In The Key Of Disney

[smokeythebear]

I believe they need to take a step back when recording things, every Brian Wilson song does not need to contain saxes, one million harmonies, and a whole string section, or a falsetto. This is what they are doing wrong, they delegate so that things do not get overwhelming for Brian. Paul you do the string, Brian you compose the harmonies, Jeff think of a falsetto. Everyone brings their piece and try to squeeze it in, Brian is to nice to say no i do not think this should have this or that. It becomes a layer that does not necessarily fit together and gel good.

This was not what Brian did in the hey day, he controlled everything and built up the songs from the ground up in the studio. He came very prepared, with chord patterns, string arrangement, the works. I understand that they do not want to break the man by making him do it all, but perhaps this is the key. Just asking what do we play now? should there be strings? can you arrange the strings?

And most important of all, let the man do what he wants to do, if he wants to do a Phil Spector album or Rock and Roll album let him DO IT!

[buddhahat]

I enjoyed the Gershwin album a fair bit, but wasn't prepared to like this in any way, shape or form particularly after hearing Heigh Ho which did little for me. On first listen I was underwhelmed but there was something about You've Got A Friend in Me which got under my skin, and listening again this morning that first track, and Baby Mine are weaving their peculiar Wilson magic.

I think it's easy to be cynical about his involvement and, ironically, the more overt Beach Boys stylings on this and the Gershwin one seem more like Wondermints ideas to me (plus I must add my voice to the growing list off those put of by Foskett's falsetto). However, there are more subtle things which seem unmistakably Brian. The slight speeding up of the way he phrases You've Got A Friend In Me and the curious (i.e. great) descending synth part for instance, and the amazing melting chords and harmonies on the verses of Baby Mine. I haven't got much further as I'm finding it difficult to soldier through some of the newer Disney material but am pleasantly surprised to find I'm getting into at least some of this.

There was a good interview where one of the musicians was talking about Nothing But Love, that Brian suggested the sustained ascending keyboard note in the drum break and that the guy couldn't imagine how it was going to work and then heard it and it worked brilliantly. I always notice the part now. It reminds me of Smiley H&V - the way Brian used the sustained Baldwin note to set up the la la la section. My point is it's easy to be distracted by the more overt Beach Boys touches in these new BW albums and start griping about Wilsonisers and so forth, but I do believe he is still very much present in these records and his fingerprints are all over them.

[hypehat]

I believe they need to take a step back when recording things, every Brian Wilson song does not need to contain saxes, one million harmonies, and a whole string section, or a falsetto. This is what they are doing wrong, they delegate so that things do not get overwhelming for Brian. Paul you do the string, Brian you compose the harmonies, Jeff think of a falsetto. Everyone brings their piece and try to squeeze it in, Brian is to nice to say no i do not think this should have this or that. It becomes a layer that does not necessarily fit together and gel good.

This was not what Brian did in the hey day, he controlled everything and built up the songs from the ground up in the studio. He came very prepared, with chord patterns, string arrangement, the works. I understand that they do not want to break the man by making him do it all, but perhaps this is the key. Just asking what do we play now? should there be strings? can you arrange the strings?

And most important of all, let the man do what he wants to do, if he wants to do a Phil Spector album or Rock and Roll album let him DO IT!

The thing most people convienently forget is that a) the musicians contributed ideas in the 60's sessions too - listen to the God Only Knows session, or is that somehow not what he wants to do?

and b) most band members have said how Brian responds positively to what we would call the 'cliches' like bass harmonica and things in modern day productions - it's the sound he wants, still.

Plus, these are v talented musicians who have worked positively with Bri for over ten years, they  more than deserve the right to contribute to his music, imo.

[brother john]

I dunno. I had heard that Scott and Darian sequenced the thing and that Brian added Southern California late in the game.

True, dat - very late in the game.

How late in the game?

[Surfing Moose]

What a price for this gem:

http://www.amazon.de/gp/product/B005IFQUPQ/ref=ox_sc_sfl_title_6?ie=UTF8&m=A3JWKAKR8XB7XF


1855,99 €uro, that's 2.500 US$

I could fly to LA and get my copy at the store in Disneyland for that money

[18thofMay]

On the buzzer. Wilson was in control for most of this..BrillianT

[smokeythebear]

I believe they need to take a step back when recording things, every Brian Wilson song does not need to contain saxes, one million harmonies, and a whole string section, or a falsetto. This is what they are doing wrong, they delegate so that things do not get overwhelming for Brian. Paul you do the string, Brian you compose the harmonies, Jeff think of a falsetto. Everyone brings their piece and try to squeeze it in, Brian is to nice to say no i do not think this should have this or that. It becomes a layer that does not necessarily fit together and gel good.

