Here's a little project that kinda... appeared on my desk so to speak. After talking to a friend of mine about our favourite films she mentioned one that to this day is one of my guilty pleasures: LEGEND.


As many of you know, LEGEND is a 1985 film directed by Ridley Scott. In that era (and to an extent today) has an issue of doubting his films brilliance and bringing them under a hatchet so to speak. This film is no exception. Late in production, Ridley (for various reasons) decided to take to the editing room and cut down a film that was over two hours into a mere hour and a half to only further take the film and cut it shorter for American Audiences. Part of this decision also meant having the film re-scored.

Jerry Goldsmith worked on the film early in production, producing songs and dances for a few sequences in the film which, due to the rescore, were cut out of the American version.

--

The main story is of a Princess who ventures into the woods to see a friend (lover) of hers who lives in the woods in Harmony with the animals and nature. She and the boy have developed a youthful-pure love for each-other and in this love, the Boy decides to break a rule: to show the most pure creatures in existence to his princess. The Unicorns.

Darkness, played to perfection by Tim Curry, wishing to end the reign of "Light" in the world, wishes to have the Unicorns killed so he sends his goblins out to follow Lilly to them as "innocence" is the only lure to the Unicorns.

Lilly is obsessed with Magic, finding, seeing, and touching it and it's this obsession that leads to the slaying of one of the Unicorns which launches Jack and Lilly into a journey to return Light to the world and balance to the Universe.

The score, appropriately, is lush with swelling and romantic strings but influenced with electronic sounds to fill it with a sense of "magic."


The Jerry Goldsmith score has always been some what of a mystery. Very little has survived time and what has survived is confusing and with so many people attempting to leak so much, there is even greater confusion.


Here is what we know:

1) According to inside sources the written score was misplaced and presumed destroyed.
2) According to the sources that produced the SILVA album, the sessions are also misplaced and presumed destroyed.
3) The SILVA album was produced from the same elements as the original LP Album
4) The only existing elements remain on a DAT tape used to back up the music intended for use on the original LP
5) The elements on the DAT tape are often pieces of cues, cut down for the album production.
6) There are TWO official releases and MANY bootlegs.
7) There are no known track names and no information on what/how much Goldsmith wrote/intended


Working from all this information, I've tracked down everything I can find and so far here I've discovered a few things.

First off, lets look at the releases:

1986 UP-ART
Compact Disc: 86002
Time: 46:40
(International soundtrack)
1. My True Loves Eyes
2. The Riddle
3. Sing The Wee
4. The Goblins
5. The Dress Waltz
6. The Ring
7. The Unicorns
8. Bumps and Hollows
9. Forgive Me
10. Re-United

2002 Silva America (rerelease of the 1992 Silva Screen Records America, Inc.)
Compact Disc : SSD 1138
Time: 70:50
THE TRACKS :

1. Main Title*/The Goblins
2. My True Love's Eyes/The Cottage
3. The Unicorns
4. Living River*/Bumps and Hollows/The Freeze
5. The Faeries*/The Riddle
6. Sing the Wee
7. Forgive Me
8. Faerie Dance*
9. The Armour*
10. Oona*/The Jewels*
11. Dress Waltz
12. Darkness Falls*
13. The Ring
14. Reunited

*contains previously unreleased material

What you'll notice is that there is a lot of music that's on both, but the newer release does have a few more tracks.


Here is one of the most common boot's you'll find too:


As you can see, it's 2 discs and has quite a few tracks!

Looks like a lot of score right? Well, I did some detective work and I found that for the most part, the two commercially available albums have the same material but as mentioned, since the score was cut up into parts on the DAT tape, there are some minor mixing differences. Also, with the re-release they chose to present the score more as 'intended' in some moments and in others to cut repetitive parts to make it more listenable.

The bootleg makes it seem like there is a LOT more than there is too. There are some extra tracks that leaked from an unknown source and are transferred at an incorrect speed and are thus presented on the boots in the wrong speed/pitch. Once this has been adjusted, a few things become clear.

1) There is no "Unicorn Alternate" but what is heard is really just a slightly different revision/take of the opening bars to what I call "Jack Surprises Lilly." The rest seems different because of minor assembly changes between the original/SILVA releases
2) The Riddle Alternate is nothing more than the opening bars of "The Riddle" as heard on the original release but omitted on the SILVA release with a repeat of two measures near the end. Once you separate "The Faerie" and "The Riddle" and replace those few seconds, then you have corrected it. Although those repeated measures near the end are a different performance .
3) There ARE two "Faerie Dances:" The first is whats heard on the album, the 2nd is the version as heard in the deleted scene and intended for use in the final film.
4) The two "Hall of Columns" are the same with the 2nd being presented at the wrong speed but with an extra cue which I believe is for when they place the mirrors throughout Darkness' lair.
5) There is only ONE "Dress Waltz." One version presented is at the wrong speed but also has the true ending omitted form the two releases (probably for listen-ability sake) You can hear on both releases the music begin to go to this cut section but it fades out before the synth/orchestral glissando


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Here is a break down of all the music as used in the film:

1) Main Title - This cue is used several times within the various edits of the score, tracked to at least two other scenes:

a] Opening - Correct Placement (with same editing)
b] When Jack, Gump, and the others are traveling to find the unicorns
c] When Oona is following Lilly through the forest.

Of these, there appear to be two varieties of the track:
a] Album - Heard as presented on Album
b] Film Mix - Predominately the same as album but ends with isolated choir

2) Goblins - Heard on the album with a slight overlap of "Main Titles." Intended for a deleted sequence seen in a rough cut on the DVD.

3) True Loves Eyes / Cottage - This is the first song from the film. Seeing as the orchestra was recorded separately, there is a vocal track for nearly every language but as far as the main English recordings, here are several versions:

a] Album - purported to be recorded with a session singer although she sings very similarly to Mia Sara (Lilly).
b] UK Theatrical - Mia Sara singing (more freely) the words to the song solo until music dials in later.
c] DC (Directors Cut) - The Album vocals but with the music dialed in late.

4) Jack Surprises Lilly - This track is presented in its two incarnations on each album respectively.

a] The original Album release presents this cut with the same "length" intro but the interruption of Jack arriving is longer.
b] The SILVA release uses the Film version of this cue which shortens the fanfare as Jack appears.

5) The Unicorns - Connected to both versions of 'Jack Surprises Lilly,' this cue is as heard on the album.

6) Living River - This is the second song of the score and like the first, there are a few variances.
a] Album - purported to be recorded with a session singer although she sings very similarly to Mia Sara
b] UK Theatrical - Mia Sara singing more freely in the scene

7) Bumps and the Hollows - This is the third song heard in the film, there are a few variances.
a] Album - purported to be recorded with a session singer although she sings very similarly to Mia Sara
b] UK Theatrical - Mia Sara singing more freely in the scene

8) The Freeze - This cue is perhaps one of the more interesting ones!

This cue is NOT heard in its entirety in the film (at least not during the sequence) OR on ANY of the albums but IS, however, tracked to other areas of the film. Using some fancy editing, the creators of the film took this cue and lowered the pitch by a whole octave while maintaining the SPEED of the playback (which if you listen carefully to the film channels causes minor distortion).

This cue is tracked into two scenes:
a] The Male Unicorn attacks Lilly (DC only)
b] The reveal of The Great Tree/ Introduction to Meg (Both Versions)

In both of these scenes, the cue (mostly the opening but including some of the later part) are played at the octave down pitch which gives it a haunting sound (especially the human voices in the mix).

As far as the album presentations go the introduction, which is a throbbing low-synth beat, is shortened to only 5-6 seconds.
The re-release on the SILVA album shortens it even further with the music supervisor admitting that due to the "repetitive" nature of the synth beat, they felt it wasn't "listenable" so they removed even more of it.

The full version is this repetitive synth throbbing with occasional bright synth glissandos (heard modulated down in the tracked scenes).

9) The Gump - This sequence is interesting in the film as it reveals not only the level of editing done to the video but to the audio. There are a great deal of created parts (such as 'The Freeze' tracked moments and certain others where endings of cues are faked or new intros are made by looping material.

This particular has a sustained violin pitch but I think it's faked from a moment in the cue looped. The music continues on as heard on the album until the end of the cue.

The album presents the entirety of this cue but the film, at the end, layers in what should be the next cue which I call "Life Be But a Dream/Silence!" This cue is heard only in the film (not present on the album at all) and even in the film seems to have an issue where as we see a Faerie do a cartwheel in the background, the music fades immediately to the mono center channel (possibly implying the music was lost and only a downmix survived for usage in the film). The "Silence" part is cut into the end of a piece of tracked music ("The Jewels") and seems original to the scene (it is presented in stereo again).

10) Faerie Dance - This is another interesting cue. According to the music suporvisor for the SILVA release, the surviving recordings include FOUR versions of this cue (two mixes of two versions really).
a] Album - This version is presented on the album with a different Fiddle intro and is purported to be a concert arrangement.
b] Film Version - This version has a fiddle which plays the intro and is layered prominently throughout
c] Alt Album - A secondary (not leaked) version of the album with an alternate fiddle line
d] Film Version (Isolated) - This version was leaked in lower quality (and wrong pitch) and contains an incomplete/alternate mix

The final film version is in essence the isolated and the Film version's mono mix (shown in the reconstructed scene extra) fully integrated together. The "Album" version fits the scene precisely too so it may NOT be a concert arrangement as the tempo is exactly the same (and changes in the same places as the film). It may be an early version since an on set audio would have been needed to perform with.

