GoodMusician
08-24-2011, 04:01 PM
So with the recent leak of the King Kong recording sessions, I feel I can now release the set I've been working on as of late along with everything I learned.
Here is the track list of my set once I upload it:
Decided I had a moment to upload this. Dunno how long the links will last. This is now taken from a lossless source which had since my first post leaked.
Disc 1 (https://mega.nz/#!HZ1zWART!4L922Trfl6rJT9QA1MS1t9cFjNqMY9UtIJlBsOEOFjE)
Disc 2 (https://mega.nz/#!Ld8ngKpA!OwKytq6XrRjpH9XTSmM0qsis6VGmR8mt5SZF4-PLhk0)
Disc 3 (https://mega.nz/#!nAlgzAJA!mjIIRKXXyiDjPS4dHeGioyYhY4LAdhEO8-L56MCgfe0)
Disc 4 (https://mega.nz/#!SQszHQ4Y!pg0psxe7Ht7NX7C7CGAARNRbnqPV3KC9xPiMl6Sqhn0)
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Firstly, there are a few differences between the album, the film, and the recording sessions. Simply because they are the "recording sessions" does not make them the end all be all of all the material. The expediency of the recording process for this film, plus the numerous version numbers of every track would make a complete catalog almost impossible and as such, certain versions are left off or neglected from the 3 CD RS. Lets first talk about what's still unavailable.
Almost every cue went through various version numbers. Only one or perhaps two (and in some cases we were lucky and got three) versions are presented on the RS or the album. Thus, many of the changes to the score are unknown.
Also, neither source song is released (licencing reasons no doubt). They are:
"Sitting on Top of the World - Al Jolson (1947 recording)"
"Bye Bye Blackbird - Peggy Lee"
Whats Missing:
1) The full version of 'Carl Steals Footage [1m6 v4]" as there are a few bars omitted
2) Bruce and Jimmy [2m8B] - The full mix (which includes a timpani roll and strings layered under the string bass) isn't presented on the RS but is available via DVD rip.
3) Marie's Wedding (Dance Source) - The unused dance song presented on the DVD extras
4) Native Attack [4m2] - Film alternate which is a lot more synth driven
5) Saved by the Crew [4m3A] - Film mix (again, more synth driven
6) Sacrifice [4m6] - Film version
7) Kong Runs [4m9] - Film Mix
8) Jawbreaker [6m5] PI - PII Part I is heard in the special features of the DVD but part II is missing. This is the original cue for Kong Killing the final rex.
9) Dead Crew Members [6m6 v5 Pt II] - Presented on the RS is the 'true' mix of this cue with insect synth but the film mix is merely the synth choir and to hear that by itself would be amazing.
10) Beauty Killed the Beast (Pt IV Alt) - The alternate is on the RS but without the full mix of the boys choir.
As you can see, not a whole lot is missing. Most is either source cue, or is presented in some fashion on the RS but not the final film mix.
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Here's a break down, cue by cue, of what we have and explaining each cue:
[1m1] Opening v3 (King Kong Main Title) - This is available on both the album (in compressed and muddled quality) and on the RS. This is v3 of the main titles written by JNH. Versions 1-2 are unknown.
Two take are presented on the RS
1) The Film Version (with diminished choir)
2) An alternate mix of the same cue but with louder choir.
[1m1S] Song Intro (I'm Sitting on Top of the Word) - This is only available on the RS and is a solo piano opening meant to replace the more elaborate real opening of this song. Only the first few bars are recorded and presented here. Listening carefully you can hear the recording pop on and play in the background to keep the pianist in time. In the final film, this recording is "aged" to make it sound more 1930's to match the source cue.
The song is not presented on the sets.
[1m2] Ann & Manny v3 - Presented on the album, this cue is on the RS in its fully as recorded version (including a large gap between the first and second half of the cue which is written in the music.
[1m3] Ann & Weston v3- This cue was recorded in two sessions and are presented on the RS merged as one final mix. The two sessions are the "Band" session, and the "orchestra" session. This allowed for control over the mixing of the jazz elements in the opening of this cue.
[1m4] Viewing Footage (Blake's Insert) v2 - There are two versions of this cue and the sheet music calls this version simply "Blake's Insert" and not "Viewing Footage." Blake Neely is a composer and orchestrator who helped JNH write and arrange the music for the film. The difference in versions seems to almost be in where to play out the comedy. Version 1 has more pizzicato and quick eighth notes in the middle section where version two has long drawn out strings. Version 1 then goes into the same section as what Version 2 would have just played and repeats it once, then moving into it's own humorous section of clarinets, bassoons and string doubling. Perhaps a difference in opinion over where the music should start is what led to Version 2, an obvious superior to the first.
[1m5] The Map v2 - A pretty straight forward piece almost echoing the main titles but with heavier synth.
[1m6] Carl Steals Footage v4(?) - This cue is broken into two sections. The first is not presented on the album and for some reason is also not recorded as written. The final wind line is repeated in the conductors score of v4 but is not recorded. Different version numbers of cues a lot of times denote small changes to whats written so it is also possible that this is a later version than four.
Part 2 of this cue is presented on the album in the original v4 iteration. Small inserts were written for the cue and were recorded and thus, we have three different versions of part II of this cue.
1) The version heard on the album
2) Take 11 of the version heard on the album (the same but just a different take)
3) Take 14 which includes 1m6 Insert which replaces the opening bars of the cue. This version is nearly identical to the album but it starts in a different key and then travels back into the orriginal key
4) Take 25 which includes 1m6 New Insert which is a more comical opening with an almost cartooney feel.
[1m7] Carl Finds Ann v1 - A very straightforward cue, which is a near lift from the second half of "Ann & Manny" excepting the string ending as Ann is caught stealing.
[2m1] Carl Convinces Ann v6 - A pretty comedic piece, this particular cue went through six versions but comparing v2 to v6, the main difference is where the cue begins in the film. A full twenty measures have been inserted before the cue as written in v2 begins with the only real alteration after that being a transition of the main melody to clarinets from piano. The finale of the cue is also timed slightly differently and voiced across the strings in a slightly different manner.
[2m2] Venture - Ann onto Boat - This cue went through quite a few iterations before what we hear in the film and the great thing about the RS is we are presented with three different versions of this cue (with small changes). Originally it was two cues [2m2] Venture, and [2m3] Ann onto Boat, which is why you will notice a skip in the slate numbers.
Following the formula for most of the other major adjustments, the changes in this pivotal scene seem to be changes mainly in orchestration. The opening bars in Version 3-6 of �Venture� oscillate back and fourth using the island/adventure motif. Ominous low strings carry the piece until a bright reveal of �men in uniform� are coming to seize Carl. Two harp glissando's lead to tense low strings and the tempo immediately picks up as Carl decides it is time to go. Version 3 places the jazzy New York melody moving line in the violins instead of the celli who are in this instance just chording until the end of the piece just before Ann steps on board (originally that was another cue) and fading out on a low doubled bass and celli note.
