Edmilson

5 Cat Studios website says this is coming out in December
 
https://5catstudios.com/listen

Modern scoring assignments save me so much money… ;-)

@Edmilson Sorry for the confusion. I didn't specify that the color bars don't indicate the recordings but the whole process : spotting sessions / composition / recording / mixing.
It was just a schematic to show how 1998 was organized and how busy it was. I did this many years ago now and so I shared this without studying it deeply again.

Yes, that's the song. The orchestral track was clandestinely recorded during the Mighty Joe Young sessions! One of the many fun tidbits that will be in the book.
 
I'm honored to be in the thanks! Thank you for this information. @Jay Too bad I wasn't contacted ahead of publication to provide the dates of the sessions. Just as I would have appreciated being contacted on previous editions to point out missing tracks and typos in names.
 
As for the details of the tracks recorded in London and Los Angeles, all the information will be in the book... well, more precisely, in volume 2.
 

The Omni Book tells us that "Leave No Witnesses" is "12M1 Battle at the Mine" and "13M1 The Revenge" combined together into one long track.  So I guess 12M1 was recorded in London, then all or most of 13M1 was recorded in LA.
 
Diego's Goodbye (the film cue) was recorded entirely in LA according to the LLL booklet.
 
Diego's Goodbye (the album track) was as well, and is "Love Theme" in the Omni book.  So it seems to be a concert arrangement that he recorded just for the album, but then slapped a film cue title onto instead of calling it "Love Theme from Zorro" or "Alejandro and Elena" or something

The LLL booklet also tells us that "Confessions" was a concert arrangement of the courtship theme, though the Omni book just calls it "Confessions (Album)".
 
 
 
Cool!  When is the book expected to be published?

BTW, don't miss this post!

Yeah, but now I'm imagining what if they had released a Venom (the Marvel character) movie back in the 80s with a Kamen score. Would it have had an end titles rap song as ludicrous as this?
 
 

The recording dates are not listed in the booklet.
 
However the booklet does say that this was the first score Horner did after Titanic, and that Deep Impact was next after this (but then the films' release dates were changed)
 
 
 
The booklet says that it was recorded at Air Studios, Lyndhurst Hall, London, though does not list an orchestra
 
Except 5 cues were recorded at Todd-AO Scoring Stage, Ctudio City, CA with the Hollywood Studio Symphony: "1-20 Sexy Dance", "2-06 Leave No Witnesses" [8:43-end only], "2-07 Diego's Goodbye (Film Version)", "2-12 The Confession", "2-13 Diego's Goodbye"
 
And the song was recorded at Bovaland, New York AND Sarm West, London AND Metropolis Studio, London.

I don't know if the dates appear in the booklet of the new edition. LLL no longer sends me anything.
 
But I have almost all the dates of the recording sessions.  In fact, I supplied the dates for the recent editions of Intrada (Battle Beyond the Stars and Humanoids). I found just about everything by cross-referencing various documents: Simon Rhodes' calendar, the Todd-AO Scoring Stage printed schedules, the cue sheets present in the scores and paid research at AFM Local 47.
Indeed, the first Zorro was recorded at Air Lyndhurst in London. But as they ran out of time, the rest of the recording took place at Todd-AO. The long piece for the final scene features both orchestras!
 
As for the 1998 timeline, I had made this illustration, which I commented on during a videoconference for the book's patrons.


 
 

I have a STRONG dislike for Axel F (the Faltermeyer theme) because, being a child of the 2000s, for me it's associated not with Beverly Hills Cop (which I've never seen) but rather with this abomination:
 
 

Fixed.

I did and they were right behind me

The last soundtrack I listened to was JW’s and John Powell’s Solo (Deluxe edition). I liked this score when it first came out, and I like it even more now. The Train Heist is great, real rollicking stuff and the way Powell integrates Han’s new theme throughout is fun. Probably the only bit that doesn’t work for me is all the callbacks to JW’s classic SW scores during the Kessel Run sequence, which sort of worked in a movie theater but all seem a bit too attention-seeking now.  I do love Enfys Nest’s motif though, and the romantic theme. (Shame we’ll probably never hear it again in a cinema…) 

The only people who actually remember movies like Jane Eyre, The Fury, Dracula, Monsignor, Far & Away, Spacecamp and such are us Williams fans. Otherwise, had they had a mediocre score by some unknown composer, no one would talk about them in 2023 (unless those people obssessed with oddities from the past).
 
And I guess this is more true for the older movies in his filmography than the new ones. Despite stuff like The Patriot, Stepmom, The Terminal, etc., not being classics, some people still have fond memories about catching them on cable or DVD or whatever. It will take a little while before they fade out from public consciousness like 78 Dracula or The Eiger Sanction.

