John Takis

Saturday Adoption (the show, that is) is not lost media. At any rate, the website TV Obscurities lists extant recordings at the UCLA Film & Television Archive, the Peabody Awards Collection and the Paley Center for Media. But I've never seen it online or offered for sale either. Perhaps someone visiting one of the aforementioned archives will be able to check it out someday and report back.

Nope. It's the same performances, just edited down.

Nope. It's the same performances, just edited down.

Yes, the alternate performance of "To Thornfield" (along with the other extra tracks from JANE EYRE) comes from the newly unearthed partial session masters that Mike talked about on FSM. It's a real treat to hear "new" interpretations of these cues from the maestro's own baton!
 
And HEIDI sounds so much better because Mike was able to go back to an earlier-generation source (½″ four-track masters) than was used for previous releases, which also happily had the cues separated in such a way as to enable a chronological presentation. Don't worry, Thor, it plays beautifully this way! Even better than before, when we had to deal with cue combos that had been created not for purely musical considerations but to conform to the Capitol Records album narration. We addressed that to a degree on the old Quartet disc, but our hands were tied in a few places. That wasn't the case this time around! Mike was prepared to consider resequencing things, given that this is not the complete score. But when we lined everything up in film sequence, we felt that the program had a lovely ebb and flow and made for a very enjoyable and balanced listening experience.
 
The Capitol album with narration also sounds better than ever, by the way! Mike gave this program the same meticulous attention as the score-only tracks. If you just skip to the two tracks that were recorded specially for the album, you'll miss some lovely performances by Sir Michael Redgrave and Jennifer Edwards.

Williams was very actively involved with SOLO. Not only did he provide thematic material, but he spotted the film with Powell and made suggestions. He also heard and approved the final cues. He seems to have such a strong affection for Daisy Ridley and Rey that I wouldn't be a bit surprised if he asks to be involved with this new film, so long as his health and schedule permit. (For that matter, I'd actually like to see Powell get another bite at the Star Wars apple! When I interviewed him for the recent Intrada release, he seemed very taken with the notion of getting to do something with the Force theme, which he loves but had no opportunity to use in the Jedi-free world of SOLO.)

Well I have now finished my second full listen of the whole set and it is staggeringly glorious! While Jurassic Park was my introduction to John Williams' music and basically turned me into a fan back in 1993, Hook isn't far behind (Presenting the Hook sequence might be one of my earliest musical memories from movies in general) and the complete score has been my holy grail ever since I figured out that the OST was missing so much of the beautiful music.

I won't reiterate too many of the thoughts so many others have already expressed in this thread about this beautfiul release. But I can't lie. I did shed a tear or two listening to this new presentation all the while grinning from ear-to-ear with delight. It is such a long time wish and now it has been delivered beyond my wildest expectations.

The score most certainly holds a nostalgic place in my heart and aptly this score is so strongly about childhood and nostalgia. But at the same time seems to have it all: The winning thematic melodicism, the athletic (or should I say in this case acrobatic) colourful orchestral writing, the absolutely pitch perfect way Williams captures both the subtext and the straightforward narrative needs of the film while writing superbly engaging and intricate music that in itself paints such vivid pictures and stands on its own as well as functions likea  musical mirror to the movie. In fact the music feels so very much in tune with the movie that it seems to capture the very mood and even lighting of the scenes in its notes. To me it is one of those perfect scores that seems like a world unto itself.
 
The complete score on discs 1 and 2 is such a powerhouse of a fantasy score, now all the more satisfying in its truly complete form, inserts and all. Too many highlights to mention. The 3rd disc was a small revelation as it presents all the songs written for the production that were ultimately dropped. But their history detailed in the excellent liner notes goes a long way explaining the reason for the long lined melodies many of the themes in this score have. In a way the songs on disc 3 do enchance the listening experience of the full score as you really can chart the thematic development through them even better than before. Not all of the songs are winners but pieces like The Low Below  - Pirate Sequence, Stick With Me and Childhood are just as catchy and delightful in their song guise as in the final underscore. The diegetic bonus material is equally wonderful in its piraty feel and makes you once again appreciate how much of Williams' musical effort for this movie went behind-the-scenes, unknown until now. Part and parcel of the film composer's craft but it is wonderful to finally hear all this existing recorded material.
 
This is just about as Ultimate as a film music release can get (we even have  stuff like Take Me Out to the Ball Game!) and a perfect Christmas present! My humble thanks to Mike Matessino, @Jay and @John Takis and everybody at La-La Land Records for producing this.
 
