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About danbeck

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  1. You can add at "JAWS 2" that "source music intentionally omitted". As clarified in MM interview John Williams vetoed the inclusion of his source music for the film - like the music playing in the radio when Tina and Eddie are at the beach and the girl is in the water sky and the shark tower scene [besides the "Amity High-School Band" material that was not recorded by Williams and could not be found]. As I mentioned before this is the one release where I think MM work was not as perfect as I came to expect. There's too much hiss (while the reportedly much hissier sources for the first Jaws resulted in a cleaner presentation) and the mix of the three tracks sound a bit off to me comparing to the film mono mix and the original album (with the low strings for the Jaws theme kind of burried in the mix while in the movie it was more proheminent [see the ending of "Catching the Cable", "The Charred Body", section of the "The Big Jolt" where the fin is diving] - I guess if this mix was done after he did Jaws 1 (for me one his great achievements in restoration - where MM made the decision to have the low strings Shark theme as the center of the score and hiss was very effectively minimized) he might have decided on a similar approach to Jaws 2, which was traditional 3-track left-center-right, but mixing the channel with the low strings a bit higher and minimizing more the hiss). On "JAWS" some source music was also intentionally omitted (the film version of the marching band, not by Williams)
  2. I tried to play the “Jaws” episode on Spotify.
  3. @Trumpeteer - Just discovered your podcast after seing it mentioned at FSM Jaws 2 thread. I'm enjoing it a lot and kind of going backwards starting with the more recent episodes. Liked a lot the one on "The Fury", Williams really nailed the Hermann sound but it is still unmistakably a Williams' score. Just a small comment, at the end of the podcast you mention that the explosive finale "Gillian's Power" was not available at the LSO album recording. In fact it was (at the last minutes of the penultimate track "Death On The Carrousel"). For me it is the only fault of the LSO recording comparing with the film recording because it misses the theremin sound, but the track is there. It is interesting how Williams kind of reused the same coda in Jurassic Park. [obs. for some reason I'm not being able to listen to Episode 41 - Jaws]
  4. Great to see that you're as passionate about this score as I am Mr. Stefan!
  5. JAWS 3-D (1983) – Music Composed and Conducted by Alan Parker ***** out of ***** The complete score is arguably the more varied and “bigger” (in terms of number of themes and scope) Jaws score of them all. It could never reach the high level and effectiveness of the John Williams scores but it is a fantastic score on its own deserving a 5 star rating, with an incredible number of themes and motifs and some variations on the Jaws theme. The uncredited borrowings from the “Rite of Spring” can be a bit distracting to people very familiar with that piece, but do work very well in the movie. TV Producer Alan Landsburg made a lot of bad decisions while producing Jaws 3-D (such as scraping the superior electronic composites from PSE and replacing them by hastily prepared poor optical effects and keeping in the movie some unfinished shots like in the underwater tunnel attack scene to meet its release date), but in the music department he did great by hiring composer Alan Parker (no relation to the homonimous movie director) and then calling back Parker alowing him to adapt and rerecord most of the score when the movie was extensively reedited before release. The score was released on LP and tapes at the time of the film release in 1983 as a 35 min. album including several tracks that differed a lot from the music heard in the film. There was some speculation if the album was a rerecording, as the first Jaws was, but in fact the album contained music from the original version of the score, before a lot of the tracks had to be modified and rerecorded for the reedited/shortened version of the movie. More than 36 minutes of rescored music had to be completed by Parker in a very short 6-day period (and these new versions generaly improved on the energy and exitement of the music compared to the original versions). First released on CD in 2007 by Intrada Records as straight reissue of the 35 min. MCA LP program the complete score was finally released by Intrada Records in 2015 as part of their Jaws series releases that year, including all tracks that were recorded for the original cut of the film and for its reedited version, plus the source music, overlays and alternates recorded by Parker with a total time of 108 min. (longer than the 98 min. picture). The 2015 Intrada Release is a fantastic release that I thought I would never see happening. Sound quality is great even if unfortunately, a few tracks present some damage (due to the degradation of the tapes since its recording in 1983). According to the press release on the 2-CD 2015 edition the presentation opted to follow as closely as possible the film sequence, but that is not exactly precise and the main issue I have with this release is the sequencing. In fact the main program at CD 1 includes tracks out of sequence, unused tracks and alternate versions (while some of the actual film versions are at CD2 instead of CD1). So, before I do a track-by-track breakdown of the score, I will do it in the way I preferred to sequence the tracks, to match the film sequence, prioritizing in the main program the music that is actually used in the film, then an alternate program with the original/alternate versions, stingers, unused tracks and keeping the source music separated from the main program. My sequencing in two separated iTunes “albums” (tracks with * are from CD2*): I - JAWS 3-D the film score: 1, 2, 3, 4, 2*, 7, 8, 9, 12, 8*, 14, 16, 17, 11*, 29, 21, 22, 23, 24, 26, 28, 30, 31, 32, 33, 16*, 35, 37 Used source music: 5, 25*, 31*, 27*, 28*, 18, 19, 30*, 20, 29*, 32*. CD 1 track 11 “Dolphin Chase” is not used in the program as it is an oddly edited version (omitting a section with the shark theme) of “Dolphin Chase (Telex Version)”, which is the actual track used in the movie. II - JAWS 3-D original versions, alternates & unused 1*, 6, 4*, 5*, 6*, 10, 7*, 10*, 16, 25, 12*, 13*, 14*, 18*, 15*, 34, 17*, 36, 37 Unused music/alternates: 20*, 3*, 13, 15, 18, 19, 27, 21*, 22*, 23*, 24* Unused source music: 26* Before doing a track-by-track comment it is convenient to do a summary of the main themes and motifs used through the movie: 1) Jaws theme: John Williams classic Jaws theme is somewhat underused in this film, several tracks include portions of the theme (Parker uses only the main two note motif, but not any of the other parts of the theme like the horn melody, the bridge and the "Orca" theme). In some key sequences Parker opted to use different action/suspense music (including a new three-note shark motif). As in the film there are two sharks (a baby shark and a big mother shark) Parker applied different orchestrations to differentiate the sharks: “two horns, woodwinds and the strings” for the baby shark and “six horns and the entire trombone section” for the big mother shark. 2) Three-note shark theme: A new motif used several times during the movie, sometimes in association with the Jaws theme - it kind of replaces the Jaws theme horn melody. 3) Sea World Theme: A beautiful theme used extensively during the score (also used in association with adventurer/photographer Phillip Fitzroyce) and with a powerful rendition for the end credits. The theme is playful and happy but very flexible being also used in sad ominous tone during the score. Interestingly its three-note refrain is similar to the three-note shark motif used in the film (but altering the emphasis from the third to the second note). 4) Love theme: A lovely theme used several times during the movie for the love between the two protagonists Mike Brody and Kay. 5) Ski Theme: A playful and infectious theme that plays over the second half of the main titles and was supposed to be used in other tracks of the movie (Kay Meets Phillip [original version], Sea World Opening Day [original version]) but ended being dialed out of the movie. 