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Complete Cue List: Jaws

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Here you go folks:

 

1 1m1 Jaws Titles

2 1m3 The First Victim

3 1m5 Remains On The Beach

4 1m6s Typewriter Chord

5 2m2 The Empty Raft

6 3m1 The Pier Incident

7 4m1r Alternate Version

8 5m1 The Alimentary Canal

9 5m2/6m0 Ben Gardner's Boat

10 6m1 The Montage

11 7m1 Into The Estuary

12 8m2 Out To Sea

13 8m3/9m0 A Tug On The Line

14 9m1/10m0 Man Against Beast

15 "Quint's Tale"

16 11m3 Brody Panics

17 11m4 Barrel Off Starboard

18 11m5/12m0 The Great Chase

19 12m1 Three Barrels Under

20 12m4 From Bad To Worse

21 12m4Rev Quint Thinks It Over

22 13m1 Work Montage

23 13m2 The Shark Approaches

24 13m3 The Shark Hits The Cage

25 14m1 Quint Meets His End

26 14m2 Blown To Bits

27 14m3 End Titles

28 11m5/12m0 Alternate Intro

 

 

 

And here is that same list, and where you can find the cues on the Decca CD:

 

1 1m1 Jaws Titles - 1. Main Title and First Victim [0:00-0:55] (0:55)

2 1m3 The First Victim - 1. Main Title and First Victim [0:58-2:34] (1:38)

3 1m5 Remains On The Beach - 1. Main Title and First Victim [2:34-end] (0:54)

4 1m6s Typewriter Chord - Unreleased (possibly never recorded)

5 2m2 The Empty Raft - 2. The Empty Raft (1:23)

6 3m1 The Pier Incident - 3. The Pier Incident (2:23)

7 4m1r Alternate Version - 8. Father And Son [0:00-1:51] (1:51)

8 5m1 The Alimentary Canal - 8. Father And Son [1:51-end] (1:50)

9 5m2/6m0 Ben Gardner's Boat - 6. Ben Gardner's Boat (3:31)

10 6m1 The Montage - 7. Montage (1:31)

11 7m1 Into The Estuary - 9. Into The Estuary (2:50)

12 8m2 Out To Sea - 10. Out To Sea [0:00-0:52] (0:53)

13 8m3/9m0 A Tug On The Line - 10. Out To Sea [0:52-end] (2:05)

14 9m1/10m0 Man Against Beast - 11. Man Against Beast (5:33)

15 "Quint's Tale" - 12. Quint's Tale (2:40)

16 11m3 Brody Panics - 13. Brody Panics (1:10)

17 11m4 Barrel Off Starboard - 14. Barrel Off Starboard (1:30)

18 11m5/12m0 The Great Chase - 15. The Great Shark Chase [0:31-end] (2:57)

19 12m1 Three Barrels Under - 16. Three Barrels Under (2:05)

20 12m4 From Bad To Worse - 17. Between Attacks [0:00-0:56] (0:56)

21 12m4Rev Quint Thinks It Over - 17. Between Attacks [0:56-end] (1:09)

22 13m1 Work Montage - 4. The Shark Cage Fugue (1:59)

23 13m2 The Shark Approaches - 18. The Shark Approaches [0:00-0:40] (0:40)

24 13m3 The Shark Hits The Cage - 18. The Shark Approaches [0:40-end] (1:59)

25 14m1 Quint Meets His End - 5. Shark Attack (1:17)

26 14m2 Blown To Bits - 19. Blown To Bits (3:03)

27 14m3 End Titles - 20. End Titles (1:52)

28 11m5/12m0 Alternate Intro - 15. The Great Shark Chase [0:00-0:31] (0:31)

 

 

 

Since it's fairly difficult to make that look nice with the board software, here's a nice spreadsheet that is easier to read:

 

https://spreadsheets...Nmc&output=html

 

 

Some notes:

 

