Elton John

The Lion King (1994)

1.Circle of Life *
2.I Just Can't Wait to be King *
3.Be Prepared *
4.Hakuna Matata *
5.Can You Feel the Love Tonight *
6.This Land #
7.To Die For #
8.Under the Stars #
9.King of Pride Rock #
10.Circle of Life @
11.I Just Can't Wait to be King @
12.Can You Feel the Love Tonight @

*Music by Elton John
#Written and Performed by Hans Zimmer
@Performed by Elton John

By 1994, Elton John had already experienced multiple reinventions—glam rocker, balladeer, comeback artist, duet partner—but The Lion King marked a new chapter altogether: Elton John, family entertainer. It was a transition as unexpected as it was successful, and one that would introduce him to an entirely new (and considerably younger) generation of listeners.

The album itself is, structurally speaking, a hybrid. While it’s widely remembered as an “Elton John record,” the reality is more nuanced. The score is composed primarily by Hans Zimmer, and only five original songs bear the ELTOn John/Tim Rice songwriting credit. Of those five, only three are sung by Elton himself. As such, the album straddles the line between film soundtrack and pop release, never quite settling fully into either camp.

What is here, however, is undeniably strong. Circle of Life and Can You Feel the Love Tonight have long since graduated from soundtrack status to pop standards—each earning accolades, airplay, and, in the case of the latter, an Academy Award. The former is sweeping and ceremonial, the latter lush and romantic. Both are among Elton’s most elegant works of the decade.

Also included is I Just Can’t Wait to Be King, a bright, infectious number that’s more rhythmically charged than the others—a playful piece that works as well in the film as it does as an Elton-led pop cut. Less radio-friendly, but no less effective, are Hakuna Matata and Be Prepared, both delivered by film characters only. While Elton abstains from recording versions of these himself, the compositions still bear the unmistakable touch of his melodic sensibility.

It’s worth noting that Elton’s only prior collaboration with lyricist Tim Rice was a one-off (Legal Boys, from Jump Up!). But here, the pair locked into a productive rhythm that would eventually yield additional projects (Aida, The Road to El Dorado), and their chemistry is evident from the start.

Beyond the music, The Lion King marked a rare alignment of pop, film, and cultural moment. The film became the most successful Disney release of its era, and with it came a shift in how animated features were scored. Suddenly, every studio wanted a marquee name to pen the songs. In that sense, Elton didn’t just score a hit—he helped redefine an entire approach to soundtrack storytelling.

It also marked a subtle but significant turning point in his public image. For millions of new fans, Elton wasn’t the flamboyant star of Goodbye Yellow Brick Road, nor the bespectacled balladeer of Blue Moves—he was “The Lion King Guy.” And far from resenting the label, Elton seemed to embrace it. It brought him back into the global spotlight and cemented his place not just in music history, but in popular culture writ large.

In the end, The Lion King isn’t a conventional Elton John album—and it was never intended to be. But its impact on his career, and its contribution to the Disney musical canon, are both undeniable. A transition, yes—but one executed with grace, melody, and a surprising roar.

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