11) The Riddle - This track is presented in its complete form on the album but is edited down slightly in the film (each version). There are also two versions of this cue:
a] Version 1 - Although about the same length of time, there is a small omission near the end.
b] Version 2 - One of the final orchestral statements is looped

12) Forgive Me - This track is presented in its complete form on the album but is edited down slightly in the film (each version).

13) The Armour - The album presents this track in its entirety and includes the next cue layered only slightly.

14) Oona's Secret - The album presents this track in its entirety but it is tracked slightly off in the film to it's true placement.

15) Get The Mare - This leaked cue goes unused in the film and is purportedly for the conversation between Darkness and the goblins about the Unicorns. The sun is seen to be rising which start the cue out in a glorifying womens choir only to transition into a chant like mens choir as Darkness "commands" the goblins to bring him the Mare.

16) Frying Pan - This exciting cue used while Brown Tom defends the Mare against the Goblins plays with the two styles/themes of the Goblins/Faeries in an interplay. Unreleased, this cue is not used in the film, replaced with tracked music from 'Darkness Falls.'

17) Following the Goblins - Meg - This cue remains unused in the final film but is on the albums as track "Oona - The Jewels." The cue begins after Jack turns to Gump and declares they must follow the Goblin's tracks in the snow. It continues as the group enter into the swamp surrounding the Great Tree and even up until the reveal of Meg Mucklebones. In the film, an octave pitched down version of "The Freeze" is used instead.

18) Mare in the Dungeon - The album presents this cue connected to "Darkness Appears" in the opening of "Darkness Falls."

19) Demon Chant - This 'source' like chanting heard within the Dungeon is only used in the film, heavily mixed into the sfx.

20) Oona's Reveal - Presented on the albums in the track "Oona - The Jewels," this track begins as Brown Tom hold back a sneeze (and fails) and continues until Oona's feelings are hurt by Jack's refusal to kiss her.

21) Hall of Columns - This unused track would have begun as the dark spirit speaks to darkness saying "Win her, Woo her. Make her one of us!" and then cuts to Lilly running through a hall and jumping over fire. It continues as she is persued by Oona through the Hall of Columns and into Darkness' lair.

22) Gift of Jewels - This cue is presented on the album completely. The UK Theatrical cut includes the predominence of this cue while the Directors cut, due to it's need to change/add play time, could not use the cue as written and only uses a small part of it

23) The Dress Waltz - This fantastic cue plays exactly where you imagine it does within the film. There is, however, a small disrepency with full play time and the way it is presented in the film. Within the various versions, this dance is changed a few times. Generally of the two versions using Goldsmith's amazing dance cue, the ending is trimmed slightly to time the end the slow turn reveal with the end of the dance. But, with reinserting the "combination" shot where the dress finally overcomes Lilly, it would seem that the dance should have synced up slightly differently at the end with the final reveal being a little latter.

The end of this cue, however, is not presented on the albums and was only available due to a leaked (and incorrect pitch) version of the cue. Once corrected, it's obvious that the album (and the film) simply fade out this ending. The directors cut even goes a step further by taking the very bright and harsh synth up-glissando and layering it over the dance as the dress "combines" with Lilly. This makes sense since part of the dance is cut and it would no longer sync with her slow turn and close up reveal.

24) Darkness Appears - This cue, heard on the album in the opening to "Darkness Falls" has two versions.
a] Album (Choir Mix) - This version is the more familiar which includes a low mens choir.
b] Film Version (Orchestral) - This version is purely orchestra and heard only in the film. It is also tracked to several moments but is intended here.

25) Setting the Mirrors - I have become increasingly unconvinced of what this cue is. I believe, due to the placement on the leak, that this track must follow the "Dress Waltz" although it shares more similarities with the opening to "Following the Goblins - Meg." It is not impossible that it is a similar version meant as a harkoning back to that motif for usage with Jack et al. as they traverse Darkness' lair. It is, however, possible that it is an alternate intro to "Following the Goblins."

26) KITCHEN SCENE MUSIC - This scene is kind of an 'screwball.' Most of the film had some sort of score written for it but this sequence apparently did not. Goldsmith is quoted as saying he didn't have time to finish the score to the film and its possible that this sequence which, excepting maybe the final moments, works fine without music so it may have been left for last.

In the UK/Directors cut however, there is some music in the scene. Here is the breakdown:

1) Unknown tense string intro (Possibly Library Music by Tim Souster too)
2) Psycho II (Jerry Goldsmith) - The track 'The Cellar' is edited down for the middle section.
3) SLUGS: The Movie (Tim Souster) - Unknown track name to this unreleased score
4) Psycho II (Jerry Goldsmith) - The track 'Main Title' plays here after the fight and for the reveal of 'Light'

26) Without Light, There is No Dark - This cue, meant to cover the entirety of the final battle starting with Darkness reciting the history of time itself up until his destruction, is presented on the album fully. The film utilizes most of it but does cut away certain sections and tracks some to other areas of the film.

27) The Ring - The cue is presented completely on the album

28) Lilly Awakens - This cue has two different versions.
a] Original Extended Cut (not seen till the DC) - The original scene as structured in the Directors Cut has Lilly speaking to jack more and even asking if it was "all a dream." This cut does not dramatize the SUN but rather the RING which Jack has already found and placed on Lilly's hand.
b] Shortened Cut (Unused) - This secondary cut removes most of Lilly's dialogue and as she awakens and see's the SUN the music dramatizes this moment instead. The UK Theatrical cut still doesn't utilize the 2nd version but pieces of the first THEN skips all together the singing part in the beginning of the next cue, finishing the film as spotted.

29) True Loves Eyes - Credits - The album presents this song with the full set of lyrics while the Directors cut does not utilize the final verse. Both uses of this cue overlay the beginning of the credits (the Unicorn Theme) over visuals of the Unicorns and the Faeries waving goodbye.


30) Sing The Wee - This song used in the Credits is purported to be the song intended to be sung by the Faeries as they travel to find the unicorns (which is possible as there is a gap in where music would go) but tonally does not seem to fit the section of the film (which may be why it was cut). If it was intended, I don't believe this VERSION of it was intended to go there. This version, both in length and style, seem to fit more appropriately in the credits as an alternate "Sing The Wee" section to what's heard in the album assembly (which mimics whats heard in the film).

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As some versions are only heard in the film mixes, some tracks contain some minor sfx. I've tried my best to present as much as I can and as cleanly as I can. I've notated sources below


LEGEND: The Masterpiece **UPDATED AS OF 12/8/13**

Disc 1 FLAC (https://mega.nz/#!yMVDlL6I!Mk95rQbF5txi0BcuPbaXLNs0ndDcVeiAIWxJM9v9v3w)[1:15:35]

01] Universal Logo (Jerry Goldsmith) - [0:24]
02] Main Titles - [2:06]
03] The Goblins (Omit) - [3:45]
04] My True Love's Eyes- The Cottage - [5:07]
05] Jack Surprises Lilly (Revised) - The Unicorns - [8:12] #
06] Living River - [2:28]
07] Bumps and Hollows - The Freeze (Complete) - [5:19] #
08] The Gump - Faeries - [1:22]
09] Faerie Dance (Complete Final Mix) - [2:02] */#
10] The Riddle - [3:42]
11] Forgive Me - [5:15]
12] The Armour - [1:38]
13] Oona's Secret - [0:43]
14] Get The Mare (Omit) - [0:43] *
15] Frying Pan (Omit) - [0:53] *
16] Following The Goblins - Meg (Omit) - [1:54]
17] Mare in the Dungeon - [0:54]
18] Oona's Reveal - [3:00]
19] Hall of Columns (Omit) - [1:58] *
20] Gifts of Jewels - [1:54]
21] The Dress Waltz - [3:03] *
22] Darkness Appears (Choir Mix) - [0:38]
23] Setting The Mirrors (Omit) - [0:35] *
24] Without Light There is No Darkness - [6:06]
25] The Ring - Lilly Awakens (Alternate) - [6:31]
26] True Loves Eyes - Credits - [5:20]

Disc 2 FLAC (https://mega.nz/#!yR0DXDgb!RxvbmUh80W38PNcXm4dVCOZbTFbZqaGRicGyMHZ8KVI) [1:05:43]

01] Universal Logo - Short (Jerry Goldsmith) - [0:09]
02] Main Title (Film Ending) - [2:06] #
03] True Loves Eyes (Isolated) - [1:43] #
04] Jack Surprises Lilly (Alternate) - The Unicorns (Alternate Mix) - [7:57]
05] Living River (Isolated Orchestra) - [2:28] #
06] Bumps and the Hollows (Orchestral) - Freeze (Album Assembly) - [5:00] #
07] Gump - Life Be But a Dream - Silence - [1:35] #
08] Faerie Dance (Alternate Final Mix) - [1:56] #
09] Faerie Dance (Isolated Final Orchestra) - [1:52] *
10] Faerie Dance (Album Alternate Mix) - [1:59] #
11] Faerie Dance (Isolated Album Orchestra) - [1:55]
12] The Riddle (Alternate Ending) - [3:42]
13] Sing The Wee - [1:11]
14] Demon Chant - [1:38] #
15] Darkness Appears (Orchestral) - [0:37] #
16] Tracked Music Edit (SLUGS The Movie - Psycho II) - [2:46] #
17] Psycho II Suite (Jerry Goldsmith) - [12:42]
18] Lilly Awakens (Film Version) - [4:03] #
19] Finale No Song (Film Version) - Credits - [5:05] #
20] True Loves Eyes (Orchestral) - Credits - [5:16] #

* Contains Bootleg Material
# Contains Blu Ray Rip

EDIT: Below is included in the above links

So here's the INTERESTING development:

It was brought to my attention that I had missed some details (minor but yes I missed some things).