�Ann Steps on Board [2m3 v3]� would then follow (but is not presented in this set) with a descending eighth-note line through the winds and strings with horn and bass underpinnings. The eighth-notes would then switch into sixteenth-notes while tense strings would build as Ann approached the loading area, hand nervously reaching for the rail until finally giving way to the Island/Adventure theme which plays triumphantly as she boards.
The change by Version 6 saw the combination of the two cues utilizing the jazzy New York melody played over the celli instead of violins, allowing the strings and winds to play a percussive eighth-note rhythm until ominous strings switch off the jazz New York melody line to violins and winds who play innocently and naively as Ann professes her readiness for the voyage. The strings finally release their tension in a eighth-note rhythm across the orchestra as Carl tries to save Ann from being scared further. Winds flutter tongue over the percussive beat again as Violins take center stage, molding into tense strings as the pre-existing finale from Ann Steps on Board [2m3 v3] plays triumphantly.
[2m2 Version 7 Bars 1-8 Insert] would finally change the opening 8 bars of the piece from a slightly awkward oscillating pattern into a proud statement of the jazzy New York motif over percussive strings and winds. Celli eventually layer in the oscillation patter and merge back into the piece as the orchestra crescendo's at the reveal of the �motion picture ship.� A final change would be in the low strings which play as Carl is informed of the police approach. The percussive eighth-note beat utilized later is first introduced in the violas and the meter of the low celli changes from 4/4 to half time and returning back to 3/4 for two measures. This would be the biggest change past combining the two cues. Most changes to this segment were small and basically changing orchestrations or note lengths.
In all, we have three versions presented (although there were many before this not presented).
1) V6 begins with the low string rocking back and fourth slowly over the adventure motif.
2) V7 begins with all the strings (high and low) rocking back and fourth over the adventure motif in a much more full version than V6.
3) V7 with 2m2 New Intro Insert - This is the final film version where the opening has been replaced with the orchestra playing the "New York" jazz motif dramatically before transitioning into the adventure motif.
[2m4A] Pre-Delaying Jack - Another example of how quickly things can change and spotting sessions might leave out opportunities that didn't seem apparent before, this cue was no doubt a latter decision. Decided upon after the following cue �Delaying Jack [2m4]� was written, this �intro� both utilizes it's name and places an �A� at the end of the slate number signifying it should go before �Delaying Jack,� as its title also suggests. Had it been intended initially, it would have simply been a part of the next cue and thus, we can tell this decision was made later on.
Oddly enough, since [2m3] was merged into [2m2], one might ask why he didn't simply steal that slate number but perhaps it was added after the spotting session but not before they had merged. Because of these reasons, the slate number [2m3] is skipped.
A simple and short percussive string insert, this cues main purpose was to begin the next cue a few moments earlier, highlighting the tension Carl feels realizing that he may still get away, but that he lacks a complete script. A scheme begins to develop in his mind to keep Jack on board and force him to finish the script. Tense strings crescendo over the three eighth-note beats while low strings tremolo preparing the audience for the next cue.
[2m4 v3] Delaying Jack - This cue is presented fully on the RS as used in the film.
[2m5 v3] Boat Leaves Harbour - This particular cue has only a slight difference compared to it's written score in that the first measure in all the low strings, brass, and timpani is repeated and a crescendo is created by doing so. Perhaps a decision made on the spot at the podium, this small addition adds a very nice breath to the opening of the cue as we see the ship leaving New York, the adventure/island theme playing mysteriously as our adventure begins. (Also, whoever names the cues has a bit of an English flair heh)
[2m6A v4] Bruce Hangs Poster - This cue is presented fully on the RS as used in the Film.
[2m6B v4] Jimmy - This cue is presented fully on the RS as used in the Film.
[2m7 v2] Ann Rehearses in Mirror - This cue is presented fully on the RS as used in the Film.
[2m8A v7] Ann Meets Jack - In the film, the finale of this cue is slightly different. Comparing it to the recording, I'm nearly certain it's a version made artificially by editing out a small segment of the pizzicato low strings and looping in a small segment from about [01:00] in the cue to replace the end as written but it is possible that it's a later version than v7.
[2m8B v8] Bruce and Jimmy - Another instance of how small differences in technique change the overall product, this particular cue has an interesting story. Initially comparing this cue to the conductors score, two things are immediately apparent. The first of which is the missing two bar intro of solo ride cymbol and swing bass, and the second piece of the puzzle, the orchestra is missing during the entire middle section of the recording. The change in performance for the first two bars could simply be a new edit or a decision made at the podium as the overall effect is merely to shorten time (as the film also edits the length of the end of the cue).
The second difference is a bit more staggering. After about [00:10], the entire orchestra drops out for ten seconds leaving only the swing bass. The reason for this is not as simple to guess. One possibility is that the orchestra in this section was recorded separately or that this even was an earlier version of the cue. Conversely, this might even be an alternate mix that had been desired at one point, but was decided against.
The missing orchestra is predominately the rolling timpani for the pull in shot of Bruce Baxter and the tremolo strings accenting the zoom in on each poster. The final string tremolo is also shorter in the final film but this could be an editing decision. Overall, no easy answer, but some intriguing possibilities.
My set presents the cue as written with the timpani rolls and string stings.
[2m9 v4] Jimmy Overhears - This cue is presented fully on the RS as used in the Film.
[2m10 v10] Filming on the Boat - Ann Meets Jack (Blake Insert) - The RS presents this cue three times, each with a gradually different emotion.
1) Take 279 - This is perhaps my favourite mix as the opening string after the slightly muted fanfare are layered so lusciously with the winds. Obviously one of the first takes as instrumental layers, mixing, and performance gradually move away from this version.
3) Take 281 - The solo Horn line is played more robustly with the wind/string layering being more string focused.
3) The Final Film Take - The Horns play much more triumphantly, sticking with the string centric mixing and the subtraction of wind counter-melodies.
Comparing Version 5 to Version 10 of this cue, it would seem this cue went through some of the greatest revisions. Presented here are three near identical takes of the same version (version 10). The intro changed very little (despite the horns still managing not to 'sound' at the same time), but after the second portion of the cue which presents again the smooth jazz melody for Bruce, the rest of the cue changes dramatically.
Unfortunately no original version 5 was presented so this true 'alternate' is unheard but what it develops into by version 10 is one of the most beautiful cues in the film.
The opening of this cue mimics the Steiner sound of the 30's meant to imitate what the filming of Bruce and Ann would have been like finished. Small variations in performance such as the dynamics of the winds, the horns, and the addition or subtraction of counter melodies in the winds vary between the takes (ultimately moving further away from the counter melodies and with the winds being very diminished in the opening.
[3m1 v2] The Crew is Nervous - This cue is presented fully on the RS as used in the Film.