Nothing would surprise me. I've been very disappointed in Varèse's expansions of late - In my mind, they lie right at the bottom of all the labels doing proper expanded releases (I have erased Disney from my consciousness).
 
You'd think speciality labels selling limited, exclusive products would have some kind of quality control, but clearly these guys don't seem to care. I may be overreacting, but this is a supposedly "professional" company that makes money from these niche products! The fact that some guy on an online forum is the first to notice this mistake is just plain embarrassing for them.
 
(I'm definitely not still salty about them bungling Powell's Bourne Identity expansion.)

Why so many people hate Banning Back Home? It's so good! I listen to it and I'm immediately transported to the late 1980s/ early 1990s - and I wasn't even alive back then! A true time capsule of a very specific period.

I would just like to add that Williams's action music from 1989 to 1993 (i.e. between his "golden age" of 1977 to 1984 and his post-Lost World modern age) is very underrated. On this period we got "Escape from Venice", "Scherzo for Motorcycle and Orchestra", "On the Tank", "Belly of the Steel Beast", "The Land Race", "T-Rex Rescue and Finale" and, of course, "The Ultimate War". They're so fun and yet so intense!
 
Speaking of The Ultimate War, I can hear some echoes from it on The Phantom Menace, particularly "Anakin Takes Off in Spaceship".

Or look at the latest Mission Impossible, a very decent actioner whose score is a godawful abomination.

The only people who actually remember movies like Jane Eyre, The Fury, Dracula, Monsignor, Far & Away, Spacecamp and such are us Williams fans. Otherwise, had they had a mediocre score by some unknown composer, no one would talk about them in 2023 (unless those people obssessed with oddities from the past).
 
And I guess this is more true for the older movies in his filmography than the new ones. Despite stuff like The Patriot, Stepmom, The Terminal, etc., not being classics, some people still have fond memories about catching them on cable or DVD or whatever. It will take a little while before they fade out from public consciousness like 78 Dracula or The Eiger Sanction.

But if they tried that this would pop up:
 

I honestly can't believe that after 7 years they chose only the most boring and stupid ideas for a sequel, like Elena blackmailed into divorcing Alejandro, Alejandro becoming depressed and alcoholic and with an annoying kid.
 
But then again Mask actually had competent screenwriters behind it, while Legend was written by the same dudes who regurgitated Transformers, The Amazing Spider-Man 2, Cowboys & Aliens and that Tom Cruise Mummy movie that no one saw.
 
Martin Campbell may be a competent director, but he needs a good script (see also GoldenEye, Casino Royale). Otherwise, we get The Legend of Zorro and Green Lantern.

The only people who actually remember movies like Jane Eyre, The Fury, Dracula, Monsignor, Far & Away, Spacecamp and such are us Williams fans. Otherwise, had they had a mediocre score by some unknown composer, no one would talk about them in 2023 (unless those people obssessed with oddities from the past).
 
And I guess this is more true for the older movies in his filmography than the new ones. Despite stuff like The Patriot, Stepmom, The Terminal, etc., not being classics, some people still have fond memories about catching them on cable or DVD or whatever. It will take a little while before they fade out from public consciousness like 78 Dracula or The Eiger Sanction.

I honestly can't believe that after 7 years they chose only the most boring and stupid ideas for a sequel, like Elena blackmailed into divorcing Alejandro, Alejandro becoming depressed and alcoholic and with an annoying kid.
 
But then again Mask actually had competent screenwriters behind it, while Legend was written by the same dudes who regurgitated Transformers, The Amazing Spider-Man 2, Cowboys & Aliens and that Tom Cruise Mummy movie that no one saw.
 
Martin Campbell may be a competent director, but he needs a good script (see also GoldenEye, Casino Royale). Otherwise, we get The Legend of Zorro and Green Lantern.

Panda 2 is pretty good. The first one is okay and the third is meh.
 
Madagascar 3 has one of the funniest scenes I've seen in a movie, one that made me laugh hysterically when I saw it... But otherwise is a very eschizophrenic movie, kinda like the directors were on coke or something.

What about the prequels? Anakin and Padme's romance in Attack of the Clones would've been even harder to take seriously without Williams' Across the Stars.
 
He had to work extra hard to make people not to cringe even more with that movie.

What about the prequels? Anakin and Padme's romance in Attack of the Clones would've been even harder to take seriously without Williams' Across the Stars.
 
He had to work extra hard to make people not to cringe even more with that movie.