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Earthquake


Damien F

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I'm not the self-aggrandizing pompous ass who believes his true identity is worth either knowing or hiding. I don't care either way, actually, because I don't believe you're important enough to know who you are. I'm not butthurt though I did have ghost chili salsa yesterday.

I'm not the one who brought up my identity. And I never do. If you read my posts as genuinely self-aggrandizing or pompous, perhaps you need to get a sense of humor.

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The film is very bad, but I enjoy the score quite a bit. Not quite as strong as INFERNO, but much better than the dire POSEIDON. "Miles on Wheels" is a kicker and a great funky companion piece to CINDERELLA LIBERTY.

POSEIDON ADVENTURE is dire? :eh:

Oh yeah, I forget, you hate dissonance.

Nothing to do with dissonance. It's more that 90% of it is meandering, directionless suspense drones.

Nope, and you call ourself a film music scholar?!!! 'Meandering, directionless suspense drones' sounds like one of Chris Clemenson's vague, non-technical buzzwords he uses to conveniently dismiss nearly all non-tonal scores from 1955-1990.

You just can't stand it because it's cut from a similar cloth to 'heavy' Rosenman, Fielding and Mandel scores of that era. Textural atonality in the vein of certain concert works from the late 50s and early 60s. But I assure you (and my crew, TGP, KK and Ludwig, will back me up on this) - there is form and direction to that atonality.

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I hope you're one of those composers I respect so little that I just downloaded all your albums.

Do you not realize how ridiculous you're making yourself appear?

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I hope you're one of those composers I respect so little that I just downloaded all your albums.

 

Do you not realize how ridiculous you're making yourself appear?

No. You shouldn't tell me either.
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I see. Never heard of him. Never played any of those games, saw those movies, bought or no, even downloaded those soundtracks. So respect's got nothing to do with it. It's awareness.

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Would that be a big deal? If you were Jerry Goldsmith, posting from among the dead...that would be a big deal. Messy, but a big deal.

That possibility has not been discounted, thanks to my mysterious nature.

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I was wondering how a thread about Earthquake had gotten so many replies, and then I wondered why I'd wondered.

If only I hadn't made that mock-critical post which actually highlights what I appreciate about the score....

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You're so funny. Please tell us more.

 

There's a Star Trek quote I want to respond to this with, but you're not worth Star Trek quotes anymore.

Now who's the grump.
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The film is very bad, but I enjoy the score quite a bit. Not quite as strong as INFERNO, but much better than the dire POSEIDON. "Miles on Wheels" is a kicker and a great funky companion piece to CINDERELLA LIBERTY.

POSEIDON ADVENTURE is dire? :eh:

Oh yeah, I forget, you hate dissonance.

Nothing to do with dissonance. It's more that 90% of it is meandering, directionless suspense drones.

Nope, and you call ourself a film music scholar?!!! 'Meandering, directionless suspense drones' sounds like one of Chris Clemenson's vague, non-technical buzzwords he uses to conveniently dismiss nearly all non-tonal scores from 1955-1990.

You just can't stand it because it's cut from a similar cloth to 'heavy' Rosenman, Fielding and Mandel scores of that era. Textural atonality in the vein of certain concert works from the late 50s and early 60s. But I assure you (and my crew, TGP, KK and Ludwig, will back me up on this) - there is form and direction to that atonality.

Could be. But it's not my cuppa tea, and I couldn't be bothered looking for it. Give me Elliot Goldenthal dissonance any day of the week! Or, heck, even Williams' own IMAGES.

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Goldenthal is certainly more modern in his approach to musical density so it's not that surprising that you prefer it, having pop/electronic inclinations, etc. Like Davis, for instance, his method of atonality (I prefer pantonality) is less rooted in the post-romantic tradition of Schoenbergian chromaticism and more in the later avant-garde, which itself was very influenced by electronic textures.

I sort of oscillate on which I prefer, but really it just comes down to context.