[3m2] Montage - The only leaked conductors score for �Montage [3m2]� is version 9 which has a nearly identical opening to the final film version (excepting harp doubling of the low strings) but differs greatly through the middle of the cue, having had bars 9 through 25 replaced in the final film take. Version 9 is a bit more dramatic in its changes between the A and B sections of the Island/ Adventure motif, handing it off between strings and winds. Small vibraphone accents are also omitted in the final mix but would have added an amazing ambiance to the overall tropical/adventure sound.
What this says about the RS and the collection of conductors scores that leaked is that even though this may have been the final version of the cue written, the recording presented may have been an older version. Or, conversely, the recording may be a version of the cue AFTER Version 9. There is no way to know but it does highlight the difficulty with these sessions as certain cues aren't fully mixed yet and some are the wrong versions of cues or lack the final film alterations. How exactly these all changed may never be known but what we have learned is that the score to the film kept changing to the final second of recording time.
Another possibility is that this sequence continued to change. Certain elements that were recorded for the purposes of fleshing out the characters were dropped but make small appearances in the montage. The inability to settle on a final montage edit may have led to the numerous versions.
[3m3 v2] There are No Stars - This cue is presented fully on the RS as used in the Film.
[3m4 v3] Wall - This cue is presented fully on the RS as used in the Film.
[3m5A] Breach - This cue is presented fully on the RS as used in the Film (with the exception of the opening having been dialed out in the final mix.
(Forgot about this one!)
[#mS] Marie's Wedding - This source cue was recorded for an unused dance scene on the ship. Snippets are shown in the montage sequence and the making of features rehearsals for this throughout but ultimately, the scene was not used. The recording is not presented anywhere except as a deleted scene and rips easily but not entirely cleanly.
The recording for this was necessary before shooting the scene began so it was, no doubt, recorded before any other music was recorded for the film (even before the Howard Shore sessions).
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[3m5B] Skull Island - This cue is presented three times on the RS, listing two as alternates. As with most cues from this recording session, they are not true 'alternates' but are rather, alternate takes of cues with only subtle differences.
1) Skull Island (Alternate Take I) This original take is the best in regards to the trumpets performance but not the best in regards to the Horn's performances (as one blasts a muted note a bit too loudly). This performance also lacks the Choir Overlay.
2) Skull Island (Alternate Take II) This second alternate take has the trombones much heavier mixed in the opening ominously but has a slightly off trumpet and violins that aren't quite together. The Choir is mixed into this take, albeit quietly.
3) Skull Island (Film Alternate Take) This final take is similar to the first in that it lacks a trombone undertone in the opening, but has much stronger and more together performances by the rest of the orchestra (possibly because of the decision to use a click track in this take). The choir is also overlayed much more prominently and it is this final take that is used in the film.
[3m6 v7] The Village - Studying the conductors score to this cue version, it would seem a lot of additional doubling was added latter on. Version 6 was not quite as lush as this final version 7 (which would later feature in both the credits and be copied nearly note for note in the scene as Jack decides to find Ann on his own).
Oddly enough, twelve empty measures exist after the final crescendo in this recording. JNH often left places for the synth performers to adlib and fill and this would seem to be one of those instances. No recording of what they came up with is released and it is possible that the synth extension was decided against.
[4m1 v3] The Natives - This cue is presented fully on the RS as used in the film.
[4m2 v3] Native Attack (Unused Alternate) - This very impressive orchestral alternate to the "Native Attack" sequence is presented on the RS but is not used in the film. The only segment of this cue to be utilized at all is a small portion of the middle which has the "Kong Appears" motif which is tracked to the end of the film version of "Kong Runs." It is truly something to be heard.
Obviously opting for something far more alien, the producers decided to do something more shocking/frightening and use a more synth driven cue. The film version utilizes new orchestral recordings and is obviously a later version than this Version 3 presented on the RS. What the number is, the conductors score, or any other information is limited to only what is heard in the film.
Mixing percussive hits, ethnic instruments and groans with the chanting of the Natives creates a chilling ambiance. The sounds used here and utilized again during the sacrifice sequence and lends a connection between the two necessary to build the frightening horror and fear of these "people."
[4m3A v2] Saved by the Crew - Picking up immediately after the first shot is fired, this cue brings the team back aboard the frantic Venture as it tries to lighten its load to leave. The full version of this cue is presented on the RS but differs slightly from the film version.
The film version replaces the a segment near the middle with a more relaxed piece tracked from "Hero's Don't Look Like Me," possibly to build a connection between the two scenes of Carl dedicating the film and proceeds to those lost on the adventure. The scene also appears to be extended slightly which may have necessitated this addition.
The film mix also lacks some of the strong orchestral hits as Ann senses her captors coming to retrieve her. Snyth overlays take a stronger role, therefore, in this segment, continuing to build this connection between the cold, almost alien people of Skull Island with the synth sound. This difference, however is a mixing choice and, like the edit earlier in the cue, is not a true alternate but one made in post production.
[4m3B v4] Ann is Kidnapped - This cue is presented fully on the RS as used in the film. This cue in particular is utilized several times, almost directly lifted, in the escape from the island and other action moments.
[4m4 Pt I] Sacrifice - This cue is presented fully on the RS as used in the film.
[4m5 v4] Arming the Crew - This short cue interrupts the two similar Sacrifice sequences with a quick action piece as the group prepares to retried the kidnapped Ann.
[4m6 v2] Sacrifice - This particular cue is presented on the album as the percussion track written by James Newton Howard. The cue consists of at least three layers: percussion track, synth, and orchestral overlays.
This cue, however, is not utilized in the film opting instead for a more snythetic, alien ambiance with an entirely different percussive track. The finale of the film version does return to the RS version so perhaps the film version is simply the next "version number" of this piece.
[4m7 v4] Kong Appears - The first cue James Newton Howard wrote for this score, this cue builds the tension and eventual reveal of Kong himself. Kong's main motif (mostly used when he's angry) is first played here as well as his 'descending chords.' Broken by the arrival of the boats crew to save Ann, the cue goes very frantic only to quote in the strings the journey/island motif. Synth ambiance balances out the reveal of Kong to Carl of "Something monstrous, neither beast, nor man."
[4m8 v1] Trek to Save Ann - Utilizing a near direct lift of "Skull Island," we are treated with a more powerful if not mournful performance of the Island/Journey theme with choir quietly layered underneath. Kong's descending motif closes the cue.
[4m9] Kong Runs - A heavily synth and percussive cue, this piece lays only partially realized in the film. Opting for bringing the percussion in about halfway through the cue, the film version of this cue starts with isolated synth, pulling in the percussion to bring the cue up another energy level to then give way to the recorded orchestral layer as Kong mis-handles Ann, who escapes his grasp momentarily.
[4m10] Crew in Boneyard - The conductor score released for this cue differs greatly from the version on the RS which matches that used in the film. The differences seem to be in timing of certain swells and placement of the music but is not an entirely different cue.
