"If they stick to the original mastering, just removing intertrack hiss, it'll be fine."

I hope it is not given the "cement hands" treatment, expertise and technology unite. All spectacle and no sin.

I wouldn't want any important Rozsa work to be left out either, I assume the publisher would employ an expert for these decisions also, along with the notes.

The publisher seems to be respected amongst people interested in restored work.

I was listening to the The King's Thief and thought that it didn't sound nearly as much like a Rozsa work like I'm accustomed to hearing for example Ben-Hur, Lust For Life. I immediately thought this was due to the music being from an earlier period in Rozsa's career. I have still so much Rozsa music to hear, however what I have heard is the works touted as his best by many. A very distinct sound is present in all of them, maybe that is due to the demand of the film being epic in scope. This lead me to think Sodom and Gamorrah, of which I have only heard a few tracks briefly, will be in the most developed Rozsa sound with possibly not the same level of creativity present in other work in the same vein.

I think it might be best to view the stinker too, just for the sake of the music, however I'm concerned it might upset me.