Michael Crawford Performs Andrew Lloyd Webber was not only astonishing when first released in 1991, but it has arguably stood the test of time and I challenge you to find a more complete and concise exploration of Lloyd Webber by an artist that is Crawford’s vocal peer. I’d suggest it is impossible, but I’d be happy to be proven wrong. Yes, it would be easy to dismiss Michael Crawford following his slapstick role as Frank Spencer, but doing so would be detrimental to one’s love of music for his vocal presentation is perfectly suited to Andrew Lloyd Webber’s compositions.

The album, Michael Crawford Performs Andrew Lloyd Webber, is near impossible to pick up on CD these days and while available on streaming services, the Apple Music edition, a non-Apple Digital Master sounds flat and lifeless. Thankfully, TIDAL Hi-Fi has the CD-quality stream that sounds just the way it should. Sonically, the album is marvellous as the soundstage is wide with Crawford positioned perfectly centre and the instrument separation of the Royal Philharmonic Orchestra is consistently clear and not at all congested. If there is one criticism to be had it is that the sound signature is so clean that it can be a little clinical. I prefer a warmer tonality to my music, you may of course differ, but increasing the bass slightly addresses this issue. Either way, it is a lovely recording and one that takes full advantage of your stereo system. 

Any Dream Will Do is a lovely song to open the album with and while I’m not a major fan of Joseph and the Amazing Technicolor Dreamcoat, Crawford does a far better job than Jason Donovan ever did. Yes, their styles are somewhat different, but Any Dream Will Do most certainly appeals to vocalists with a broader classical range.

All I Ask Of You is simply stunning although I’ve always considered the opening to be too long, wishing that the vocals would have been introduced a little sooner. The duet is done with Barbara Bonney and she is nothing short of a musical gift from the gods. 

Wishing You Were Somehow Here Again is beautifully recorded and one of my favourite songs on the album. 

And The Money Kept Rolling In (And Out) is a great song but the tempo is significantly different to that of Wishing You Were Somehow Here Again and it momentarily causes a mental jolt. While I don’t feel there is a bad song to be heard on Michael Crawford Performs Andrew Lloyd Webber, I do question if this was the right song to include at this point in the sequencing for I don’t feel Crawford adequately delivers the vocal on this song as he appears not only distant in the mix but unable to reach the required notes with the authority that has been prevalent on all other songs thus far. 

Nothing Like You’ve Ever Known is simply beautiful; a pleasure to listen to and one to play on repeat.   

Tell Me On A Sunday was the perfect song to follow Nothing Like You’ve Ever Known. It’s a delicate song but one that is handled with kid gloves and perfectly suited to Crawford thereby making this song a thoroughly enjoyable listening experience. 

Gethsemane is one of my all-time favourite Andrew Lloyd Webber compositions and the only time I’ve heard it better was when John Farnham covered it in the 1992 Australian recording of Jesus Christ Superstar and that’s saying something as I feel Crawford recorded an impeccable, albeit different, interpretation to that of the Australian cast recording.

The Phantom Of The Opera is, arguably the greatest song ever written. Okay, I could say that about so many songs that I adore, but it is bold and one that demands you turn the volume up. Bonny once again joins Crawford to conduct this duet and arguably outperforms Sarah Brightman. I’d even argue that Crawford’s reinterpretation here is better than the original performance. 

The Music Of The Night is stunning!

Memory is another favourite song that Crawford performs well but no-one does it better than Elaine Paige. Barbra Streisand comes in a close second but she sings it in a register that is different to her regular vocal presentation and while it pays homage to the original, it doesn’t sound quite right either, thereby ensuring Paige remains unchallenged. 

Only You is a lovely song and Frances Ruffelle is a welcome addition to this duet. Although, I must admit that I’m not overly familiar with the song but feel that it is rather dated to the era in style and overall sound. That isn’t necessarily a negative viewpoint, but I’d argue that Lloyd Webber’s work is timeless. 

Other Pleasures/The First Man You Remember is lovely and is perfectly suited to Crawford’s style. Also, and I don’t know about you, dear reader, but as a duet with his daughter Lucy Crawford, it has an additional impact and I can’t help but wonder why Crawford’s daughter didn’t do more in music as she has a captivating voice that I’d love to hear more of. 

Love Changes Everything is a great closing song and is one that compels me to listen to the album again and not only stay within Crawford’s catalogue of music but further explore the various interpretations of Lloyd Webber’s masterpieces. 

Few living composers are as masterful as Andrew Lloyd Webber has been throughout his career, but even if you’re only a casual fan, you’ll likely adore this compilation as it arguably showcases his very best works. Crawford as the vocalist is ideal and while he spent four years as The Phantom and therefore masterfully sings the songs from The Phantom Of The Opera, he delivers all other interpretations with equal grace, making them his own, all the while ensuring that music-lovers will be captivated.