  1. 1m6s Typewriter Chord is the only cue not included on the Decca CD. It is a single chord meant to play when Brody types "SHARK" into the "Cause Of Death" line on the typewriter. Since it wasn't used in the film, it might have never even been recorded.
  2. We don't technically know that the cue title for the original version of 4m1 is "Father And Son", but we can assume so based on that name being used for the Decca and the McNeely. I also don't know how far Williams got with writing the original version - the Alternate Version was used in the film, on the Decca CD, and the McNeely CD. The original version might have never been recorded, or never even finished.
  3. We don't technically know what the correct slate number or cue title is for the cue known as "Quint's Tale" or "The Indianapolis Story", but we can presume the title is "Quint's Tale" because that title is used on the Decca CD and the McNeely CD.
  4. The original opening to 11m5/12m0 The Great Chase was unused in the film and rewritten, and the new opening is the familiar version we know from the film, the original LP, and the McNeely recording. The Decca CD track 15 features the revised opening immediately followed by the original opening and the rest of the cue
  5. All three Jaws CDs are not in chronological order! The original LP was a typical Williams OST arrangement; The McNeely re-recorded moved "A Tug On The Line" to the wrong spot, and the Decca CD featured some re-sequencing done by Williams for a better listening experience

 

 

I really hope Intrada or another label is able to re-release this as a 2 disc set, with the full film scores - in order this time - on disc 1 and the original LP re-recording on Disc 2 - both completely remastered. That would be terrific!

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Was I the only one who had no idea "The Great Shark Chase" on the Decca CD featured a revised opening immediately followed by the original opening, or was that common knowledge already?

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Yea, they'd either have to do that, or present The Great Chase twice on the same CD, with only 30 seconds different between them..... or do like the LLL Home Alone and present in the Insert as its own track at the end of the CD

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Yea, they'd either have to do that, or present The Great Chase twice on the same CD, with only 30 seconds different between them..... or do like the LLL Home Alone and present in the Insert as its own track at the end of the CD

there are like 29 minutes of spare space in the cd to replicate that cue entirely...

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I know, but sometimes its all about the listening experience, and as Mark pointed out, the way they presented the Alternate Insert on the Decca CD is a pretty good way to do it

Other than the fact that you're not truly hearing how Williams intended it to be heard - he intended to go right from the Alternate Insert to the crescendo at 0:31 on the CD

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Was I the only one who had no idea "The Great Shark Chase" on the Decca CD featured a revised opening immediately followed by the original opening, or was that common knowledge already?

Wow! No, that is some terrific information. It was one of those :huh: moments, where I could not, for the life of me, understand how the scene could have originally ran longer to support that extra 30 seconds.

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I'm personally happy with what we have as it is, although I'm never offended at new releases with improved sound quality, etc. We have just about everything that was recorded, so that's pretty nice I guess.

As for the Great Chase versions, we have the revised version on both the original and the Mcneely, and recordings of both the original and the revised versions on the Decca, even though they are presented that way.

I guess my point is that there are other scores out there that would be nice to have newly released.

It's amazing how simple this score is. I don't mean that as a put down, in fact quite the opposite. The cues are not really lengthy, they didn't require numerous overlays or probably extensive rewrites, and there aren't an obscene number of sync points. Harmonically most of it is based on a few simple concepts, and it's not incredibly lengthy. Yet it just works so well both in the film and as music outside of the it. To me this is a shining example of Williams' understanding of the orchestral palate and how to use specific colors and techniques to influence moods and create atmosphere.

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I agree wholeheartedly, airmanjerm. :) I've only gotten into this score relatively recently, but it really is quite masterful. Totally deserves its reputation. I think the Decca release works very well as-is, with sound quality being the only area that really could be significantly improved. (Hasn't stopped me from tweaking it to conform to my usual preferred complete soundtrack format, but I don't know how much I'll actually listen to that version. ;))

And as always, the original cue list is a great thing to have! :D

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I agree wholeheartedly, airmanjerm. :) I've only gotten into this score relatively recently, but it really is quite masterful. Totally deserves its reputation. I think the Decca release works very well as-is, with sound quality being the only area that really could be significantly improved. (Hasn't stopped me from tweaking it to conform to my usual preferred complete soundtrack format, but I don't know how much I'll actually listen to that version. ;))

And as always, the original cue list is a great thing to have! :D

How exactly did you tweak it?