6) Dolphin Theme: Another playful theme used for the dolphins, it is used several times in conjunction with the Sea World theme and first appears in the track “Kay Meets Phillip”. 7) Attack motif: Modernistic brass and string clusters that the liner notes refer to as a kind of precursor of similar techniques that Elliot Goldenthal would use in Alien3. It is used during some of the shark attacks in tracks like “Attack”, “Shark Attacks Skiers”, “Shark Attacks Kelly” and “Phillips Demise”. 8) Music derived from Stravinskys’ “Rite Of Spring”: It is said that Rite Of Spring inspired some of John Williams music for Jaws, in Jaws 3-D however there are several passages that are directly quoting almost note for note Rite of Spring, as further detailed in the track-by-track description and on the attached video: I - JAWS 3-D the film score: 1) Jaws 3-D Main Title (film version) – CD1 Track 1 In the previous Jaws movies the Universal Logo was left unscored with some sonar/underwater sounds used. For Jaws 3-D an unique 3-D Universal logo was used (AFAIK the only time that logo was used). No music was composed by Alan Parker for the logo, but in the theatrical version a portion of the track “Baby Shark Dies” was tracked and it is edited in this “film version of the track”. The actual score begins with a string crescendo, then the Jaws theme briefly plays with the underwater shark POV followed by a three note horn motif that is incorporated as a new shark motif for this movie frequently used in conjunction with the Jaws theme, the scene continues with the POV but this time it is not a continuous shot (which strongly diminishes the effect of the POV shots) but several cut shots clearly intending to display the 3-D effects with several fishes swimming around out of the screen with coral reefs in the distance, the music including strings and harps reflecting the underwater environment until it accelerates as the POV approaches a big grouper and bites it with a curtain of blood filing the screen and changing to a shot of the grouper head floating out of screen still opening and closing its mouth (this shot – one of the few electronic composite effects that remained from PSE [much superior to other opticals in the movie] - was extended after the original cut and an insert “Grouper Head” music was added to the film version of the track comparing to the shorter original version in disc two). The POV returns with a fast-paced arrangement of the shark theme with a different punctuation that is much closer to Stravinsky’s Rite of Spring than to the original Jaws theme (see Rite of Spring Part I, 2. The Harbingers Of Spring, Dance Of The Adolescents) and a brass fanfare plays when the title appears in 3-D and “bites” out of the screen. The cut shots of the POV continue as the actor names are displayed with the lovely “Sea World theme” playing and then returning to the shark theme as the POV spots a boat with skiers passing above and starts to follow it. A playful and infectious “ski theme” plays as the camera shows the Sea World skiers rehearsing a pyramid formation (the kind of theme the audience can easily whistle). As the POV continue following the boat the shark theme plays underneath the ski theme and, in the end of the film version of the track, an insert with the shark theme plays as a shot shows the shark fin in the distance. 2) First Underwater – CD1 Track 2 The skiers fall in the water and an underwater POV shows they swimming - only the first 7 seconds of this track plays in the movie (the last 12 seconds are used later for the Overman’s death scene). In the movie as the shark POV approaches (but very slowly – undermining any suspense the sequence could have as the POV camera appears almost static) a tracking of “Shark Thru The Gate” plays and when the boat pulls the skiers and they are safe a tracked version of the ending of the Main Title plays. Interestingly the music does not include the shark theme for the shark POV approaching. 3) Shark Thru Gate – CD1 Track 3 The shark follows the skiers as they enter the Sea World lagoon through a sea gate. As the sea gate starts to close the fin appears and proceeds through the sea channel until a noise of “something” hitting the gate is heard and the gate breaks. This track follows the shark fin moving until it hits the gate. Again, contrary to expectation, Parker does not use the shark theme in this scene. 4) Kay Rides The Whale – CD1 Track 4 After inspecting the broken sea gate, park chief engineer Mike Brody (Dennis Quaid), the eldest son of Sheriff Brody from the first two films, goes to meet his girlfriend Kay (Bess Armstrong) to inform that his brother Sean (John Putch) will arrive that afternoon and they will have dinner together. Kay is the park’s senior biologist and is riding Shamu as Mike appears. In the first part of this track the Sea World theme plays as Kay is riding the whale. The second part of the track (as of 45 seconds) is dialed down in the movie and introduces the love theme for Kay and Mike as they talk while feeding the whale. This is a great track introducing two of the score main themes, unfortunately it is one of the tracks on which some deterioration can be perceived (specially as of the 25 seconds mark when the strings and percussion show some flutter). 5) Attack (telex version) – CD2* Track 2 Against Mike’s orders park employee Overman decides to dive alone that afternoon to lock the broken sea gate. As he locks the gate the shark suddenly appears and eats him. His severed arm floats out of the screen in 3-D and the shark is now locked into the park lagoon. This track fits the theatrical cut of the scene but went unused (the music included in CD 1 “Overman’s Last Dive” was the original version of this track that do not fit the theatrical cut but fitted the original “workprint” cut of the scene). The music consists on sustained strings suspense music with some percussion effects to increase tension and then modernistic brass and string clusters for the attack itself (which Parker will use also for subsequent attacks in the film such as the attack on Kelly and Phillip’s Demise). Again, Parker does not use the shark theme. In the movie this track was replaced by tracked music from the ending of “Underwater Kingdom and Shark Chase” and from the last portion of “First Underwater”. 6) Love Scene – CD1 Track 7 Alan Parker’s personal favorite theme for the film (and the only love theme in the Jaws series). This rescored version is very similar to the original version (Kay and Mike’s Love Theme – CD2 track 4) but, as he had to record a slightly shorter version it is interesting that he opted also to modify the orchestrations, highlighting the piano instead of the clarinet and horns. It is a lovely bittersweet theme for Mike and Kay who are concerned because Mike will move to work in Venezuela. I prefer this version to the original version available at the original LP and CD2. Again, some minor tape deterioration can be perceived in this track. 7) Boys In The Raft – CD1 Track 8 Two guys break-in the park at night to steal some coral from the lagoon. While one is diving the other waits in an inflatable raft. The scene is largely left unscored (no shark theme music even when the flashing light of the guy who is diving disappears indicating he has been eaten) and this very short track consists of two stingers, the first is used in the film when the guy in the boat is pulled into the water and the second (dialed down in the film) should score the guy being dragged underwater by the shark. A "score restore" of this short track: 8) Kay Meets Phillip (Revised) – CD1 Track 9 Kay is training the dolphins when adventurer/photographer Phillip Fitzroyce (Simon MacCorkindale) appears, mocks the training and invites Kay to dinner, which she refuses. This track introduces the dolphin theme, a fast paced “happy theme” that mimics the dolphins spins, then some brief humorous underscore for Fitzroyce mocking the training and continuing with the uplifting Sea World music. It is very good track with an energic version of the dolphin’s theme and a beautiful rendition of the Sea World theme in its final portion. 