How Lebo M and ’90s R&B Band Jodeci Were Key to ‘Mufasa: The Lion King’s’ Soundtrack

In my humble opinion, the art of composing songs and music for the Disney canon is like trying to capture lightning in a bottle – it requires a unique blend of creativity, emotion, and a touch of magic that only a select few can master.

⚠️ Caution: This account delves into specific plot points of the current movie “Mufasa: The Lion King” now showing in cinemas.

Lin-Manuel Miranda and Dave Metzger, understanding the significant musical heritage they were responsible for maintaining, approached composing the songs for Disney’s “Mufasa: The Lion King” with great care.

In the “Lion King” origin story, we follow young Mufasa (voiced by Aaron Pierre) and his adopted brother Taka, later known as Scar (Kelvin Harrison Jr.). The duo is responsible for creating new songs and musical compositions while maintaining respect for Elton John and Tim Rice’s original tracks, along with Hans Zimmer’s score from the initial animated movie. Under Barry Jenkins’ guidance, they aimed to infuse fresh music, ensuring a unique sound for this prequel.

South African artist Lebo M, known for his chants and vocal contributions within the “Lion King” world, revisited his role to preserve continuity. Meanwhile, Lin-Manuel Miranda found musical inspiration from the ’90s R&B group Jodeci when composing the movie’s love ballad.

Here, Metzger and Miranda engage in a discussion with EbMaster, delving into the art of maintaining balance and unveiling the key to composing everlasting music within the Disney legacy.

When you come into this world, you have to honor the legacy that came before you, but you also get to put this fresh air of music into the film. So, where does that begin for each of you?

DAVE METZGER: Hans Zimmer’s music was truly iconic, and it’s important to recognize that fact. It wouldn’t be right not to incorporate it into our work. The most challenging aspect was determining how much of the original score to include so that everyone would understand we were in this same universe.

When conversing with Barry Jenkins, he emphasized the importance of establishing a unique voice and identity for the project. Therefore, the focus shifted towards developing relevant themes.

For Rafiki, I devised an entirely fresh concept that hadn’t been present earlier. I endowed him with a voice which was missing in the initial movie version.

It’s essential to incorporate Lin’s themes into the score, as it would be unfair not to do so for both the audience and the movie itself. This means finding the optimal places to apply these themes. For instance, consider a song like “I’ve Always Wanted a Brother.” I was able to modify this throughout the film, thereby adding an additional layer of complexity to their character and relationship.

LIN-MANUEL MIRANDA: One of the most delightful aspects I uncovered while composing this music was stumbling upon the “I’ve Always Wanted a Brother” motif. It represents the joy as we become acquainted with Mufasa and Taka, but then there’s a twist, and that theme returns in a deeply sorrowful manner. The melody remains the same, yet its meaning shifts significantly. Dave brilliantly capitalized on this idea and expanded upon it.

Lebo M returns for the soundtrack. How integral was he to your work and finding the music of “Mufasa”?

MIRANDA: Lebo M plays a crucial role in “The Lion King.” His African melodies, harmonies, and unique vocal performance are the common thread throughout the movie. He was the first voice we heard in the original film. His collaboration with you, Dave, and Mark Mancina on the Broadway soundtrack broadened the musical spectrum of what “The Lion King” could offer on Broadway. This is one reason why it’s still running for such a long time not just on Broadway but all over the world. In my opinion, Lebo M and “The Lion King” are inseparable.

Working with him was an absolute joy, and it seemed that he was eagerly anticipating the opportunity to compose fresh tunes. Given that he has been the guardian of these extraordinary Elton John and Tim Rice songs in various forms, I made sure to create room for his contributions deliberately.

In the song “Milele,” I anticipated he would add stunning choral harmonies, and indeed he did. His writing style is captivating as he sings, and it’s awe-inspiring to observe. He listens to the track, absorbs it, steps up to the microphone, and then harmonizes with himself. It was thrilling to be present for this process and later see him teach his choir these harmonies when we recorded the soundtrack a year later. This experience was one of the reasons I agreed to be there – to be in the room while this creative magic unfolded.