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I agree wholeheartedly, airmanjerm. :) I've only gotten into this score relatively recently, but it really is quite masterful. Totally deserves its reputation. I think the Decca release works very well as-is, with sound quality being the only area that really could be significantly improved.

This thread pushed me to take out the Decca CD and give it a spin. I must say that I still prefer the original MCA OST album as a pure listening experience. Don't take me wrong--I deeply love to have the original film tracks, as this is an historic piece of film music that deserves to be archived on disc in every form (and I also love many cues that weren't featured on the OST album as "Father and Son", "Shark Attacks" and many others).

I also noticed more than before that the original film tracks are plagued by several minor flubs and errors in performance and sound: there are lots of stage noises and the occasional wrong note here and there--it's likely the score was recorded in few sessions and Williams didn't have time to finesse more the performance. I think this is probably one of the main reasons that pushed Williams to make a full re-recording for the OST album. The orchestral reading is overall much more polished and precise. Williams respected the tempo of the original film cues, but the fact he wasn't forced to hit precisely all the syncs resulted in a more rounded and musical performance. Also, he took the occasion to expand ideas and themes in a wonderfuk concert-like fashion ("Out to Sea" and "Shark Cage Fugue" being the pinnacle of that, imho).

Back in 1995 there were talks that the 20th Anniversary Laserdisc edition would feature the isolated score, but apparently Williams nixed it because he wasn't too happy with the original performance, but this fortunately didn't prevent the release of the tracks in 2000 for the 25th Anniversary Edition CD.

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Well this is what my set looks like now:

 

01 Main Title (0:55)

02 The First Victim (1:38)

03 Remains On The Beach (0:54)

04 The Empty Raft (1:23)

05 The Pier Incident (2:23)

06 Father And Son (1:51)

07 The Alimentary Canal (1:50)

08 Ben Gardner's Boat (3:31)

09 The Montage (1:31)

10 Into The Estuary (2:50)

11 Out To Sea (0:53)

12 A Tug On The Line (2:05)

13 Man Against Beast (5:33)

14 Quint's Tale (3:40)

15 Brody Panics (1:10)

16 Barrel Off Starboard (1:30)

17 The Great Chase (Alternate Intro) (0:30)

18 The Great Chase (2:57)

19 Three Barrels Under (2:05)

20 From Bad To Worse (0:56)

21 Quint Thinks It Over (1:09)

22 Work Montage (1:59)

23 The Shark Approaches (0:40)

24 The Shark Hits The Cage (1:59)

25 Quint Meets His End (1:17)

26 Blown To Bits (3:03)

27 End Title (1:52)

 

Datameister's is probably the same, but with the cues that overlap (ie Main Title and First Victim) separated out with a faked clean ending / opening, and the Great Chase alternate insert edited properly into the cue with the original version as a bonus track

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That's pretty much the same as mine, although I edited the alt Great Chase intro into a duplication of the cue and put it at the end of the score. It's funny, I cued up the DVD to match the edit, and the edit is pretty jarring in the film.

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Yea, they didn't have WAV editors in 1975 to make smooth edits :)

Someone should make a youtube video showing the original opening synced to picture

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One bonus track like this sucks indeed; if I would make an edit of this, I would just leave the alternate off, as we have it on the original album (which has alternate versions of other cues anyway).

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I agree wholeheartedly, airmanjerm. :) I've only gotten into this score relatively recently, but it really is quite masterful. Totally deserves its reputation. I think the Decca release works very well as-is, with sound quality being the only area that really could be significantly improved.

This thread pushed me to take out the Decca CD and give it a spin. I must say that I still prefer the original MCA OST album as a pure listening experience. Don't take me wrong--I deeply love to have the original film tracks, as this is an historic piece of film music that deserves to be archived on disc in every form (and I also love many cues that weren't featured on the OST album as "Father and Son", "Shark Attacks" and many others).