9) Sub Search (Revised) – CD1 Track 12 The sequencing of the Intrada release is a bit odd with respect to this portion of the movie. It includes the unused original version of this track (CD 1 Track 10 – “Underwater Kingdom And Shark Chase”) then an edited version of the “Dolphin Chase” (while the used unedited version is included in CD2 track 8), then it returns back to the music used in the film with this track. Kay and Mike go down in the lagoon to search for the missing park employee in a small submarine, when they reach the sunken “Spanish galleon” they go out of the sub to investigate. The dolphins are extremely nervous as they go out of the sub. This is the revised music that differ the most from its original version. Alan Parker mentioned in the interview for the liner notes to the Intrada’s release that only one track had to be modified by request of the producers to “make it scarier”. For sure it was this track, as the original version focused on the wonders of the undersea kingdom and this one has a different tone - much more suspenseful (while retaining only one “wonder” moment from the original version for the 3-D shot of the submarine making a turn and the finale of the track). The music begins with ominous low strings as the submarine starts to dive in the lagoon (another track clearly inspired by The Rite of Spring – see the second portion of Rite of Spring Part 2 - 1. Introduction), as the submarine passes in front of the underwater control room a powerful statement of Sea World theme plays, the track returns to suspense music as the submarine continues its search (with Parker’s three note horn shark motif playing in the background), more ominous low strings are used when the submarine passes by the lagoon filtration pipes foreshadowing that the shark is in there. Suspense intensifies when Kay and Mike leaves the submarine to explore the sunken Spanish galleon and the dolphins are very nervous. In this portion a moray eel “scare” (not very effective, comparing to the similar effective scare in Jaws The Revenge) is scored with CD 2 – track 24 [Sting4] but that overlay is not mixed in this track. This is a highlight of the score, a very suspenseful track with several mood variations on which the tension increases gradually. 10) Dolphin Chase (telex version) - CD2* track 08 A shark hits the sunken Spanish galleon and starts chasing Mike and Kay, they hold on the dolphins to swim away and manage to get out of the water. This is another highlight of the score with an exciting action theme for the escape based on Parker’s three note horn motif for the shark, then the more traditional version of the Jaws theme plays for the shark fin rising above the water returning to more dramatic action music for the finale of the chase. As this scene involves the “baby shark” the lighter orchestration of the shark theme is used. 11) Night Capture (Revised) – CD1 track 14 Kay convinces the park owner Calvin Bouchard (Louis Gosset Jr.) to allow them to capture the shark to display it as an exhibit at Sea World. As Kay, Mike and Phillip Fitzroyce go out on a barge at night to capture the shark a suspenseful take on the Sea World theme plays in conjunction with the shark theme, some suspenseful music plays as the team dives and waits for the shark. The shark appears suddenly biting the air tank of Kay and exciting action music follows with the shark theme and powerful statements of Parker’s three note shark motif interpolated until they manage to shoot the shark with tranquilizer and capture it. Another score highlight. The film version is shortened from the original version mainly omitting a middle portion with the shark theme and with an abridged ending. I personally prefer the film version which is more concise and exciting and has more prominent drums in the mix when the shark is attacking Kay. 12) It’s Alive/Sea World Opening Day – CD1 track 16 Kay and Mike are in a tank keeping the tranquilized shark oxygenized when it suddenly awakes and the two have to leave the water quickly, as the situation calms the Sea World theme plays and then a park opening montage starts (a similar sequence to the “tourists on The Menu” montages from the first two Jaws) with a crowd entering the park on its opening day. This track includes an early version of the park opening montage which is longer featuring a playful version of the Sea World theme for the tourists entering the park then moving to the dolphins theme, the ski theme and closing with a more epic take on the Sea World theme for the “Silver Bullet” skiers acrobatics, ending softly with the Sea World theme. It is a very good track summarizing the main Sea World themes, it was replaced in the movie by “Park Opening (Revised)” (but as it is attached to “It’s Alive” I kept it in the main program and placed the used version “Park Opening” after “Baby Shark Dies”). 13) Baby Shark Dies – CD1 track 17 Kay learns that the baby shark has been transferred to an inadequate small display pool. As she arrives there she sees that the shark is dying from lack of oxygen and jumps in the water in an attempt to keep it moving and save him. This tense track plays with ominous strings mimicking the shark’s heart beats slowing down until it stops and the shark is dead, then a sad version of the Sea World first three notes plays as Kay leaves the tank frustrated. 14) Park Opening (revised) – CD2* track 11 This track replaced the original “Sea World Opening Day” as the park opening montage was shortened and split in two different sequences – the two tracks of the film version are joined in this track. The first part starts with a fast-paced version of the dolphin theme and then the Sea World theme (including the playful version of the Sea World theme for the tourists entering the park and a faster version for the glimpse of the dolphins and whales shows), the second part starts with a short version of the ski theme and the Sea World theme for a dancing show (both not used in the movie that replaced it with source music - from the track “Country Music Show”), the used music returns to the more epic take on the Sea World theme for the “Silver Bullet” skiers acrobatics, similar to the original version but “better” with added violins swirls in the backing and with a stronger finale. A "score restore" with this track following It's Alive: 15) Shark Loose – CD1 track 21 The park owner, Calvin, is informed on a malfunction in one of the park water filtration pipes. He orders it to be switched off. As the pumps are switched off and the water flow stops, a giant shark tail starts to move out of the pipe. In the film the shark theme (edited from track CD 1 – track 31 “Shark Wants Out”) plays mixed with this string suspense track as the big shark swims out of the pipe towards the underwater restaurant where Kay is explaining Calvin that, based on the bite radius at Overman’s body, a much bigger shark around 35 feet in length must be inside the park (Calvin: “Are you talkin’ bout some damn shark mutha?” Kay: “Overman was killed INSIDE the park, the baby was caught INSIDE the park, it’s mother is INSIDE the park!”). 16) Shark Attacks Skiers – CD1 track 22 This track actually includes several tracks merged together, it starts with the shark theme for the scene on which the shark fin rises behind skiers performing a show, as the skiers see the shark and loose balance falling in the water a “triumphant” version of the Jaws theme plays (that same music will be tracked at the end of Phillip’s Demise). The ending of that track is cross-faded with the music for the previous scene in the film, on which the shark approaches the underwater restaurant and is seen for the first time, then the music is again cross-faded with an unused fast-paced version of the shark theme (it is difficult to identify which would be the application of that portion of the track, it seems it could be alternate versions for the ending of “Shark Attacks Kelly”). A score restore including the final section of this track in the film: 17) Shark Attacks Kelly – CD1 track 23 Kelly (Lea Thompson in her screen debut) and Sean are in a bumper boat and fall in the water, as they swim the shark rises and starts to attack her, hurting her leg. The shark then bumps on a nearby pier knocking several people in the water and swims away. This is very good action track using the shark theme and then the modernistic brass and string clusters for the attack itself (as used in “Attack” and “Phillip’s Demise”). 