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ZT国外网友批判小宝各种改编的list，但愿别被脑残粉喷死。。。
1) Love is Here (Like of us) TRAVEL HOPEFULLY from JEEVES / BY JEEVES
2) The Likes of Us (Likes of Us) VARIATION 18 from VARIATIONS / DANCE
3) You Won't Care About her Anymore (Likes of Us) I DON'T THINK I'M WANTED BACK AT HOME (Jacob's Journey) / NEVER AGAIN (By Jeeves)
4) Down Thru' Summer (Single) became the coda in BUENOS AIRES
5) 1969 (Single) used themes from Beethoven's F‹R ELISE and Dvorak's New World Symphony
6) Probably on Thursday (Single) the instrumental solo became the last lines in JOSEPH: "Give me my colour coat..."
7) Kansas Morning (Single) Same opening line as Mendelssohn's Violin Concerto (First Movement) and melody recycled as I DON'T KNOW HOW TO LOVE HIM from JESUS CHRIST SUPERSTAR
8) Any Dream Will Do (JOSEPH) originally "I FANCY YOU", a song which TR and ALW wanted to record with Herman's Hermits
9) Eurovision Song (Eurovision) became SALADIN DAYS in "Come Back Richard", an ALW and TR show performed only once, and again musically recycled for KING HEROD'S SONG
10) The First Book of Samuel - this show doesn't last a minute, and the melody became SUPERSTAR
11) Summer Dream - a low point in the original JEEVES. ALW was meant to have recycled the melody for EVITA
12) Half a Moment (Jeeves) - the opening lines are the codas in AS IF WE NEVER SAID GOODBYE ('Countless spinning memories spin before my view/Like some toy kaleidoscope: images of you' => 'I don't want to be alone - that's all in the past/This world's waited long enough - I'm at home at last'
13) Gumshoe / Odessa File Themes - SUNSET BOULEVARD and PHANTOM OF THE OPERA
14) Phantom of the Opera Theme - identical to the chromatic chord in Pink Floyd's Echoes
15) Buenos Aires - DOWN THRU SUMMER employed as the coda, with an obscure song RED ROOM to become the rest of the melody
1) Love is Here (Like of us) TRAVEL HOPEFULLY from JEEVES / BY JEEVES
2) The Likes of Us (Likes of Us) VARIATION 18 from VARIATIONS / DANCE
3) You Won't Care About her Anymore (Likes of Us) I DON'T THINK I'M WANTED BACK AT HOME (Jacob's Journey) / NEVER AGAIN (By Jeeves)
4) Down Thru' Summer (Single) became the coda in BUENOS AIRES
5) 1969 (Single) used themes from Beethoven's F‹R ELISE and Dvorak's New World Symphony
6) Probably on Thursday (Single) the instrumental solo became the last lines in JOSEPH: "Give me my colour coat..."