I also noticed more than before that the original film tracks are plagued by several minor flubs and errors in performance and sound: there are lots of stage noises and the occasional wrong note here and there--it's likely the score was recorded in few sessions and Williams didn't have time to finesse more the performance. I think this is probably one of the main reasons that pushed Williams to make a full re-recording for the OST album. The orchestral reading is overall much more polished and precise. Williams respected the tempo of the original film cues, but the fact he wasn't forced to hit precisely all the syncs resulted in a more rounded and musical performance. Also, he took the occasion to expand ideas and themes in a wonderfuk concert-like fashion ("Out to Sea" and "Shark Cage Fugue" being the pinnacle of that, imho).

Back in 1995 there were talks that the 20th Anniversary Laserdisc edition would feature the isolated score, but apparently Williams nixed it because he wasn't too happy with the original performance, but this fortunately didn't prevent the release of the tracks in 2000 for the 25th Anniversary Edition CD.

Maurizio, I totally agree. I think I'd probably feel differently about the 1975 MCA release if it had been somebody else that re-wrote sections, added endings, and all that, but in this case Williams did all that himself. If not it would be like the McNeely....nice to have and all, but not something "authentic." There are lots of instrumentation choices in the MCA that make a little more sense from a concert/stage perspective, and having endings to a few of them is a nice touch. It's kind of a half-way step to having a full-blown concert version of some of them, like we have of other Williams cues that have been turned into concert suites. And God, yes...there were some really bad performance mistakes in the original....one spot where I would have fired a clarinet player right there on the spot.

Anybody ever have the MCA on tape back in the day? Every time I listen to the MCA now, I feel the need to turn the tape over half way through - which one was it, "One Barrel Chase," I think?

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Anybody ever have the MCA on tape back in the day? Every time I listen to the MCA now, I feel the need to turn the tape over half way through - which one was it, "One Barrel Chase," I think?

I had the LP, and yes Side 2 began with One Barrel Chase.

Oh Mark, you had the "good" product! On the tape, I mean you literally had to turn it over in the middle of "Sea Attack Number One" (I looked up which one it was finally). It faded out and then side 2 faded right back in for you. It's a timeless classic! :lol:

Jason, it's right at 4:28 in "Man Against Beast" on the Decca. A little 2-bar clarinet solo that isn't bad enough to warrant spending the money it would have probably taken to go back and fix, but an awkward mistake to leave in. Clarinet player comes in a whole beat early and botches the rest of it rhythmically. You can hear it correctly at 4:04 or so on the McNeely and at 3:56 or so in "Sea Attack Number One" on the MCA. Yes, a nitpick, so apologies all around...

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On the tape, I mean you literally had to turn it over in the middle of "Sea Attack Number One" (I looked up which one it was finally). It faded out and then side 2 faded right back in for you. It's a timeless classic! :lol:

:blink: Unbelievable!

Jason, it's right at 4:28 in "Man Against Beast" on the Decca. A little 2-bar clarinet solo that isn't bad enough to warrant spending the money it would have probably taken to go back and fix, but an awkward mistake to leave in. Clarinet player comes in a whole beat early and botches the rest of it rhythmically. You can hear it correctly at 4:04 or so on the McNeely and at 3:56 or so in "Sea Attack Number One" on the MCA. Yes, a nitpick, so apologies all around...

Cool, i'll check it out later

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One bonus track like this sucks indeed; if I would make an edit of this, I would just leave the alternate off, as we have it on the original album (which has alternate versions of other cues anyway).

If you are referring to the unused original section within The Great Shark Chase , it's only available on the Decca album.

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He was saying he'd only put the Original opening is his personal edit, leaving of the Revised opening entirely; And pull out the MCA if he wants to hear that

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Oh Mark, you had the "good" product! On the tape, I mean you literally had to turn it over in the middle of "Sea Attack Number One" (I looked up which one it was finally). It faded out and then side 2 faded right back in for you. It's a timeless classic! :lol:

Yes! I have that too! It's hilarious. It's like a throwback to 8-Track! ;)

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It makes so sense though, I mean the entire album is only 35 minutes. When I was a kid I had cassette tapes that were 60 minutes ON EACH SIDE

Why was Jaws sold on a cassette that was less than 17 minutes per side?