(END OF DISC 1)
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(Disc 2)
[5m1 v5] Footprint - This cue is presented fully on the RS as used in the film.
[5m2 v7] Stampede - Perhaps one of the best action cues, this piece reminds me of a John Williams action set piece. There are great moments that could almost work in a Jurassic Park/ Star Wars scene. Setting the piece in a 5 beat meter gives lends the cue a very off kilter jog to it by creating the usual 4 beat measure aided by a push into the first beat of the next measure. Truly a brilliant action piece.
[5m3 v2] Raptors - Introducing us to the first menacing turns through the lows strings and brass with sudden staccato brass hits, this show cue only gives us a taste of whats to come with this dangerous carnivore motif.
[5m4 v1] Heroes Don't Look Like Me - After twelve bars of synth ambiance, the cue builds a sorrowfully rousing melody as Carl tries to make the situation. Bruce decides he has had enough adventure and, with a slow muted rendition of his 'jazz motif' he leaves the group for the safety of the boat to a depression rendition of the 'journey/island' theme.
[5m5A v16 Pt I] Ann Tries to Escape - Borrowing heavily from "Kong Appears," this opening of short musical sequence of Ann truly getting to interact with Kong himself builds on the menace that we feel for Kong and his anger. The cue subsides a little as she builds her plan to calm the beast.
This version differs slightly from the later iteration of v18 in small ways. One such change is the removal of a wind solo near the end of the cue which otherwise would is used to build into the final beat, opting instead for a "surprise" drop.
[5m5A v16 Pt II] Ann Tries to Escape - Continuning where the end of the last cue left off, v16 uses the harp as a means to convey tension and mystery. Most of the cue lacks the harp excepting in quieter moments near the opening. Eventually the cue moves into the familiar New York jazz theme as Ann begins to get braver in her entertainment attempts.
Half of this cue is unused in the film, perhaps to keep the sequence from seeming too forced and allowing it to be more organic.
Version 18 of this cue, however, includes the harp nearly throughout the entire cue, keeping a steady sense of tension and mystery. As the melody begins to play, no further interruptions are introduced and instead the melody plays undisturbed until the end of this part of the Cue.
[5m5A v14 Pt III] Ann Tries to Escape - This final step of the cue builds off the 'New York Jazz' motif as Ann attempts to entertain Kong, the humor in this sequence allowed to come through.
The ending of this version of the cue differs from the later version 18 in that it leaves the 'New York Motif' in favour of a more tense, string tremolo and horn chord until the final col lingo hit for the finale.
Version 18 would replace this tense moment with a continuation of the humorous New York motif until the final col lingo hit. Two takes of version 18 are presented on the RS with one being the final corrected take and the other (take 878) being flubbed by the low brass who are off a beat until the very end (playing even after the final hit).
[5m5B] Ruins - A quiet cue that begins to showcase the Kong/ Ann four note motif, moves into a choir sustain over synth ambiance. (The oddest thing about this cue is I swear I can hear crickets in the background near the end, quietly chirping).
[5m6 v3] Crew Finds Kong Log - The now familiar opening of synth continues in this cue until a direct lift from "Jimmy" cue opens this moment as the crew finds a fallen tree, a means to travel across a deep ravine. The cue moves into a more synth driven middle section until the brass and string bumps give way to string tremolo and Kong appears.
Sorrowful choir and strings sing as the enraged Kong throws Hayes to his death in the pit. An amalgamation of the King Kong descending motif and the strained cry of the journey/island theme vie for attention with a small nod to the original Kong motif as the orchestra and choir sing descending chords until the final landing.
[6m1 v14] Lizards - This cue matches the sheet music almost exactly excluding the winds at the end. It's possible that this is a later version than 14 or the winds were simply overlayed.
[6m2 v2] T-Rex & Ann - The first big cue utilizing the carnivore motif as Ann is chased by the "V-Rex" through the jungle. This cue matches the sheet music up until the very end where the uneasy string chords give way to a more relaxed ending which is almost literally two notes.
[6m3 Pt I - 6m3 Pt II] T Rex & Kong Fight - The long awaited battle between the rexs and Kong comes to fruition at last in this incredible action cue utilizing both theclimbing Kong motif and the triumphant Kong motif. The most interesting thing about this sequence, the opening sequence, and the ending is how each borrows from the other and there is an obvious progression between the three as JNH frantically wrote music for this film causing many similarities if not direct lifts to be carried over.
[6m4 v6] Vines - The carnivore motif comes out strongly again in this short insert of a cue almost as a direct lift from "Raptors"
[6m5 v6 (Choir Mix)] Jawbreaker Pt I & Pt II - Presented on the RS is the final film version of this cue which utilizes a great deal of material explored later in the finale of the film.
Version 4 of this cue has a similar opening but instead jumps to a frantic, percussive build until the final chords which would transition between the journey motif and climbing Kong motif. The quiet, touching finale of both Jawbreaker Pt II v4 and the second half of Jawbreaker Pt II v6 are the same.
[6m6 v5 PtI] Dead Crew Members - Both part I and II of this cue are truly the same but due to how the post production done on the music has changed the over all effect of the orchestral sound and merged it with that of synth, it was necessary to isolate the first 43 measures at part one and measure 44 to the end (the choir section) as another part.
[6m6 v5 PtI] Dead Crew Members - This is the isolated choir segment of this cue which contains a heavy mix of synth. This heavy load of bug synth detracts from the music but is an official mixing of the cue as it is heard in certain making of features. It does not represent what it heard in the film (isolated choir) and unfortunately, that choir does not easily rip which is a real pity.
[6m7] Beautiful - The only released conductors score to this cue is unfinished and thus the final version is unknown but as the title says, this cue is truly 'Beautiful.' Borrowing heavily from what would be used later in the film during the touching moments atop the Empire State, this cue begins to showcase the love the 'beast' shows for Ann.
[7m1 v4 w/ New Ending] Carl Gets Idea - This cue is another cut and paste job from "The Crew is Nervous" with a shortened reprise of the "main titles" lacking a melodic line (which is marked as 'cue' on the sheet music) to only then play the journey motif proudly and fade out.
[7m3 v1] Kongs Arms - Steady strings lay the bed for this quiet cue utilizing the Love for Ann 4 note motif. Similar versions of this cue are echoed through the score but with different wind voicing.
[7m4 v6] Jack in Graveyard - Extended technique strings and harmonics build an eerie air to the opening of this cue. A steady bass drum lends an almost heart-beat to the cue as Jack travels to where Ann lies asleep in the 'beasts' arms. Magical synth, winds, and strings lend a majesty to the tension as Jack quietly approaches Ann, attempting to wake her. Upon waking, a sorrowful melody (used later in choir at Kong's death) plays in the strings as Ann realizes the last thing she ever expected to see stood before her. Jack and Ann reach for each-other and the music ends abruptly upon Kong waking.
