MainTitle

That's exactly the scene Steve.  And you're very welcome. 

Thanks for the info. I think i know the scene you're referring to... "Find me the architect who designed you..and who needs Doug Roberts?" 
It probably makes more sense that the cue goes there since it would be source music coming from the lobby and not a piece of Williams' underscore as such.
Cheers.

I think all the covers are fine -- the original FSM, the box version and Jim's re-conceptualization. Ultimately, though, if I had to choose, I'd say Jim's version is the best.

Titus’ new cover is more easy on the eye than the one that ended up in the box - from our current aesthetic preferences.
 
But I have to say that I really appreciate that MM filled us in on the details of how it turned out the way it did.
 
There are a lot of politics, history and just plain physical limitations to be taken into consideration when putting something like this - or anything, really - together.
 
Hearing the story makes me appreciate the cover art we got in the box a lot more.
 
In the end, I think The Irwin Allen Estate made the right call, and anyone who wants can still change the cover in their digital library to the distress of no one.
 

Great cover !

Much better than the hideous cover art we got in the jewel case. When I ripped this into my iTunes I reordered the tracks to make the OST disc 1 using the original cover art, the film score tracks as disc 2 using the hideous LLL cover art and the alternates and bonus stuff as disc 3 using he disaster box cover art.  I’ll definitely update the cover art using this new one.
 
I do this with all deluxe sets where the OST presentation is part of the program.  When scrolling through my albums I’d rather see the original cover art.  Rarely do I prefer expanded/deluxe edition cover art over the original.  LLL’s Towering Inferno cover art is especially ugly. Earthquake is close enough to the original that I used that. This latest edition of Poseidon Adventure is the best cover art yet for that one.

I see. I thought people were placing this in their box set
Still  I'd prefer  this on the actual c.d.. The other cover is ugly

I have not watched the film recently in tandem with the wonderful new CD, but I believe these are the film score recording tracks not represented at all on the album recording previously available:
 
[16] A Crack in the Dam - This consists of three or four cues from early in the film when assistant dam caretaker Max inspects the Mulholland Dam, when he convinces the Chief Inspector that the cracks should not be there and when Dr. Stockle receives a laughably brief telephone call informing him that Dr. Adams has been buried alive.
[20] Motordrome [0:00 to 0:46] - This is the cue where Miles shows off his new stunt ramp to Rosa.  Miles On Wheels was of course rerecorded and extended significantly for the album.
[21] Jody's Trophies / Sam's Private Thoughts - The music which accompanies Jody changing into his National Guard uniform, followed by a brief cue underscoring a conversation between Stewart and Sam at the Royce Building.
[22] Aftermath - The magnificent cue commenting on the devastated city immediately after the Big One.
[23] Chair Lift - This cue accompanies the improvised rescue by Sam and Stewart at the Royce Building using an office chair and a fire hose.
[25] Refugees and Looters - This fine cue starts with the National Guard motorcade driving through the ruined city.
[26] Jody Loses Control - The music which underscores Jody shooting dead his roommates in cold blood because they had been teasing him earlier in the film.
[27] Jammed Door [0:00 to 0:16] - Max notices that a door at the dam has shifted slightly and realises that the Mulholland Dam is about to break.  Note that The Death of Jody was rerecorded as the last part of the Watching and Waiting / Sam's Rescue album track.
[28] The Tunnel - Superb cue scoring Stewart Graff's crawl (assisted by Lew Slade) through the collapsed rubble of the Wilson Plaza to rescue the people trapped in the underground car park.
[29] Washed Away - The music from the climax of the movie as the storm drain is flooded before everyone is able to escape from the underground car park.
[31] Aftermath (Alternate)
[32] Refugees and Looters (Alternate)
 
I would also be inclined to include [17] Lunch with Remy, as although it is the same theme as the album track Something for Remy, the scoring and tempo are markedly different.  It would be a bit like not wanting to have the music for Darth Vader's Death because you already had The Imperial March.
 