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Maurizio, I totally agree. I think I'd probably feel differently about the 1975 MCA release if it had been somebody else that re-wrote sections, added endings, and all that, but in this case Williams did all that himself. If not it would be like the McNeely....nice to have and all, but not something "authentic." There are lots of instrumentation choices in the MCA that make a little more sense from a concert/stage perspective, and having endings to a few of them is a nice touch. It's kind of a half-way step to having a full-blown concert version of some of them, like we have of other Williams cues that have been turned into concert suites.

It seems to me that Williams likely thought "Let's see if I can do it better" in terms of reading and performance, which is a luxury for the film composer--we should always be aware that the performance recorded for the actual film is a kind of one-shot opportunity, and that will live forever tied to the movie. In the case of Jaws, I like that Williams took the opportunity to re-orchestrate some of the material and write extensions that gave a more rounded shape to the composition.

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Maurizio, I totally agree. I think I'd probably feel differently about the 1975 MCA release if it had been somebody else that re-wrote sections, added endings, and all that, but in this case Williams did all that himself. If not it would be like the McNeely....nice to have and all, but not something "authentic." There are lots of instrumentation choices in the MCA that make a little more sense from a concert/stage perspective, and having endings to a few of them is a nice touch. It's kind of a half-way step to having a full-blown concert version of some of them, like we have of other Williams cues that have been turned into concert suites.

It seems to me that Williams likely thought "Let's see if I can do it better" in terms of reading and performance, which is a luxury for the film composer--we should always be aware that the performance recorded for the actual film is a kind of one-shot opportunity, and that will live forever tied to the movie. In the case of Jaws, I like that Williams took the opportunity to re-orchestrate some of the material and write extensions that gave a more rounded shape to the composition.

Agreed....I guess I just enjoy both for what they are. In some ways I'm definitely a "completist," in that I enjoy listening to the film scores the way they were recorded for the film and all, but I much more enjoy the performances on the MCA album because Williams himself tweaked them, gave some of them endings, and presented them as a music-only listening experience that's really not that different than the film version.

They are also much better performances, and I enjoy a better performance more than I worry about the fact that it's not the "actual, authentic recording of the score exactly as it was in the film." If anyone else had done that MCA album it would be nice but not really as "authentic" I suppose. I typically don't enjoy re-recordings as much, but in this case we're pretty lucky. Some people do prefer to have the original film version (and for most other films, so do I), so of course we can all disagree on which one we like better...the good news is that we have just about all we could hope for (at least for now) from this one, until someone either remasters everything or re-records it.

It makes so sense though, I mean the entire album is only 35 minutes. When I was a kid I had cassette tapes that were 60 minutes ON EACH SIDE

Why was Jaws sold on a cassette that was less than 17 minutes per side?

Look man, don't be hatin on my Jaws tape! lol

I guess it was done that way to avoid one side of the tape having to be much longer than the other. Remember when tapes started having the disclaimer "this tape longer on one side to preserve continuity," or something like that?

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Why was Jaws sold on a cassette that was less than 17 minutes per side?

Probably sound quality. I think it's like the difference between VHS tapes - the quality of a recording was exponentially higher if you recorded using the 2-hour SP mode instead of the 6-hour SLP. Which is to say, yeah, they could've put 60 minutes of audio on each side of the cassette, but the fidelity would've suffered needlessly.

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I guess it was done that way to avoid one side of the tape having to be much longer than the other. Remember when tapes started having the disclaimer "this tape longer on one side to preserve continuity," or something like that?

Ah, that makes sense.

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Hey so, I just watched the film itself the other night and could have sworn that the cue "The Alimentary Canal" wasn't actually in there. Assuming, of course, it would be when they are cutting open that tiger shark after discussing its alimentary canal. I was, however, fairly occupied with babysitting at the time so I may have just missed it.

Anyone got any insightful input? Other than the obvious two possibilities that either I just missed it, or they decided against having music there.

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I think they made the right choice with 'Quint Makes His End'. Having no music and just the shark sounds and the cacophony of Quint's screams is haunting and horrific. That scene alone makes me astonished it was a PG.

I remember running the Super8 reel backwards to watch Quint sucking up all the blood on his neck. :P

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