QuartalHarmony

@QuartalHarmony I’m always open to more!!! So thanks.
I actually had the same idea (great minds and all) and started to update my working copy on the 23rd with this same info since I finally got my copy and have started going through it. (What a great release) So it’s all coming in the next update!
 
 Thanks again and by all means point things out here!

Goodness me, I feel tired just reading that list.

Hope you’re still open to more additions, @KittBash! If so, the Hook recording dates showing in the last version above don’t quite match up with the information in the Ultimate Edition’s liner notes:
 
Recorded and Mixed by Shawn Murphy on June 13, October 15, 16, 18, 19, 21, 22, 24, 26, November 9 and 13, 1991, at the Barbra Streisand Scoring Stage formerly known as Westside Studio Services), Culver City, California
 
Additional Material Recorded and Mixed by Armin Steiner on March 7, 15, April 2, 25, 29, October 26 and November 2, 1991, at the Newman Scoring Stage, Century City, California
 
The first set of dates must have had JW in attendance for conducting duties, but it’s less clear (to me, at least) whether he would have been present at all of the Armin Steiner dates.
 
Elsewhere in the liner notes, there’s also this:
 
On October 24, 1990, Williams phoned Bricusse at his home in the south of France to tell him that the songs "worked beautifully," the lyricist related. "Then John said, 'Hold on, the other line's ringing,' and he came back in a few minutes and said, "That was Steven; how would you like to work on Hook?' So it happened just like that."
 
Plus the information that JW moved his office in autumn 1986  from Century City, where he’d been for 22 years (i.e. since 1964) to the Amblin complex on the Universal lot.
 
Mark

That's correct, the recording dates for Childhood and Believe are not known.  I can't even recall now if it was ever figured out if they were 2001 or 2002!
 
At one point we had this info in the liners, but maybe some of it got cut for the final version:
 
Armin Steiner recorded all the songs (and the Smee Concertina pieces) in March & April at Fox (Newman). 
 
Then the trailer cue was recorded in June by Shawn Murphy at Sony (Streisand). 
 
Then the bulk of the score was recorded by Shawn Murphy at Sony in October.  October 26th was the final day of the main scoring sessions, and after a double-day of recording the score, Williams went over to Fox to record an evening session (back with Steiner) for the solo piano pieces that lead into We Don't Wanna Grow Up, as well as the first version of Banning Back Home.
 
The OST album was assembled and mastered at this point.
 
On November 2nd, Williams was was back at Fox with Steiner, to record God Rest Ye, Merry Gentlemen.
 
November 9th was another double-day of recording the rest of the score with Murphy (all the cues that hadn't been recorded at all yet, as well as the final set of inserts/revisions).
 
On November 13th, the revised version of Banning Back Home was recorded by Murphy at Sony.
 
 
So two fun trivia bits are that each version of Banning Back Home was recorded in a completely different room by a completely different recording engineer from one another, and music from two separate rooms is combined in the track "Pick 'Em Up"

My brother-in-law made my Christmas by handing me the upper of these items yesterday:
 

 
The lower item, for your entertainment, is my original OST, including the track listing my 18-year-old self printed out on my dot-matrix printer. How times change.
 
Whilst on a personal note, both my wife and one of my daughters were hospitalised earlier this year, my wife for a quite serious operation. We’re still not in the clear yet, and a lot of peripheral things haven’t gone our way. Getting this release is a small but significant personal bonus for me that is not unappreciated.
 
Mark

My brother-in-law made my Christmas by handing me the upper of these items yesterday:
 

 
The lower item, for your entertainment, is my original OST, including the track listing my 18-year-old self printed out on my dot-matrix printer. How times change.
 
Whilst on a personal note, both my wife and one of my daughters were hospitalised earlier this year, my wife for a quite serious operation. We’re still not in the clear yet, and a lot of peripheral things haven’t gone our way. Getting this release is a small but significant personal bonus for me that is not unappreciated.
 
Mark

I wonder how long we'd survive in a 'Lord of the Flies' island setting...
 
We'd be wrestling the conch shell away from each other to argue which score or movie was "the best."

Wow, this thread could get end up escalating fast…
 
I’ll open the bidding with Jaws and HP1. I’m basing that largely on the degree to which a score permeates the wider public consciousness beyond the original film but, obviously, there are many ways to measure greatness and whether the cloth-eared general public (as opposed to discerning cognoscenti like us) like a score is, possibly, neither here nor there.
 
Very happy to read other opinions!
 
