Andrew Lloyd Webber Recycling

The tunes Andrew has recycled from himself over the years. Here are all the ones that I know about, in chronological order.

"The Likes of Us" (first performed in 2005) with lyrics by Tim Rice: Parts of 'I'm a Very Busy Man' reappear in 'I Hope You like It Here' from "The Woman in White" (2004). 'Love Is Here' becomes 'Travel Hopefully' in both "Jeeves" (1975) and the revised version "By Jeeves" (1996). 'The Likes of Us' becomes 'Variation 18' from "Variations" (1978) which is performed as the dance half of "Song and Dance" (1982). 'We'll Get Him' verses become the music for the Ishmaelites in 'Poor, Poor Joseph' from "Joseph and the Amazing Technicolor Dreamcoat" (1968). 'A Man on His Own' comes from Andrew's 1963 song 'Make Believe Love' recorded by Wes Sands. This song is included on Disc 5 of the ALW set "Now & Forever" (2001). The music later appears as 'Marisa' on Maynard Williams "Ten Songs" (1973). 'Will This Last Forever' forms 'If This Is What We're Fighting For' from "The Beautiful Game" (2000). 'You Won't Care About Him Anymore' became 'I Don't Think I'm Wanted Back at Home' from Tim and Andrew's 'Jacob's Journey" (1973), performed as part of the original London production of "Joseph". This music will also appear as 'Never Fear' in the Broadway production of "By Jeeves", but this was never recorded.

"Joseph and the Amazing Technicolor Dreamcoat" (first performed in 1968 and expanded in 1973) with lyrics by Tim Rice: 'One More Angel in Heaven', I believe, comes from a piece Tim and Andrew wrote in 1969 called "Come Back Richard, Your Country Needs You". Only a single of the title song was ever recorded. Early versions of 'Potiphar' contained an intro that would become the opening of 'Pilate and Christ' from "Jesus Christ Superstar" (1970). 'Stone the Crows' has a line: "Anyone from anywhere can make it if they get a lucky break" which sounds similar to the end of 'Hosanna' on the original "Superstar" recording, as well as "It's a scandal that'll pack 'em in the aisles" from 'Notes' in "The Phantom of the Opera" (1986). The music from 'Any Dream Will Do' was apparently an unheard song written for Herman's Hermits called 'I Fancy You'. The tune for 'Give Me My Coloured Coat' is the instrumental from the Ross Hannaman single 'Probably on Thursday' (1969).

"Jesus Christ Superstar" (recorded in 1970 and first performed in the theatre in 1971) with lyrics by Tim Rice: 'I Don't Know How to Love Him' was an unheard song by Andrew and Tim called 'Kansas Morning' written before "Jesus Christ Superstar". 'King Herod's Song' was 'Try it and See' performed by Rita Pavone and written for the Eurovision contest in 1969. Some versions of 'King Herod's Song' even include 'Try it and See' in the title. This tune also appeared in "Come Back Richard, Your Country Needs You" as 'Saladin Days'. A song with that title appears in Tim Rice and Stephen Oliver's musical "Blondel" which is based on the same subject matter. The opening notes for 'Superstar' appear in some early versions of "Joseph and the Amazing Technicolor Dreamcoat" but this is after the album/show had been released.

"Jeeves" (the original version first performed in 1975 and revised as "By Jeeves" in 1996) with book and lyrics by Alan Ayckbourn: 'Female of the Species' is the music from 'The Ballad of Robert and Peter' which can be heard on Disc 5 of "Now & Forever" (2001). 'Female of the Species' is later reworked as 'Deadlier than the Male' from the early version of "By Jeeves" (1996) which can be heard on the live Scarborough cast recording. I'm going to guess the music was reworked because fragments of the original tune sound like parts of 'Every Movie's a Circus' from "Sunset Boulevard" (1993), e.g. "He likes trash with fairy lights." 'Jeeves is Past His Peak' becomes 'Wooster Will Entertain You', the new opening for "By Jeeves" (1996) which can be heard on the American release of the original cast album and the American premier recording. I'm not sure this really counts, but it's worth a mention. The music behind the lines "Countless vivid memories spin before my view..." in 'Half a Moment' later becomes "I don't want to be alone, that's all in the past..." in 'As If We Never Said Goodbye' from "Sunset Boulevard" (1993). 'Eulalie' becomes 'The Hallo Song' in "By Jeeves" (1996). The music also appears in 'What a Line to Go out on' from Yvonne Elliman's 1972 album. The choruses of 'Summer Day' become 'Another Suitcase in Another Hall' from "Evita" (1976). I also hear parts of 'You Made Me Think You Were in Love' from "Tell me on a Sunday" (1980), later the song half of "Song and Dance" (1982).

"By Jeeves" (the revised version): 'It's a Pig!' is the music from Tony Christie 'Magdalena' with lyrics by Tim Rice.