So, I have adjusted.


1) Jack Surprises Lily (Revised) - Unicorns [8:12]
This track had some interesting changes made on the albums which should have tipped me off. First off, there are two introductions. One is extended slightly longer than the other. Then, in the area where the trumpet gets bright and brassy before the choir comes in (the first true reveal of the river just before Jack picks a Lilly for Lilly) there was this odd edit in one of the releases. This implied that an alternate take had been used and pasted over an earlier take (but the effects of this were evident).

What this should have meant was for me to check in more detail this first half which I had chocked up to being only different due to the introduction.

Comparing to the blu ray again, I found that the film version (with the shorter introduction) has a slight extension in the area around 3:30 as the two arrive at the river. I've replaced this missing segment into the track now. There weren't many sfx so I've included it on Disc 1.



2) Gump - Life Be But a Dream - Silence [1:35]
This has no new material but I've gone back and tried to improve the sound a bit more finding a cleaner rip on an alternate edit of the film.

3) Lilly Awakens (Film Version) - [04:03]
I had originally used the Extended Directors cut of the film to produce this but have since found that the European cut was a bit easier to extract the music from and so I've gone back and cleaned it up a bit more. I find it much more listenable.

While doing this, however, I noticed what I had assumed was just a different mix near the end of the scene of Jack and Lilly reuniting to be an entirely different performance.

Comparing to the music of "True Loves Eyes" it became obvious that although a similar section exists in the version with the song, this was intended to fulfill the same section with the song omitted and with Jack and Lilly running off Together, instead of Jack staying behind.

Thus...

4) Finale No Song (Film Version)- Credits - [5:05]
This is the version heard in the European cut of the film omitting Lilly's reprise of "True Love's Eyes" and continuing into the credits.

You should be able to, excepting on Disc 2, replace all the tracks with these. On Disc 2, however, the "Finale No Song" will need to be added as the 2nd to last track (or however you'd like it)

Enjoy!

Cute. Going to give this a listen as it's the most comprehensive work yet for this.
I've been delaying grabbing this ever since I knew there to be too many discrepancies between the various versions and lack of fulfillment on this score.

Thank you!

Amazing work on the most complete (Jerry Goldsmith) Legend soundtrack yet! Thanks! :D

Brill post & great work Sir! Thank you.

Thank you very much!!! :)

Superb work, thank you.

Clearly a labor of love. Nice work.

Thank you for that great upload my friend,a really nice job for a magnificent soundtrack.....thanks again...

Thanks, GoodMusician... I look forward to listening to this well-deserved effort!

Thank you!

great work! thank you!!

Thanks for your hard work!

Now THIS i want to hear :)

Great work, many thanks for sharing!!

nice work, thanks

Downloading :)
Very good work !!! I love the movie and the score, I can't wait to listen to your version :)

I hope you all can enjoy this. I had waited to release it here because I wasn't 100% satisfied with it, but knowing that there is so much information/misinformation out there about the score, I figure even if this is a little of a process, at least I'll be putting my research out there for everyone to see and understand the score at least a little better.

I have some doubts about the "Setting the mirrors" cue as being for that sequence. I'm thinking more and more it's like an alternate version of the "Following the Goblins" but with as little as there is of this score, it's hard to be sure.

Interesting note: The Directors Cut is NOT the original cut scored by Goldsmith. The European Cut is in fact far more similar to the version Goldsmith scored. For this reason, the extended Directors Cut is forced to omit, edit, and track music for scenes that is otherwise used in the European Cut.

The various mixes of the songs I did omit in favor of the album version however I can procure them if someone would like but they would be replete with sfx.

Disc 1 is, for the most part, the easiest to listen to and most accurate assembly while Disc 2 is more of the pieces missing but not always as clean as I wish they could be.

If there were one cue I WISH we had, it would be the original full ending (seen/heard only in the Directors Cut) where Lilly questions if it had all been just a dream. The music here is glorious but again, only from the one source and thus has the full sfx of the forest.

Great!
Thank you very much!

Very good! Thanks!!

It would seem I forgot to post some information I had on this. I swear if I don't write things down I forget them in no time.

Apparently a few sketches stored by the orchestrator Alexander Courage did survive.


folder 7 2/2 - "The Cottage" repro ms score
folder 8 2/3 - 3/1 - "Teach Me" repro ms score
folder 9 5/2 - "Fairie Dance" repro ms score
folder 10 [no reel no.] "The Bumps and Hollows" repro lead sheet
folder 11 [no reel no.] "Bumps & Hollows" ms score
folder 12 [no reel no.] "Dress Waltz" repro ms score
folder 13 [no reel no.] "Fairie Dance" ms score
folder 14 [no reel no.] "Legend" repro score parts
folder 15 [no reel no.] "Sing the Wee" repro vocal score
folder 16 [no reel no.] "Unicorn" ms sketch
folder 17 [no reel no.] "When I Look In My True Love's Eyes" repro voice part

Thanks!!

many thanks for this

Wow. Very impressive. Thanks so much for all your work. I've always been curious about this score; I've learned a lot just through this post. It's such a shame that so much hard work by such a mater of a composer can be so easily lost and/or discarded. It's almost criminal. That makes it what you've done more valuable to be sure.

I hope you all can enjoy this. I had waited to release it here because I wasn't 100% satisfied with it. Disc 1 is, for the most part, the easiest to listen to and most accurate assembly while Disc 2 is more of the pieces missing but not always as clean as I wish they could be. If there were one cue I WISH we had, it would be the original full ending (seen/heard only in the Directors Cut) where Lilly questions if it had all been just a dream. The music here is glorious but again, only from the one source and thus has the full sfx of the forest.
Yeah the sound fx is a bummer but I think it's almost impossible to procure the original source for such an old and production-problematic movie. We can all hope some studio will release a more complete soundtrack in the future.

There is hope. I have read reports that the DAT tape had the full score by Goldsmith, but I also heard it didn't so it's hard to know what to believe. The information I read were from interviews taken BEFORE the Directors Cut was released so it's possible seeing as the DC uses cues and mixes not heard in any other version. This would seem to imply they exist in some form.

Unlike the small portion of "Faeries" where the one does a cartwheel in the background is the only real place where the music goes to mono. This is important because it implies that this portion exists only in an original mono down mix while the rest of the score exists in some stereo element. The full ending of Lilly Questioning the whole events of the film is in stereo (and never had been used in ANY other edit of the film) which leads me to believe that at least this small gem exists in some form.

I had been holding out hope that the score would be released. Amazon I think had listed a complete version coming but the date has come and past so maybe one day...

Thank you so much for this... I fear that we may never hear this score any better... I wish I felt differently, but weighing up all that we've seen and heard over the years, I really do believe that aside from what we already have, the original recording is lost.

Although, if I win the lottery at any point in my life, one of the first things I do will be to re-record every single note Jerry wrote for this film, with the London Symphony Orchestra - no expense spared.

Every page of this score... the master at work. A typically cruel expression of nature, that this gargantuan symphonic tone poem would be so utterly abused in the film and then subsequently misplaced or destroyed so that it cannot be fully enjoyed on disc.

Your hard work is much appreciated, GM! Many thanks! Cheers!

Thank you so much for this... I fear that we may never hear this score any better... I wish I felt differently, but weighing up all that we've seen and heard over the years, I really do believe that aside from what we already have, the original recording is lost.

Although, if I win the lottery at any point in my life, one of the first things I do will be to re-record every single note Jerry wrote for this film, with the London Symphony Orchestra - no expense spared.

Every page of this score... the master at work. A typically cruel expression of nature, that this gargantuan symphonic tone poem would be so utterly abused in the film and then subsequently misplaced or destroyed so that it cannot be fully enjoyed on disc.



I know that some of the sketches exist but I've heard the sheet music is missing too... :-/

Not sure if anyone is aware of this extensive article, first written in 1987 and updated in 2002 (if I recall). It has a very nice scene-by-scene breakdown comparison of the scores by Goldsmith (including information on missing cues) and Tangerine Dream...