This was not what Brian did in the hey day, he controlled everything and built up the songs from the ground up in the studio. He came very prepared, with chord patterns, string arrangement, the works. I understand that they do not want to break the man by making him do it all, but perhaps this is the key. Just asking what do we play now? should there be strings? can you arrange the strings?

And most important of all, let the man do what he wants to do, if he wants to do a Phil Spector album or Rock and Roll album let him DO IT!

The thing most people convienently forget is that a) the musicians contributed ideas in the 60's sessions too - listen to the God Only Knows session, or is that somehow not what he wants to do?

and b) most band members have said how Brian responds positively to what we would call the 'cliches' like bass harmonica and things in modern day productions - it's the sound he wants, still.

Plus, these are v talented musicians who have worked positively with Bri for over ten years, they  more than deserve the right to contribute to his music, imo.

a) Yes they did, they suggested small things and Brian was fast to respond. Now its more lets add this and see if Brian responds. That is what made the 60´s productions so great, he was involved in every detail and open to suggestions but just as fast to turn down suggestions.
b) There is no doubt Brian wants real instruments being used, i do to even if i make modern music i tend to avoid synths and reverb drenched drum machines, that is just good taste.

What i am talking about here is everyone wanting so desperately to contribute to the record by adding their own small licks, flutes, saxophones, and its not cohesive, it is a mash of everything. Perhaps they need a good producer, someone who can say no thats been done before or there are to many things happening and its not cooking. This is not an easy job, it involves cutting peoples work out, saying no strings or saxes here. This Bo Diddley beat is lame play it with some balls, or Brian your slurring the words concentrate on these phrases.. It is a pure producing job and there is two ways of doing it, either make Brian really produce from the ground up or hire a good producer.

Yes they have worked with him for 10 years and they deserve to add to the music, but some times you add to the music by stepping back and serving the song.

[LostArt]

I believe they need to take a step back when recording things, every Brian Wilson song does not need to contain saxes, one million harmonies, and a whole string section, or a falsetto. This is what they are doing wrong, they delegate so that things do not get overwhelming for Brian. Paul you do the string, Brian you compose the harmonies, Jeff think of a falsetto. Everyone brings their piece and try to squeeze it in, Brian is to nice to say no i do not think this should have this or that. It becomes a layer that does not necessarily fit together and gel good.

This was not what Brian did in the hey day, he controlled everything and built up the songs from the ground up in the studio. He came very prepared, with chord patterns, string arrangement, the works. I understand that they do not want to break the man by making him do it all, but perhaps this is the key. Just asking what do we play now? should there be strings? can you arrange the strings?

And most important of all, let the man do what he wants to do, if he wants to do a Phil Spector album or Rock and Roll album let him DO IT!

The thing most people convienently forget is that a) the musicians contributed ideas in the 60's sessions too - listen to the God Only Knows session, or is that somehow not what he wants to do?

and b) most band members have said how Brian responds positively to what we would call the 'cliches' like bass harmonica and things in modern day productions - it's the sound he wants, still.

Plus, these are v talented musicians who have worked positively with Bri for over ten years, they  more than deserve the right to contribute to his music, imo.

a) Yes they did, they suggested small things and Brian was fast to respond. Now its more lets add this and see if Brian responds. That is what made the 60´s productions so great, he was involved in every detail and open to suggestions but just as fast to turn down suggestions.
b) There is no doubt Brian wants real instruments being used, i do to even if i make modern music i tend to avoid synths and reverb drenched drum machines, that is just good taste.

What i am talking about here is everyone wanting so desperately to contribute to the record by adding their own small licks, flutes, saxophones, and its not cohesive, it is a mash of everything. Perhaps they need a good producer, someone who can say no thats been done before or there are to many things happening and its not cooking. This is not an easy job, it involves cutting peoples work out, saying no strings or saxes here. This Bo Diddley beat is lame play it with some balls, or Brian your slurring the words concentrate on these phrases.. It is a pure producing job and there is two ways of doing it, either make Brian really produce from the ground up or hire a good producer.

