| Reviews by Title | Reviews by Composer | Features | Links | Home |
1. Main Title (Theme from JAWS) (2:16)
The first of the concert arrangements, this is about twice as long
as the film version. Of course, it opens the same as the film with
that endearing two note shark motif played quietly on low strings.
The second major aspect of the theme is the ominous tuba motif highlighted
by low brass that livens up the shark music. Theme #2, played on
strings with majestic brass highlights, comes up next, constantly accompanied
by the unshakable shark motif. Hints of a sea chanty (Theme #3) appear
briefly, only to be swallowed by more of the shark, now enhanced with pounding
drums. Finally, the shark motif fades out, and one of the most memorable
main titles in history ends.
2. Chrissie's Death (1:40)
Probably the most dissonant, scary track on here, this is basically
like the film version. It begins with hints of the second motif from
the titles, and the shark motif sneakily creeps up on us. It builds
in intensity, and gets some horrificly (is that a word?) dissonant string/brass
outbursts. Clanging anvil adds to the scary ambience, and the track
ends with uneasy harp runs.
3. Promenade (Tourists on the Menu) (2:46)
After the horrific incidents from the previous two tracks, we finally
get a respite in the form of this enchanting Promenade. The best
way to describe it is "Williams Goes Baroque." It's basically a fugue
with several great brass fanfares. There's even a harpsichord in
the background at some points. Even here, however, he reminds us
of the shark with hints of the motif in the strings.
4. Out to Sea (2:27)
One of the three pieces that Williams frequently uses at concert, this
is another charming sea chanty with the signature woodwinds. It follows
the precedent set by Promenade, and has more subtle hints of the shark
motif. There's a short coda with quiet strings and a final statement
of the chanty.
5. The Indianapolis Story (2:25)
We return to the horror scoring mode with another ambient track.
This is constantly augmented with delightfully insufferable (oxy moron!)
strings and various percussive/brass lines. He keeps it thematic
by interpolating the tuba motif form the main titles.
6. Sea Attack Number One (5:24)
This has quickly become my favorite cue on the album. Williams
effortlessly combines all the major themes and motives into an all-out
actionfest. Present briefly at the beginning is the "Out to Sea"
theme. However, the infamous shark motif interrupts, and it's quickly
joined by the sweeping string/brass theme (theme #2, for those of you keeping
score at home) A brand new theme bursts into the music, which we'll
call the Shark Cage Fugue, since that's what Williams calls it in concert
programs. It doesn't really become a fugue until track 8, but oh
well. :-) The fugue is in a minor key, depicting the nervousness of the
crew of the Orca. This track has another new motif, although it's
actually just a trumpet fanfare, and it figures prominently into some of
the rest of the score. However, this fanfare is quite jubilant and
upbeat; it attempts to represent the overall fun of the situation, even
though the crew's in deadly peril. The short chanty from the main
title also appears a few times. The very end of the track features
the fanfare played on piccolo backed by fluttering harps.
7. One Barrel Chase (3:04)
Another action cue, this opens with the shark motif, quickly overtaken
by the fugue. Eventually a new theme appears in the strings; it's
based on the fanfare from "Sea Attack", which appears again. The
whole track is very Korngoldian, making fun of the deadly threat.
8. Preparing the Cage (3:24)
This is basically a concert arrangement of the shark cage fugue, which
finally actually becomes a fugue. It's put through a number of interesting
permutations. Unfortunately, the track lacks that awesome brass finale
present in the actual concert arrangement (available on the Spielberg/Williams
Collaboration compilation, among other things.) The final minute
presents more quiet, calm music.
9. Night Search (3:29)
This appropriately paints a picture of the uneasy night and murky waters
using harps, coupled with many ominous, quiet motives. The
brass don't appear much at all, except for a quick cameo of JAWS's theme
and some horrific dissonance at the very end.
10. The Underwater Siege (2:31)
Written in the style of "Chrissie's Death," this frenetic action cue
contains many atonal outbreaks in the orchestra. There's a cool segment
where a harp plays continuous glissandi up and down the registers.
And yes, Bruce's theme appears a few times, especially near the end.
11. Hand to Hand Combat (2:32)
This is the climactic action cue, written much the same as the others,
but much louder & more exciting. Finally, theme #3 (the sea chanty)
gets featured in full, and all the other motives (including the Shark Cage
Fugue) make scheduled appearances. As the shark finally dies, we
get a relieving horn solo beneath descending harps.
12. End Title (Theme from JAWS) (2:18)
Instead of flooding us with a reprise of the two-note motif, Williams
bases the end credits entirely on the sea chanty, played first on a piccolo,
then by strings. It's a very pleasant way to end an awesome album.
This is another one of those albums that everybody who so much as looks at the soundtrack aisle needs to own. In fact, I'd be surprise if you didn't already have it. I thought I was the only one who waited so long. :-0 Try to ignore the sub par sound quality, and don't complain about the 36 minute running time. I'm still giving it a high rating in length since the album is an excellent listening experience. Sure it's not the very best of John Williams, but still ranks very high in his filmography.
| Music Rating | 9/10 |
| Packaging/Liner Notes | 6/10 |
| Orchestral Performance | 8/10 |
| Sound Quality | 5/10 |
| Length | 8/10 |