zooba, I seem to recall that the LP of TOWERING INFERNO was from the original soundtrack recording, somewhat unusual in those days. So the FSM release has the same recordings as the LP - and much more besides. Perhaps the "screechy" strings sound different because of remastering. Just a quick post off the top of my head.
The version of "Main Title" on the FSM disc is the film version. It differs from the original soundtrack album version. There is a different balance of instruments in two spots, and in particular the snare drum is more prominent than the album version which also features additional cymbal work. Although the album was not a re-recording, the original LP tracks were recorded during the same sessions and several cues were combined. The film version sound was reportedly better than the quarter-inch WB two-track album master. Although some minor incidental cues were lost, some sonically 'damaged' cues – so called due to a deterioration of the surviving audio elements – are placed at the end of the disc's program time following the track "An Architect's Dream" which is used over the end credits sequence.[5]
Yes and I was the one who wrote that Wikipedia entry quite a few years ago.
As stated the LP was not a re-recording, the sessions were done at the same time. Take my word for it. For whatever reason the LP versions of the Main and End Title (An Architect's Dream) are different to the film mixes which obviously appear in the film and on the FSM.
If you check through the archives you will see my much more annotated replies on this score. Just quickly the percussion is more prominent on the FSM which as far as I am concerned is the definitive recording of the Main Title, however if you are able to listen to the same track on the LP it is almost identical, but there is certainly a different balance of instruments in at least two spots (ie. the violins, piano and percussion). The cymbal crash overlays (when Irwin Allen's name comes up) were added in post-production.
The End Title on the LP subsides to a quieter conclusion and finishes in a higher key than does the film version. The FSM (film version) also doesn't have the longer sustained final chord as played in the film which runs for quite a few seconds longer than the CD.
My point is this, if you have listened to the FSM exclusively you will notice these subtle differences straight away. Our good friend Mr. Eldridge (who did the superb track by track analysis on the FSM in 2001) is correct when he says the LP was not a re-recording.
I know on You Tube there was a copy of the LP - it may still be there to listen to and compare. If I can find it I will post a link.