Yes they have worked with him for 10 years and they deserve to add to the music, but some times you add to the music by stepping back and serving the song.

Just wondering here...just how, exactly, do you know who contributed what?  Were you there during the recording?  Do you know for a fact that Brian was told by...ummm...someone to compose the harmonies?  Just who is this mysterious 'they', who is doing this delegating 'so that things do not get overwhelming for Brian'?  And please, feel free to be specific.  I'm dying to hear your reply.   

[ghost]

True, dat - very late in the game.

Can we ban this guy for his racist spelling or what? He says he doesn't type LyKe tHiS because he's an adult - yet he writes "true dat" every few days like he's Kanye West or something. yo yo yo agd 

[ghost]

Just wondering here...just how, exactly, do you know who contributed what?  Were you there during the recording?  Do you know for a fact that Brian was told by...ummm...someone to compose the harmonies?  Just who is this mysterious 'they', who is doing this delegating 'so that things do not get overwhelming for Brian'?  And please, feel free to be specific.  I'm dying to hear your reply.   

It's an overall conspiracy in which everyone is involved, LostArt. No one wants Brian to show his eccentricity and start writing Funky Pretty's again rather than SOUTHERN CALIFORNIAS. Vomit. How's that nostalgia Brian, still living for the past?

[smokeythebear]

I believe they need to take a step back when recording things, every Brian Wilson song does not need to contain saxes, one million harmonies, and a whole string section, or a falsetto. This is what they are doing wrong, they delegate so that things do not get overwhelming for Brian. Paul you do the string, Brian you compose the harmonies, Jeff think of a falsetto. Everyone brings their piece and try to squeeze it in, Brian is to nice to say no i do not think this should have this or that. It becomes a layer that does not necessarily fit together and gel good.

This was not what Brian did in the hey day, he controlled everything and built up the songs from the ground up in the studio. He came very prepared, with chord patterns, string arrangement, the works. I understand that they do not want to break the man by making him do it all, but perhaps this is the key. Just asking what do we play now? should there be strings? can you arrange the strings?

And most important of all, let the man do what he wants to do, if he wants to do a Phil Spector album or Rock and Roll album let him DO IT!

The thing most people convienently forget is that a) the musicians contributed ideas in the 60's sessions too - listen to the God Only Knows session, or is that somehow not what he wants to do?

and b) most band members have said how Brian responds positively to what we would call the 'cliches' like bass harmonica and things in modern day productions - it's the sound he wants, still.

Plus, these are v talented musicians who have worked positively with Bri for over ten years, they  more than deserve the right to contribute to his music, imo.

a) Yes they did, they suggested small things and Brian was fast to respond. Now its more lets add this and see if Brian responds. That is what made the 60´s productions so great, he was involved in every detail and open to suggestions but just as fast to turn down suggestions.
b) There is no doubt Brian wants real instruments being used, i do to even if i make modern music i tend to avoid synths and reverb drenched drum machines, that is just good taste.

What i am talking about here is everyone wanting so desperately to contribute to the record by adding their own small licks, flutes, saxophones, and its not cohesive, it is a mash of everything. Perhaps they need a good producer, someone who can say no thats been done before or there are to many things happening and its not cooking. This is not an easy job, it involves cutting peoples work out, saying no strings or saxes here. This Bo Diddley beat is lame play it with some balls, or Brian your slurring the words concentrate on these phrases.. It is a pure producing job and there is two ways of doing it, either make Brian really produce from the ground up or hire a good producer.

Yes they have worked with him for 10 years and they deserve to add to the music, but some times you add to the music by stepping back and serving the song.

Just wondering here...just how, exactly, do you know who contributed what?  Were you there during the recording?  Do you know for a fact that Brian was told by...ummm...someone to compose the harmonies?  Just who is this mysterious 'they', who is doing this delegating 'so that things do not get overwhelming for Brian'?  And please, feel free to be specific.  I'm dying to hear your reply.  

