I make my own suggestions about interpretations of Andrew Lloyd Webber songs that could have been included on his new compilation album Unmasked
“They must have excitement, and so must I”
In a world of Spotify and iTunes and other online music services, compilation albums ought to have died a death. But the enduring success of the Now That’s What I Call Music series puts the lie to that, showing that while the idea of curating your own content is tempting, many of us prefer to let someone else do it for us.
So Andrew Lloyd Webber’s decision to release new anthology Unmasked is a canny one in that respect (read my review here), tapping into the desire to have a nicely pleasant set of musical theatre tunes to pop on in the car. And as with any compilation, it’s as much about what hasn’t been included as what has, that stands out. Continue reading “How to solve a problem like a compilation – my alternative Unmasked”
Andrew Lloyd Webber marks his 70th birthday with a new musical anthology – Unmasked: The Platinum Collection – taking in shows new and old with some surprises along the way (Beyoncé, Lana del Rey, Duncan from Blue )
“Oh what a circus, oh what a show”
Upon reaching 70 this year, Andrew Lloyd Webber is clearly in a reflective mood and hot on the heels of his autobiography Unmasked released last week, comes this new compilation album Unmasked: The Platinum Collection. Available physically as a 2CD or 4CD version (the latter with a 40 page book of liner notes and tributes), this collection looks back on a career spanning nearly 50 years and features some new twists on the material as well as reminding us of the old favourites.
Over the four discs, 17 of Lloyd Webber’s shows are represented here (Jesus Christ Superstar tops the list with 8 tracks, Evita and Phantom just behind), alongside assorted one-off songs (such as ‘Amigos Para Siempre’ from the 1992 Barcelona Olympics, the Gary Barlow co-write ‘Sing’ from the Queen’s Diamond Jubilee). But for ALW fans it will be the unreleased stuff that makes the mouth water – five new orchestral suites and a smattering of new recordings featuring the likes of Lana del Rey (a winsome ‘You Must Love Me’ and Gregory Porter (a spirited ‘Light At The End Of The Tunnel’. Continue reading “Album Review: Andrew Lloyd Webber Unmasked: The Platinum Collection”
Not the one for me I’m afraid
Main photo: Darren Bell
In celebration of his 70th birthday this March, new compilation ANDREW LLOYD WEBBER: THE PLATINUM COLLECTION will be available March 16th through UMC / Polydor.
The collection is personally curated and overseen by Lloyd Webber to include classics from his earliest work starting with 1968’s Joseph and the Amazing Technicolor Dreamcoat through his most recent School of Rock.
Newly recorded songs from superstar artists Nicole Scherzinger (“Memory”, Cats), Gregory Porter (“Light at the End of the Tunnel”, Starlight Express) and Lana Del Rey (“You Must Love Me”, Evita) add to the collection of his cherished works from the past five decades.
The set also contains recordings by world-class performers such as Barbra Streisand, Madonna, Michael Crawford, Sarah Brightman, Michael Ball, and released for the first time, Beyonce singing “Learn To Be Lonely” from the 2005 Academy Awards with Lloyd Webber accompanying on piano.
UNMASKED: THE PLATINUM COLLECTION is available as 2 CD and 4 CD editions. The 4-disc version contains an exclusive 40-page book with a personally penned introduction from Lloyd Webber and more in-depth notes on each track, written by respected theatre critic and Lloyd Webber biographer Michael Coveney, together with personally written tributes from Barbara Streisand and Glenn Close among others.
Pre-order 2 CD Edition
Pre-order 4 CD Edition
Continue reading “Andrew Lloyd Webber celebrates 70 years with ‘Unmasked: The Platinum Collection’”
“Lock the door and stop complaining
Gather ’round and listen well”
Between them, Amber Riley, Beverley Knight and Cassidy Janson have racked up Olivier Awards and accolades aplenty and their mutual respect has led to them joining forces to create musical supergroup Leading Ladies. And working with producers Brian Rawling and Paul Meehan through East West Records (Warner), their debut album Songs From The Stage is about to be released.
