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Even the samples as compressed files are so much better than the Decca it's scary. Yes, they're not perfect, but this is a forty-year old mono recording.
No, it's a stereo recording. (But it is forty years old.)
Otherwise, I agree. Do they sound "great"? I don't know. Do they sound fifteen gazillion times better than that Decca CD? At least!
Nope. It's mono and was only ever intended to be mixed that way (the JAWS theatrical mix was mono) but Mike has amazingly done his magic to turn it into stereo. I have a piece coming in the next FSMO detailing what was done in a lot more details, thanks to Mike and Roger at Intrada.
Actually the elements are stereo. The spread is unconventional as I mentioned in the announcement.
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This is such a great release! And the alternates! The alternmates, people! To actually hear NEW MUSIC from a score were you thought every stone had been uncovered already. Fantastic!
That and the improved sound of course. That's probably the biggest aspect.
Many thanks to Intrada for pulling this off!
One thing I find curious: there're several tracks noted as "Film" or "Extended Version" without their counterpart (alternate or short version).
Them being:
04. The Empty Raft (Extended Version) (1:45)
06. Father And Son (Film Version) (1:59)
11. Out To Sea (Film Version) (1:01)
Anybody knows the story behind that?
Ironically some cues that actually DO have alternates are not labeled as "Film Version" (18. Shark Tows Orca / 25. Quint Meets His End).
This is purely administrative. The tracks you listed already exist in the UME database as "song titles" for an album called Jaws. Therefore the exact titles can't be used again unless the content is exactly the same.* So rather than invent new titles, we apply parentheticals such as "Film Version" and "Extended Version" or "Alternate," whichever is the most appropriate. On the Decca release, "The Empty Raft" didn't have the ending phrase, while both "Father And Son" and "Out To Sea" segued into other cues. We've employed this methodology on Empire of the Sun and A.I. and are continuing with it going forward even though things have been done differently (and sometimes haphazardly) in the past.
(* If a track is just remastered but the content is the same, then the same title can be retained.)
And there are occasional exceptions, of course. We could have retained the title "Shark Attack" for "Quint Meets His End" but reverted to the original cue title because the score is now in film order and because we had an alternate. Plus the cue title was also used on the Varese rerecording.
Mike M.
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^ Great job, Mike.
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I hope once Sony's license to issue Star Wars music is over, Disney/Lucasfilm hires Mike Matessino to produce 2CD sets of the original six scores!
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Even the samples as compressed files are so much better than the Decca it's scary. Yes, they're not perfect, but this is a forty-year old mono recording.
No, it's a stereo recording. (But it is forty years old.)
Otherwise, I agree. Do they sound "great"? I don't know. Do they sound fifteen gazillion times better than that Decca CD? At least!
Nope. It's mono and was only ever intended to be mixed that way (the JAWS theatrical mix was mono) but Mike has amazingly done his magic to turn it into stereo. I have a piece coming in the next FSMO detailing what was done in a lot more details, thanks to Mike and Roger at Intrada.
Actually the elements are stereo. The spread is unconventional as I mentioned in the announcement.
Roger is correct and "unconventional" is the best word. It's three-track stereo but not done with the intent of presenting it in stereo. It was somewhere between "split mono" like Family Plot and the true Left-Center-Right configuration of Jaws 2. Decisions were made in 2000 for the 5.1 mix based on how things were assessed at the time. We now had the advantage of hindsight plus more time, experience and technology to apply to the same tape elements that were used back then. But the role of this particular music in the film as well as its historic importance were also very important factors in how it was handled.
Mike M.
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I hope once Sony's license to issue Star Wars music is over, Disney/Lucasfilm hires Mike Matessino to produce 2CD sets of the original six scores!
Didn't Mike already basically produce the original trilogy?
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Didn't produce but supervised the assembly and wrote the notes... back in the dark ages when our review refs were on cassette and the music business was completely different. "Hindsight, time, experience and technology" could certainly be applied once again.
Mike M.
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(mails copy of my 1997 article, "The Battle In The Snow Deserves Its Own Track" via Postal Express)
Haha sorry, sorry
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A section of "The Great Shark Chase" in the Decca release always intrigued me. It is a section in the begining of the track that is not featured in the movie neither in the rerecordings (original album and Varese) and is not found also in the sample of "The Great Chase" in the new Intrada - which matches the film version. The section I'm referring to it is a 30 seconds section that can be heard in the sample of "The Great Shark Chase" in Amazon:
http://www.amazon.com/Jaws-John-Williams/dp/B00004TR2G/ref=sr_1_cc_1?s=aps&ie=UTF8&qid=1447795078&sr=1-1-catcorr&keywords=jaws+soundtrack
By the track times it seems it is not included in the Intrada edition, as the alternate have the same track time of the film version. Could this be another alternate or an insert that was placed in the Decca version? Not a big deal as the Intrada track is the film version, but I may retain the Decca edition just for those 30 seconds...
That cue is the only one in the score that had a revision written and recorded for it. That revised opening was used in the film, and also integrated into the cue for both the original LP re-recording and the McNeely re-recording.
The Decca release premiered the original opening for the first time because instead of having the revised opening cut into 30-seconds into the original cue as intended, they simply included both the full revised opening and then the full original cue in the same track.
So on the Intrada, the version in the main program has the revised opening properly edited into the rest of the cue, and the version in the bonus tracks is the original version of the cue that Williams first wrote, with the original opening.
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