18) Shark Rams Tunnel (Revised) – CD1 track 24 As the underwater tunnels are being evacuated the shark is spotted and panic ensues, with tourists running away as the shark rams the tunnel and water starts to flood it. Safety doors are activated leaving the tourists trapped in a small section of the tunnel. This is an action track bookended by the shark theme, this revised version a bit more energetic than the original version in CD 2. 19) Live Bait – CD1 track 26 With the tourists trapped in the underwater tunnel with a limited air supply it becomes necessary to set a rescue plan. Phillip Fitzroyce proposes to trap the shark into the filtration pipe while Mike repairs the tunnel to release the tourists. Phillip proposes act as a “live bait” to lure the shark into the pipe. An ominous version of the Sea World theme plays as Phillip and Mike boards a barge to perform their plan. Kay joins Calvin in the underwater control room where she spots the dolphins in the lagoon and gets concerned with them. 20) Phillip’s Demise (revised) – CD1 track 27 Phillip dives with his associate Jack and uses fish blood and noises to attract the shark. The shark appears, follows Phillip into the pipe and is locked inside the pipe. The safety line Phillip is using to get to the exit breaks and the shark gets him. In the more famous scene of the film (other than the “infamous” scene of shark breaking the control room window) the camera shows Phillip struggling from inside the shark’s mouth. As a last act Phillip tries to ignite a grenade but is chomped with the grenade in his hands. This lengthy track composed of two parts starts with some diving music clearly inspired by Rite of Spring (Part 2: 1. Introduction, in fact the beginning of the track is identical to the Rite of Spring music, even more in the original version of the track), as the shark appears and follows Phillip into the pipe the shark theme is used and then the modernistic brass and string clusters play for the attack itself, as the shark manages to chomp Phillip a sad version of the Sea World theme is used – in the film this final portion was replaced by the triumphant fanfare from “Attack On The Skiers” changing the original mood of the scene from the ‘loss of Phillip’ to the ‘victory of the shark’. 21) Pull The Pin (Revised) – CD1 track 30 As Jack learns that Phillip has not came back he desperately tries to call him and realizes that he must be dead, he them hears the pumps being turned off and concerns that the gates will not be able to hold the shark. A mournful version of the Sea World theme plays as Jack cries and whishes his boss had pulled the pin of the grenade, then some suspense strings as the scene moves to the shark tail pressuring the gate. 22) Shark Theme (Utility No. 2) – CD2* track 19 The shark manages to break the gates with the pressure of its tail, as the Jaws theme plays. 23) Shark Wants Out – CD1 track 31 Mike and Kay are repairing the tunnel as the personnel in the barge are trying to inform them that the shark is approaching. This is a short track with the Jaws theme for the shark swimming towards Mike and Kay. 24) Shark Chases Mike and Kay – CD1 track 32 Mike manages to complete the repair on the tunnel as the shark arrives. The dolphins appear and start to attack the shark. While the shark is fighting the dolphins Mike and Kay swim toward the underwater control room. The shark then start to pursue them and they manage to escape just as the shark was reaching them. This is a very good action track for the fight between the shark and the dolphins and the following pursuit, it is very similar to the original version at CD 2 (track 15 “Saved By The Dolphins”) but with a modified faster tempo finale and using more the Jaws theme as a backing. 25) We’re Saved – CD1 track 33 With the underwater tunnel repaired air pressure is equalized and the safety doors open, releasing the trapped tourists. As they escape a happy version of the Sea World theme plays. 26) Shark Thru The Window (Telex Version) – CD2* track 16 This is a slightly shorter revision of the track for the shark coming towards the control room window. The shark theme starts slowly and accelerates as the shark approaches and breaks the window. 27) The Shark’s Gonna Hit Us – CD1 track 35 The control room floods, the shark chomps a control room technician and gets stuck in the window. Mike and Kay spots the body of Fitzroyce still stuck in the mouth of the shark with the grenade in its hands. They manage to pull the pin of the grenade and the shark explodes. This is an exciting action track, again based on The Rite Of Spring (see Part 1: Dance Of The Earth). 28) Jaws 3D End Titles – CD 1 track 36 The love theme plays as Mike and Kay swims to the surface. They became concerned if the dolphins survived and Kay starts to call for them. As the dolphins jump out of the water a powerful rendition of the Sea World theme plays and continues for the end credits alternating the Sea World theme with the dolphin’s theme. Source Music: 29) Sean Arrives – CD 1 track 5 This track is used in several moments of the movie as park “source music”. It plays first when Mike meets his brother Sean at the park gate. It’s a playful “happy theme” but like other source music in the film it becomes a bit repetitive, with no dramatic progression (reason why I prefer to leave the source music out of the main program). If you want to hear it in film order place it after “Kay Rides The Whale”. 30) Rock Bar Source – CD2* track 25 Sean meets a park skier, Kelly (Lea Thompson), at a Bar were they play a strange game called “stand-off”. The source music is this instrumental rock track. If you want to hear it in film order place it after “Attack (Telex Version)”. 31) Exterior Bar Source – CD2* track 31. This track, a kind of country instrumental, plays after the previous Bar source as Mike, Kay, Sean and Kelly leave the bar. 32) Apartment Source – CD2* track 28 Another light country style source. It plays while Mike Kay and Sean are having breakfast. If you want to hear it in film order place it after “Boys In The Raft”. 33) Lunch Restaurant Source – CD2* track 27 A kind of easy listening source for guitar, flute and drums that plays while Calvin is dining with Phillip and is informed that a shark chased Mike and Kay in the lagoon. Not my favorite among the source cues. If you want to hear it in film order place it after “Dolphin Chase (Telex Version)”. 34) Country Music Show – CD2* track 30 A section of this track plays during the Opening Day montage. It is a fun track with guitar, drums and piano. If you want to hear it in film order place it after “Sea World Opening Day” (in fact it replaces the start of the second half of Opening Day – but it would require editing to place it chronologically) 35) Restaurant Source (Flute & Harp) – CD1 track 20 This source track alternates gentle versions for flute of the dolphin theme, the love theme and the Sea World theme. It is a lovely track but being over 4 min. it becomes a bit repetitive and too long, dragging a bit, reason why I prefer it out of the main program. If you want to hear it in film order place it before “Shark Loose”. 36) Guitar Show – CD2* track 29 Another country style source that plays as background music for the scene of the ski show, while Mike is trying to warn the skiers to get out of the water after the big shark first appeared. In the film it plays right before “Attack On The Skiers” but, as that track also mergers some tracks from a previous scene of the shark appearing on the window of the restaurant, it is not possible to actually place this track chronologically. 37) Hawaiian Drums – CD2* track 32 In the movie this brief drum track plays before “Guitar Show” while Mike is running to the ski show stadium. As it includes a long pause and a stinger in the end it is more appropriate to use it to end the program. II - JAWS 3-D original versions, alternates & unused 1) Jaws 3D – Main Title (original version) CD2* track 1 The original version of the main titles does not have the insert of tracked music for the Universal Logo, the extension of Grouper Head scene and the extension of the finale. Is a bit more straight forward version omitting these additions. 2) Overman’s Last Dive CD1 track 6 The original edit of Overman’s death was different, including an approaching shark POV before the attack. For this different edit Alan Parker applied the Jaws theme (absent from the revised version – “Attack - Telex Version”). Also the ending of the track is shorter as the original version of the scene did not included the “severed arm” 3-D effect. I made a “compare” video of this track and the revised version: 3) Kay And Mike’s Love Theme (Original) CD2* track 4 This original version of “Love Scene” (CD1 track 7) is slightly longer and has a different orchestration with the piano less prominent in the mix with the melody carried by the clarinet. 