7) Kansas Morning (Single) Same opening line as Mendelssohn's Violin Concerto (First Movement) and melody recycled as I DON'T KNOW HOW TO LOVE HIM from JESUS CHRIST SUPERSTAR
8) Any Dream Will Do (JOSEPH) originally "I FANCY YOU", a song which TR and ALW wanted to record with Herman's Hermits
9) Eurovision Song (Eurovision) became SALADIN DAYS in "Come Back Richard", an ALW and TR show performed only once, and again musically recycled for KING HEROD'S SONG
10) The First Book of Samuel - this show doesn't last a minute, and the melody became SUPERSTAR
11) Summer Dream - a low point in the original JEEVES. ALW was meant to have recycled the melody for EVITA
12) Half a Moment (Jeeves) - the opening lines are the codas in AS IF WE NEVER SAID GOODBYE ('Countless spinning memories spin before my view/Like some toy kaleidoscope: images of you' => 'I don't want to be alone - that's all in the past/This world's waited long enough - I'm at home at last'
13) Gumshoe / Odessa File Themes - SUNSET BOULEVARD and PHANTOM OF THE OPERA
14) Phantom of the Opera Theme - identical to the chromatic chord in Pink Floyd's Echoes
15) Buenos Aires - DOWN THRU SUMMER employed as the coda, with an obscure song RED ROOM to become the rest of the melody
6) High Flying Adored - DOWN ON THE FARM (with some lyrics still intact, e.g. "stars in my/your eyes when I/you crawl(ed) in (th)at night") and an unreleased song from JEEVES
17) Unexpected Song - LITERARY MEN from JEEVES
18) You Made me Think You Were in Love - the original version in Tell Me On A Sunday had a jumpy section which quoted from a song in JEEVES
19) Memory (Cats) - has a strong likeness to Puccini, and was intended for an early - if unsettled - version of SUNSET BOULEVARD, and a one-act musical about Puccini and Leoncavallo's race to write the "La BohËme" opera. The line 'Tonight will be a memory too' resembles a phrase of music from 'O Suave Fanciulla' in LA BOHEME. Sounds very close to 'Un Bel di' from MADAM BUTTERFLY, as well as Ravel's 'Bolero'
20) Engine of Love - written before STARLIGHT EXPRESS and even added (after it's re-worded version was cut) to the show
21) There's Me - this should have been a song in JEEVES
22) Requiem - contains strong sections which sound like CATS
23) Married Man - Sarah Brightman was to sing this song with the London Philharmonic, around the time her and Andrew were engaged. We can obviously see why it was abandoned - and how (inevitably) the tune became MUSIC OF THE NIGHT!
24) I Don't Talk to Strangers - a song by Placido Domingo which was recycled (melodically) as ALL I ASK OF YOU and THE POINT OF NO RETURN
25) Wishing You Were Somehow Here Again - combined with Angel of Music, this evolved from an earlier version of ASPECTS OF LOVE
26) CRICKET - nearly everything from this show has made it into future Lloyd Webber productions.
27) Love Changes Everything - recycled from a number written late in the American tour of STARLIGHT EXPRESS
28) Vaults of Heaven - The Jurassic Park Theme
29) Whistle Down the Wind - Steinman is recycling lyrics from several of his older songs, most notably "Future Ain't What it Used to Be"
30) Tyre Tracks and Broken Hearts - melodically, from a song in the American SONG AND DANCE (English Girls)
17) Unexpected Song - LITERARY MEN from JEEVES
18) You Made me Think You Were in Love - the original version in Tell Me On A Sunday had a jumpy section which quoted from a song in JEEVES
19) Memory (Cats) - has a strong likeness to Puccini, and was intended for an early - if unsettled - version of SUNSET BOULEVARD, and a one-act musical about Puccini and Leoncavallo's race to write the "La BohËme" opera. The line 'Tonight will be a memory too' resembles a phrase of music from 'O Suave Fanciulla' in LA BOHEME. Sounds very close to 'Un Bel di' from MADAM BUTTERFLY, as well as Ravel's 'Bolero'
20) Engine of Love - written before STARLIGHT EXPRESS and even added (after it's re-worded version was cut) to the show
21) There's Me - this should have been a song in JEEVES
22) Requiem - contains strong sections which sound like CATS
23) Married Man - Sarah Brightman was to sing this song with the London Philharmonic, around the time her and Andrew were engaged. We can obviously see why it was abandoned - and how (inevitably) the tune became MUSIC OF THE NIGHT!
24) I Don't Talk to Strangers - a song by Placido Domingo which was recycled (melodically) as ALL I ASK OF YOU and THE POINT OF NO RETURN
25) Wishing You Were Somehow Here Again - combined with Angel of Music, this evolved from an earlier version of ASPECTS OF LOVE
26) CRICKET - nearly everything from this show has made it into future Lloyd Webber productions.