The Music of LEGEND
By Paul Andrew MacLean

There are two versions of the LEGEND score : The original score composed by Jerry Goldsmith, which is found on the European cut, and the replacement score composed by Tangerine Dream for the American cut. The Goldsmith score was replaced with the Tangerine Dream score after studio pressure in the hope that the popular group would help the film's appeal with the teenaged audience.
Paul MacLean's article, From a Legend to a Dream : A Comparative Critique Of The Two LEGEND Scores (Originally published in Cinemascore, Volume 15, Summer 1987, P.42-45) has been removed from the FAQ at Paul's request but has been replaced by a newer version of the article that Paul has kindly written for us.
The Music of LEGEND
By Paul Andrew MacLean
Whereas BLADE RUNNER reflected the rainy industrial region of Teesside, England, where Ridley Scott grew up, LEGEND reflected the green wilderness of Britain which lay further inland, a land rife with myth and folklore. LEGEND also bore the influence of the Brothers Grimm faerie stories, as well as Jean Cocteau�s BEAUTY AND THE BEAST (there are a number references to Cocteau�s film throughout LEGEND). In both BLADE RUNNER and LEGEND, Scott�s selection of composer proved appropriate and powerfully effective.
The claustrophobic Los Angeles of BLADE RUNNER was perfectly suited to the sound of Vangelis Papathanassiou, whose blend of electronic timbres, acoustical instruments and percussion perfectly captured a city choking in its own technology. Likewise Vangelis� use of ethnic music adroitly evoked the multi-cultural groups crammed together in the city, while jazz references (like the sultry saxophone in the love theme) helped complete the �film noir� atmosphere of the production. The resultant score remains one of the finest and most appropriate electro-acoustic soundtracks ever created for a film.
LEGEND on the other hand, was of a more organic, pastoral aesthetic. Drawn from folklore and traditional faerie stories, the film required a more naturalistic style of music, one that mirrored the story�s familiar, classical influences, yet also carried hints of the unfamiliar and spiritual; essentially, a score more rooted in the classical musical tradition.
JERRY GOLDSMITH
Ridley Scott wisely realized that music could and should play a major role in bringing LEGEND to life, and his choice to write the score was the late Jerry Goldsmith. Born 10th February 1929 in Los Angeles, Goldsmith took-up piano at age 6, and after seeing the film SPELLBOUND in his teens, was inspired by Miklos Rozsa�s score to be a film composer. Goldsmith continued his keyboard studies with renowned pianist Jakob Gimpel, and studied composition with Mario Castelnuovo-Tedesco (who, incidentally, was also John Williams� teacher). Goldsmith attended the Los Angeles City College and UCLA (where he came full circle by studying film scoring with Miklos Rozsa himself).
Soon after, Goldsmith landed a job as a clerk at CBS Radio. With his foot in the door, Goldsmith pestered and nagged the radio staff until he was finally given the chance to write music for radio dramas. In time Goldsmith was promoted to scoring live television productions like Climax and Playhouse 90, and providing scores for TV series such as GUNBSMOKE, THE TWILIGHT ZONE and DR. KILDARE.
Goldsmith�s musical-dramatic talents caught the attention of Alfred Newman, and the elder composer used his influence to get Goldsmith hired to score LONELY ARE THE BRAVE. Within a few years Goldsmith was working on films by legendary Hollywood directors, such as John Huston�s FREUD, Otto Premminger�s IN HARM�S WAY and Robert Wise�s THE SAND PEBBLES.
Goldsmith would eventually come to be the most-imitated and admired film composer of his generation. In particular Elmer Bernstein called Goldsmith �the consummate composer for cinema� and �simply the best.�
As Goldsmith�s career progressed, it became clear he had a particular knack for scoring science fiction and fantasy, as was first apparent during his early years working on THE TWILIGHT ZONE. While he expressed a preference for more �people�-oriented stories, Goldsmith�s sci-fi and fantasy work seemed to garner more attention, probably because it often featured his most inventive, experimental work � as in THE ILLUSTRATED MAN, PLANET OF THE APES, STAR TREK: THE MOTION PICTURE, POLTERGEIST and TOTAL RECALL just to name a few. Likewise it was Goldsmith�s dissonant, surging choral music for THE OMEN that won him his one and only Academy Award.
Fittingly, Goldsmith�s first collaboration with Ridley Scott was on a science fiction film, ALIEN, and the composer delivered a score that thrilled the director, both for its uncompromising savagery, as well as its atmospheric effect. Goldsmith however was disappointed with the way his music was finally used in the film (the ALIEN Quadrilogy DVD covers this issue in detail).
Nevertheless, the composer was eager to work on LEGEND, largely sold on the project by William Hjortsberg�s script, which Goldsmith described as �beautiful�. Goldsmith was probably also attracted to LEGEND for the opportunity to write a more lyrical, broadly romantic score (since many of his recent assignments had required violent, strident music).
Goldsmith�s music for LEGEND was to serve not only as a dramatic underscore, but also a more foreground role. Scott has said, �I hate it when people say �you shouldn�t notice the score.� You should notice the score, and the score if it�s doing if it�s doing its job, will lift and elevate the movie.�
Goldsmith was brought-on in pre-production to write the songs sung by Princess Lili, as well as music for the dance sequences (for when Jack is nearly danced to death in a magic spell, and later when the wraith-like spirit seduces Princess Lili with a diabolical, hypnotic waltz).
Come post-production, Goldsmith moved to London for a several months, during which time he composed LEGEND�s intricate music. Over 80 minutes in length, the score was recorded it at CBS Studios with the National Philharmonic Orchestra and the Ambrosian Singers (augmented by seven different types of synthesizers) with Goldsmith conducting. The finished score was well received by Ridley Scott, who called it �exactly what was required� for the film, and an unidentified associate of Scott described the score as �monumental�. The highly self-critical Goldsmith himself considered LEGEND �one of the best soundtracks I�ve ever done�, and years later his attitude was unchanged, when he admitted, �LEGEND is my favorite score�.
Stylistically, Goldsmith's LEGEND is essentially a romantic score, but with nods to the later impressionist style of music -- the harmonies are reminiscent of Romantic music, but the orchestration and often fluid texture of the score is more in keeping with the Impressionists. Much as Jean Cocteau was an influence on Ridley Scott, French composers like Claude Debussy and more particularly Maurice Ravel (who was one of Goldsmith�s favorite composers) were an obvious influence on the score. The use of a wordless chorus in LEGEND can be traced back to Debussy�s �Sirenes� and Ravel�s �Daphnis et Chloe�, and Goldsmith has himself once said the hypnotic waltz for the scene where Lili is seduced �was definitely influenced by [Ravel�s] �La Valse�.
REPLACING THE SCORE
As was revealed on the LEGEND Ultimate Edition DVD, the infamous San Diego preview screening of the film was disrupted by snide comments from one or two audience members and the smell of pot smoke. This proved extremely discouraging to Scott, who decided to cut-down the film in hopes of improving its prospects. A 90-minute cut of the film was released in Europe, in which Goldsmith�s score was retained.
For its American release of course, Goldsmith�s score was not used. Jack Mathew�s excellent book �The Battle of Brazil�, touched briefly on LEGEND, as both films shared the same producer, Arnon Milchan, and had a similar distribution deal with Fox and Universal (and more specifically each film�s offbeat style presented difficulties to Universal�s marketing arm). According to Mathews, replacing Goldsmith�s score with Tangerine Dream and pop songs was the idea of Universal executive Sidney Sheinberg (who felt more contemporary music would attract teenage audiences), and that Scott �agreed to dump Jerry Goldsmith�s score.�
TANGERINE DREAM
Tangerine Dream is a German electronic group, headed-up by Edgar Froese. Froese started-out as an art student in the 60s, and while under the tutelage of Salvador Dali, was inspired to create a musical equivalent to is teacher�s surrealist, nonconformist art. Froese founded Tangerine Dream in 1967, and in its early years the group was a more acoustical ensemble (violin, flute and saxophone playing alongside more rock-oriented instruments like electric guitar and bass). Over time the group evolved and changed membership (though Froese always remained at its helm). With the evolution of synthesizers the Dream�s music became more electronic, helping to forge (along with other European musicians like Vangelis, Popol Vuh and Jean Michel-Jarre) a genre commonly labeled �Ambient�, �Space Music� or �New Age� (though the latter would perhaps best describe Tangerine Dream, given Edgar Froese�s Eastern philosophical leanings.).
In time the Dream established a fairly successful reputation as film composers, with scores for films like SORCERER, THE KEEP, FIRESTARTER and RISKY BUSINESS. With electronic scores so en vogue by the mid-80s, Tangerine Dream appeared certain to fulfill Universal�s requirement for something more �popular�. It is indeed ironic that a group that began with such a radical, avant-garde agenda would ultimately be tapped to provide a �commercial� soundtrack, intended to cater to American teenagers.
Although a handful of impressive synthesizer scores were composed in the 80s, electronic music was for the most part a trendy novelty of the time. Electronics were also much less expensive than orchestras, so synthesized scores tended to feature in television and low-budget films. Inevitably, the sound of a purely electronic scores began to suggest �cheap�, and in retrospect many expensive films which had electronic scores now feel much more lower-budget than they actually were (not to mention hopelessly antiquated). Alas, LEGEND was sadly destined to be one such film.
THE THREE VERSIONS OF THE FILM IN COMPARISON
While the removal of Goldsmith�s score was certainly appalling, it has nevertheless afforded a unique opportunity: the chance to examine two radically different musical approaches to the same film. The availability of the Directors Cut on DVD likewise offers the chance to examine Goldsmith�s score more as it was originally intended.