Here is the track list of my set once I upload it:
Decided I had a moment to upload this. Dunno how long the links will last. This is now taken from a lossless source which had since my first post leaked.
Disc 1 (https://mega.nz/#!HZ1zWART!4L922Trfl6rJT9QA1MS1t9cFjNqMY9UtIJlBsOEOFjE)
Disc 2 (https://mega.nz/#!Ld8ngKpA!OwKytq6XrRjpH9XTSmM0qsis6VGmR8mt5SZF4-PLhk0)
Disc 3 (https://mega.nz/#!nAlgzAJA!mjIIRKXXyiDjPS4dHeGioyYhY4LAdhEO8-L56MCgfe0)
Disc 4 (https://mega.nz/#!SQszHQ4Y!pg0psxe7Ht7NX7C7CGAARNRbnqPV3KC9xPiMl6Sqhn0)
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Firstly, there are a few differences between the album, the film, and the recording sessions. Simply because they are the "recording sessions" does not make them the end all be all of all the material. The expediency of the recording process for this film, plus the numerous version numbers of every track would make a complete catalog almost impossible and as such, certain versions are left off or neglected from the 3 CD RS. Lets first talk about what's still unavailable.
Almost every cue went through various version numbers. Only one or perhaps two (and in some cases we were lucky and got three) versions are presented on the RS or the album. Thus, many of the changes to the score are unknown.
Also, neither source song is released (licencing reasons no doubt). They are:
"Sitting on Top of the World - Al Jolson (1947 recording)"
"Bye Bye Blackbird - Peggy Lee"
Whats Missing:
1) The full version of 'Carl Steals Footage [1m6 v4]" as there are a few bars omitted
2) Bruce and Jimmy [2m8B] - The full mix (which includes a timpani roll and strings layered under the string bass) isn't presented on the RS but is available via DVD rip.
3) Marie's Wedding (Dance Source) - The unused dance song presented on the DVD extras
4) Native Attack [4m2] - Film alternate which is a lot more synth driven
5) Saved by the Crew [4m3A] - Film mix (again, more synth driven
6) Sacrifice [4m6] - Film version
7) Kong Runs [4m9] - Film Mix
8) Jawbreaker [6m5] PI - PII Part I is heard in the special features of the DVD but part II is missing. This is the original cue for Kong Killing the final rex.
9) Dead Crew Members [6m6 v5 Pt II] - Presented on the RS is the 'true' mix of this cue with insect synth but the film mix is merely the synth choir and to hear that by itself would be amazing.
10) Beauty Killed the Beast (Pt IV Alt) - The alternate is on the RS but without the full mix of the boys choir.
As you can see, not a whole lot is missing. Most is either source cue, or is presented in some fashion on the RS but not the final film mix.
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Here's a break down, cue by cue, of what we have and explaining each cue:
[1m1] Opening v3 (King Kong Main Title) - This is available on both the album (in compressed and muddled quality) and on the RS. This is v3 of the main titles written by JNH. Versions 1-2 are unknown.
Two take are presented on the RS
1) The Film Version (with diminished choir)
2) An alternate mix of the same cue but with louder choir.
[1m1S] Song Intro (I'm Sitting on Top of the Word) - This is only available on the RS and is a solo piano opening meant to replace the more elaborate real opening of this song. Only the first few bars are recorded and presented here. Listening carefully you can hear the recording pop on and play in the background to keep the pianist in time. In the final film, this recording is "aged" to make it sound more 1930's to match the source cue.
The song is not presented on the sets.
[1m2] Ann & Manny v3 - Presented on the album, this cue is on the RS in its fully as recorded version (including a large gap between the first and second half of the cue which is written in the music.
[1m3] Ann & Weston v3- This cue was recorded in two sessions and are presented on the RS merged as one final mix. The two sessions are the "Band" session, and the "orchestra" session. This allowed for control over the mixing of the jazz elements in the opening of this cue.
[1m4] Viewing Footage (Blake's Insert) v2 - There are two versions of this cue and the sheet music calls this version simply "Blake's Insert" and not "Viewing Footage." Blake Neely is a composer and orchestrator who helped JNH write and arrange the music for the film. The difference in versions seems to almost be in where to play out the comedy. Version 1 has more pizzicato and quick eighth notes in the middle section where version two has long drawn out strings. Version 1 then goes into the same section as what Version 2 would have just played and repeats it once, then moving into it's own humorous section of clarinets, bassoons and string doubling. Perhaps a difference in opinion over where the music should start is what led to Version 2, an obvious superior to the first.
[1m5] The Map v2 - A pretty straight forward piece almost echoing the main titles but with heavier synth.
[1m6] Carl Steals Footage v4(?) - This cue is broken into two sections. The first is not presented on the album and for some reason is also not recorded as written. The final wind line is repeated in the conductors score of v4 but is not recorded. Different version numbers of cues a lot of times denote small changes to whats written so it is also possible that this is a later version than four.
Part 2 of this cue is presented on the album in the original v4 iteration. Small inserts were written for the cue and were recorded and thus, we have three different versions of part II of this cue.
1) The version heard on the album
2) Take 11 of the version heard on the album (the same but just a different take)
3) Take 14 which includes 1m6 Insert which replaces the opening bars of the cue. This version is nearly identical to the album but it starts in a different key and then travels back into the orriginal key
4) Take 25 which includes 1m6 New Insert which is a more comical opening with an almost cartooney feel.
[1m7] Carl Finds Ann v1 - A very straightforward cue, which is a near lift from the second half of "Ann & Manny" excepting the string ending as Ann is caught stealing.
[2m1] Carl Convinces Ann v6 - A pretty comedic piece, this particular cue went through six versions but comparing v2 to v6, the main difference is where the cue begins in the film. A full twenty measures have been inserted before the cue as written in v2 begins with the only real alteration after that being a transition of the main melody to clarinets from piano. The finale of the cue is also timed slightly differently and voiced across the strings in a slightly different manner.
[2m2] Venture - Ann onto Boat - This cue went through quite a few iterations before what we hear in the film and the great thing about the RS is we are presented with three different versions of this cue (with small changes). Originally it was two cues [2m2] Venture, and [2m3] Ann onto Boat, which is why you will notice a skip in the slate numbers.
Following the formula for most of the other major adjustments, the changes in this pivotal scene seem to be changes mainly in orchestration. The opening bars in Version 3-6 of �Venture� oscillate back and fourth using the island/adventure motif. Ominous low strings carry the piece until a bright reveal of �men in uniform� are coming to seize Carl. Two harp glissando's lead to tense low strings and the tempo immediately picks up as Carl decides it is time to go. Version 3 places the jazzy New York melody moving line in the violins instead of the celli who are in this instance just chording until the end of the piece just before Ann steps on board (originally that was another cue) and fading out on a low doubled bass and celli note.