4) Boys In The Raft (Revised) CD2* track 5 This alternate version is similar to the music used for the theatrical version with a slightly extended second stinger. 5) Kay Meets Phillip CD2* track 6 This original version is extended comparing to the theatrical revised version. The main difference is the use of the ski theme in the middle of the track, possibly scoring some extended acrobatics from the dolphins that was deleted from the movie. 6) Underwater Kingdom and Shark Chase CD1 track 10 This original version of “Sub Search” has a very different tone, emphasizing the wonders of the Undersea Kingdom instead of the suspense. The suspense only starts at the final portion of the track after Mike and Kay leaves the submarine to explore the sunken Spanish galleon. This original version includes variations on the Sea World theme and the dolphin’s theme. 7) Shark Chase And Dolphin Rescue CD2* track 7 The original edit of the scene was shorter without the edited portion of Kay almost getting bitten by the shark. The first part is similar, with the action music based on Alan Parker’s three note shark motif but the final part is completely different, omitting the jaws theme and using a fast paced action music based on Rite Of Spring (see Part 1: Dance Of The Earth) that will be used again at the climax of the movie (“The Shark’s Gonna Hit Us”). 8) Night Capture CD2* – track 10 This extended original version of the track is very similar to the theatrical version but has as the main difference a section (2:45 to 3:10) including the shark theme before the music for the attack on Kay starts. I speculate that in the original cut of the film the shark was spotted approaching / the shark POV approaching was used before the attack started (and when the movie was reedited they opted to take this portion out so the attack would start more as a surprise). The mix is slightly different to the film version with the percussion less prominent. 9) It’s Alive/Sea World Opening Day CD1 – track 16 This and the End Titles are the only tracks I repeat in both programs, as the start of the track (It’s Alive) is used in the film and the Sea World Opening montage is the original version replaced in the film by the revised “Park Opening”. 10) Shark Breaks Loose CD1 – track 29 This is the shark theme for the big shark first appearance, when it leaves the filtration pipe and swims towards the restaurant, in the Intrada’s sequencing apparently it was confounded with the track for the shark breaking loose after being captured by Fitzroyce (Shark Theme Utility 2). In the film this track edited and mixed with “Shark Loose”. 11) Panic At Sea World CD1 – track 25 This unused track apparently scored a deleted scene of panic among the Sea World tourists with the appearance of the shark. It is based on fast paced variations of Alan Parker’s three note motif for the shark. For the sequencing I opted to place it before the original Shark Rams Tunnel, as it was edited in a track of the original LP. 12) Shark Rams Tunnel CD2* – track 12 This original version of the track is slightly longer than the revised version with less emphasis on the jaws theme. 13) Phillip’s Demise CD2* – track 13 This original version of the track is longer than the revised version with an extended opening (quoting Rite Of Spring - Part 2: 1. Introduction) and slightly slower sections of the jaws theme its final portion is almost identical to the revised version. 14) Pull The Pin CD2* – track 14 A very similar version to the film version omitting the final suspense portion. 15) Shark Theme (utility 1) – CD2* – track 18 Similar to “Shark Theme Utility 2” used in the film for the shark escaping the filtration pipe I decided to include this in the same place chronologically for the alternate score. 16) Saved By The Dolphins CD2* – track 15 This original version has a very similar first part to the revised “Shark Chases Mike And Kay” but a slower second half. Apparently the music was revised to make it faster/more exiting in its second half. 17) Shark Thru The Window CD1 – track 34 This original version of the track is longer than the film version (this alternate included in CD1 while the film version is included in CD2), the main differences being that the shark two note theme repeats twice in the beginning (instead of three times as in the theatrical version) and this version has an extended final section. 18) Finale (alternate) CD2* – track 17 After 30 seconds of some string suspense music an alternate take on the final portion of “The Shark’s Gonna Hit Us” plays with a slightly faster tempo at the finale (same track inspired by Rite Of Spring Part 1: Dance Of The Earth) 19) Shark Guts CD1 – track 36 I opted to include this track in the original/alternate version of the score because it was not used in the film. It should score the 3-D effect of the shark’s jaws floating in 3D after the shark’s explosion. A "score restore" of this very short track: 20) Jaws 3D End Titles CD1 – Track 37 To close the alternate score program I included the End Titles also in this program. Unused music/alternates 21) Grouper Head (alternate) CD2* – track 20 An alternate of the insert for the extended grouper head scene during the Main Titles 22) Attack (Revised) CD2* – track 3 Slightly longer version of the Overman’s “Attack Telex Version” track. 23) Sub Search (Short) CD2* – track 9 A very short track that sounds like a TV bumper (using the Love Theme) 24) Phillip’s Gear CD1 – track 13 Another very short unused track similar to the previous track (Sub Search Short), as it is a short track unused in the film I prefer to include it at the extras section. 25) Shark Drop CD1 – track 15 A short unused track. It is a kind of humorous take (possibly associated with the Fitzroyce character) on the Sea World theme. As it is unused and IMO does not plays well with the main program I prefer to include it at the extras section. 26) Tunnels And Tentacles CD1 – track 18 Apparently, this track should be used as source music for the “Captain Sink” cave attraction in fact a very short section of it is used when the fake tentacle attacks a visitor. As this is source music almost completely unused I prefer to include it as an extra. The Underwater Tunnels sequences were some of the most harmed by the late hour changing of the electronic composites for opticals, this sequence in the finished film is much shorter than the music. A "score restore" of this scene (only the very beginning and end of the music fits the sequence that remained in the movie): 27) Almost But No Bite CD1 – track 19 Another track mostly unused, the final portion briefly used for the Overman’s body discovery. As it is mostly unused and a very short stinger I prefer to include it as an extra. 28) Ready To Dive CD1 – track 27 A short unused track. Like the previous track (a kind of humorous take on the Sea World theme). As it is unused and IMO does not plays well with the main program I prefer to include it at the extras section. 29) Sting 1 CD2* – track 21 A short unused stinger sounds like an abridged version of the stinger used in “Boys In The Raft” 30) Sting 2 CD2* – track 22 Short unused stinger similar to Sting 4 31) Sting 3 CD2* – track 23 A stinger similar to the one used for discovery of Overman’s Body (Almost But No Bite 0:16) and the first appearance of the big shark at the restaurant window (Attack On The Skiers 0:38) 32) Sting 4 CD2* – track 24 This stinger was used as an overlay in “Sub Search Revised” for the Moray Eel scare. 33) Rock Bar Source (alternate) CD2* – track 26 An unused alternate for the source bar music. I prefer the version that was used in the film. ***** To finalize I think the movie is a missed opportunity, it had the potential to be so much better - it had a great premise, great talent in the writing department (Richard Matheson[Duel], Carl Gotlieb), a good cast, but poor direction, editing and special effects diminished its potential. Alan Parker score when listened on its own however is an example, among many others, that even mediocre films can inspire great scores.