METZGER: Lebo has been a brother for 30 years for me. He is the voice of “The Lion King.”

Towards the end of the movie, Mufasa and Kiara (Blue Ivy Carter) let out powerful roars, which transitioned into an enchanting African choral arrangement featuring Lebo’s voice. The night prior, I had envisioned Lebo contributing to the musical theme for Kiara. Excited by this idea, I went to work the following morning with the choir in the studio. Upon hearing my theme and music, Lebo sat quietly in the control room, soaking it all in. He then made his way into the studio where the choir was waiting. With a simple nod, he began singing a line, prompting the rest of the singers to follow suit. In an instant, we had crafted a truly captivating piece – Lebo’s talent never ceases to amaze me!

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I love a good Disney love song, and “Tell Me It’s You” is perfect. What was your way into writing that?

MIRANDA: The story starts with Jeff Nathanson’s script. In this screenplay, it shows how much loss had shaped Mufasa, making him humble and modest. Sarabi tells him, “You are capable of so much more, I can see the greatness within you.” Over time, he develops feelings for her but feels unworthy to express them. Isn’t that something many people can relate to?

It seems like everyone experiences something similar. The phrase “Tell me it’s you” suggests this idea, too. Admitting your feelings can be liberating, and once they’re out there, they become a recurring theme. The intriguing aspect of the song lies in the lyric, “Say it again,” and when you’re deeply immersed in the initial stages of young love, you can’t help but yearn to share your feelings with everyone and keep relishing the moment where someone reciprocates your affection.

Barry’s location, those icy caves, provided us with a wealth of inspiration, allowing them to experiment with echo effects reminiscent of K-Ci and JoJo, Jodeci, if you will – that tender, emotive vibe I was channeling – my youthful passion, the heartfelt core. It’s those vibrant energies I tap into when composing that song.

Speaking of Barry, what was it like collaborating with him and having to deliver music to him?

Barry is an exceptional individual who guided me towards paths I likely wouldn’t have chosen on my own. During our underwater battle scene, my initial performance was significantly different from what eventually made it into the movie. However, Barry encouraged me to delve a bit deeper and try something unconventional that wasn’t my usual approach. This experience aided me in my growth as a musician and composer.

MIRANDA: I accepted this opportunity to collaborate with Barry Jenkins as I desired to learn from him. Dave, your remarks about his challenging you to exceed your abilities resonated with me. I recall sending the initial verses and chorus of “I Always Wanted a Brother” to Barry and inquiring if I was on the right path or not. He replied with a detailed, thoughtful message, suggesting I explore adding something more to it.

We had a conversation where Mufasa and Taka are talking about the birds and Taka says, “I’m in charge of them, too,” and Mufasa tells him, “No one is in charge of the birds.” That became the fuel for the second verse of the song. I find that verse almost the most poignant because it points to entitlement versus nurture. In terms of what Taka believes the world owes him versus what Mufasa sees as his place in the circle of life. It’s this very organic conversation of these birds while these two brothers are climbing a tree, and it takes on even greater resonance the second time you watch the movie.

Barry suggested a location for us, and repeatedly collaborating with him helped build up the layers. However, not all our songs have the privilege of this extended development.

What is the secret to writing songs and music for the Disney canon that are going to be immortalized forever?

AS A MOVIE CRITIC: Revise your initial draft meticulously. The script must be robust enough to withstand scrutiny and appeal to a wider audience, not just an impulsive whim. It should resonate like a catchy tune played at a carnival or fireworks show, but without being too childish or simplistic. Before submitting, I would personally test the script on my children and partner to gauge their reactions. This process is comparable to thoroughly inspecting a car before taking it for a spin – I ensure that everyone involved finds enjoyment in it before moving forward.

METZGER: I like to double-check everything before sending it out, so I always ask my wife to review my work first. She acts as a safety net for me, ensuring that I haven’t overlooked anything and that the final product is as effective as possible.

This interview has been edited and condensed for clarity.

https://open.spotify.com/watch?v=album/6J3qzhviHgjLxhL8Bk5CRy

2024-12-24 21:17