Ok source that Brian did all the vocal arrangements for the Disney album: http://www.prnewswire.com/news-releases/pop-legend-brian-wilson-puts-his-stamp-on-in-the-key-of-disney-128334483.html

and he did compose them for the Gershwin project:

http://www.expressandstar.com/entertainment/2011/09/15/concert-review-brian-wilson-at-birmingham-symphony-hall/

Apparently spent eight hours a day on the Harmonies, as for the Disney project a cant imagine him doing eight hours of string arranging when paul has done it on most previous projects:

 http://www.albumlinernotes.com/That_Lucky_Old_Sun.html

"Orchestral arrangements: Paul Von Mertens"

http://www.albumlinernotes.com/Brian_Wilson_s_Christmas.html

Additional string and horn arrangements by: Paul Von Mertens

I could go on and on you get my drift.... and it was stated in various interviews that they where blown away by the string arrangements Paul did on TLOS. I dont know what else data you want, i think it is pretty obvious by style what music bits was contributed by Brian, you sort of hear it in the Dit dits, there is one chromatic singing in color of the wind in one place that is so Brian. The beginning of Baby blue is also so Brian, same goes for shortening bread riff. So yeah there is a lot of Brian in the record but the Brian bits are not the ones in question. Just as you can hear that the bass harmonica solo in Pet sounds was improvised (same goes for sax solo on God only knows demo) you can tell what bits were added by band members simply because they are not as good and inventive as Brian, dont get me wrong they are good, not just as good.

[phirnis]

Just wondering here...just how, exactly, do you know who contributed what?  Were you there during the recording?  Do you know for a fact that Brian was told by...ummm...someone to compose the harmonies?  Just who is this mysterious 'they', who is doing this delegating 'so that things do not get overwhelming for Brian'?  And please, feel free to be specific.  I'm dying to hear your reply.   

It's an overall conspiracy in which everyone is involved, LostArt. No one wants Brian to show his eccentricity and start writing Funky Pretty's again rather than SOUTHERN CALIFORNIAS. Vomit. How's that nostalgia Brian, still living for the past?

By this point the story of his life (as in "rise, fall and redemption") has become an integral part of the art itself I guess. "Southern California" didn't offend me despite the undeniable kitsch factor but I found some of the lyrics of "Goin' Home" rather cringe-worthy... "At 25 I turned out the light... but now I'm back..." Reminds me of some of the more "psychological" Sweet Insanity lyrics.

Bring on the new "Funky Prettys" instead!

[smokeythebear]

Just wondering here...just how, exactly, do you know who contributed what?  Were you there during the recording?  Do you know for a fact that Brian was told by...ummm...someone to compose the harmonies?  Just who is this mysterious 'they', who is doing this delegating 'so that things do not get overwhelming for Brian'?  And please, feel free to be specific.  I'm dying to hear your reply.   

It's an overall conspiracy in which everyone is involved, LostArt. No one wants Brian to show his eccentricity and start writing Funky Pretty's again rather than SOUTHERN CALIFORNIAS. Vomit. How's that nostalgia Brian, still living for the past?

By this point the story of his life (as in "rise, fall and redemption") has become an integral part of the art itself I guess. "Southern California" didn't offend me despite the undeniable kitsch factor but I found some of the lyrics of "Goin' Home" rather cringe-worthy... "At 25 I turned out the light... but now I'm back..." Reminds me of some of the more "psychological" Sweet Insanity lyrics.

Bring on the new "Funky Prettys" instead!

And i could as previous poster add the question, prove that Scott wrote that line!! It cant be done but given the history it is pretty obvious, when Brian write cringe worthy stuff it still puts a smile on your face, "pat her on the butt", "Tom boy" etc..

[phirnis]

If I remember correctly there was an interview at the time where Brian said he thought that "Goin' Home" was written about Scott's life rather than his own. I thought it was rather telling he would say that.

[summerinparadise.flac]

sorry yall, i think this album is pretty bad.

[smokeythebear]

If I remember correctly there was an interview at the time where Brian said he thought that "Goin' Home" was written about Scott's life rather than his own. I thought it was rather telling he would say that.

Yeah i hear you, it was not directed at you rather the other poster demanding a source for everything

[ghost]

Just wondering here...just how, exactly, do you know who contributed what?  Were you there during the recording?  Do you know for a fact that Brian was told by...ummm...someone to compose the harmonies?  Just who is this mysterious 'they', who is doing this delegating 'so that things do not get overwhelming for Brian'?  And please, feel free to be specific.  I'm dying to hear your reply.  