"Evita" (recorded in 1976 and first performed in 1978) with lyrics by Tim Rice: Music from 'Buenos Aires' appears in 'The Red Room' and 'I Can't Go On' from Maynard Williams "Ten Songs" (1975). The middle section: "And if ever I go too far..." is 'Down Thru Summer' the Ross Hannaman single (1969). That music also becomes 'I Can't Go On'. Music from 'High Flying, Adored' is 'Down on the Farm', again from Maynard's album. It even contains some of the same lyrics in places. It was also briefly 'If I Were Keats' from Tim and Andrew's early attempt at "Jeeves" (1975). 'The Art of the Possible' added for the stage version to replace the song 'The Lady's Got Potential' (restored with different lyrics for the film version) is music from Andrew's score for "The Odessa File" (1975).

"Variations" (released as an album in 1978 and performed as the dance half of "Song and Dance" in 1982), variations on a theme by Niccolo Paganini: 'Variation 5' was 'Literary Men', a song from "Jeeves" (1975) not included on the original cast album. This music will later become 'When You Want to fall in Love' and then 'Unexpected Song' in "Song and Dance" (1982). 'Unexpected Song' had been a single before "Song and Dance" too, recorded by Marti Webb with Justin Hayward.

"Tell me on a Sunday" (released as an album in 1980 and performed as the song half of "Song and Dance" in 1982), with lyrics by Don Black, and later additional material by Richard Maltby, Jr. (the American production) and Jackie Clune (the 2003 version of "Tell me on a Sunday"): 'English Girls' from the Broadway production of "Song and Dance" becomes the music from 'Tire Tracks and Broken Hearts' from "Whistle down the Wind" (1996). This song replaced 'Sheldon Bloom'. 'Haven in the Sky' from the 2003 production is music from 'The Beauty Underneath' from "Love Never Dies" (2010).

"Cats" (first performed in 1981), based on "Old Possum's Book of Practical Cats" by T.S. Eliot with additional material by Trevor Nunn and Richard Stilgoe: Music from 'Memory' was composed for an idea for a project about Leoncavallo and Puccini writing their versions of "La Bohème". Listen to Sarah Brightman's Italian version of "Memory" on her album "Surrender" (1995). It's the closest I get to the "La Bohème" project. Music from 'Gus: The Theatre Cat' was 'I Could Have Given You More' with lyrics by Don Black recorded by Petula Clark. You can hear it on Disc 5 on "Now & Forever" (2001). 'The Ballad of Billy McCaw' not included in the Broadway production is the music from 'Next Time You Fall in Love' from the 1992 version of "Starlight Express". That music also appears in Tim and Andrew's short musical "Cricket" (1986) but this has never officially been recorded. The opening of 'Beautiful Ghosts' written for the movie version (2019) sounds like the beginning of 'Til I Hear You Sing' from "Love Never Dies" (2010).

"Starlight Express" (first performed in 1984) with lyrics by Richard Stilgoe, and later additional material by Don Black among others: 'A Lotta Locomotion' was a song called 'Goodbye Seattle' with lyrics by Tim Rice recorded by one Paul Raven... you can hear it on Disc 5 of "Now & Forever" (2001). 'He Whistled at Me' started life as the single 'Engine of Love' with lyrics by Peter Reeves recorded by Earl Jordan. It's included on the Americana studio album (1987) and appeared in the Broadway production (1987). 'There's me' seems to become 'A Gift for Living Well', Count Fosco's first song from "The Woman in White" (2004). It also sounds a bit like parts of 'Think of Me' from "The Phantom of the Opera" (1986). The verses of 'Starlight Express' are the middle section of 'On This Night of a Thousand Stars' from "Evita" (1976).

"The Phantom of the Opera" (first performed in 1986) with lyrics by Charles Hart, additional lyrics by Richard Stilgoe and book by Richard Stilgoe and Andrew Lloyd Webber: 'Music of the Night' was a song performed briefly by Sarah Brightman in 1983 but never recorded. The title has been referred to as 'Married Man' or 'Young Enough to Fall in Love Again'. You can hear a live version on YouTube. The verses of 'All I Ask of You' come from a Tim and Andrew song 'I Don't Talk to Strangers' recorded by Placido Domingo in 1983. It's been said that parts of the score had been written for an attempted version of "Aspects of Love", but I haven't heard these other tunes. 'Learn to be Lonely' written for the film was another song filmed but deleted called 'No One Would Listen'. Music from 'Madame Giry's Tale' in the film shows up in 'The Coney Island Waltz' and later versions of 'The Beauty Underneath' from "Love Never Dies" (2010). Music from 'Journey to the Cemetery' becomes 'Beneath a Moonless Sky' from "Love Never Dies" (2010). I can also hear the Overture from "The Beautiful Game" (2000).

"Aspects of Love" (first performed in 1989) with lyrics by Don Black and Charles Hart: 'Chanson D'Enfance' has a new section on the Sarah Brightman version from "Surrender" (1995) which becomes 'If Only' from "Whistle down the Wind" (1996). Parts of 'Stop, wait, please' come from 'Remember why we fell in love' Andrew composed for TV show 'Executive Stress' (1986). 'Mermaid Song' was one of the tunes from Tim and Andrew's short musical "Cricket" (1986), as was 'Anything But Lonely'.