�Ann Steps on Board [2m3 v3]� would then follow (but is not presented in this set) with a descending eighth-note line through the winds and strings with horn and bass underpinnings. The eighth-notes would then switch into sixteenth-notes while tense strings would build as Ann approached the loading area, hand nervously reaching for the rail until finally giving way to the Island/Adventure theme which plays triumphantly as she boards.
The change by Version 6 saw the combination of the two cues utilizing the jazzy New York melody played over the celli instead of violins, allowing the strings and winds to play a percussive eighth-note rhythm until ominous strings switch off the jazz New York melody line to violins and winds who play innocently and naively as Ann professes her readiness for the voyage. The strings finally release their tension in a eighth-note rhythm across the orchestra as Carl tries to save Ann from being scared further. Winds flutter tongue over the percussive beat again as Violins take center stage, molding into tense strings as the pre-existing finale from Ann Steps on Board [2m3 v3] plays triumphantly.
[2m2 Version 7 Bars 1-8 Insert] would finally change the opening 8 bars of the piece from a slightly awkward oscillating pattern into a proud statement of the jazzy New York motif over percussive strings and winds. Celli eventually layer in the oscillation patter and merge back into the piece as the orchestra crescendo's at the reveal of the �motion picture ship.� A final change would be in the low strings which play as Carl is informed of the police approach. The percussive eighth-note beat utilized later is first introduced in the violas and the meter of the low celli changes from 4/4 to half time and returning back to 3/4 for two measures. This would be the biggest change past combining the two cues. Most changes to this segment were small and basically changing orchestrations or note lengths.
In all, we have three versions presented (although there were many before this not presented).
1) V6 begins with the low string rocking back and fourth slowly over the adventure motif.
2) V7 begins with all the strings (high and low) rocking back and fourth over the adventure motif in a much more full version than V6.
3) V7 with 2m2 New Intro Insert - This is the final film version where the opening has been replaced with the orchestra playing the "New York" jazz motif dramatically before transitioning into the adventure motif.
[2m4A] Pre-Delaying Jack - Another example of how quickly things can change and spotting sessions might leave out opportunities that didn't seem apparent before, this cue was no doubt a latter decision. Decided upon after the following cue �Delaying Jack [2m4]� was written, this �intro� both utilizes it's name and places an �A� at the end of the slate number signifying it should go before �Delaying Jack,� as its title also suggests. Had it been intended initially, it would have simply been a part of the next cue and thus, we can tell this decision was made later on.
Oddly enough, since [2m3] was merged into [2m2], one might ask why he didn't simply steal that slate number but perhaps it was added after the spotting session but not before they had merged. Because of these reasons, the slate number [2m3] is skipped.
A simple and short percussive string insert, this cues main purpose was to begin the next cue a few moments earlier, highlighting the tension Carl feels realizing that he may still get away, but that he lacks a complete script. A scheme begins to develop in his mind to keep Jack on board and force him to finish the script. Tense strings crescendo over the three eighth-note beats while low strings tremolo preparing the audience for the next cue.
[2m4 v3] Delaying Jack - This cue is presented fully on the RS as used in the film.
[2m5 v3] Boat Leaves Harbour - This particular cue has only a slight difference compared to it's written score in that the first measure in all the low strings, brass, and timpani is repeated and a crescendo is created by doing so. Perhaps a decision made on the spot at the podium, this small addition adds a very nice breath to the opening of the cue as we see the ship leaving New York, the adventure/island theme playing mysteriously as our adventure begins. (Also, whoever names the cues has a bit of an English flair heh)
[2m6A v4] Bruce Hangs Poster - This cue is presented fully on the RS as used in the Film.
[2m6B v4] Jimmy - This cue is presented fully on the RS as used in the Film.
[2m7 v2] Ann Rehearses in Mirror - This cue is presented fully on the RS as used in the Film.
[2m8A v7] Ann Meets Jack - In the film, the finale of this cue is slightly different. Comparing it to the recording, I'm nearly certain it's a version made artificially by editing out a small segment of the pizzicato low strings and looping in a small segment from about [01:00] in the cue to replace the end as written but it is possible that it's a later version than v7.
[2m8B v8] Bruce and Jimmy - Another instance of how small differences in technique change the overall product, this particular cue has an interesting story. Initially comparing this cue to the conductors score, two things are immediately apparent. The first of which is the missing two bar intro of solo ride cymbol and swing bass, and the second piece of the puzzle, the orchestra is missing during the entire middle section of the recording. The change in performance for the first two bars could simply be a new edit or a decision made at the podium as the overall effect is merely to shorten time (as the film also edits the length of the end of the cue).
The second difference is a bit more staggering. After about [00:10], the entire orchestra drops out for ten seconds leaving only the swing bass. The reason for this is not as simple to guess. One possibility is that the orchestra in this section was recorded separately or that this even was an earlier version of the cue. Conversely, this might even be an alternate mix that had been desired at one point, but was decided against.
The missing orchestra is predominately the rolling timpani for the pull in shot of Bruce Baxter and the tremolo strings accenting the zoom in on each poster. The final string tremolo is also shorter in the final film but this could be an editing decision. Overall, no easy answer, but some intriguing possibilities.
My set presents the cue as written with the timpani rolls and string stings.
[2m9 v4] Jimmy Overhears - This cue is presented fully on the RS as used in the Film.
[2m10 v10] Filming on the Boat - Ann Meets Jack (Blake Insert) - The RS presents this cue three times, each with a gradually different emotion.
1) Take 279 - This is perhaps my favourite mix as the opening string after the slightly muted fanfare are layered so lusciously with the winds. Obviously one of the first takes as instrumental layers, mixing, and performance gradually move away from this version.
3) Take 281 - The solo Horn line is played more robustly with the wind/string layering being more string focused.
3) The Final Film Take - The Horns play much more triumphantly, sticking with the string centric mixing and the subtraction of wind counter-melodies.
Comparing Version 5 to Version 10 of this cue, it would seem this cue went through some of the greatest revisions. Presented here are three near identical takes of the same version (version 10). The intro changed very little (despite the horns still managing not to 'sound' at the same time), but after the second portion of the cue which presents again the smooth jazz melody for Bruce, the rest of the cue changes dramatically.
Unfortunately no original version 5 was presented so this true 'alternate' is unheard but what it develops into by version 10 is one of the most beautiful cues in the film.
The opening of this cue mimics the Steiner sound of the 30's meant to imitate what the filming of Bruce and Ann would have been like finished. Small variations in performance such as the dynamics of the winds, the horns, and the addition or subtraction of counter melodies in the winds vary between the takes (ultimately moving further away from the counter melodies and with the winds being very diminished in the opening.
[3m1 v2] The Crew is Nervous - This cue is presented fully on the RS as used in the Film.
