W. David Lichty

Album list in Germany: https://www.amazon.de/dp/B0F5MXR5ZD/ Track list in the US version: https://www.amazon.com/dp/B0F5MXR5ZD

"Summer Fun" is unedited, almost a minute longer. "Free Admission" is now unedited in a similar fashion to the way Dear Prudence has a clean opening on the latest version of the Beatles blue album, where it doesn't crossfade from Back in the U.S.S.R.. It's not much, but there was a crossfade into Chan Yu in the film, so this is unedited. "Chan Yu" is longer than the isolated. It was as long as this in the Mephisto suite, but that didn't have the scored ending, and this now does. More a bonus than a non-edit, but I think it counts. "The Game," like "Free Admission," no longer crossfades from Chan Yu, so it has a clean opening - unedited. "The Pond" has this middle section of mild crescendo/decrescendos where two measures were cut for the film, then it's end section was pulled forward and crossfaded into the final one of those. This is now unedited, running about a half minute longer, but maybe more important, just playing better as a piece of music. "The Portrait" is unedited. For those with the previous CD offerings: "Main Title" is now the film version, with the whistle and a bit recorded specifically to patch that into the rest of the "Main Title (alternate)." That's technically an edit, but also now 'whole'. The alternate is the only one we've had before in the Mephisto suite and the Fox Box. There's a hefty re-edit of some of the latter cues in the Mephisto suite. I'd wanted to ask Chris about this when we spoke for the show, because it did not sound edited, but rather performed whole (that was incorrect), and there was a section of it I wasn't able to match to anything from the new Varese in the short amount of time I had. I didn't get to it, but in later emails Chris sorted out just what was what there, and it's all present on the Varese (and likely the isolated score as well). So if you've had the Mephisto Waltz CD suite, the Goldsmith at Fox box set, and the isolated score, the only things you even might be missing that Goldsmith wrote seem to be an alternate 'whistle' and alternate harmonica solos on the isolated track - about 15 seconds of hard to hear bits which might even match what Chris gave us. What I hear as different could be due to mixing and warped tape scans which Chris fixed, but even if they are unique, you've got the whistle and the harmonica, better sounding and musically placed. There were also four source cues on the isolated which were not by Goldsmith. Compare all of that to the unedits, the missing music from the previous releases, the missing music from the film itself and the better sound, and to my mind there is nothing to be gained from anything we've had before, nothing to add on as a bonus track on a self-made version of the album to complete it. It's all here plus more, so Varese could have honestly called it "Complete" rather than just "Deluxe."

It's true, he really is.

Here you go! Legend Soundtrack Spotlight (annotated) Track List

https://www.asmac.org/index.php/calendar/parties/103021-goldsmith-poltergeist You may have to join The American Society of Music Arrangers and Composers, but there's a free level, and it counts. Tomorrow, via Zoom at LA 12 PM | NY 3 PM | UK 8 PM

Brand new here, I went with #1. It might get these out of some people's ways, if that is desired, and for myself, I wouldn't mind poking around some of them right now. Easier done if they're all in one spot. I imagine it can be undone? ...with those threads returned to the standard archive once the topic runs cold (which I realize shouldn't happen until 2016)?

Sounds like the most educated of guesses, and so I shall rely upon it. Thanks for all the detail, and again, for the list. I just got my set today, and was surprised at how difficult it was to find any film sequence lists for this, even guesses. Then the mother load above. Your thoroughness is more than commendable. By the way, do you read the blog of film professors Kristin Thompson and David Bordwell? They are as film professory as one would expect, and write for academics and film students, even on their blog, but in September Ms. Thompson wrote a piece that surprised me. She defended The Hobbit's being split into three films as something other than economic crassness or directorial excess. It turns out this film professor's film professor knows her Tolkein backwards and forwards, the books, the appendices, the films - all of it. She had done an analysis of the trailers, behind the scenes videos, any profiles or news stories, etc., matching information and images with the written Tolkein lore known to surround The Hobbit and Lord of the Rings as stories. It was her way of backing up her contention that the additions to the film were generally from Tolkein, and represented a treatment he had intended to give The Hobbit himself. I was surprised to find a Middle Earth/Jackson Film "apologist" coming from such a source. I'm not doing her justice (it's late where I am), but my point is that your thoroughness here reminded me of hers, so in case you haven't seen these, you might enjoy the articles at the ends of these links (one from just last week): http://www.davidbordwell.net/blog/2012/09/20/a-hobbit-is-chubby-but-is-he-padded/ http://www.davidbordwell.net/blog/2013/01/16/a-hobbit-is-chubby-but-is-he-off-balance/ I thank you again, and really appreciate your diligence, Jason! - David

This IS impressive. One thing puzzles me though... I understand how you determine deleted scenes in the middles of existing cues with extra music, but how did you figure this one out, that The Edge Of The Wild belongs where you have it? - David