Ben E;6616554 said:
Track I just finished. Play it on the loudest volume.
http://soundcloud.com/benjamin-e-1/psychocrusher
I've never seen Jaws, but I know the sound a shark makes when there's blood or a swimming virgin in the water. I pulled up the soundtrack and started cutting...
One thing I noticed is that the end of the composition is a melody that sounds like Michael Jackson's Heal the World. Out of curiosity, I searched to see if Michael had a link to Spielberg and came across a hilarious article written by CNN at the height of The King of Pop's crucifixion. It says that Michael once paid a voodoo priest $150,000 to put a curse on the director, among others. Also, he was up for the part of Peter Pan in Spielberg's Hook, but ended up turning it down when he heard about the "growing up" premise of the film. Either way, Michael was a fan at one point, and I wouldn't be surprised if he sampled the melody and got away with not crediting John William's score...
I had been looking for a reason to use the beginning break from When the Levee Breaks by Led Zepplin, ever since Rick Rubin repurposed it for the Beastie Boy's So Whatchu Want. Maybe I have a thing for Rock drums with hard-hitting snares. I threw some 808's on 'em and it sounded epic...
Progression is always an element in my beats. I hate the typical verse - hook - verse - hook- verse-hook arrangement that's so popular among songsmiths.
Where's the innovation? Where's the climax? I'll probably have more bridges than hooks throughout my career.