 
According to Mike Matessino's liner notes, the original film score recording was
 
 
The fact that I had to double check should indicate how good the sound is on this release.

That 
 
is
 
STUNNING!!!!!

Wow, this is great! Big thanks to MM and JT!

Beautiful!

(click for full 1425x1425 size)

I was lucky enough to receive this from Father Christmas yesterday and played it through for the first time this afternoon.  It is such a thrill to finally have the film score recording, but a few words on the remastered 1974 soundtrack album recording to start with; while I never had any problem with the sound on the Varese Sarabande CD (which was actually the first John Williams score CD I bought back in the day!), the remastered sound on this new CD is phenomenal.  I particularly noticed how much clearer the horns were on Love Theme, for example, but in every track I hear details I had not noticed before.
 
The separation of the album versions of Miles' Pool Hall and Sam's Rescue into individual tracks - as per Williams's original intention - is also great.  These two tracks could rightfully be asterisked with [* includes previously unreleased music], as both include significant amounts of music not heard in the Medley track, simply because it was faded in or faded out to create that Frankenstein's monster of an album track, much as I have always loved it.  When I heard the clean opening of Miles' Pool Hall I thought they had switched reels on me there for a few seconds!
 
The film score recording is fantastic to have.  I have wanted to hear this music in good quality ever since I first watched the film years ago and realised that the music in the film was a different recording than what was on the soundtrack CD.  I expected that if ever the music saw the light of day, it would at best be like one of those archival recordings Cloud 9 Records used to release with more pops and crackles than Edison singing Mary Had A Little Lamb, but not a bit of it - the sound on this is remarkably good.  Although I was familiar with most of the unreleased music, there is so much of it that can finally be heard properly outside the film.  Much of the cue Washed Away is pretty much inaudible in the film due to the sound effects, but now it can be heard in all its glory.  There are also cues that are partially or even mostly dialled out in the film but can now be heard in full (I'm looking at you, Something For Rosa).
 
I also love having the two versions of Aftermath, for a long time one of my most wanted unreleased Williams confections.  The fascinating unused cue does not sound quite sad enough somehow, almost as if the music is reflecting the awesomeness of the natural forces at work rather than the devastation wrought by the quake.  This is a great release and finally presents the music the way it deserves and in a way much more representative of the score as heard in the film.  I think it's beautiful!

This is incredible news, not just for the prestige of the VPO, but for the notion that Maestro Williams is evidently still willing and able to tour globally. I'll keep dreaming of an Australian tour in the meantime.

Not necessarily true with respect to TTI.  The main theme is quoted throughout the feature in the form of the 'rescue motif', complemented by a pair of love themes used for two sets of main characters which easily highlight the emotional impact of the score in the dramatic moments. I believe this was also facilitated by Williams' subtle use of the Wagnerian leitmotif technique. 
 
I've always believed that his skill in this area is what has made his composing talent stand out over the course of his career as he just has the perfect knack of capturing the essence of raw emotion in any given scene, thus putting the viewer/listener at the heart of the action. 

You're right, dude. The main theme, is used throughout THE TOWERING INFERNO.
It's all over WAKING UP, and there are some nifty variations, in PLANTING THE CHARGES.

I'm guessing it's Goodbye, Mr Chips?

Happy Christmas from the customs office I guess...

Just listening to this now, the sound is spectacular - such a revelation this score is.

yeah, I know , but you also know what I mean

The problem I have with Poseidon Adventure and Towering inferno is that the main theme is hardly used in the main body of the score. 

To be fair this is also a valid question

I can hear more detail in the music, I especially noticed it in the main title. Hats off to Mike Matessino and co again for their work in restoring this gem.

I’ll continue to sound like a broken record but thanks to Mike Matessino and co for restoring this score. You can notice the slight improvements in the audio. 
 
Never thought I would triple dip for this score. 😄 

I’m very impressed with job Mike Matessino and co did on Earthquake. The album version sounds superb and even the film score sounds fantastic.