It's an overall conspiracy in which everyone is involved, LostArt. No one wants Brian to show his eccentricity and start writing Funky Pretty's again rather than SOUTHERN CALIFORNIAS. Vomit. How's that nostalgia Brian, still living for the past?

By this point the story of his life (as in "rise, fall and redemption") has become an integral part of the art itself I guess. "Southern California" didn't offend me despite the undeniable kitsch factor but I found some of the lyrics of "Goin' Home" rather cringe-worthy... "At 25 I turned out the light... but now I'm back..." Reminds me of some of the more "psychological" Sweet Insanity lyrics.

Bring on the new "Funky Prettys" instead!

And i could as previous poster add the question, prove that Scott wrote that line!! It cant be done but given the history it is pretty obvious, when Brian write cringe worthy stuff it still puts a smile on your face, "pat her on the butt", "Tom boy" etc..

There's a huge difference. Brian's own lyrics are often so honest and unfiltered that they provoke a very immediate response. Till I Die. Not even Van Dyke Parks or Jack Reilly or whoever else could've wrote better words for that song. Brian nailed it, himself. The problem is, Brian's too honest. The lyrics you quoted are perfect exampls - Brian's daring honesty. Who else would release an album of such questionable lyrics as Love You? And get away with it? Take it, one little inch at a time now

[LostArt]

I believe they need to take a step back when recording things, every Brian Wilson song does not need to contain saxes, one million harmonies, and a whole string section, or a falsetto. This is what they are doing wrong, they delegate so that things do not get overwhelming for Brian. Paul you do the string, Brian you compose the harmonies, Jeff think of a falsetto. Everyone brings their piece and try to squeeze it in, Brian is to nice to say no i do not think this should have this or that. It becomes a layer that does not necessarily fit together and gel good.

This was not what Brian did in the hey day, he controlled everything and built up the songs from the ground up in the studio. He came very prepared, with chord patterns, string arrangement, the works. I understand that they do not want to break the man by making him do it all, but perhaps this is the key. Just asking what do we play now? should there be strings? can you arrange the strings?

And most important of all, let the man do what he wants to do, if he wants to do a Phil Spector album or Rock and Roll album let him DO IT!

The thing most people convienently forget is that a) the musicians contributed ideas in the 60's sessions too - listen to the God Only Knows session, or is that somehow not what he wants to do?

and b) most band members have said how Brian responds positively to what we would call the 'cliches' like bass harmonica and things in modern day productions - it's the sound he wants, still.

Plus, these are v talented musicians who have worked positively with Bri for over ten years, they  more than deserve the right to contribute to his music, imo.

a) Yes they did, they suggested small things and Brian was fast to respond. Now its more lets add this and see if Brian responds. That is what made the 60´s productions so great, he was involved in every detail and open to suggestions but just as fast to turn down suggestions.
b) There is no doubt Brian wants real instruments being used, i do to even if i make modern music i tend to avoid synths and reverb drenched drum machines, that is just good taste.

What i am talking about here is everyone wanting so desperately to contribute to the record by adding their own small licks, flutes, saxophones, and its not cohesive, it is a mash of everything. Perhaps they need a good producer, someone who can say no thats been done before or there are to many things happening and its not cooking. This is not an easy job, it involves cutting peoples work out, saying no strings or saxes here. This Bo Diddley beat is lame play it with some balls, or Brian your slurring the words concentrate on these phrases.. It is a pure producing job and there is two ways of doing it, either make Brian really produce from the ground up or hire a good producer.

Yes they have worked with him for 10 years and they deserve to add to the music, but some times you add to the music by stepping back and serving the song.

Just wondering here...just how, exactly, do you know who contributed what?  Were you there during the recording?  Do you know for a fact that Brian was told by...ummm...someone to compose the harmonies?  Just who is this mysterious 'they', who is doing this delegating 'so that things do not get overwhelming for Brian'?  And please, feel free to be specific.  I'm dying to hear your reply.  