Predictably Tangerine Dream and Jerry Goldsmith had different notions of what makes effective film music. On the subject of film scoring, Dream member Chris Franke commented �We want not to become like film composers who change their style like they change shirts. We still want to keep our identity.� On the other hand Goldsmith, in a 1982 interview in CinemaScore magazine, noted, �certain composers are doing the same thing over and over again, which I feel is sort of uninteresting. I don�t find that you grow much in that way.�
Goldsmith, who once described himself as something of a �method composer� in that he often finds himself adopting the personality of a film as he writes, has embraced virtually every form of musical style in his career, including completely synthesized scores (in fact RUNAWAY, a rhythmic action score which he wrote just prior to LEGEND, was entirely realized on digital keyboards). Tangerine Dream on the other hand stick to a signature sound, that sound being entirely electronic, sometimes minimalist, encompassing elements of eastern music (particularly Indian ragas), and sometimes driving rock and roll rhythms as well.
Even when working in the electronic medium, Jerry Goldsmith always composed with pencil and paper. While he would often use synths to fashion demos for filmmakers, he would always first write-out every note beforehand, and was adamant that composing was something to be done on paper.
Again the Dream differed in their approach, composing direct onto tape or computer disc. Said Froese, �Writing it down on paper is a very old-fashioned thing which is not necessary to do anymore.�
In the interest of fairness it should be pointed-out that while Jerry Goldsmith began work on LEGEND in pre-production, and wrote the final score over the course of several months, Tangerine Dream had only three weeks to create their score. It would also be unfair to dismiss Tangerine Dream�s contributions to film scoring in general, as they have provided effective musical backdrops to a number of pictures, in particular Tom Cruise�s first major film, RISKY BUSINESS (which one suspects influenced their selection for LEGEND). On the other hand, in view of their admitted desire to retain a signature style and sound, and the fact that they work exclusively in the electronic medium, the number of films to which they can effectively contribute is obviously limited.
While both Goldsmith and the Dream make use of synthesizers in their LEGEND score, Goldsmith also employed a full symphony orchestra and chorus, resulting in a musical tapestry which reflected the organic, pastoral visuals of Ridley Scott. The Dream�s music, being exclusively electronic, resulted in a decidedly un-organic sound, as well as lacking the broadness of timbre that the film needs.
While Goldsmith�s score was overall romantic in style, he also integrated the folk influences, composing a Gaelic fiddle reel that becomes part of the faerie motif throughout the film. An ethnic sound is also at work in the Dream�s music. However, it encompasses Eastern pentatonic scales, and the (electronically sampled) sounds of an Indian sitar and Japanese shakuhachi (bamboo flute), which are culturally out-of-place in the European faerie story. Dream�s score was not however limited to an ethnic sound. Electric guitar samples and occasional rock and roll rhythms were also present (which, if not intentionally �commercial� on the Dream�s part, probably satisfied Sheinberg�s requirement for something more contemporary).
Whereas Jerry Goldsmith sought to create a score for LEGEND that was stylistically homogenous to the film itself, Tangerine Dream composed a Tangerine Dream score. And this is where the soundtrack for the American release fundamentally goes wrong. The Dream approached a story that is consummately based on Western European folklore and Medieval Christian ideas of good and evil, with an electronic score heavily influenced by Eastern music styles and philosophies. Beyond that, the cool, �trendy� nature of the Dream�s score is aesthetically incongruous to what is onscreen. Their music, while likeable on its own, simply has nothing to do with the subject matter and works against the film. LEGEND is an old-fashioned kind of faerie story, but the Dream�s music is constantly trying to sell the film as something it really isn�t.
Tangerine Dream�s music also tends to be devoid of warmth or sentiment -- in sharp opposition to Goldsmith�s highly romantic approach. A minority have expressed the feeling Goldsmith�s score was overly sentimental (I disagree). But while it is decidedly lush and romantic, Goldsmith�s score is dramatically the more subtle of the two. The Dream�s music is comparatively simplistic and blunt, often functioning in a �hey, look at this!� manner. Yet their music is not assertive enough in scenes of dramatic intensity, and is generally cool and detached, providing inadequate support for the characters. Often, the Dream�s music is not so much a dramatic score as it is musical sound effects � �mood chords� and abstract timbres, which adequately serve as an aural accompaniment, but not as a particularly dramatic one.
Goldsmith�s score is thematically complex, with motifs or themes for all of the principal characters -- Jack, Lili, Darkness, the unicorns, faeries, goblins -- all are in some way represented in a specific musical idea. The Dream also provide character motifs, though there are fewer of them, and they are more simplistic in nature.
I want to add that I actually do like some of the music Tangerine Dream crafted for LEGEND; it is just completely wrong for the film, and severely compromises the production.
THE TWO SCORES, SCENE-BY-SCENE
Obviously the Goldsmith-scored directors cut is longer than the cut scored by Tangerine Dream, and Goldsmith wrote music for a number of sequences not included in the American release (and are severely truncated in the European).
The original opening of LEGEND � which depicted four Goblins investigating a strange light and discovering a stand of unicorns� hair -- was never used in any version. This sequence was apparently scored by Goldsmith however, as the cue entitled �The Goblins� on the CD is an interplay of the frenetic goblin motif and the heavenly unicorn theme, and seems to follow the action as described in the script. (The workprint cut of this sequence included on the DVD is obviously not the version Goldsmith scored, as the music timings do not match-up.)
The opening of American version of LEGEND begins with an expository (and largely pointless) title scroll that didactically explains the film�s scenario and even hints at its outcome. The scroll is accompanied by Tangerine Dream�s love theme for Jack and Lili, which is voiced by a �slide-whistle�-like keyboard.
The actual title sequence is the same for all three versions of the film, consisting of a montage of the magical, nocturnal woodland. The Dream�s music follows the images more or less, with a legato tempo and ethereal melody. A sneaky, more sinister turn in the music heralds the appearance of Blix (the chief goblin). The Dream�s music continues as we�re shown the interior of Darkness� fortress, with eerie, abstract tones.
Goldsmith�s main title is likewise legato, but far more atmospheric. Long, sustained chords from strings, woodwinds, synthesizers and a wordless chorus float about the scene, counterpointed by electronic �chirps� and wails (suggestive of crickets and birds) instantly establish the feeling of a magic forest. As Blix appears, Goldsmith introduces his goblin motif. At once humorous and creepy, the goblin motif is a nasty, piercing motif featuring a somewhat �farting�-like synthesizer, which perfectly captures the goblins� slimy persona and wicked treachery. (This motif also embodies Goldsmith�s entire approach to film scoring -- his desire for his music to express character above all else.) The Dream also supply a goblin motif (though it does not appear until much later in the film), which is comparatively non-melodic, consisting of rhythmic percussion sounds (a processed drum sample coupled with a sound like tuned bamboo being struck).
In the Euro-version, we are first introduced to Princess Lili as she strolls thought the forest, singing a short song, �My true Love�s Eyes�, by Goldsmith and lyricist John Bettis. The same song features in the DC, but curiously, in the Euro version we initially hear Lili singing without the instrumental accompaniment; in the DC we initially hear the instrumental accompaniment but without Lili singing.
The ensuing cue, featuring chorus and lyrical strings, captures the enchanted, pastoral setting. However, Lili is followed by the treacherous goblins, whose appearance is sharply signaled in the music, breaking the pastoral tone for a moment. The music takes an innocently mischievous, staccato turn as Lili unties Nell�s laundry line and scurries into Nell�s cottage. As Lili enters, Goldsmith plays a dreamy variation of Lili�s theme using mainly strings, chorus and synthesizer, expressing Lili�s innocence and na�ve perception of the simple peasant life as magical and �rich� (again Goldsmith�s music is emphatic of character).
Obviously Lili�s song is missing from the American version. The Dream�s music for Lili�s walk through the woods is one of their best cues, and features a pleasant, ethereal-yet-melancholy theme (but they curiously elect not to accent the appearance of the goblins). As Lili enters the cottage, the music becomes inexplicably sinister and menacing, as though she has entered a dark and dangerous place.
In actual fact no danger ever surfaces in this scene. Lili merely chats with Nell. In the Euro / DC cuts, Goldsmith continues with the ethereal Lili theme. The Dream however refrain from scoring their conversation. Goldsmith�s ends the scene with a playful phrase, as Lili skips out of Nell�s cottage to search for Jack.
Goldsmith stays silent until Jack appears and startles Lili. However, the Euro version includes a brief, playfully mysterious phrase as Lili nervously says Jack �if you�re here say something!� The DC unfortunately excludes this phrase, the music starting as Jack drops-down in front of her. In both versions however, when Jack appears, Goldsmith provides a lyrically playful, yet heroic version of Jack�s theme. In the DC, Goldsmith�s music remains playful, yet also pensive, as Lili tosses Jack a biscuit.
The Dream on the other hand resume scoring as Lili leaves the cottage, returning with the �slide-whistle� love theme (first heard in the opening scroll title) as Lili searches for Jack. The slide-whistle theme continues as Jack and Lili meet, and then run into the woods to enjoy some tawdry kissing. (The kissing scene is not in the Euro version or DC; these characters were never supposed to have kissed until the end. But since Universal wanted LEGEND to cater to teenagers, a tacky �make-out� scene was cut-together from alternate angles of Jack and Lili�s kiss at the film�s conclusion).