Mark

Daddy-O
Indiana Jones and the Dial of Destiny

My gut reaction is Jaws / TFA. But of course, it's all a continuum. On a more generous day I might say The Cowboys / TFA; on a less generous day I might say Star Wars / ROTS.
 
If we're talking about how much a score gets into the public consciousness, on the other hand, I'm with @QuartalHarmony.

Wow, this thread could get end up escalating fast…
 
I’ll open the bidding with Jaws and HP1. I’m basing that largely on the degree to which a score permeates the wider public consciousness beyond the original film but, obviously, there are many ways to measure greatness and whether the cloth-eared general public (as opposed to discerning cognoscenti like us) like a score is, possibly, neither here nor there.
 
Very happy to read other opinions!
 
Mark

That rendition is and always has been (emotionally) oversaturated from start to finish. 

Wow, this thread could get end up escalating fast…
 
I’ll open the bidding with Jaws and HP1. I’m basing that largely on the degree to which a score permeates the wider public consciousness beyond the original film but, obviously, there are many ways to measure greatness and whether the cloth-eared general public (as opposed to discerning cognoscenti like us) like a score is, possibly, neither here nor there.
 
Very happy to read other opinions!
 
Mark

…in possession of some strongly held opinions!

Wow, this thread could get end up escalating fast…
 
I’ll open the bidding with Jaws and HP1. I’m basing that largely on the degree to which a score permeates the wider public consciousness beyond the original film but, obviously, there are many ways to measure greatness and whether the cloth-eared general public (as opposed to discerning cognoscenti like us) like a score is, possibly, neither here nor there.
 
Very happy to read other opinions!
 
Mark

Wow, this thread could get end up escalating fast…
 
I’ll open the bidding with Jaws and HP1. I’m basing that largely on the degree to which a score permeates the wider public consciousness beyond the original film but, obviously, there are many ways to measure greatness and whether the cloth-eared general public (as opposed to discerning cognoscenti like us) like a score is, possibly, neither here nor there.
 
Very happy to read other opinions!
 
Mark

Hope you’re still open to more additions, @KittBash! If so, the Hook recording dates showing in the last version above don’t quite match up with the information in the Ultimate Edition’s liner notes:
 
Recorded and Mixed by Shawn Murphy on June 13, October 15, 16, 18, 19, 21, 22, 24, 26, November 9 and 13, 1991, at the Barbra Streisand Scoring Stage formerly known as Westside Studio Services), Culver City, California
 
Additional Material Recorded and Mixed by Armin Steiner on March 7, 15, April 2, 25, 29, October 26 and November 2, 1991, at the Newman Scoring Stage, Century City, California
 
The first set of dates must have had JW in attendance for conducting duties, but it’s less clear (to me, at least) whether he would have been present at all of the Armin Steiner dates.
 
Elsewhere in the liner notes, there’s also this:
 
On October 24, 1990, Williams phoned Bricusse at his home in the south of France to tell him that the songs "worked beautifully," the lyricist related. "Then John said, 'Hold on, the other line's ringing,' and he came back in a few minutes and said, "That was Steven; how would you like to work on Hook?' So it happened just like that."
 
Plus the information that JW moved his office in autumn 1986  from Century City, where he’d been for 22 years (i.e. since 1964) to the Amblin complex on the Universal lot.
 
Mark

I don't think the film version works that well, musically. The build-up to the theme in the album version is more satisfying.

I noticed a bit of the Pirate Sequence has been hiding in plain sight in the Hook novelization this whole time:

Could including the vocal version of Presenting the Hook as the final track be a cheeky wink to the community that's been shouting "give us Hook!" for so many years?

I thought the same! 😂

Wow, this thread could get end up escalating fast…
 
I’ll open the bidding with Jaws and HP1. I’m basing that largely on the degree to which a score permeates the wider public consciousness beyond the original film but, obviously, there are many ways to measure greatness and whether the cloth-eared general public (as opposed to discerning cognoscenti like us) like a score is, possibly, neither here nor there.
 
Very happy to read other opinions!
 
Mark

Damn every time this thread gets bumped I get excited thinking an expanded is finally on the way.

My amazing wife got the hints and this was under the tree today - Merry Christmas to all!

Turns out my brother-in-law did click on the link I sent him quickly enough, so he did get sent a copy and has just given me possibly the best Christmas present. No time to listen to it today, but tomorrow has a long listening session pencilled in!
 
31 years after I bought the OST, I’m about to hear it all. What a blast.
 
Mark