Top 10 Iconic Andrew Lloyd Webber Songs

“Evita” (1996)



When “Evita” was adapted from stage to screen in 1996, director Alan Parker wasn't the only one creatively adding to the source material. Lloyd Webber teamed up with lyricist Tim Rice after a long hiatus to write an entirely new song for the musical. It's a sad tune that comes near the end of the film, as Madonna's Eva Perón tries to deal with her failing health and hold on to the power and relationship she had with Juan Perón. It was released as a single prior to the film hitting theatres, and won Lloyd Webber and Rice both the Golden Globe and the Oscar for Best Original Song.

“School of Rock” (2015)



While most of the songs on this list are performed by a solo vocalist, this one was composed for several singers – many of them kids. It’s from the 2015 musical “School of Rock”, adapted from the 2003 Jack Black movie of the same name. Though the film relied heavily on existing classic rock tunes, Lloyd Webber and lyricist Glen Slater were able to capture its rock and roll ethos and humour with original songs for the stage adaptation. This is most evident when failed rock musician turned substitute teacher Dewey Finn instructs his class to resist authority and “stick it to the man”.

“Joseph and the Amazing Technicolor Dreamcoat” (1968)



This song opens and concludes one of Lloyd Webber’s earliest musicals, 1968’s “Joseph and the Amazing Technicolor Dreamcoat”. It is quite the upbeat number, complemented by equally upbeat lyrics by Tim Rice, and is usually performed by Joseph with a chorus of children. It has also served as a chart-topper for several singers who have portrayed the biblical figure over the years. Donny Osmond, Jason Donovan and Lee Mead have all released it as a single, and performed it together at the Concert for Diana in 2007.

“Jesus Christ Superstar” (1971)



“Jesus Christ Superstar” was controversial when it first opened on Broadway in 1971. Lyricist Tim Rice attributed this to Jesus being portrayed more like a man at the right place and right time than divine. This depiction is most obvious in “Gethsemane”, a song full of self-doubt where Jesus defiantly expresses anger at God for his situation. It starts quietly before building to an extremely high vocal note, followed by a crescendo with which Norman Jewison's film version fills with iconic Christian imagery. The passion found in Lloyd Webber's arrangement, as well as in original Broadway and film Jesus Tim Neely's delivery, really puts the “opera” in “rock opera”.

“Sunset Boulevard” (1993)



This is an emotional song that starts softly before launching into a grand, passionate build-up. It also takes both a great singer AND a great actress to do it justice. Elaine Paige made it famous in the original stage version of “Sunset Boulevard”, and Barbra Streisand has made her own version of it as well. Glenn Close brought down the house with it at the Royal Albert Hall, and the song even showed up on “Glee”. It may seem strange and ironic that a song about longing for fame would become this famous, but you only have to listen to understand why.

“The Phantom of the Opera” (1986)



The only duet on our list, this is also the only song from the 1986 musical that's as much rock as it is opera. Since these are two genres Lloyd Webber excels at, it's no surprise The Phantom of the Opera’s title song is a memorable one. The iconic, hard-hitting organ intro gives way to synth, drums and electric guitar serving as the foundation for operatic vocals and harmonies. The song's eerie melody and upbeat tempo are an excellent fit for Christine's journey to the Phantom's lair beneath the opera house.

“Cats” (1981)



This signature song from the 1981 musical “Cats” predates the show by at least a few years. At one point, Lloyd Webber even considered using the tune’s instrumentation in “Evita” for a song to be sung by Juan Perón. Both Tim Rice and Don Black came up with lyrics for it, but original “Cats” director Trevor Nunn's version won out. The result is both melancholy and memorable. Elaine Paige initially made it famous as Grizabella in the musical, but it’s universal enough to be a hit for several artists without the need for cat makeup, most notably Barbara Streisand.

“Jesus Christ Superstar” (1971)



Juxtaposing a crucifixion with a funk-rock dance party may not seem like an obvious choice, but it's the one Lloyd Webber made to cap off “Jesus Christ Superstar”. The title track was released as a single before the musical was even completed. It's sung by Judas as a ghost, following his suicide a few scenes beforehand. Giving the final word to the man who betrayed Jesus makes him more protagonist than antagonist, which is another bold choice. The lyrics by Tim Rice are sarcastic and thought-provoking, while Lloyd Webber mixes symphonic elements with the funk at just the right moments to close the show with style.

“Evita” (1978)



The second song from “Evita” on our list is also the tune instantly associated with it. Many who haven't even seen or heard the musical know this number, and it’s easy to see why. It's a powerful victory song; the kind someone would sing to cheering crowds, which is what Eva Perón does following her rise to power and before her decline. This song certified Patti LuPone as a Broadway star, and helped Madonna win a Golden Globe for her portrayal of Eva in the 1996 film version – her first acting award.





Before we unveil our top pick, here are a few honourable mentions:





I Don’t Know How to Love Him

“Jesus Christ Superstar” (1971)





Pharaoh’s Story

“Joseph and the Amazing Technicolor Dreamcoat” (1970)





Jellicle Songs for Jellicle Cats

“Cats” (1981)

“The Phantom of the Opera” (1986)



This one doesn't just top our list, it's also prominent in every Lloyd Webber compilation and many Broadway compilations released in the past few decades as well. It’s haunting, epic, and overall a song of seduction. Just as the Phantom sings it to seduce Christine, Lloyd Webber's score and Charles Hart's lyrics have captivated audiences since The Phantom of the Opera first premiered in 1986. It’s a tune that takes a strong and appropriately operatic vocalist to pull off. Michael Crawford did so famously on stage; Gerard Butler performed it in the film version; and numerous singers have covered the song as well.