Across the 14 tracks of the collection, there’s a variety of approaches as they tackle songs from a wide range of musicals. Each singer gets a couple of solo numbers, and they all chip in with backing vocals on some of those, but the highlights come when the trio sing together. And none more so than on an utterly transcendent version of Carole King’s ‘Will You Still Love Me Tomorrow’ whose close harmonies are goosebump-inducingly extraordinary, the marriage of their voices a perfect alchemy. Continue reading “Album Review: Leading Ladies – Songs From The Stage”
“There is joy in the air
So be gone with dull care”
What to do to make your album stand out in a crowded marketplace of musical theatre-related albums? Get Auburn Jam’s Joe Davison in to do your arrangements, that’s what. A glimpse at the tracklisting of Helen Power’s new album Enraptured may not initially suggest a great adventurousness but on first listen, its playful and subtly daring nature soon become apparent.
A relaxed take on Porgy & Bess’ Summertime is a strong opener, full of bold musicality and Power’s confident soprano, but it’s the next of couple of tracks that set out the vision here. A Latin-inflected ‘The Sound Of Music’ has no right to be effective but as Davison introduces silky bossanova rhythms and elastic double-bass lines, it’s impossible to resist its easygoing charm. And if less radical, his Bond-esque re-arrangement of the title track from The Phantom Of The Opera is no less exciting, its duelling brass section and violins building to a breathless climax that thrills just as much as Power’s soaring top E. Continue reading “Album Review: Helen Power – Enraptured”
“I hang suspended
Until I know
There’s a chance that you care”
It is no secret that I am no great fan of a booming tenor and so it was little surprise that Michael Ball and Alfie Boe’s album Together
was not really my cup of tea. But it was however what many other people wanted and following its success and reaching number 1 in the charts, the pair have collaborated again to produce the imaginatively titled Together Again
. And in the spirit of open-mindedness, plus the acknowledgement that there’s a more adventurous tracklisting, I steeled myself to listen.
I have to hold up my hands and say I was pleasantly surprised by more than a few of the songs here. The first two-thirds of ‘The Rose’ are genuinely spine-tinglingly lovely and even when the bombast kicks in for the finale, it stills maintains a heartfelt sincerity. A stroll through ‘White Christmas’ is marvellously restrained and all the more effective for it. Even the big band swing through ‘Bring Me Sunshine’ has a gentleness to it that allows both men to demonstrate their performative range. Continue reading “Album Review: Michael Ball and Alfie Boe – Together Again”
“Smile a rented smile, fill someone’s glass
Kiss someone’s wife, kiss someone’s ass”
Ria Jones’ extraordinary history with Sunset Boulevard might well be entitled The Norma Conquests – from originally workshopping the role of Norma Desmond for Andrew Lloyd Webber (music) and Don Black and Christopher Hampton (book and lyrics) in 1991 to her headline-grabbing stint as Glenn Close’s understudy in last year’s ENO staged concert version of the show to finally getting to play the leading role in her own right on this UK tour, premiering at Leicester’s Curve, some 26 years later.
And was it worth the wait? Jones certainly is making the most of her well-deserved moment, offering a different skillset for her markedly different interpretation. Jones is undoubtedly the better singer, the lushness of her voice soaring effortlessly to the impassioned heights of the score. And she’s a different kind of actress, offering a brasher, more manic kind of energy to this former movie star caught up in a fantasy world when a young screenwriter (Danny Mac) accidentally offers hope to her faded career. Continue reading “Review: Sunset Boulevard Curve, Leicester”
And whilst it remains impressive, it also remains elusive, caught between gig and theatre…
Meaning there wasn’t much to discover anew on second viewing (my review from last year).
Still worth a shot if you’ve not seen it though. All photos © Johan Persson
“It is nothing to do with the wine
Or the music that’s flooding my mind”
Shona White is a rather under-rated (for my money at least) Scottish actress and singer perhaps most famous for stints in Mamma Mia which were 12 years apart, but whose musical theatre credits stretch far and wide. Her 2011 album I’ll Bring You A Song, produced by Richard Beadle reflects the breadth of her career and it is this variety which is both its strength and its slight weakness.
I have to admit to finding it hard to get too excited about tracks like ‘To Sir With Love’ and Tell Me On A Sunday’s ‘Take That Look Off Your Face’. They’re sung perfectly competently but familiarity breeds a certain measure of contempt. Where this type of song choice succeeds is where the interpretation dares to be different, the sharp emotion of Chess‘ ‘Nobody’s Side’ a case in point here, so too the slowed down take on ‘As Long As You’re Mine’ from Wicked with the ever-melodious Daniel Boys.
Continue reading “Album Review: Shona White – I’ll Bring You A Song (2011)”