P.S. I couldn't help but chuckle when I thought of the other John Williams "Ultimate edition" having a blue cover, a polar opposite of this one. 

Well after finally listening through this once and reading what others have said and summarised perfectly in this thread I really don't know what more I can add. 
 
Perhaps I'll start with the very minor gripes, which are just personal preferences and not meant as suggesting that the wrong decisions were made on this release in any way. 
 
The cover, overall the design is near perfect, except I would have liked the Hook title to be the iconic red, just to make it really leap out against the deep blue of the background, with it being black it kinda gets lost. And I'd preferred the vocal version of Presenting The Hook in the main program. But I'm guessing that the final assembly was based off feedback from Williams and ultimately that's his decision to make. 
 
And now for the good. To quote the liner notes this is "An Awfully Big Soundtrack" indeed. Starting with the music, it's great to finally have everything including the film versions, each disc is just jam packed, disc 3 is especially enlighting including those early songs that add a new meaning to the themes used throughout the score. For the music itself, I don't know how much of a difference there is sonically between this and the 2012 expansion, but it all sounds crystal clear, even the demos featured on disc 3. With the first booklet as the track list and credits it leaves plenty of room for the second, which is the perfect example of how liner notes should be. The first chapter covering the genesis and production of the film, chapter two covering each track and highlighting the themes used along with what the orchestra is doing technically then chapter three starting off with what Williams was up to circa 91 to add some more context before breaking down the contents of disc 3. These liner notes couldn't be more perfect. 
 
As for those unused musical numbers, they are just a fantastic insight into what this film could have been, but I think ultimately the best decision was made to drop them. Not to say they are bad or anything, but it feels like most of them would have killed the momentum of the film, which already has a lengthy runtime. 
 
Seeing the poster on page nine of the booklet instantly transported me back to 91 and seeing it in our TV guide and carefully cutting it out along the "burnt" edges and putting it up on my wall for many years. 
 
And something maybe a little personal, but I lost my mum last year, so seeing there was a song called "Mothers" wasn't sure what to expect and while the lyrics were very cheesey I'm not ashamed to say that a few tears were shed as it very much evoked what makes a mother so special and what there is to be missed. 
 
Overall this truly is the Ultimate Edition, I really can't remember the last time I was this excited for a score expansion release. This being my favourite Williams score it's great to have a definitive release and do away with the makeshift version that was a combination of various sources and of varying quality.
 
So thank you @Jay, @John Takis, Mike Matessino and the good folks at LaLaLand for giving this the release it absolutely deserved. 
 

Yes, the alternate performance of "To Thornfield" (along with the other extra tracks from JANE EYRE) comes from the newly unearthed partial session masters that Mike talked about on FSM. It's a real treat to hear "new" interpretations of these cues from the maestro's own baton!
 
And HEIDI sounds so much better because Mike was able to go back to an earlier-generation source (½″ four-track masters) than was used for previous releases, which also happily had the cues separated in such a way as to enable a chronological presentation. Don't worry, Thor, it plays beautifully this way! Even better than before, when we had to deal with cue combos that had been created not for purely musical considerations but to conform to the Capitol Records album narration. We addressed that to a degree on the old Quartet disc, but our hands were tied in a few places. That wasn't the case this time around! Mike was prepared to consider resequencing things, given that this is not the complete score. But when we lined everything up in film sequence, we felt that the program had a lovely ebb and flow and made for a very enjoyable and balanced listening experience.
 
The Capitol album with narration also sounds better than ever, by the way! Mike gave this program the same meticulous attention as the score-only tracks. If you just skip to the two tracks that were recorded specially for the album, you'll miss some lovely performances by Sir Michael Redgrave and Jennifer Edwards.

There will indeed be a podcast delving into this release. I don't want to spoil the details -- but in my humble opinion, this one is worth the upgrade! Neither score has ever sounded better, and the precious new minutes make the experience all the sweeter. Jim Titus's stunning art is the cherry on top. I can't imagine any fan of these essential scores will be displeased!

If you subscribe to Film Score Monthly Online, it's this month's "Score Restore" video! (That's Volume 28, No. 12, December 2023, for future reference.)

Yes, once you have listened to the songs, the internal logic of certain theme choices during the score really comes into focus. (Debuting the "Believe" melody alongside Peter's first panoramic view of Neverland, for example.)

If you subscribe to Film Score Monthly Online, it's this month's "Score Restore" video! (That's Volume 28, No. 12, December 2023, for future reference.)

If you subscribe to Film Score Monthly Online, it's this month's "Score Restore" video! (That's Volume 28, No. 12, December 2023, for future reference.)