"Sunset Boulevard" (first performed in 1993) with book and lyrics by Don Black and Christopher Hampton, and contributions from Amy Powers: Music for 'With One Look' was composed for Disney when Andrew was approached about writing the score for "The Little Mermaid" film. Parts of 'Salome' sound like parts of 'The Coney Island Waltz' to my ears. The recitative section in 'Salome', with Joe and Norma, sounds like the "We have all been blind..." section from "The Phantom of the Opera" (1986). 'The Lady's paying' comes from 'Benedicite' which can be heard on Disc 5 of "Now & Forever" (2001). 'Sunset Boulevard' appears as a theme in Andrew's film score for "Gumshoe", and the song 'Finally (Theme from the film "Gumshoe") with lyrics by Tim Rice performed by Pamela Paterson, as well as 'Turning' from Maynard's "Ten Songs" (1975). 'As If We Never Said Goodbye' was composed for "Sunset Boulevard" but the music was used in Tim and Andrew's short musical "Cricket" (1986).

"Whistle down the Wind" (first performed in 1996, revised in 1998) with lyrics by Jim Steinman, book by Patricia Knop, Gale Edwards and Andrew Lloyd Webber: the title 'Vaults of Heaven' comes from an unreleased Jim Steinman song recorded as a demo in the "Footloose" (1984) sessions. 'If only' is the title of a song from Jim's 1973 musical "More Than You Deserve" (1973) cut during the run. The title 'Tire Tracks and Broken Hearts' is a line from 'Peel Out', the opening song from Meat Loaf "Dead Ringer" (1981). Parts of 'Safe Haven' sound like the beginning of 'Dead Zone' in "The Beautiful Game" (2000). The title 'A Kiss is a Terrible Thing to Waste' comes from an unreleased Steinman song that was even recorded by the Everly Brothers but not released until 2005. 'The Hunt' is the title of an instrumental from the Kennedy Center workshop of Jim's "Neverland" (1997). 'Nature of the Beast' is similar to an incomplete lyric titled 'In the Underbelly of the Beast' from Jim's "Bat out of Hell 2100" screenplay treatment, presumably written around 1997. The line 'No one's ever looked at me the way you're looking at me now' resurfaces as a theme for Laura Fairlie in "The Woman in White", e.g. the piece she plays on the piano in her first scene.

"The Beautiful Game" (first performed in 2000, revised as "The Boys in the Photograph" in 2009, before the revised version reverted back to the original title) with book and lyrics by Ben Elton: Music for all of the choruses of 'Our Kind of Love' is 'The Heart is Slow to Learn' performed by Kiri Te Kanawa at the Royal Albert Hall in 1998, composed for a sequel to "The Phantom of the Opera" tentatively titled "The Phantom of Manhattan". 'The Heart is Slow to Learn' will become 'Love Never Dies' from the eventual sequel. As a result, 'Our Kind of Love' is removed from "The Beautiful Game". I can't think of anything else from this one.

"The Woman in White" (first performed in 2004) with lyrics by David Zippel and book by Charlotte Jones: Parts of 'Perspective' sound like 'The Coney Island Waltz' from "Love Never Dies" (2010), to my ears anyway. Similarly, parts from 'If Not for Me for Her' sound like parts of 'Til I Hear You Sing' from "Love Never Dies". That song had been dropped from the Broadway production, I believe.

"Love Never Dies" (first performed in 2010) with lyrics by Glenn Slater, additional lyrics by Charles Hart, and book by Ben Elton, Andrew Lloyd Webber, Glenn Slater and Frederick Forsyth (and I've probably bungled up the order there): I think I've just about covered all of this, unless I've overlooked something.

"The Wizard of Oz" (first performed in 2011) with new music and lyrics by Andrew Lloyd Webber and Tim Rice, and book by Jeremy Sams: the main line of 'Already Home' reminds me of 'As if we never said goodbye' from "Sunset Boulevard" (1993).

"Stephen Ward" (first performed in 2013) with book and lyrics by Christopher Hampton and Don Black: I can't really think of anything from this one. Parts of 'Too Close to the Flame' remind me of 'All the Love I Have' from "The Beautiful Game" (2000).

"School of Rock" (first performed in 2015) with lyrics by Glenn Slater and book by Julian Fellowes: 'Variation 7' is clearly the piece from "Variations". 'Stick it to the Man' contains more music from the "Variations". 'I'm Too Hot for you' is 'I've Been in Love Too Long' with lyrics by Don Black recorded by Marti Webb in 1980. Parts remind me of 'I Believe My Heart' from "The Woman in White" (2004) too.

"Cinderella" (first performed in 2021) with lyrics by David Zippel and book by Emerald Fennell: I think this is the only time I haven't been able to spot a recycled tune. That doesn't mean they weren't though. We've probably never heard what he originally composed them for.

"The Illusionist" (coming up in 2026): now I find myself wondering what he *could* reuse for this!