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This thread is really entertaining. Anyway, "Earthquake" is an underrated gem of a score in my opinion. I have not actually seen the film in its entirety, though (only bits and pieces on cable long time ago) I am listening to "Miles on Wheels" as I write this. What a fun cue. Now I want to watch the movie to see who Miles is and if he is on roller-skates or something. LOL

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I still hold my own and say this cue tops them all (especially the wild flute solo at 01:30). It lives in its own world of mondo cheesiness that usually only italians in the 1970's were able to pull off:

As my friend commented when he heard this cues: It sounds like elderly people having sex.

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It has been a few hours since my last post, a few posts up. I have since rented "Earthquake" digitally and watched it in its entirety. I was tired of discussing the score without having seen the film. I can't believe how poorly represented Williams' music was in the movie. Entire cues were missing, and others were butchered. The film as a whole feels poorly edited, missing huge holes in the story. It was fairly average for a 70's disaster film in terms of its quality. Numerous plot threads that did not intersect and an assortment of eccentric characters. The Colonel Sanders army dude was absolutely insane. Obviously "Earthquake"'s effects and stuntwork are dated, but there was a decent amount of tension once the Earthquake began. Too bad it took so long... the exposition went on and on and on. "The Towering Inferno" is a much better film overall. It was interesting that a common theme among both films was the inherent hubris involved in building skyscrapers.

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I've never heard elderly people having sex.

Now you know how it sounds in music.

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I listen to Miles on Wheels during my morning bathroom routine. If I remember correctly, he's the black guy with the motorcycle.

Not only a 'black guy', but Mr. Shaft himself -- Richard Roundtree. I wonder if that's why Williams chose a quasi-funk idiom for this cue.

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Everybody sing along with me!

The Morning After (The Poseidon Adventure)

There's got to be a morning after

If we can hold on through the night.

We have a chance to find the sunshine

Let's keep on lookin' for the light

Oh, can't you see the morning after ?

It's waiting right outside the storm.

Why don't we cross the bridge together

And find a place that's safe and warm ?

It's not too late, we should be giving,

only with love can we climb.

It's not too late, not while we're living,

Let's put our hands out in time.

There's got to be a morning after.

We're moving closer to the shore

I know we'll be there by tomorrow ;

And we'll escape the darkness,

We won't be searchin' any more.

There's got to be a morning after

(Repeat 8x's to fade)

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I love how disaster movies always feature a grand party with someone singing a song about how they hope everyone will survive what's about to happen. Who arranged that set? If I'm ever on a cruise or in a tall building or a plane or on an island or anywhere remotely unsafe and someone starts to sing something like "Love Is A Flotation Device" or "It Burns Hottest (Just Before The End)," I'm haulin' my ass the hell outta there.

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I love how disaster movies always feature a grand party with someone singing a song about how they hope everyone will survive what's about to happen. Who arranged that set? If I'm ever on a cruise or in a tall building or a plane or on an island or anywhere remotely unsafe and someone starts to sing something like "Love Is A Flotation Device" or "It Burns Hottest (Just Before The End)," I'm haulin' my ass the hell outta there.

Well, the quartet on the Titanic did actually play "Closer to the Thee, My God" as the ship went down, so there's a real-life precedent! :)

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I love how disaster movies always feature a grand party with someone singing a song about how they hope everyone will survive what's about to happen. Who arranged that set? If I'm ever on a cruise or in a tall building or a plane or on an island or anywhere remotely unsafe and someone starts to sing something like "Love Is A Flotation Device" or "It Burns Hottest (Just Before The End)," I'm haulin' my ass the hell outta there.

Well, the quartet on the Titanic did actually play "Closer to the Thee, My God" as the ship went down, so there's a real-life precedent! :)

Yes, but as the ship went down. Uni's referring to performing the song before disaster hits...

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The Towering Inferno, Earthquake, Eiger Sanction, Dracula, and Jaws II all really need to be re-issued on CD. JW has new fans all the time and all those CDs are long out of print

But then who can I brag to about owning all these 'rarities'? ;)

Not me, mate, as I got all these, when they came out. I even have "TTI" vinyl autographed, so... :lick:

As for the "Earthquake" running order: the original vinyl copies never had either of the 2 "quake" tracks, but later copies substituted "Something For Remy" (I think) for the longer of the two tracks.

That's racist!

Ha, ha....what? SHAFT is all about funk.

That Shaft, he's a bad mother...

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