  6. JAWS THE REVENGE (1987) – Music Composed, Arranged and Conducted by Michael Small **** out of ***** an excellent score with fast paced variations on the jaws theme, great action music and lovely emotional moments. Only loses one star for the brevity of some tracks that prevented Michael Small to further develop his fantastic music in longer pieces. The film is terrible with an absurd plot, hushed production and a very fake-looking shark but has a few redeeming qualities: a good cast, beautiful locations, some effective sequences and, above all, the excellent musical score by veteran composer Michael Small. An original soundtrack “available at MCA records and tapes” was mentioned at the movie’s teaser poster. Having seen this poster I started to hunt for the soundtrack, and, in the pre-internet days, it took me a long time to discover that in fact that release of the score had never happened. I continued to be obsessed with this soundtrack over the years, enduring the movie multiple times on VHS just to hear the music. In 1994 some of the score became available at an Edel’s 2-CD Compilation “Best of Adventure” which included a “world premiere recording” of “Jaws IV: The Revenge” (and of the then unreleased scores of The Goonies, Shoot to Kill, Remo Williams, Savage Island [Nate and Hayes], Fandango - among others). It was only an 11 min. suite re-recording by the City of Prague Orchestra (before the CPO became more refined) but it was great to finally have at least some of the music available. On 2000 a promo of the original score was released (with the Jaws 2 teaser poster as a cover). But I was disappointed to discover that it included only 28 min. of music (missing a lot of essential tracks while including music not used in the film) and by the hissy sound quality. That promo was supposedly sourced from a composer 2nd or 3rd generation personal copy of the discarded LP program. Finally, on February 2015, the score was released by Intrada Records. It is an excellent release with the complete score, including one cue of source music and some alternates in good sound (even if still with some hiss) taken from the original stereo mixes prepared for the film. The booklet includes a lot of interesting information on the problematic production of the film but not much on how Michael Small was chosen or on how the music is used in the movie. Therefore, I decided to do a track-by-track comment on the music and its context in the movie. 1) Jaws The Revenge – Main Title (2:30) The movie opens with an underwater shark POV at night (with the sounds of a marker buoy bell, reminiscent of the first Jaws). The music starts with a kind of low “roar effect” (the same effect will be used in several tracks) and suspenseful music in the strings and brass. Soon the familiar two note shark motif appears as the shark’s POV rises above the water to reveal docks in the distance. The title of the movie appears and a triumphant brass fanfare plays (at 0:27) - such fanfare will be used various times though the movie (becoming a kind of musical signature of the film). Following the fanfare the familiar shark theme begins in a fast paced version (more adventurous than menacing), then at 1:11 Michael Small introduces his unique take on the Jaws theme: an exciting, fast-paced rhythmic portion of the theme that is expanded from a very brief secondary section of the original John Williams theme. The music continues with a statement of the bridge portion of the Jaws theme (the “supernatural” motif of the shark that is used in the original Jaws when it first swims by the Orca revealing its size in “Man Against Beast” / “Sea Attack Number One” – which is particularly appropriated in this movie given the supernatural nature of the “revenge”) and then it finishes with a more traditional take on the climax of the Jaws theme. This track really gets your blood pumping. Michael Small music has many different layers of sound playing simultaneously in the various sections of the orchestra and creates a sense of urgency and adventure that makes you which he had scored more action films in his career. https://youtu.be/5CaY-RfGGME 2) Sean Attacked (1:31) Sean Brody (taking his late father position as Amity Chief of Police) must go out on a boat at night to release a piece of wood stuck in the canal marker buoy. The music starts with the ominous two note shark motif when the shark POV focus on Sean in the Amity Police boat. Then it accelerates and a powerful version of the shark theme music alternating with some dissonant orchestral outbursts are applied for the brutal attack itself. In the movie some of the music is dialed out (this track is also largely reused on the reedited finale of the film). I did some score restore on this sequence 3) Identification (0:44) Sad music which in the final part reminds a bit the mood of “Remains On The Beach” from Jaws. The music is for the scene on which Ellen recognizes her son’s body at the morgue. 4) Run – Funeral (1:21) More sad but beautiful music for the scene on which Michael Brody remembers his brother and runs at the beach then it moves to the subsequent funeral scene (on which Ellen remembers the “Father And Son” scene from Jaws that will be recreated latter in the movie). 5) Flight To The Bahamas (1:39) This unused track should play when Ellen leaves with Michael’s family to the Bahamas, starting with some sad music (similar to the music in Identification) when the camera focus on the piece of wood that was stuck on the buoy laying at the beach then changing to more uplifting music as the group is arriving at the Bahamas by plane. This track introduces a motif (at 0:12) that will be used for the flight sequences in the film when Ellen is dating the pilot Hoagie [Michael Caine]). I did a “score restore” of this track to show how it was supposed to play in the movie 6) Ellen Warns (0:37) A very short suspense track for the scene on which Ellen shouts at her granddaughter upon seeing her playing in a dock (also to some extent a recreation of the scene of Jaws on which Brody shouts at his son Michael to get out of the boat at the dock). Even in a very short track Michael Small manages to move from suspense to regret (when Ellen regrets her ‘irrational’ behavior). This track introduces the sound of electronic echoing bells and this same sound will be applied latter for the “telepathic motif” that will be used in the movie when Ellen senses that the shark is around or Michael is worrying about the shark. 7) Ellen’s Dream (1:07) A short track but one of the score’s highlights. The music starts with some suspense as Michael shows Ellen a sculpture being made by his wife that looks a lot like a shark’s jaws, then a kind of hypnotic rhythm starts for Ellen swimming in the crystal clear waters of the Bahamas - the music seems tranquil at first but gradually becomes menacing and accelerates as the shark POV approaches and attacks. The music stops abruptly when it is all revealed to have been a nightmare. 8) Tagging the Conchs (1:36) Another unused track for the underwater activities of Michael Brody who is studying some sea snails with his partner Jake. The music is basic “diving music” and its omission from the movie is understandable as it doesn’t add much dramatically to the scene. I did a “score restore” of this track to show how it was supposed to play in the movie https://youtu.be/TkPAkrV9Fwg 9) Ellen Plays With “Leah” (1:09) (misspelled track title as the name of the kid is Thea and not Leah). This unused track should score the Christmas scene, the happy mood from the first part of the track changes when Thea asks about her uncle Sean and Ellen remembers the shark (and an ominous slow version of the shark theme introduction plays in the background). I did a “score restore” of this track to show how it was supposed to play in the movie https://youtu.be/-skCTIkZ-oo 10) Jaws The Revenge (0:33) The shark is shown arriving in the Bahamas (with tracked music from the beginning of the Main Titles). In the following sequence Ellen is playing with Thea at the beach and when her feet touch the sea she feels that the shark is near. The shark theme plays and the score introduces the “telepathic” echoing bells motif. 11) Ellen Flies Plane (1:31) After a brief introduction the flying theme plays for the scene on which Ellen has some piloting lessons with Hoagie, the mood is breezy and light. This track is tracked at the end of the movie for the airport scene (replacing the almost identical original version recorded for the “finale”). 12) Shark Attacks Jake In Sled (0:57) Another short track that is also a highlight of the score. Jake is in a small submarine and the shark slowly approaches it from the side, then it climbs above the water and attacks the barge on which Michael Brody is. The music starts with suspense and the roar effect is used when Jake sees the shark. A pulsing action music is used for the scene on which the shark rises out of the water and chomps on a wooden platform at the barge. The shark theme plays in the background as the shark dives and disappears. 13) Don’t Tell Mother (0:29) A very short track for the aftermath of the previous attack, while Jake is fascinated by the shark and wants to study it Michael is very worried that his mother’s fears may have some grounds. The music starts when Michael asks Jake to not tell his mother about the shark and then the “telepathic” motif plays as he stares the ocean. IMO this track could have been joined with the previous as they’re both very short and play great together (the ending of the previous matching perfectly the start of this track). 14) Saying Goodnight (0:46) Another score highlight. A delicate short romantic interlude starting at a love scene between Michael and his wife Carla and closing with Hoagie and Ellen saying goodnight after a date and almost kissing. Maybe the only problem with the score is that tracks like this are too short, which is the result of the movie structure (it is a very short movie, less than 1h30, comprised of short sequences – a similar problem that affects Robocop 3, for example) which prevented Michael Small to develop the music longer. 15) Shark Takes Bait (1:44) Michael and Jake decides to put a transmitter on the shark to monitor and study it. The music starts when the shark POV is seen approaching from the distance. Michael Small applies an unique arrangement of the two note shark theme almost as a march, with the rhythm accelerating as the shark approaches. When it dives some suspense music is applied, until it bursts out of the water and takes the bait (allowing Jake to tag it with the transmitter) with an outburst of action music concluding with a big stinger as the shark is tagged and rhythmic percussion as the shark dives returning to suspenseful music as it swims away. https://youtu.be/sf2eXsM6Kik 16) Runaway Bay (4:11) A track of light “Caribbean” source music that plays while Ellen and Hoagie are having a drink at a beach bar and Hoagie kisses Ellen. The scene is short using a fraction of this source track, which in its entirety runs over 4 minutes. IMO this is the main sequencing problem of the album. This kind of source track breaks the mood of the score, being a bit overlong and having no dramatic progression. Although it is in its chronological place I think it would be better if it was placed after the finale of the score. 