In the Unicorn sequence, Goldsmith�s music crescendos in enchanted splendor with chorus and strings, as the two unicorns frolic in the effervescent stream. But this moment of fleeting bliss is broken by the arrival of the goblins, who wait to strike from a hidden position.
In the DC, Lili is unexpectedly charged by one of the unicorns. Goldsmith� music begins with of pulsing synths, which are joined by strings and chorus. This music appropriately evokes the terror of the moment, but ironically it is actually the music written for a later scene. This cue was supposed to accompany Jack as he searches for Lili�s ring under water, while the storm brews above. It is not known if Goldsmith actually scored the unicorn charge (I�m assuming he did not).
As the unicorn relents, Goldsmith�s music returns with ethereal beauty, but as Lili sings to the unicorn there is also sense of inevitable tragedy and doom, as Blix prepares to fire a poison dart into the stallion. Once Blix strikes, and the unicorn runs-off, Goldsmith attacks with the goblin motif, now sounded in bellicose triumph by blaring French horns.
Tangerine Dream introduce the unicorns with a motif for synthesized shakuhachi (investing the music with an incongruously Japanese flavor). A sampled electric guitar is added, and while the music crescendos in triumph, the pop-rock sound of the electric guitar shatters the delicate, faerie-tale atmosphere. (Also, without Lili singing to lure the Unicorn, there is no plausible reason that Unicorn should approach her.)
In the Goldsmith versions, Lili now attempts to soothe Jack�s troubled heart with another song (called �Bumps and Hollows� on the CD). In the European cut, the music subsides after Lili�s song until Jack dives into the pool to retrieve Lili�s ring. This is unfortunate, because Goldsmith�s phrase for Jack�s dive into the pool is later repeated when he returns to find the ring toward the end of the film, and the nice sense of continuity provided by the music is lost.
Happily, the DC does retain Goldsmith�s music following the song, which consists of Jack�s theme, and which culminates in a wondrous crescendo when he dives-in after the ring. Once Jack pierces the water�s surface (in both versions), the music shifts into a darker tone as Jack dives deeper into the pool and a storm starts to brew.
Tangerine Dream�s music for Jack and Lili�s conversations is underscored with sampled voices, while Jack�s dive into the pool is accompanied by a low, downward glissando.
Goldsmith�s music for the storm sequence is hard to appreciate in either the Euro and DC of the film, being not only dubbed at a low level, but also savagely re-cut for no apparent reason. As mentioned earlier, part of Goldsmith�s cue for this sequence (�The Freeze� on the CD) was used over the earlier unicorn charge. However this cue is not used intact in the scene for which it was actually written. Instead the �Freeze cue� is crudely inter-cut with the cue for the climactic dungeon battle (titled �Darkness Falls� on the CD). Fortunately the cue�s most powerful moment � a surging choral passage � is heard intact as the goblins sever the unicorn�s horn (or �alicorn�). (Incidentally, on CD the pulsing synth that accompanies Jack�s first moments under water is mostly cut-out � presumably deemed to programmatic for listening apart from the film.)
Tangerine Dream are likewise subject to a low dub in this sequence, but there is not too much on which to comment. The music consists of various wails and electric guitar twangs, again functioning more like sound effects than dramatic music. A melancholy cue accompanies Lili�s as she frantically searches for Nell�s cottage. In the ensuing scenes, the Dream�s goblin �theme� reappears, its abstract series of rhythmic percussion samples depicting the mayhem they wreak, but not so much their character.
As Jack is awakened by Oona, Goldsmith brings in her theme -- a three-note motif, played here (as in much of the film) in the high register of a Yamaha DX-7 synthesizer. Strings join the synth, and as the faeries appear, Goldsmith supplies additional electronic �whistles� and �bubbles� which evoke the euphoric faerie magic about the scene. This culminates in a solo fiddle quoting the reel like �faerie� motif, as Jack is greeted by Honeythorn Gump.
Tangerine Dream open the same scene with a sustained chord as Oona approaches Jack. As the other faeries appear, the Dream employ a sampled panpipe with noisy, metallic percussion sounds, which play more like sound effects than music.
Much of this scene is in fact missing in all three versions of the film. Originally, when Gump learns of Lili�s attempt to touch the Unicorn, the enraged faeries cast a spell on Jack to make him dance uncontrollably as punishment. Gump accompanies the dance playing a furious reel on his fiddle. The surviving sound track from this dance sequence can be heard in the bonus features on the Ultimate Edition DVD. (The �Faerie Dance� on the Silva Screen CD is a different arrangement than that heard on the DVD � I suspect it was arranged specifically for the album, as it features a fuller, more orchestral arrangement, although it was not included on the original album release).
As Gump offers Jack the chance for absolution if he answers a riddle, Goldsmith employs strings and synths to create an uncertain, suspenseful tone. Solo violin pizzicati reflect the pensive mood as Gump awaits Jack�s answer. As Jack bests him with the correct answer, Goldsmith plays Gump�s erupting tantrum with another fiddle reel, counterpointed by piercing xylophone glissandos and synths. (Ironically, this �riddle� scene was restored for the American TV version of LEGEND, so that Goldsmith�s music suddenly starts playing in the otherwise-Dream scored cut, resulting in an awkward clash of styles.)
As Gump passes the wine around, Goldsmith's music is based on the faerie theme (the melody heard in �Sing the Wee� on the CD), which he sets in an arrangement for woodwind, celeste and strings (with a little synth coloring), expressing the goodness of the faerie folk. Dream's music for this same scene has by contrast an almost 20s-style �jazzy� feel to it, with synthesized shakuhachi and pan flute.
As Jack and the faeries find the stallion dead in the snow, the surviving mare confronts the hero. As the mare has no voice of her own, it falls to music to express her inner feelings. Goldsmith uses the goblin motif (voiced by angry brass) to express the mare�s bitter rage toward Jack for causing this tragedy. As Jack begs her to forgive him, the music settles into a gentle, melancholy flute (playing the unicorn theme), which now expresses the mare�s forgiveness. Once more Goldsmith�s music expresses character.
The Dream on the other hand use their unicorn theme, but do not express the mare�s anger, or her change of heart (thus the unicorn�s inner feelings are not communicated in the American version).
In the cave scene, where Jack learns Oona's true identity, Goldsmith returns with Oona's theme on the DX7 synthesizer as she leads Jack through the cave. As she transforms into human appearance, high strings take over her theme � reflecting the transition from tiny light to her human form. Dainty and sensual, the music at once captures Oona�s ethereality and seductiveness. When Jack goes to remove the sword from its resting place, Goldsmith comes in with heroic French horns that convey his heroism and purity.
The Dream's music for the cave scene is oddly rhythmic, with an almost rock and roll sound, yet at the same time rather static. �Tinkley� chimes capture the a faerie feeling of Oona, but the cue is largely non-melodic (again more like sound effects than score) and fills the space, but offers no insight into Oona's character. When Jack reaches for the sword, the Dream use their �Jack� theme (the melody that opens "Loved by the Sun" on the album), but its feeling is one of cool and self-assuredness, as though this is Tom Cruise�s character from RISKY BUSINESS, not a naive woodland boy who has never handled a sword.
As Brown Tom is attacked by the goblins and struggles to hold them off with his frying pan, the music (in both the Euro and directors cuts) is cut together from the dungeon fight cue from the film�s climax (�Darkness Fails� on CD). Goldsmith actually wrote something else for this scene -- a frenetic, feisty cue that adroitly combines the faerie and goblin motifs. Goldsmith�s cue played-up both the danger and humor of the scene (the tone of his cue was a little reminiscent of his score for GREMLINS). Unfortunately this clever cue was not selected for inclusion on Silva Screen�s CD (probably owing to its brief duration). The edited version of �Darkness Fails� which was ultimately used in the scene is far darker in tone; presumably Goldsmith interpreted the scene as more humorous than Scott intended.
As Jack and the faeries first come upon Darkness� fortress (or �the great tree�), we hear a cue very similar to the one written for Jack�s underwater search (also used over the unicorn charge). In fact it is essentially the same cue, but here employs different synth timbres. While it has more of a �cricket�-like sound earlier in the film, it has a �whooshing� quality here. Again it is not certain whether Goldsmith intended it for this scene (though it does work well).
As Screwball edges his way toward the great tree, he hear the �Freeze� cue � however in this instance it is stripped-down to the synth lines, with the orchestra and choral parts mixed-out (it is unknown whether or not this was done with Goldsmith�s cooperation).
In the American cut this scene is underscored with assorted wails and chords, again more like a musical sound effects.
The appearance of Meg Mucklebones is un-scored in the Goldsmith version. However, after she is slain by Jack, an eerie cue featuring male voices and woodwinds underscores the shot of the fortress and the scene of Lili and the unicorn trapped in the dungeon. This cue is re-used several more times in the film (during Lili�s later conversations with Darkness) but I believe it was actually composed specifically for this sequence.
In the American version the Meg Mucklebones scene is scored by a repetitive �electric bass�-like figure and �creepy� chords, which do little except provide sonic wallpaper (to a scene which doesn�t really need music anyway). The shot of the great tree and the brief dungeon scene are scored with �electric organ� tones and assorted creepy chords, with the unicorn accented by the �shakuhachi� call.
Later, when Oona promises to help Jack and co. escape from the larder if he will kiss her, Goldsmith's music is delicately sensuous as Oona attempts to coax a kiss from the hero. As she impersonates Lili in order to better woo him, Goldsmith employs Jack�s theme on flute, counterpointing it with a high-pitched DX7 -- reminding us that there is faerie magic at work here.