27) Love Changes Everything - recycled from a number written late in the American tour of STARLIGHT EXPRESS
28) Vaults of Heaven - The Jurassic Park Theme
29) Whistle Down the Wind - Steinman is recycling lyrics from several of his older songs, most notably "Future Ain't What it Used to Be"
30) Tyre Tracks and Broken Hearts - melodically, from a song in the American SONG AND DANCE (English Girls)
31) If Only - another member of Lloyd Webber's childhood Toy Suite
32) 'The Heart is Slow to Learn' -> recycled as 'Our Kind of Love' and used in THE BEAUTIFUL GAME -> AGAIN recycled as the title song for LOVE NEVER DIES. Sounds very similar to the theme from Billy Wilder's THE APARTMENT.
33) The Phantom of the Opera - Title song from PHANTOM recycled from JOSEPH'S Close Every Door and Benjamin's Calypso.
34) THE WOMAN IN WHITE - "Please you needn't fear me" tune directly lifted from WHISTLE DOWN THE WIND'S "No-one's ever looked at me..."
35) JOURNEY TO THE CEMETERY from the PHANTOM film - recycled from THE BEAUTIFUL GAME
36) ANGEL OF MUSIC from PHANTOM - see the middle section of Sondheim's 'NOT WHILE I'M AROUND'
37) Superstar from JESUS CHRIST SUPERSTAR - Tim Rice comments in his autobiography that this is extremely similar to 'Rosemary' from A FUNNY THING HAPPENED ON THE WAY TO THE FORUM
38) End section of MEMORY extremely similar to "I can make your sad heart sing..." and "Silent music starts to play..." from SUNSET BOULEVARD's 'WITH ONE LOOK'
39) MUSIC OF THE NIGHT contains a repeated phase that, according to a reviewer for TIME magazine, seems to quote "Come to Me, Bend to Me" from BRIGADOON
40) I BELIEVE MY HEART - first notes of Shostakovich's Symphony No. 7 (Leningrad)
41) EVITA's "But we still have the magic we always had..." is set exactly to the same tune as SUNSET's "And there was only one kind of entertainment on hand...".
42) Wishing You Were Somehow Here Again's bridge is lifted from JEEVES' Half a Moment.
43) JOSEPH's "Anyone from anywhere can make it if he gets a lucky break" turns up in PHANTOM's Prima Donna: "He's abusing our position/In addition he wants money...".
44) SUNSET's "I love flannel on a man/This will complement his tan" originally appeared in ASPECTS, e.g. "Why did I agree/To accept this bloody tour?", "Have a lovely night/Come and see me when you can" etc.
45) And the Money Kept Rolling In (and Out) - this is a straight melodic lift from an actual Peronist marching song called Es el Pueblo.
32) 'The Heart is Slow to Learn' -> recycled as 'Our Kind of Love' and used in THE BEAUTIFUL GAME -> AGAIN recycled as the title song for LOVE NEVER DIES. Sounds very similar to the theme from Billy Wilder's THE APARTMENT.
33) The Phantom of the Opera - Title song from PHANTOM recycled from JOSEPH'S Close Every Door and Benjamin's Calypso.
34) THE WOMAN IN WHITE - "Please you needn't fear me" tune directly lifted from WHISTLE DOWN THE WIND'S "No-one's ever looked at me..."
35) JOURNEY TO THE CEMETERY from the PHANTOM film - recycled from THE BEAUTIFUL GAME
36) ANGEL OF MUSIC from PHANTOM - see the middle section of Sondheim's 'NOT WHILE I'M AROUND'
37) Superstar from JESUS CHRIST SUPERSTAR - Tim Rice comments in his autobiography that this is extremely similar to 'Rosemary' from A FUNNY THING HAPPENED ON THE WAY TO THE FORUM
38) End section of MEMORY extremely similar to "I can make your sad heart sing..." and "Silent music starts to play..." from SUNSET BOULEVARD's 'WITH ONE LOOK'
39) MUSIC OF THE NIGHT contains a repeated phase that, according to a reviewer for TIME magazine, seems to quote "Come to Me, Bend to Me" from BRIGADOON
40) I BELIEVE MY HEART - first notes of Shostakovich's Symphony No. 7 (Leningrad)
41) EVITA's "But we still have the magic we always had..." is set exactly to the same tune as SUNSET's "And there was only one kind of entertainment on hand...".