17) Alright Mr. Fish (0:38) Michael and Jake are on a boat tracking the shark, as Michael is worried about Hoagie dating Ellen he loses track of the shark. As they stare at the ocean the telepathic motif plays and the shark is shown swimming away. 18) Michael’s Dream (0:44) A big brass stinger plays as Michael has a nightmare with the shark jumping out of the water. As he awakes the music continues reflecting his concerns. 19) Peak-A-Boo (1:25) Michael is worried and his daughter Thea starts to mimic him as Ellen watches (in a recreation of the first movie “Father And Son” scene). If in the first Jaws Williams scored the scene in a more reflective way on the mood of Brody, here Michael Small opted instead for a kind of Mickey Mousing approach, reflecting in the music the kids gestures. It is a nice track providing some warm mood for the father and daughter relationship. 20) Picking Up Signals (0:42) As Michael is diving to work on the conchs research the tracking system picks the shark heart beat signals approaching. The introduction to the shark theme starts to play and, as Jake warns Michael to return and Michael boards the submarine an exciting suspense rhythm plays with the telepathic echoing bells motif ending the track. In the movie this track is immediately followed by the next (and IMO they should have been joined in a single track - as the suspense rhythm in this track is repeated also in the ending of the next track – and it works great as single track book ended by this same motif) 21) Michael Attacked By Shark (2:32) The best and longest set piece of the movie – apparently the scene was extended after it was originally scored as in the movie the music is looped to cover the longer length of the sequence. As Michael is in his submarine the shark appears and attacks it. Michael manages to leave the submarine and is chased by the shark. Michael enters a sunken ship and is followed by the shark through the sunken ship corridors. When Michael becomes trapped in a room he manages to escape using its air tank to climb to the surface. The music starts with the fanfare used at the main titles as the shark appears and starts to attack the submarine. The shark theme is used backing some exciting action music and on occasion rising to the foreground as Michael escapes and is chased by the shark. When Michael enters the sinking ship the music shifts for suspense as the shark slowly chases him through the corridors of the ship. The final portion of the track is unused in the film as Michael makes his escape after the shark breaks through a wall and hits a stair almost getting Michael. https://youtu.be/4vzZl0VvBcw 22) Michael At Mirror (0:52) Following the attack Michael is in shock. The telepathic motif plays through the track and a new “resolution” theme is introduced as Michael can not sleep that night. This theme is my favorite from the movie that will be fully developed in the movie’s turning point as Ellen goes out to sea to face the beast. 23) Moray Eel (1:03) On the next day after being attacked Michael decides to return to his job diving to tag conchs. The first part of this track should be heard as he is diving but went unused in the movie. As a moray eel scares Michael there’s a big stinger (an effective scare in the movie), then the new resolution theme is briefly quoted as Michael is recovers from the scare. I did a “score restore” of this track to show how it was supposed to play in the movie 24) Banana Boat (1:27) Another effective sequence in the movie. Thea is riding a Banana Boat as her mother is attending a dedication ceremony at the beach on which her sculpture is being installed. As Ellen starts to fell that something is not right the telepathic motif plays briefly and then the shark theme plays as the fin rises on the water chasing the banana boat. This track uses the fast-paced arrangement of the shark theme applied at the main titles and also the main titles fanfare as the crowd watch in panic the shark approaching the banana boat. As the shark misses Thea and gets another woman in the banana boat the track gets more intense and concludes with the telepathic motif as the shark dives eating the woman and the banana boat escapes with the kids. 25) Ellen Goes Out To Sea (1:14) Another highlight of the score (the final portion of the soundtrack is a string of amazing tracks, starting with this one). After the Banana Boat attack, Ellen sees the fin in the sea and rushes to the dock were she takes Michael and Jake’s boat and goes out to sea to face the shark. The “resolution” introduced in Michael At Mirror plays in full as Ellen is navigating the boat to the open sea. It is a bittersweet beautiful theme. 26) Michael Runs For Help (1:01) Upon returning home Michael learns about the attack on Thea and realizes that his mother and his boat are missing. This is an amazing action track on which the music reflects the urgency of the situation, as Michael runs and takes a small boat with Jake to go after his mother (final portion of this track was unused in the movie). https://youtu.be/7BdXaWO1WoQ 27) Plane Buzzes Shark (1:28) The shark’s POV approaches Ellen at the boat. As it approaches the same shark theme march arrangement used at “Shark Takes Bait” plays, while Michael, Jake and Hoagie are on a plane searching for Ellen. When Ellen sees the fin approaching in the distance the “supernatural” shark theme bridge plays in a dramatic statement as Ellen confronts the shark. The action returns with the main title fanfare as Hoagie sees the shark approaching the boat and dives his plane to scare it as it is jumping out of the water to attack Ellen. 28) Is Hoagie Dead? (0:58) After an unscored impressive stunt of the plane landing on the water (the actual crashed plane became a diving spot in the Bahamas). Michael and Jake swims to Ellen’s boat while Hoagie is leaving the plane. The music starts with suspense as the shark underwater POV sees Michael and Jake swimming and then focus on the plane. As the shark starts to attack the plane and sinks it with Hoagie inside a powerful rendition of the shark theme plays. Then some tragic music plays as Ellen, Michael and Jake believe that Hoagie is dead (but somehow Hoagie managed to get of the plane and to swim to the other side of the boat. In the following sequence he already appears with his clothes and hair completely dry as it was noted as a continuity error in several reviews of the movie). 29) Killing Of Jake (1:39) The tracking system starts to pick the signals of the shark approaching. Jake prepares an electrical transmitter that he intends to put inside the shark to give the shark jolts aiming to disorientate it. As Michael sees the shark approaching the shark theme starts, then an aggressive action music plays as Michael turn the boat and Jake gets ready to feed the transmitter to the shark. The shark disappears and the music becomes suspenseful. When the shark jumps out of the water is slow motion some impressive dissonant music plays (while dialogue is muted) mimicking Ellen and Jake muted screams as the shark eats the electrical device but also gets Jake and dives with Jake in its mouth. 30) Shocked Shark – The Finish (5:44) The finale was heavily reedited after it was scored by Michael Small (with the tracking of Ellen’s Dream and Sean Attacked to accompany a series of flashbacks that apparently were a late addition to the film). The original track indicates a more straightforward finale, without the added flashbacks. An action rhythm starts the track as Ellen sees the fin coming in the direction of the boat. A powerful rendition of the shark theme plays as Ellen turns the boat towards the shark. As the shark is shocked by Jake’s electrical device, it jumps out of the water and Ellen impales it with the prow of the boat accompanied by a big orchestral stinger (in the movie the stinger is looped playing twice). The impaled shark dies and sink (a sequence shortened after being scored, as the music runs much longer than the scene in the theatrical cut of the movie) and then some tranquil but sad music plays (an omitted sequence on the theatrical cut that should have shown Ellen, Hoagie and Michael in the water after the shark died and the boat sinks). For the final scene of the movie at the airport the flying theme returns as Ellen board a plane with Hoagie and leaves, the main title fanfare closes the score as the plane flies to the sunset. Curiously in the movie the airport track is replaced by the almost identical “Ellen Flies Plane” with the fanfare omitted with a cross fade to the main titles music for the end credits. I did a “score restore” of this track with some editing on the movie to approximate how it looks like that it was supposed to play in the movie https://youtu.be/RdSnBJM2mkI [After the USA theatrical release the movie ending was reshot with a poor miniature effect of the shark exploding for no reason after being impaled. Also a new scene with Jake appearing alive after the shark exploded was added - this is the version that was released on home vídeo, DVD and Blu-ray. Even with its flaws the original ending is still superior to the reshot ending] 31) Jaws The Revenge – End Credits (2:22) This track was replaced by a looped version of the Main Title music. The original track is a more traditional performance of the theme from Jaws - which is much slower than the Main Titles version and includes sections not used in the underscore such as the Orca theme from the first movie. Apparently, Michael Small’s idea was to close the series “full circle” with the first movie’s theme, just adding a somewhat odd finish with a big crescendo. I think this slower version would be appropriate for the closing of the movie but the fast-paced Main Titles is more exciting. 32) Flight To The Bahamas (alternate take) (1:36) This alternate take does not have any significant difference to the film version. 33) Shark Attacks Jake In Sled (alternate take) (0:55) Again very similar to the film take, but in this track some differences can be perceived specially in the electronics and the beginning of the track. 34) Banana Boat (original ending) (1:29) This track has a big crescendo ending, that was replaced by a quieter finale in the film take. Intrada’s 2015 release is now sold out but can still be found on some resellers for reasonable price. IMO there’s still some room for improvement in case it is rereleased by some label in the future. Mainly the minimization of the hiss (maybe with a 1st generation multitrack remix – which could also allow some alternate mixes without the electronic roar effect that remains the more dated aspect of the score). The sequencing could also be improved removing the source track to the end of the program. Also the booklet had an issue in the alternate cover that is a low resolution version of the teaser poster with some visible rendering problems – at the Intrada site this alternate cover was corrected later with a better resolution version (I’m not sure if any of the later pressings of the soundtrack included a booklet with the corrected version).