Tangerine Dream on the other hand, provide low wails counterpointed with the "slide-whistle" synth when Oona asks Jack to kiss her. This music is appropriately strange and mysterious, but again doesn�t probe into characterization. Whereas Goldsmith plays on the flirtation, longing and desire between these two characters, the Dream merely play the superficial �strangeness� of the moment. As Oona impersonates Lili, the love theme comes-in, which glosses over the nuances of the scene.
The Dream do provide an effective cue for the scene where Lili wanders lost throughout the Dark Lord�s fortress. While the electronics are limited in their spectrum of timbre, their use of plummeting arpeggios nicely evokes Lili�s almost feverish state, as Oona follows her at a distance.
The music Goldsmith originally wrote for this scene was unfortunately not used (nor included on the Silva Screen CD). This is a shame as Goldsmith provided a hypnotic waltz, whose 3/4 tempo perfectly captures Lili�s dazed, frightened condition, while the �Oona� motif is cleverly blended in. For reasons unknown, the scene was tracked with the main title (which does not work nearly as well).
In few places is Goldsmith so sorely missed as in the "Dress Waltz" scene. Dizzying and seductive, the surging chorus of his waltz perfectly underscores Lili's seduction by the dark wraith. The orchestra and chorus crescendo in magical fury, finally reaching an explosive climax. Swelling glissandi from synthesizer appear as Lili finds she is transformed into the dark figure herself.
If this scene is one of Goldsmith�s strongest in the film, it is ironically one of Tangerine Dream�s weakest. The Dream merely provide a kind of light �calliope� waltz. There is a hint of darkness to it, but unlike Goldsmith�s waltz it doesn�t build to any kind of climax, and is simply too subdued to add any dramatic intensity to the scene. Lili�s dance with the apparition comes-off as utterly foolish set to this music.
As Darkness emerges from the mirror, the Euro version and directors cut use a brief choral track extracted from �The Freeze� (with the instruments mixed-out). As he steps toward Lili, we hear the �Dungeon� cue from earlier in the film (which comprises the first part �Darkness Falls� on the CD).
Tangerine Dream employ appropriately sinister sampled male voices as Darkness appears, but then bring-in in a sampled sitar, which causes a little head scratching on the part of the viewer (is the Lord of Darkness from India?).
A discussion of the kitchen scene is worth including, if only to defend Goldsmith, for the music in this was not part of his score for the film. For reasons unknown, the kitchen scene uses music from Goldsmith�s 1983 score for PSYCHO II. As Jack and the faeries collect a pile of giant plates, a terror cue from PSYCHO II underscores their efforts. While it does create an appropriate feeling of fear (as the demon chefs could wake up at any moment) the �slicing� synth-effect (originally written for a grisly murder scene) doesn�t quite work here.
The actual fight with the demon chefs is merely tracked with library music by the late Tim Souster. While appropriately aggressive, it does not stylistically fit-in with Goldsmith�s score at all. Goldsmith�s Main Title from PSYCHO II is then used in the aftermath of the fight as Jack is cheered by the faeries.
Why Goldsmith did not score the kitchen scene remains a mystery. One suspects that Ridley Scott did not initially intend to use music in this scene (and it doesn�t seem to need music), but late in post changed his mind. Still, one would think they could have found music that was a little more appropriate to the tone of the film (like maybe something from Goldsmith�s SECRET OF NIMH or TWLIGHT ZONE: THE MOVIE, which are much closer in style to LEGEND than PSYCHO II or the library music!).
The Dream�s music for the kitchen scene at first works well, utilizing a staccato melody as the heroes pile-up the plates. However as the fight ensues the music degenerates into a rhythmic cue featuring a synthesized electric guitar and drum machines, again evoking not the character of Jack the hero, but sounding more appropriate to Cruise�s persona of Maverick in TOP GUN.
In the Euro and directors cuts, Darkness� prolonged conversations with Lili feature the same cue (the first part of �Darkness Fails� on the CD), repeated several times. Again it is a mystery as to why it is used repeatedly, or whether Goldsmith wrote more original music for their scenes.
Tangerine Dream scores the climatic dungeon scene with a fairly simplistic cue that is more or less an extended thumping rhythm, underscoring the scene with little variation. On the other hand, Goldsmith invests the scene with a strong sense of culmination, quoting most of the film�s major motifs. A frightened and suspenseful variation of the love theme is heard as Jack is faced with having to kill Lili, who has apparently turned to evil. As Lili cuts the Unicorn's chain, proving Jack's suspicious wrong, Darkness strikes her down. Jack confronts the Dark Lord to do battle with him, and Goldsmith accompanies this with a heroic trumpet fanfare.
As Darkness gets a hold of Jack and traps him between his massive horns, Goldsmith masterfully conveys Jack's feelings of fright and horror with a searing, dissonant chord sustained by synthesizers and strings. As their swordfight ensues, Goldsmith's music becomes bold and heroic, with brass becoming a foreground element, while the high synth �Oona� motif is cleverly worked-in as she attempts to rouse Brown Tom.
As the shaft of light blasts into the dungeon and engulfs Darkness, the chorus is the dominant force, heralding his demise with storm-like fury. Jack strikes him down and he is sucked into an abyss. In the Euro version we hear a synth glissando steadily rising in pitch after Darkness has been swept away. In the directors cut on the other hand, the same synth glissando is heard over the music accompanying Darkness� final monolog, before he is struck-down (the glissando is not heard on the CD however; obviously it is a �sweetener� track -- i.e. a separate musical line or lines which a composer records separately which can be added in the final dub if needed).
Goldsmith�s music for the dungeon fight and climax is unfortunately dubbed at a ludicrously low level, greatly hindering its contribution.
In contrast the Dream choose to accent little of the dungeon fight and climax. Jack is cornered by Darkness, but the music does not convey the chilling intensity that Goldsmith�s does. The rock-like rhythm thumps through the whole sequence, never altering to express Oona's ethereal delicacy, or Jack's sterling heroism. Their music does turn momentarily triumphant as the shaft of light burns into the dungeon, and appropriately black-hearted when Darkness is dragged down the corridor, bringing-in their �eastern�-flavored Darkness theme as he is destroyed, but the continual thumping rhythm undercuts its effect.
In both theatrical versions of the film, the final scenes are considerably re-cut. The Euro version is awkwardly cut-down to run at a faster pace, while the American version is more smoothly cut into a montage, cutting between Lili�s resurrection, and Gump�s restoring the horn to the Unicorn (the Unicorn�s resurrection is not shown in the Euro version or directors cut).
Ironically, Goldsmith intended to reprise Lili�s song in the final moments of the film, but it was cut from the Euro version. However her song is heard in the DC, right before she says goodbye to Jack. Goldsmith�s music also feels better suited to the slightly more bittersweet ending of the directors cut, in which Jack and Lili part (as opposed to the more sentimental ending of the theatrical versions in which they run-off together).
Ironically Tangerine Dream never intended there be a song at the end of their score. Someone (probably at Universal) decided the final scenes of the film should be a song so they commissioned Jon Anderson (formerly of Yes) to provide lyrics and sing them over the Dream�s music. While a very nice song (and similar to the albums Anderson did with Vangelis in the 80s) it nevertheless ruins the finale of the film, by reducing it to a tacky music video. Froese admitted to CinemaScore magazine �we are not totally enthusiastic about that�.
At its conclusion the Anderson song cross-fades to the laughable �Is Your Love Strong Enough� sung by Bryan Ferry (which is written in a different key, resulting in an a painfully awkward segue). Mercifully, audiences are spared the image of Ferry in his leather pants and high-heeled boots (which figured so prominently in the bad music video which aired on MTV at the time of the film�s release).
THE AFTERMATH
In addition to having his work removed from the film, Goldsmith suffered a further injury to his work. Administrative incompetence and studio apathy toward his score actually resulted in both the session master tape, and the entire written score -- composer�s sketches, conductor�s score and instrumental parts -- being misplaced, and apparently lost for good. A complete tragedy was averted however, thanks to recording engineer Mike Ross-Trevor, who saw fit to preserve a two-track digital copy of the session masters (which he stored safely at his home, and from which Silva Screen�s 1992 expanded reissue of Goldsmith�s score was mastered).
In the aftermath of LEGEND, Ridley Scott commented �I still have to make my peace with Jerry. I want to work with him again.� But alas Goldsmith and Scott never did work again. While it is perhaps understandable from Goldsmith�s point of view, it remains unfortunate there were not more collaborations between these two cinematic titans. ALIEN and LEGEND inspired some of Goldsmith�s best work, (and one wonders, wistfully, what the composer might have come-up with had he been asked to score GLADIATOR).
Scott also did not work with Tangerine Dream again after LEGEND. The director hired Michael Kamen to score his next film, SOMEONE TO WATCH OVER ME, and the project that followed, BLACK RAIN, began Scott�s long association with Hans Zimmer.
Since LEGEND Scott has rejected only one other score, curiously enough the work of another acclaimed veteran composer -- Maurice Jarre, whose music for WHITE SQUALL was replaced by Jeff Rona.
Tangerine Dream have not been active in films much since LEGEND, though former Dream member Chris Franke wrote the music for the successful BABYLON 5 series, among other projects.
Jerry Goldsmith maintained a successful career in the wake of LEGEND -- a career which, along with his life, was tragically cut-short in 2004, when at the age of 75 he lost a two-year battle with leukemia. But even during his illness, Goldsmith�s professionalism and passion for music was undiminished, and he completed two scores just months before he passed away � Joe Dante�s LOONEY TUNES: BACK IN ACTION, and Richard Donner�s TIMELINE. (Sadly, in a case reminiscent of LEGEND, Goldsmith�s music for TIMELINE was rejected and not used in the finished film.)
� 1995-2006 Paul Andrew MacLean. All rights reserved.

