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I've already ordered the re-issue of the Cloud Nine disc, which I've wanted for many years but can only get at a reasonable price now. I will also be getting the re-recording, as I think that this crew has been doing outstanding work (I can't wait for The Sea Hawk!).
I also feel that this score - which is among my favorites of Herrmann's fantasies - is worth having multiple interpretations of. This is a case where it is very possible I will have both the original and the re-recording on my mp3 player (as is the case with Goldsmith's Capricorn One).
And the credits of the movie say:
MUSIC BY BERNARD HERRMANN
CONDUCTING THE LONDON SYMPHONY ORCHESTRA
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Even Herrmann himself couldn't re-create his own sound when he re-did Mysterious Island for the Phase4 recordings.
You're assuming he wanted to. Given a lot of composers' tendencies to want to "improve" the music for the concert hall or commercial recording, it's fairly certain that Herrmann wasn't interested in covering the same ground he did in the OST sessions.
Of course, I meant 2 Glocks (as in glockenspiels), and not Clocks. Who knows, I bet Herrmann used a clock or two in his day.
The 9mm pistols are essential in recording anything written by George Antheil, however.
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Well, I think Bill made a mistake putting down the original timings as I am sure when our new recording is released, someone will be checking the new timings against the old ones! And often, the old timings reflect the cuts in the music, which we are restoring.
As far as Jon's query, yes, we like to put cues together for a nicer listening experience. Many of the cues are meant to dovetail into the next one, and the music was written with common chords or musical procedures in order for them to go together. And although we will probably have separate indexing for all the cues, the music will flow in the manner it was conceived. I much prefer this than having 3 seconds of silence between every 10 or 20 second cue. Although these cues are individually named, they are meant to be heard together in the bigger picture.
Although THE SEA HAWK and our upcoming MYSTERIOUS ISLAND have been/will be recorded in 5.1 sound, I think Naxos has abandoned DVD-A and SACD formats, although for future releases, with new technologies, they have the music ready for any future formats. I am sure one day our recordings will be in some kind of 5.1 format, but I don't know about the initial release. I think our ADVENTURES OF ROBIN HOOD and MARK TWAIN are marvelous in 5.1 sound, and second to being at MosFilm to hear it live, it is the best way to experience this rich music.
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Actually, those timings reflect the restored cues, and that’s why on the ones that were so cut up, I put ?????. Also, I did say they were approximate. One good example is The Battle, which runs 1:00 in the film, will be “approximately” 1:20 when we get to performing all the extra cut bars at the end. You are so right though. I should have left the timings off.
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I have been reading a lot of people bitching about the sound quality of the original release. Well, I have this CD and it sounds fine. It's an old recording, but it's not the quality of the Steiner original surviving Kong cues.
It's a fine quality score. I think folks are just a bit spoiled.... 
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I have no relation to this score whatsoever, so with my current buying habits, I'm afraid this is way down on my priority list - no matter what shape and form it comes in.
It always amazes me when you admit something like this. It tends to make your opinions about film music negligible, to say the least.
Perhaps you should get a consensus of what the older members of this board find to be great film music and then do your best to find out why.
But there is an interesting dilemma for me here IF I were to chose between them. On one hand, the Cloud Nine release obviousy has a program and presentation that suits my taste better (re-arranged and non-chronological).
The Clound Nine is chronological.
This Morgan/Stromberg version will be a must-have for sure.
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Not to sound ungrateful but...
Having EVERY cue recorded as a SEPERATE entity does not make for great cd's. Artisitically or practically (programming becomes very difficult).
I hope many will be combined into mini suites/
bruce Marshall
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Sorry, Bruce, but I'll have to disagree with you on that one. I much prefer each cue to be indexed... much easier to keep track. Either way, I'm not going to lose sleep over it; the music's the most important thing.
I think FSM cd's are exemplary on this point.
But I am glad to see that the short cues will flow together w/o silence between them!
brm
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The M&S CDs tend to be fine in that department, though, and I am anxiously awaiting this release (which obviously won't be for a while.)
-Joshua
No, you won't have to wait too long. Our goal is to get it out by mid to late summer(this year).
BTW, thanks to all for the nice comments and well wishes for our new company.
Bill
P.S. does anyone know how to post jpgs or pdfs here?
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Can't wait for this classic!
I must say that I envy William Stromberg and John Morgan and everyone else fortunate enough to attend the sessions for this new recording. I know that were I privilaged to give the downbeat on Herrmann's Prelude from this film and to then hear the orchestra answer back with the crashing cymbals and all that orchestral muscle I would certainly experience a major thrill. The impact of Herrmann's music and Harryhausen's effects were indelible when I saw this as a youngster and this score seems very emblematic in my mind of their work as a whole - at least it makes me think of all the exciting things their films brought to me.
I'm sure Mr. Morgan and Mr. Stromberg have experienced that thrill (that I'm barely able to articulate) on many of their recording sessions as their love of classic film music comes through on every disc they've done - even the ones that aren't as perfect as they'd like them to be.
I wish them all good fortune on this new enterprise. I hope they enjoy the hell out of it!
I know we'll enjoy the hell out of it, too. I'd like to compliment you on your post. Quite nice.
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After all the discussion dust settles, I'm sure this will be an absolutely first-rate rerecording.
The only way to hear the short minor cues without dialogue prior to this was to listen to them in the mono isolated "Music & Effects" track on the Laserdisc releases (Pioneer Special Edition PSE 92-26; or, Columbia 76746). Now the music will finally be liberated from M&E purgatory.
Bravo to John, Bill and Anna!
Ron Burbella
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