[3m2] Montage - The only leaked conductors score for �Montage [3m2]� is version 9 which has a nearly identical opening to the final film version (excepting harp doubling of the low strings) but differs greatly through the middle of the cue, having had bars 9 through 25 replaced in the final film take. Version 9 is a bit more dramatic in its changes between the A and B sections of the Island/ Adventure motif, handing it off between strings and winds. Small vibraphone accents are also omitted in the final mix but would have added an amazing ambiance to the overall tropical/adventure sound.
What this says about the RS and the collection of conductors scores that leaked is that even though this may have been the final version of the cue written, the recording presented may have been an older version. Or, conversely, the recording may be a version of the cue AFTER Version 9. There is no way to know but it does highlight the difficulty with these sessions as certain cues aren't fully mixed yet and some are the wrong versions of cues or lack the final film alterations. How exactly these all changed may never be known but what we have learned is that the score to the film kept changing to the final second of recording time.
Another possibility is that this sequence continued to change. Certain elements that were recorded for the purposes of fleshing out the characters were dropped but make small appearances in the montage. The inability to settle on a final montage edit may have led to the numerous versions.
[3m3 v2] There are No Stars - This cue is presented fully on the RS as used in the Film.
[3m4 v3] Wall - This cue is presented fully on the RS as used in the Film.
[3m5A] Breach - This cue is presented fully on the RS as used in the Film (with the exception of the opening having been dialed out in the final mix.
(Forgot about this one!)
[#mS] Marie's Wedding - This source cue was recorded for an unused dance scene on the ship. Snippets are shown in the montage sequence and the making of features rehearsals for this throughout but ultimately, the scene was not used. The recording is not presented anywhere except as a deleted scene and rips easily but not entirely cleanly.
The recording for this was necessary before shooting the scene began so it was, no doubt, recorded before any other music was recorded for the film (even before the Howard Shore sessions).
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[3m5B] Skull Island - This cue is presented three times on the RS, listing two as alternates. As with most cues from this recording session, they are not true 'alternates' but are rather, alternate takes of cues with only subtle differences.
1) Skull Island (Alternate Take I) This original take is the best in regards to the trumpets performance but not the best in regards to the Horn's performances (as one blasts a muted note a bit too loudly). This performance also lacks the Choir Overlay.
2) Skull Island (Alternate Take II) This second alternate take has the trombones much heavier mixed in the opening ominously but has a slightly off trumpet and violins that aren't quite together. The Choir is mixed into this take, albeit quietly.
3) Skull Island (Film Alternate Take) This final take is similar to the first in that it lacks a trombone undertone in the opening, but has much stronger and more together performances by the rest of the orchestra (possibly because of the decision to use a click track in this take). The choir is also overlayed much more prominently and it is this final take that is used in the film.
[3m6 v7] The Village - Studying the conductors score to this cue version, it would seem a lot of additional doubling was added latter on. Version 6 was not quite as lush as this final version 7 (which would later feature in both the credits and be copied nearly note for note in the scene as Jack decides to find Ann on his own).
Oddly enough, twelve empty measures exist after the final crescendo in this recording. JNH often left places for the synth performers to adlib and fill and this would seem to be one of those instances. No recording of what they came up with is released and it is possible that the synth extension was decided against.
[4m1 v3] The Natives - This cue is presented fully on the RS as used in the film.
[4m2 v3] Native Attack (Unused Alternate) - This very impressive orchestral alternate to the "Native Attack" sequence is presented on the RS but is not used in the film. The only segment of this cue to be utilized at all is a small portion of the middle which has the "Kong Appears" motif which is tracked to the end of the film version of "Kong Runs." It is truly something to be heard.
Obviously opting for something far more alien, the producers decided to do something more shocking/frightening and use a more synth driven cue. The film version utilizes new orchestral recordings and is obviously a later version than this Version 3 presented on the RS. What the number is, the conductors score, or any other information is limited to only what is heard in the film.
Mixing percussive hits, ethnic instruments and groans with the chanting of the Natives creates a chilling ambiance. The sounds used here and utilized again during the sacrifice sequence and lends a connection between the two necessary to build the frightening horror and fear of these "people."
[4m3A v2] Saved by the Crew - Picking up immediately after the first shot is fired, this cue brings the team back aboard the frantic Venture as it tries to lighten its load to leave. The full version of this cue is presented on the RS but differs slightly from the film version.
The film version replaces the a segment near the middle with a more relaxed piece tracked from "Hero's Don't Look Like Me," possibly to build a connection between the two scenes of Carl dedicating the film and proceeds to those lost on the adventure. The scene also appears to be extended slightly which may have necessitated this addition.
The film mix also lacks some of the strong orchestral hits as Ann senses her captors coming to retrieve her. Snyth overlays take a stronger role, therefore, in this segment, continuing to build this connection between the cold, almost alien people of Skull Island with the synth sound. This difference, however is a mixing choice and, like the edit earlier in the cue, is not a true alternate but one made in post production.
[4m3B v4] Ann is Kidnapped - This cue is presented fully on the RS as used in the film. This cue in particular is utilized several times, almost directly lifted, in the escape from the island and other action moments.
[4m4 Pt I] Sacrifice - This cue is presented fully on the RS as used in the film.
[4m5 v4] Arming the Crew - This short cue interrupts the two similar Sacrifice sequences with a quick action piece as the group prepares to retried the kidnapped Ann.
[4m6 v2] Sacrifice - This particular cue is presented on the album as the percussion track written by James Newton Howard. The cue consists of at least three layers: percussion track, synth, and orchestral overlays.
This cue, however, is not utilized in the film opting instead for a more snythetic, alien ambiance with an entirely different percussive track. The finale of the film version does return to the RS version so perhaps the film version is simply the next "version number" of this piece.
[4m7 v4] Kong Appears - The first cue James Newton Howard wrote for this score, this cue builds the tension and eventual reveal of Kong himself. Kong's main motif (mostly used when he's angry) is first played here as well as his 'descending chords.' Broken by the arrival of the boats crew to save Ann, the cue goes very frantic only to quote in the strings the journey/island motif. Synth ambiance balances out the reveal of Kong to Carl of "Something monstrous, neither beast, nor man."
[4m8 v1] Trek to Save Ann - Utilizing a near direct lift of "Skull Island," we are treated with a more powerful if not mournful performance of the Island/Journey theme with choir quietly layered underneath. Kong's descending motif closes the cue.
[4m9] Kong Runs - A heavily synth and percussive cue, this piece lays only partially realized in the film. Opting for bringing the percussion in about halfway through the cue, the film version of this cue starts with isolated synth, pulling in the percussion to bring the cue up another energy level to then give way to the recorded orchestral layer as Kong mis-handles Ann, who escapes his grasp momentarily.
[4m10] Crew in Boneyard - The conductor score released for this cue differs greatly from the version on the RS which matches that used in the film. The differences seem to be in timing of certain swells and placement of the music but is not an entirely different cue.
