts. She just adored the idea of the romance between these two mismatched characters [laughs]. This monster and this lovely young lady, you know? So from that point of view, it was a natural. But we didn't really understand it until the movie came out.
Bryson: I'll tell you what, it's one of those things, when you're learning it, you have to listen to it repeatedly, but repetition can be [sighs]. Especially if the song doesn't have legs. But I never ever got tired of listening to it. And in my profession, we know when a song has legs and when it doesn't.
Lansbury: I was so busy doing other things and movies were not really the main part of my agenda in those days. I was doing a lot of theatre. And so [playing Mrs. Potts] took its own place. But thanks to the longevity of the film being in the homes of children who then grew up and became part of the original audience, they introduced it to their children, and that is why the song has become such a famous part of that Disney period. And mine, too, of course. And thank goodness because it's a lovely way to be introduced to a whole generation of youngsters, you know?
Bryson: I'm gonna tell you something: Alan Menken/Tim Rice songs are difficult to sing [laughs]. It's not a joke. It's a difficult thing to do because the melody is so structured. This is what you're meant to sing when you're saying this. And it's so specific to how they want your feelings to progress through what they're saying. Because the song is an overall synopsis, really, of the film itself.
These [songs] don't come with any instructions. There's nobody, there's no vocal guide on the music or anything, there's nothing. It's only what you bring to it and what you give it. Nobody's going to make a suggestion that you sing it this way or that way, or do this or do that. It's nothing. Nothing. Zero. Nadda. Zilch.
In the animation itself, within the structure, it works perfectly. It's OK, you can take liberties vocally in theatre. She took liberties in Sweeney Todd. So hey, great. I'm not mad at you for that, but this is totally different. This is not Sweeney Todd. With her as a teapot, I think it is really appropriate. But there's a difference between singing a song as a teapot, Sweeney Todd, and singing a song at the Oscars that was recorded by two honest-to-goodness great vocalists. And there's a difference between those three things. I mean there's a lot of difference. So to appease her, they let her come out and sing a verse. And then we came out and sang the real version.
Lansbury: No, I don't [remember discussions regarding who would sing at the Oscars], to be quite truthful. I don't remember there being any altercation on the subject of who would be singing it. They may have been more aware of it than I was. But I just went along for the ride. And, no, I didn't know at the time.
Peabo Bryson and I sang it at the same time, we sang it together in L.A. at the Academy Awards. We sang it with the great lady, Canadian singer [Celine Dion]. But of course to reach the broadest possible audience, they put the three of us together singing as a better way to get it launched with the mass audience. And that was the time. I also sang it in Paris at Disneyland in Paris, and that was very exciting, because we were singing with opera singers and God knows what. But it was a huge song. "Tale as old as time." And it is, absolutely, I cherish the song. I think it's so special.
Bryson: We got into a fight about this with Leno. He wanted me to tell this story. Well, Cline had been crying all day long, we don't know why. So I'm going on. [Leno] keeps feeding me the line to tell the story, and I won't tell it. I'll tell another story. About the Oscars. But not that one. So the commercial comes up and he gets in my face. And he's like, "I kept feeding you the lead-in for the story." I said, "Listen, listen, listen, listen, listen, hold on. Cline's emotional today, everybody knows it, and we don't know why. She's my friend, you're not. We have time. If she wants me to tell that story, maybe she doesn't want 20-30 million people to know she only had two seats and didn't have a seat for her parents. So let's ask Cline and then you can ask me again."
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