Yes, once you have listened to the songs, the internal logic of certain theme choices during the score really comes into focus. (Debuting the "Believe" melody alongside Peter's first panoramic view of Neverland, for example.)

Yes and yes.

Yes and yes.

Yes and yes.

Performing the melody? I believe so. There's actually tastefully deployed synth throughout Hook ... for example, I believe it's usually a synth celeste.
 
Glad you enjoyed the essay, @mstrox!

Pretty much chronologically:
 
2-11. Hook Prologue 1:25
3-01. We Don’t Wanna Grow Up * 1:52
2-12. Banning Back Home (Extended Version) 4:24
3-02. God Rest Ye Merry, Gentlemen 1:10
3-03. Childhood * 3:54
3-04. When You’re Alone – Moira’s Lullaby * :46
3-05. The Stories Are True (Alternate) 2:24
3-06. The Arrival Of Tink (Alternate) 3:35
3-07. The Flight To Neverland (Alternate) 2:33
3-08. Low Below – Pirate Sequence * 4:58
3-09. Hook’s Entrance (Alternate) 2:42
2-13. From Mermaids To Lost Boys 4:26
3-10. The Lost Boy Chase (Alternate) 3:34
2-14. The Face Of Pan (Choral Version) 2:43
3-11. The Never Song * 2:04
3-12. The Never-Band 1:20
3-13. The Never-Feast 4:42
3-14. When You’re Alone (Instrumental) 3:19
3-15. Mothers * 2:26
3-16. Stick With Me * 2:00
3-17. Take Me Out To The Ball Game 2:18
3-18. Remembering Childhood 11:06
3-19. Believe * 3:01
2-15. The Ultimate War 7:54
3-20. Farewell Neverland (Short Version / Alternate) 6:54
3-21. Hook Exit Music (Alternate) 1:48

Williams was very actively involved with SOLO. Not only did he provide thematic material, but he spotted the film with Powell and made suggestions. He also heard and approved the final cues. He seems to have such a strong affection for Daisy Ridley and Rey that I wouldn't be a bit surprised if he asks to be involved with this new film, so long as his health and schedule permit. (For that matter, I'd actually like to see Powell get another bite at the Star Wars apple! When I interviewed him for the recent Intrada release, he seemed very taken with the notion of getting to do something with the Force theme, which he loves but had no opportunity to use in the Jedi-free world of SOLO.)

Williams was very actively involved with SOLO. Not only did he provide thematic material, but he spotted the film with Powell and made suggestions. He also heard and approved the final cues. He seems to have such a strong affection for Daisy Ridley and Rey that I wouldn't be a bit surprised if he asks to be involved with this new film, so long as his health and schedule permit. (For that matter, I'd actually like to see Powell get another bite at the Star Wars apple! When I interviewed him for the recent Intrada release, he seemed very taken with the notion of getting to do something with the Force theme, which he loves but had no opportunity to use in the Jedi-free world of SOLO.)

There will indeed be a podcast delving into this release. I don't want to spoil the details -- but in my humble opinion, this one is worth the upgrade! Neither score has ever sounded better, and the precious new minutes make the experience all the sweeter. Jim Titus's stunning art is the cherry on top. I can't imagine any fan of these essential scores will be displeased!

Williams was very actively involved with SOLO. Not only did he provide thematic material, but he spotted the film with Powell and made suggestions. He also heard and approved the final cues. He seems to have such a strong affection for Daisy Ridley and Rey that I wouldn't be a bit surprised if he asks to be involved with this new film, so long as his health and schedule permit. (For that matter, I'd actually like to see Powell get another bite at the Star Wars apple! When I interviewed him for the recent Intrada release, he seemed very taken with the notion of getting to do something with the Force theme, which he loves but had no opportunity to use in the Jedi-free world of SOLO.)

Williams was very actively involved with SOLO. Not only did he provide thematic material, but he spotted the film with Powell and made suggestions. He also heard and approved the final cues. He seems to have such a strong affection for Daisy Ridley and Rey that I wouldn't be a bit surprised if he asks to be involved with this new film, so long as his health and schedule permit. (For that matter, I'd actually like to see Powell get another bite at the Star Wars apple! When I interviewed him for the recent Intrada release, he seemed very taken with the notion of getting to do something with the Force theme, which he loves but had no opportunity to use in the Jedi-free world of SOLO.)

Nothing is missing on the new release. The track "Granny Wendy" on the OST is a combination of two different cues, "Forgotten How To Fly" and "Wendy's Entrance." You'll find what you're looking for on CD 1, Track 10!