Ok source that Brian did all the vocal arrangements for the Disney album: http://www.prnewswire.com/news-releases/pop-legend-brian-wilson-puts-his-stamp-on-in-the-key-of-disney-128334483.html

and he did compose them for the Gershwin project:

http://www.expressandstar.com/entertainment/2011/09/15/concert-review-brian-wilson-at-birmingham-symphony-hall/

Apparently spent eight hours a day on the Harmonies, as for the Disney project a cant imagine him doing eight hours of string arranging when paul has done it on most previous projects:

 http://www.albumlinernotes.com/That_Lucky_Old_Sun.html

"Orchestral arrangements: Paul Von Mertens"

http://www.albumlinernotes.com/Brian_Wilson_s_Christmas.html

Additional string and horn arrangements by: Paul Von Mertens

I could go on and on you get my drift.... and it was stated in various interviews that they where blown away by the string arrangements Paul did on TLOS. I dont know what else data you want, i think it is pretty obvious by style what music bits was contributed by Brian, you sort of hear it in the Dit dits, there is one chromatic singing in color of the wind in one place that is so Brian. The beginning of Baby blue is also so Brian, same goes for shortening bread riff. So yeah there is a lot of Brian in the record but the Brian bits are not the ones in question. Just as you can hear that the bass harmonica solo in Pet sounds was improvised (same goes for sax solo on God only knows demo) you can tell what bits were added by band members simply because they are not as good and inventive as Brian, dont get me wrong they are good, not just as good.

You've missed the point of my post.  I know Mertens did the string and woodwind arrangements...that's common knowledge.  I know Brian arranges the vocal harmonies...that's also common knowledge.  I know Scott Bennett wrote the lyrics to TLOS.  This is the first line of your post:

 "I believe they need to take a step back when recording things, every Brian Wilson song does not need to contain saxes, one million harmonies, and a whole string section, or a falsetto. This is what they are doing wrong, they delegate so that things do not get overwhelming for Brian. Paul you do the string, Brian you compose the harmonies, Jeff think of a falsetto. Everyone brings their piece and try to squeeze it in, Brian is to nice to say no i do not think this should have this or that."

I am wondering who you think it was that told Mertens to do the string arrangements, and who it was that told Brian to do the vocal arrangements, and who it was that told Foskett to make up a falsetto.  What is your source for your claim that "Brian is too nice to say no, I do not think this should have this or that"?  

[ghost]

obviously Melinda ruling her kingdom like the queen of Wilson

[LostArt]

obviously Melinda ruling her kingdom like the queen of Wilson

Source, please.

[ghost]

obviously Melinda ruling her kingdom like the queen of Wilson

Source, please.

Brian Wilson doesn't release music to release art. He releases music to get a pay check. He personally probably doesn't give a sh*t as long as he's got enough money to continue living in comfort. But he's out there doing all these sh*t to make money for his empire. Women rule the empire because they care about trivial things. Man is in the clouds rolling with God, every man is a Christ waiting to flower into full manifestation. Brian is a Buddha and a Saint. He's just out there working - what they do is all for the dollar. They have a team of bankers who tell them what kind of stuff will sell to the most people - the masses - the people who will see a Disney album and just buy it, for the kids or whatever. Nothing too weird Brian, we want to sell some units this time.

[summerinparadise.flac]

obviously Melinda ruling her kingdom like the queen of Wilson

Source, please.

Brian Wilson doesn't release music to release art. He releases music to get a pay check. He personally probably doesn't give a sh*t as long as he's got enough money to continue living in comfort. But he's out there doing all these sh*t to make money for his empire. Women rule the empire because they care about trivial things. Man is in the clouds rolling with God, every man is a Christ waiting to flower into full manifestation. Brian is a Buddha and a Saint. He's just out there working - what they do is all for the dollar. They have a team of bankers who tell them what kind of stuff will sell to the most people - the masses - the people who will see a Disney album and just buy it, for the kids or whatever. Nothing too weird Brian, we want to sell some units this time.

Uh. Source much?

[ghost]

What's with you guys and sources? Don't you have brains that are capable of thought? Think for yourselves, it's all so plain to see. You think Brian sits around wishing he could make a mediocre cover album of Disney songs? Getouttahere, it's all for $.

[LostArt]

What's with you guys and sources? Don't you have brains that are capable of thought? Think for yourselves, it's all so plain to see. You think Brian sits around wishing he could make a mediocre cover album of Disney songs? Getouttahere, it's all for $.

You don't think that Brian, after being approached by the Disney company to record an album of Disney songs, might have thought "I like those old Disney songs, maybe it'd be fun to make an album of Disney songs for my kids"?   

[hypehat]

But, but.... you can't bitch about THAT on the internet!