  7. I think the clouds are a mate painting/superimposed. It is a great shot that became the film’s poster, cover of the soundtrack, etc.
  8. I only have not bought Superman II and III, no need of those if you have the blue box (I know there’s the additional source music from Superman, but I do not consider it essential). Jaws 3-D and Jaws The Revenge are both essential IMO. Jaws 3 is a very fun and varied score and Jaws The Revenge has the more energic variations on the Jaws theme and some beautiful emotional music from Michael Small. As both are sold out I can not recommend them enough if you can find them for a reasonable price. On the pool I think the criteria for the results should be revised. As each title is independent and the same person might have acquired more than 1 title I think the best would be to compare each title with the total number of persons who voted. For example - Jaws was acquired by 31 of the 35 members that voted - this means that 88% of the voters purchased Jaws, 83% purchased Superman...
  9. I agree with you guy from the past (10 yrs ago). I probably would not be able to recommend 15 tracks to the guy knowing that the 15th will make him deaf again forever. Maybe I could recommend 14 tracks and ask the guy to stay away from Williams scores to maintain his hearing. The issue is if the guy likes it so much that he decides to listen to another one on his own and turns deaf again. Here are the 14: 1- 1975: Man Against Beast -Jaws (starts with a bang! Maybe JW best cue ever - moves from suspense to wonderment to action to excitement and then to frustration, all in great style) 2- 1977: The Throne Room and End Titles-Star Wars (The score who made JW the JW we know, this track is essential, the force theme, the rebel fanfarre, Princess Leia theme) 3 - 1977: Appearance of the Visitors/Contact/End Credits - CETK (starts with dissonance then moves to the wonderful finale - I know this is two tracks in the latest release, but I count it as one based on the previous release) 4 - 1978: Epilogue - The Fury (album) - wonderful track 5 - 1978: The Fortress of Solitude - Superman 6- 1981: The Miracle of the Ark - for me the ark theme is a highlight of the Inidiana Jones series 7 - 1982: Over The Moon - ET 8 - 1984: End Credits - IJ and the Temple of Doom (one of the best End Credits suites ever assembled by Williams - wonderful bridges between the various themes) 9 - 1991: You Are The Pan - Hook 10 - 1993: Journey to the Island - Jurassic Park 11 - 1993: Schindler’s Working Force (not the most representative track of the soundtrack, but my favorite track - hypnotic) 12 - 2004: The Firebolt/End Credits - HP and the Prisoner of Azkaban (great summary of some of the best HP music from the best score in the series) 13 - 2005: Sayuri’s Theme - Memoirs of a Geisha 14 - 2015: Jedi Steps and Finale - SW The Force Awakens - not impressed with Rey’s theme at first but this one have grown on me and nowadays is one of my favorite in the series. This track has it and other excellent music being a good closure to the playlist.
  10. Jaws is one of my favorite films and scores ever and I will be forever thankful to Mike for making the film score listenable. I could not bear the muffled sound of the previous Decca release. Other great achievements were Close Encounters, Dracula, ET, Poltergeist, Superman (some controversy on this one for the dynamic range as I saw in some forums but sounds great to me). I think his greatest achievements are with older/challenging materials on which he does make a difference. I consider him the best in the business now (also love James Nelson and others, but MM is the guy I hope one day will bring us the definitive Indy and Star Wars). On the other hand I’m not a big fan of his Jaws 2 mastering. Somehow I think it is a bit too hissy (while he minimized this issue much more in Jaws and Poltergeist maintaining the clarity of the recordings) and in the balance the low bass, specially in the shark theme seems a bit more burried in the mix than in the movie (such as in the Big Jolt - when the fin is sinking - or at the end of Catching The Cable, Sinking the Catamaran and The Big Bite).
  11. I think with movies it has a lot to do with expectations prior to seeing them, specially sequels. 1. Transformers: Revenge of the Fallen - never saw it but heard it is really terrible. Don't plan on seeing it. 2. Terminator Salvation - I preferred it to Terminator 3. In fact after reading a lot of bad press about it I actualy considered it better than I was expecting. 3. Jurassic Park 3 - JP2 was a big disapointment, possibly the worst Spielberg have ever done (boring at times, ridiculous at others, absurd, plotless...). I liked JP3 a lot better, it is just a short, fun ride. And I realy liked the return of Sam Neil. 4. Star Wars: Revenge of the Sith - I wasn't expecting much after the terrible Episode I and the marginaly better Episode II. So with lower expectations I found this one the best of the prequels. 5. Kingdom of the Crystal Skull - Of this list this one gets my vote. Maybe not as bad as Jurassic Park 2, but as far as my expectations were this one is the biggest disapointment. After so many years of reported screenplays being rejected for not being good enough how could they end with such a terrible film? It starts OK but keep geting worse until that awfull ending. 6. X-Men Origins: Wolverine - Don't intend to see it. Seems just a remote control summer movie. 7. Pirates of the Caribbean: At World's End - Again I wasn't expecting much and enjoyed this movie for what it is. My vote goes to KotCS
  12. ROCKY IV - The Intrada release is chronological. If you want to mix the score CD with the song soundtrack here's where the songs shall be included: 1) Eye of the Tiger - Gym - Paulie's Robot - Anniversary 2) One Way Street - Drago Suite 3) Doble or Nothing 4) Living in America - Apollo's Death and Funeral - Stairs 5) No Easy Way Out - Rocky and Son 6) Burning Heart - Training Montage 7) Heart's On Fire (fade out at 3'14' last 15 seconds mixed with the first 15 seconds of: - Up the Mountain - Pre-Fight - Drago's Entrance - War - Knockout - Victory 8) The Sweetest Victory (unused - end credits repeated Heart's On Fire)
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