(END OF DISC 1)
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(Disc 2)
[5m1 v5] Footprint - This cue is presented fully on the RS as used in the film.
[5m2 v7] Stampede - Perhaps one of the best action cues, this piece reminds me of a John Williams action set piece. There are great moments that could almost work in a Jurassic Park/ Star Wars scene. Setting the piece in a 5 beat meter gives lends the cue a very off kilter jog to it by creating the usual 4 beat measure aided by a push into the first beat of the next measure. Truly a brilliant action piece.
[5m3 v2] Raptors - Introducing us to the first menacing turns through the lows strings and brass with sudden staccato brass hits, this show cue only gives us a taste of whats to come with this dangerous carnivore motif.
[5m4 v1] Heroes Don't Look Like Me - After twelve bars of synth ambiance, the cue builds a sorrowfully rousing melody as Carl tries to make the situation. Bruce decides he has had enough adventure and, with a slow muted rendition of his 'jazz motif' he leaves the group for the safety of the boat to a depression rendition of the 'journey/island' theme.
[5m5A v16 Pt I] Ann Tries to Escape - Borrowing heavily from "Kong Appears," this opening of short musical sequence of Ann truly getting to interact with Kong himself builds on the menace that we feel for Kong and his anger. The cue subsides a little as she builds her plan to calm the beast.
This version differs slightly from the later iteration of v18 in small ways. One such change is the removal of a wind solo near the end of the cue which otherwise would is used to build into the final beat, opting instead for a "surprise" drop.
[5m5A v16 Pt II] Ann Tries to Escape - Continuning where the end of the last cue left off, v16 uses the harp as a means to convey tension and mystery. Most of the cue lacks the harp excepting in quieter moments near the opening. Eventually the cue moves into the familiar New York jazz theme as Ann begins to get braver in her entertainment attempts.
Half of this cue is unused in the film, perhaps to keep the sequence from seeming too forced and allowing it to be more organic.
Version 18 of this cue, however, includes the harp nearly throughout the entire cue, keeping a steady sense of tension and mystery. As the melody begins to play, no further interruptions are introduced and instead the melody plays undisturbed until the end of this part of the Cue.
[5m5A v14 Pt III] Ann Tries to Escape - This final step of the cue builds off the 'New York Jazz' motif as Ann attempts to entertain Kong, the humor in this sequence allowed to come through.
The ending of this version of the cue differs from the later version 18 in that it leaves the 'New York Motif' in favour of a more tense, string tremolo and horn chord until the final col lingo hit for the finale.
Version 18 would replace this tense moment with a continuation of the humorous New York motif until the final col lingo hit. Two takes of version 18 are presented on the RS with one being the final corrected take and the other (take 878) being flubbed by the low brass who are off a beat until the very end (playing even after the final hit).
[5m5B] Ruins - A quiet cue that begins to showcase the Kong/ Ann four note motif, moves into a choir sustain over synth ambiance. (The oddest thing about this cue is I swear I can hear crickets in the background near the end, quietly chirping).
[5m6 v3] Crew Finds Kong Log - The now familiar opening of synth continues in this cue until a direct lift from "Jimmy" cue opens this moment as the crew finds a fallen tree, a means to travel across a deep ravine. The cue moves into a more synth driven middle section until the brass and string bumps give way to string tremolo and Kong appears.
Sorrowful choir and strings sing as the enraged Kong throws Hayes to his death in the pit. An amalgamation of the King Kong descending motif and the strained cry of the journey/island theme vie for attention with a small nod to the original Kong motif as the orchestra and choir sing descending chords until the final landing.
[6m1 v14] Lizards - This cue matches the sheet music almost exactly excluding the winds at the end. It's possible that this is a later version than 14 or the winds were simply overlayed.
[6m2 v2] T-Rex & Ann - The first big cue utilizing the carnivore motif as Ann is chased by the "V-Rex" through the jungle. This cue matches the sheet music up until the very end where the uneasy string chords give way to a more relaxed ending which is almost literally two notes.
[6m3 Pt I - 6m3 Pt II] T Rex & Kong Fight - The long awaited battle between the rexs and Kong comes to fruition at last in this incredible action cue utilizing both theclimbing Kong motif and the triumphant Kong motif. The most interesting thing about this sequence, the opening sequence, and the ending is how each borrows from the other and there is an obvious progression between the three as JNH frantically wrote music for this film causing many similarities if not direct lifts to be carried over.
[6m4 v6] Vines - The carnivore motif comes out strongly again in this short insert of a cue almost as a direct lift from "Raptors"
[6m5 v6 (Choir Mix)] Jawbreaker Pt I & Pt II - Presented on the RS is the final film version of this cue which utilizes a great deal of material explored later in the finale of the film.
Version 4 of this cue has a similar opening but instead jumps to a frantic, percussive build until the final chords which would transition between the journey motif and climbing Kong motif. The quiet, touching finale of both Jawbreaker Pt II v4 and the second half of Jawbreaker Pt II v6 are the same.
[6m6 v5 PtI] Dead Crew Members - Both part I and II of this cue are truly the same but due to how the post production done on the music has changed the over all effect of the orchestral sound and merged it with that of synth, it was necessary to isolate the first 43 measures at part one and measure 44 to the end (the choir section) as another part.
[6m6 v5 PtI] Dead Crew Members - This is the isolated choir segment of this cue which contains a heavy mix of synth. This heavy load of bug synth detracts from the music but is an official mixing of the cue as it is heard in certain making of features. It does not represent what it heard in the film (isolated choir) and unfortunately, that choir does not easily rip which is a real pity.
[6m7] Beautiful - The only released conductors score to this cue is unfinished and thus the final version is unknown but as the title says, this cue is truly 'Beautiful.' Borrowing heavily from what would be used later in the film during the touching moments atop the Empire State, this cue begins to showcase the love the 'beast' shows for Ann.
[7m1 v4 w/ New Ending] Carl Gets Idea - This cue is another cut and paste job from "The Crew is Nervous" with a shortened reprise of the "main titles" lacking a melodic line (which is marked as 'cue' on the sheet music) to only then play the journey motif proudly and fade out.
[7m3 v1] Kongs Arms - Steady strings lay the bed for this quiet cue utilizing the Love for Ann 4 note motif. Similar versions of this cue are echoed through the score but with different wind voicing.
[7m4 v6] Jack in Graveyard - Extended technique strings and harmonics build an eerie air to the opening of this cue. A steady bass drum lends an almost heart-beat to the cue as Jack travels to where Ann lies asleep in the 'beasts' arms. Magical synth, winds, and strings lend a majesty to the tension as Jack quietly approaches Ann, attempting to wake her. Upon waking, a sorrowful melody (used later in choir at Kong's death) plays in the strings as Ann realizes the last thing she ever expected to see stood before her. Jack and Ann reach for each-other and the music ends abruptly upon Kong waking.