42) Wishing You Were Somehow Here Again's bridge is lifted from JEEVES' Half a Moment.
43) JOSEPH's "Anyone from anywhere can make it if he gets a lucky break" turns up in PHANTOM's Prima Donna: "He's abusing our position/In addition he wants money...".
44) SUNSET's "I love flannel on a man/This will complement his tan" originally appeared in ASPECTS, e.g. "Why did I agree/To accept this bloody tour?", "Have a lovely night/Come and see me when you can" etc.
45) And the Money Kept Rolling In (and Out) - this is a straight melodic lift from an actual Peronist marching song called Es el Pueblo.
46) I'd Be Surprisingly Good for You from EVITA recalls a Beatles song, according to the critic Howard Kissel, presumably Yesterday.
47) Phrases in SUNSET BOULEVARD such as "I can say anything I want with my eyes" and "I will not have it butchered" echo "We make certain the doors are barred" and "We make certain our men are there" from PHANTOM.
48) Music of the Night - The "Open up your mind/Let your fantasies unwind..." melody seems to be lifted from ëQuello che taceteí, the love duet in Act 1 from Puccini's opera LA FANCIULLA DEL WEST
49) With One Look - a reworking of Will This Last Forever? from THE LIKES OF US
50) As If We Never Said Goodbye - Formerly Lazy Days of Summer from CRICKET
51) The melody in PHANTOM at the words, "And in his eyes/all the sadness of the world," is closely related to Liu's suicide music in the last act of Puccini's Turandot.
52) The line 'Silent music starts to play' from SUNSET BLVD's 'With One Look' is the same music for 'Step up my friend and be my host' from 'Be My Host' in Richard Rodgers' NO STRINGS
53) 'When the dark unfolds its wings/Do you hear the strangest things?' from 'The Beauty Underneath' in LOVE NEVER DIES is to the same tune as 'I want someone with a knack/Not just any studio hack' in Salome from SUNSET BLVD
54) Phrase of music that concludes 'Waltz for Eva and Che' and is used as the bridge for the original version of 'Buenos Aires' bears a very strong similarity to 'Theme for Young Lovers' by The Shadows. This song also contains phrases similar to 'They'll all talk about us when we die' from 'The Last Supper' in JESUS CHRIST SUPERSTAR
55) "I know that I've wronged you..." from 'If Not For Me, For Her' in THE WOMAN IN WHITE recycled in LOVE NEVER DIES in 'Till I Hear You Sing' ('And sometimes, at night time, I dream that you are there...').
56) Part of 'Chanson d'enfance' from ASPECTS reused in 'Too Much in Love to Care' in SUNSET
57) 'Stop. Wait. Good.' from ASPECTS - reworking of Prokofiev's 'Gavotte' section of Symphony no. 1
58) Not a stolen theme as such, but 'Pilate and Christ' from JESUS CHRIST SUPERSTAR is very reminiscent of the Adagio section from Prokofiev's Symphony no. 5 in B flat
59) 'On this Night of a Thousand Stars' from EVITA apes Pérez Prado's 1955 hit "Cherry Pink and Apple Blossom White'
47) Phrases in SUNSET BOULEVARD such as "I can say anything I want with my eyes" and "I will not have it butchered" echo "We make certain the doors are barred" and "We make certain our men are there" from PHANTOM.
48) Music of the Night - The "Open up your mind/Let your fantasies unwind..." melody seems to be lifted from ëQuello che taceteí, the love duet in Act 1 from Puccini's opera LA FANCIULLA DEL WEST
49) With One Look - a reworking of Will This Last Forever? from THE LIKES OF US
50) As If We Never Said Goodbye - Formerly Lazy Days of Summer from CRICKET
51) The melody in PHANTOM at the words, "And in his eyes/all the sadness of the world," is closely related to Liu's suicide music in the last act of Puccini's Turandot.
