Let It Go, Already! - Frozen: The Best Disney Soundtrack?!

‘Let It Go! Let It Go! Can’t hold it back anymore!’ Well, I certainly can’t, anyway. I hate to be controversial here, but frankly, I’m sick of hearing it. And I know I’m definitely not the only one. Much like the feature film it accompanies, the Frozen soundtrack has taken the world by storm, mostly due to its inexplicably appealing lead single, ‘Let It Go’. While I’m willing to accept that the soundtrack is decent and memorable, both lyrically and melodically, I’m afraid I appear to be one of the minority who continues to question why it remains a popular area of discussion a year and a half since its initial release. Additionally, this raises further questions of equal pertinence: why is this film’s soundtrack lauded so much more than those of the 52 animated features that preceded it?

‘Let It Go’ is catchy, yes, but in this humble blogger’s opinion, it’s far from Disney’s best song. In fact, I find it rather baffling as to why this song continues to be heralded as one of Disney’s greatest, while other songs – indisputably superior in lyrics and structure – remain almost entirely unacknowledged. What about ‘Out There’ from The Hunchback of Notre Dame (1996), a film whose soundtrack is as underrated as itself? The dark and delightfully menacing tones of the villainous Frollo (Tony Jay) juxtaposed alongside Quasimodo’s (Tom Hulce) airy, uplifting vocals create a perfect balance, resulting in a collaboration that builds from a hushed, sinistrous inception to a powerful, spine-tinglingly euphoric climax. This juxtaposition of contrasting tones is also utilised heavily in the ‘Heaven’s Light/Hellfire’ track, arguably with greater effect. Yet what Frozen’s ‘Let It Go’ has over these songs is commercial appeal. Thematically, ‘Let It Go’ contains lyrics that are perhaps more identifiable with the audience, outside of the feature itself, whereas Hunchback’s lyrics pertain solely to the film’s narrative development. Consequently, Hunchback’s songs lack that ‘radio-friendly’ vibe. They’re no less outstanding, irrespective of whether they appeal to a broad audience. But this would probably partly explain Frozen’s soundtrack’s universal appeal.

Yet there have been other, more commercial, Disney songs released prior to this, worthy of equal, if not far more, recognition, most of which have unfortunately been forgotten. Rob Thomas’ ‘Little Wonders’ for the Meet the Robinsons (2007) OST is one such song that I always felt deserved a great deal more attention than it received, as is John Rzeznik’s ‘I’m Still Here’ from Treasure Planet (2002). Both songs had ‘hit potential’ written all over them. Although Rzeznik’s efforts received a fair amount of media attention, the reception it garnered was nothing compared to ‘Let It Go’; a bewildering reality. This isn’t just about ‘Let It Go’, however – the entire soundtrack continues to be lauded as one of Disney’s absolute best and, while I don’t wish to offend anyone here, it absolutely is not. Sure, songs such as ‘Do You Want To Build a Snowman?’ and ‘Love is an Open Door’ are cute, catchy and melodic, but they’re nothing special. Ironically, what I would deem the film’s most atmospheric and memorable track – the powerful opening track ‘Frozen Heart’ – has received far less attention than the more ‘mainstream’ and pop-oriented songs it precedes. The soundtrack is decent, I’ll admit. But a masterpiece? I think not.

The Renaissance period in the 1990s, which saw the releases of films such as Beauty and the Beast (1991) and The Lion King (1994), is, collectively, far more exemplary of what ‘masterpieces’ should sound like, particularly if we’re talking about emanating atmosphere. Even the later, lesser films of the ‘90s, like Mulan (1998) and Tarzan (1999), have scores that are far more atmospheric, emotive and, especially with regards to the latter, bear substantial commercial appeal. Even post-Renaissance film scores, like those of James Newton Howard, maintain far more of an impact through their use of subtle nuances and grand orchestral crescendos. ‘The Secret Swim’ in Atlantis: The Lost Empire (2001) is nothing less than enchanting; spellbinding, in fact. And if, alternatively, you’re looking for catchy, upbeat songs, you don’t have to look any further than the gospel-infused arrangements of Hercules (1997) and The Princess and the Frog (2009). Randy Newman’s writing for the latter understandably divides opinion – his lyrics can be a little jarringly explicit sometimes, but it inarguably complements the film’s setting and general ambience. I’d even go as far as to say that the song ‘Dig a Little Deeper’ exhibits a far catchier melody than anything present in the Frozen OST. Heck, even the mediocre Home on the Range (2004) contains more inspired lyrical content and, dare I say it, more memorable songs, than the overrated, continually ubiquitous soundtrack we’re all STILL hearing about more than a year and a half later. Of course, this is merely a personal opinion, but if you ask me, I really don’t know what all the fuss is about. With regards to all the great Disney songs that preceded it, I think it’s probably about time people should, if you’ll pardon the pun, let it go!!!