That year, Sunset also was working on Disney records for Annette, The Beach Boys, and Hayley Mills, as well as prepping to produce the Mary Poppins soundtrack from editing and mixing to cutting the master discs. Tutti recorded the album at his Sunset Sound studio on Cherokee and Sunset Blvd, which is still operated by his son, Paul. Gatefold from the 1963 release (click to enlarge) This is not an uncommon occurrence, as singers, arrangers, and others within the field do favors for one another as friends. Therefore, her presence could not be used to sell the Buena Vista Record. After Lawrence Welk made her the official “Champagne Lady,” she became a well-known TV star (Welk’s show was an ABC prime-time hit in its heyday, as was “sing along with” Mitch Miller). Before 1960, she might have been listed on the cover, as she was known best within the music industry as a studio singer and member of several prominent vocal groups. Disney fans know her voice if not her name, as she sang for the White Rose in Alice in Wonderland and within the title song of Cinderella, among many other projects for the studio. However, they could not be listed if the Snow White voice was missing, so all the singers were omitted.ĭisney music historian Stacia Martin determined long ago that the singer is the renowned soprano Norma Zimmer. As the notes, presumably written by Disneyland-Vista President and founder Jimmy Johnson (see this Animation Spin for more about this Disney Legend) explain, “Soloists are well-known artists but contracts with other record companies prevent us from using their names.” This did not apply so much to singers Bill Lee and Bill Kanady, who were credited on various Disneyland Records. This album used triangular flag-like shapes, while another album from 1963, 33 Great Walt Disney Motion Picture Melodies Conducted by Camarata, used fish-like oval shapes.ĭisney Legend Salvador “Tutti” Camarata, a true giant of the industry about whom we talked in this Animation Spin, assembled musicians who had played on hundreds of major movie and television soundtracks. The interior gatefold is not packed with photos and copy but stylishly simple with plenty of “whitespace instead of clutter,” in art direction speak. The cover design of the 1963 LP release makes it obvious that the plan was to keep this from looking like a “kiddie record.” The “modern art” freeform triangle pattern, single rose and elegant typeface are in keeping with something from Columbia or RCA Records. Snow White was such a popular, evergreen title, it seemed worthwhile to create something new that would appeal to an audiophile and more general audience in addition to children. Producing a brand-new recording in Hollywood with the top musicians, rather than outsourcing it in Europe, was expensive, as was the music itself which Disney does not own to this day (Bourne Music owns the music from Snow White, Pinocchio, Dumbo and most Silly Symphony cartoons). Annette’s hit albums had floated the label, redirecting the marketing of the animated soundtracks to kids and relying on repacked material had greatly kept down costs while keeping new recorded products on store shelves. However, the early sixties brought severe budgetary changes to Disneyland and Buena Vista Records. Records were still proclaiming “Living Stereo” and “Perfect Presence Sound.” The original soundtrack was a steadily strong seller, so a follow-up aimed at adult connoisseurs of stereo and high-fidelity sound during what would be the end of the suburban home stereo seemed to make sense. This was not a decision made lightly, though it seems like an obvious thing to do. In view of the advent of magnetic tape for recording and stereophonic sound on records, we of the Disney organization felt that it was time for a new recording of Walt’s most famous score.” “No less than six of the songs were on the hit parade and many of the tunes have become best-selling standards. “There is no question that the score of Snow White is the greatest of any Walt Disney motion picture,” read the liner notes of this 1963 album. Songs: “I’m Wishing,” “One Song,” “With a Smile and a Song,” “Whistle While You Work,” “Bluddle-Uddle-Um-Dum,” “Heigh-Ho,” “The Silly Song,” “Some Day My Prince Will Come,” “One Song (Reprise)” by Larry Morey and Frank Churchill. Engineers: Allan Emig, Bryan Ross-Myring. Vocalists Include: Norma Zimmer, Bill Lee, Bill Kanady. LP Reissue: Buena Vista (1967) (Cover with Camarata Portrait) An 85th anniversary look at the time Disney’s record division produced its first stereo Snow White album with the cream of Hollywood musical talent.Ĭonducts a Modern Musical Interpretation ofīuena Vista Records BV-4023 (mono) STER-4023 (stereo) (12” LP 33 1/3 rpm) (Gatefold Cover with Banners & Rose)
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