52) The line 'Silent music starts to play' from SUNSET BLVD's 'With One Look' is the same music for 'Step up my friend and be my host' from 'Be My Host' in Richard Rodgers' NO STRINGS
53) 'When the dark unfolds its wings/Do you hear the strangest things?' from 'The Beauty Underneath' in LOVE NEVER DIES is to the same tune as 'I want someone with a knack/Not just any studio hack' in Salome from SUNSET BLVD
54) Phrase of music that concludes 'Waltz for Eva and Che' and is used as the bridge for the original version of 'Buenos Aires' bears a very strong similarity to 'Theme for Young Lovers' by The Shadows. This song also contains phrases similar to 'They'll all talk about us when we die' from 'The Last Supper' in JESUS CHRIST SUPERSTAR
55) "I know that I've wronged you..." from 'If Not For Me, For Her' in THE WOMAN IN WHITE recycled in LOVE NEVER DIES in 'Till I Hear You Sing' ('And sometimes, at night time, I dream that you are there...').
56) Part of 'Chanson d'enfance' from ASPECTS reused in 'Too Much in Love to Care' in SUNSET
57) 'Stop. Wait. Good.' from ASPECTS - reworking of Prokofiev's 'Gavotte' section of Symphony no. 1
58) Not a stolen theme as such, but 'Pilate and Christ' from JESUS CHRIST SUPERSTAR is very reminiscent of the Adagio section from Prokofiev's Symphony no. 5 in B flat
59) 'On this Night of a Thousand Stars' from EVITA apes Pérez Prado's 1955 hit "Cherry Pink and Apple Blossom White'
One more: Part of Anne's post-wedding lament from WiW ("You'll be the lady of Blackwater Park...") is lifted directly from the Kyrie from Webber's setting of the Requiem Mass.
I don't think ALW is derivative of other artists, at least consciously--listen to enough European-based music and you'll hear patterns repeated (the PotO/Echos thing is basically a chromatic scale; you can hear the same thing in "Why God Why?" from Miss Saigon). I do, however, believe he's very self-derivative--and it's gotten really bad in the past couple decades (or maybe it's just become more noticeable to me). I mean, lots of composers have a "trunk" that they pull from but I've never known anyone to so liberally crib from melodies that have already found an established place in his previous work.
I don't think ALW is derivative of other artists, at least consciously--listen to enough European-based music and you'll hear patterns repeated (the PotO/Echos thing is basically a chromatic scale; you can hear the same thing in "Why God Why?" from Miss Saigon). I do, however, believe he's very self-derivative--and it's gotten really bad in the past couple decades (or maybe it's just become more noticeable to me). I mean, lots of composers have a "trunk" that they pull from but I've never known anyone to so liberally crib from melodies that have already found an established place in his previous work.
谢谢楼主在这么水的贴里居然有提供这么赞的list，对我这样的小宝脑残粉来说真是太有趣了！最搞笑的是我居然一直没听出来half a moment和as if we never said goodbye旋律是一样的~ 大赞原作者Scorp~他提到的那本John Snelson的书我也有看过，他说自己不买Snelson的帐，不过Scorp的list也不是很容易让人买账，除了一些尽人皆知的(比如门德尔松的Violin Concerto in E Minor)和一些不该有人知道的(比如其中各种压根没发表原作),基本上就剩些非常ambiguous的了。
我觉得还应该加上By Jeeves里的It's a pig，和美女野兽中的Be our guest极为相似，不过和小宝70年代的Magdalena也很像，所以还搞不清楚是抄袭别人还是移植自己。
我觉得还应该加上By Jeeves里的It's a pig，和美女野兽中的Be our guest极为相似，不过和小宝70年代的Magdalena也很像，所以还搞不清楚是抄袭别人还是移植自己。