Yes, I remember reading that. There were some observations I recall not agreeing with but I can't recall them now. I'll re-read it tonight and give my response. Most of it was very good though

Cool. I wasn't posting it to contradict you or anything silly, I just thought it was interesting reading and, let's face it, the more we can piece together about this beautiful score, the better.

agreed! And I don't mean it that way either... I just remember reading it and as I studied there were some parts I was like "well....I don't think that's quite right" heh... I don't remember them off hand though. But it is a good read

Thank you GoodMusician for all your hard work on this wonderful soundtrack. I will never forget the first time I heard this score while I was shopping in a Tower Records in Sacramento, California in 1986. I bought the LP on the spot and have collected all the bootlegs that have shown up on the web over the years. Oddly, I have never seen the film. Thanks again for your impressive reconstruction of this great score.

Ah, a fellow analyst! I can certainly sympathise with the sheer amount of listening, analysing, compiling, re-listening, writing and proof-reading you have to undertake for posts such as this, and given how painstakingly detailed your analysis is, the proverbial blood, sweat and tears infused in your writing is evident. I can clearly see you and a large collective of others have a deep respect for this score, and I can understand that. Here's hoping, for your sake, that more music from this lovely score is bought to the light someday.

I'm surprised, yet simultaneously not surprised, by the response to me posting this. Its funny because I'll be honest, I've sat on this for a while. I know that earlier this year I worked on my edit for a friend but then went back and finished it March/April of this year but never really posted it because I was unconvinced people would want to listen to it lol...

I'm glad that you are all able to enjoy it. That's always my goal is to present something that's honest, that's as truthful and complete as possible, and that people can enjoy and learn from

I doubt that this thread will get a quarter as many views as, say, Inception, Pirates Of The Caribbean, Man Of Steel, or another random modern monstrosity... but inside this thread you will find people who love this music - and when I use that word, I intend its most honest and pure meaning. The love one feels for something which resonates with them, for something that touches their heart in that peculiar way that's so difficult to quantify, impossible to replicate, but feels like the most effortless thing in the world when everything aligns and there it is.

Thanks for all your efforts GoodMusician. This is one of hte scores that grow up with the time and mistery like Blade Runner.

Good Musician,

Thanks a bunch. I recently lost my 2002 copy w/o copy and this more than covers (+) more! Happy Thanksgiving1

Trxscor

Thank you for your efforts, GoodMusician. At the moment, I'm at a loss for words that would express my excitement, as Goldsmith is my favorite film composer and "Legend" is one of my favorite scores.

On a side note, I wish tangotreats the best of luck in winning the lottery! A re-recording of the full score would be welcome indeed.

My copy of the Silva was in my car when it was stolen... I doubt the thieves enjoyed it as much as I used to...

omg! I had someone break into my car and steal some cd's but I dont' think they really knew what they were grabbing... it was the SE Return of the Jedi (the poorest quality album I've ever purchased) and a few others that I can't recall now. Wasn't happy though...

"Legend" has been and dear to my heart for most of my life. I cannot wait to listen to your hard work. Thanks so much for sharing.

Thank you. One of his best works. A masterpiece.

Thank You,

Ok, to all the great people who are enjoying this, some interesting developments are happening... more to come...

Intriguing! Can't wait to see what these "developments" are!

So here's the INTERESTING development:

It was brought to my attention that I had missed some details (minor but yes I missed some things).

So, I have adjusted.


1) Jack Surprises Lily (Revised) - Unicorns [8:12]
This track had some interesting changes made on the albums which should have tipped me off. First off, there are two introductions. One is extended slightly longer than the other. Then, in the area where the trumpet gets bright and brassy before the choir comes in (the first true reveal of the river just before Jack picks a Lilly for Lilly) there was this odd edit in one of the releases. This implied that an alternate take had been used and pasted over an earlier take (but the effects of this were evident).

What this should have meant was for me to check in more detail this first half which I had chocked up to being only different due to the introduction.

Comparing to the blu ray again, I found that the film version (with the shorter introduction) has a slight extension in the area around 3:30 as the two arrive at the river. I've replaced this missing segment into the track now. There weren't many sfx so I've included it on Disc 1.



2) Gump - Life Be But a Dream - Silence [1:35]
This has no new material but I've gone back and tried to improve the sound a bit more finding a cleaner rip on an alternate edit of the film.

3) Lilly Awakens (Film Version) - [04:03]
I had originally used the Extended Directors cut of the film to produce this but have since found that the European cut was a bit easier to extract the music from and so I've gone back and cleaned it up a bit more. I find it much more listenable.

While doing this, however, I noticed what I had assumed was just a different mix near the end of the scene of Jack and Lilly reuniting to be an entirely different performance.

Comparing to the music of "True Loves Eyes" it became obvious that although a similar section exists in the version with the song, this was intended to fulfill the same section with the song omitted and with Jack and Lilly running off Together, instead of Jack staying behind.

Thus...

4) Finale No Song (Film Version)- Credits - [5:05]
This is the version heard in the European cut of the film omitting Lilly's reprise of "True Love's Eyes" and continuing into the credits.

You should be able to, excepting on Disc 2, replace all the tracks with these. On Disc 2, however, the "Finale No Song" will need to be added as the 2nd to last track (or however you'd like it)

Enjoy!

https://mega.co.nz/#!DVMhkTiK!IX3FEVhKCYce_9yltbpjSijNl94ajLIFHpCAa7w BTqc

Thanks for the update!

Links in the initial post have been updated (track list too) so any one new to this will get the full correct set

*updating*

Thanks! :)

Thanks a lot for this impressive work!

Unfortunatly, I can't reach it, MEGA locked in my country.
By any chance, a mirror site?

Thanks anyway

if you know one I'll upload

thank you very much!

Any other common site will be OK.
If possible, thanks a lot!

By the way, I briefly met Jerry Goldsmith in London in 1989. I wanted to discuss about Legend, but it was still a bad experience for him so, he eluded the question!

I don't know of any other sites I'm sorry. Its why I chose that one because I've not had many issues. I'm sorry :( If someone knows a good one that I can upload for free to I'll do it

Anyone have the remixes and extended versions of "Is Your Love Strong Enough" by Ferry in 320 or FLAC? I love the song and know there's 1-2 other versions out there besides the original mix, I have one of them in 192 but would love all known versions in 320kbps or FLAC.

We do not speak of THAT LEGEND here!... jk :-p

such a labor of love - thank you!

Thank you, GoodMusician. I had the bootleg of the image you show in the first message, and previously to this download I listened to it again, feeling that it was good enough for me. But clearly the 2 h 21'' of this edit are a vast improvement over it, although, as it happens often, some of us won't be able to fully appreciate the extent and goodness of the work you've done. I've saved the information, exceptionally in html format (those bold titles... :D), to have easy access to it, but at this moment I'm just having a great time listening to it.

Thumbs up also for the updates.

Would love to give a great Thank You for this tremendous task. Goldsmith would be honored.

Thanks.

Appreciate this one! Thanks!

A big thank you to GoodMusician for going to all the trouble of creating this post of one of my favorite Jerry Goldsmith scores. Great work and again, thanks very much.

Thank you very much for this detailed share!
Took the liberty and made a quick cover from a poster

<a href="http://imgur.com/n1WtwMy">

OMG I love that! It will be the cover for my set now so awesome!

Thank you very much for all the hard work !

Thanks for all your hard work- Legend is of Goldmith's most definitive works, and it has always been a shame that much of the music was never released (Goldmith never had much luck with Ridley Scott, after the way Ridley butchered his score for Alien)

Amazing job. Thanks.

Thanks so much! I'm a little embarassed to say I've never actually seen the film nor have I heard any music from it. Not sure why I've never seen it but I will some day.

Thanks for all your hard work on one of my favourite films and score :-)

Thanks for the share!
And for the extensive info!!

Many, many thank's to you. For your work and time and for something that I can not do .. Have a nice day!

So it was brought to my attention that people are selling my work. They are also misrepresenting MY edits as sessions and tricking people into trading for them.

I don't get money for my edits and I SHARE them freely for others to learn about them and enjoy them. I don't mind people sharing them, in fact, If I'm sharing, so can you! I think giving your friends these sets is an amazing way to spread knowledge and the love of film music and if an official printing comes along, it'll make you want it all that more...

But when it comes to my attention that MY work that I put ALL The energy and effort into to make sure it was 100% right (more than you can say about MANY labels which actually make REAL products you can buy), my labor of love... and people are tricking people with them? Posting them on EBAY? Selling them?? OTHER people are making money on them???

Watch how quickly my edits STOP GETTING POSTED.

If I see it again, then I'm removing all links.

GoodMusician, thank you for this entertaining and informative share. I found your detective work and analysis fascinating and more than doubled my enjoyment of listening to your compiled Masterpiece (indeed!) edition of Goldsmith's Legend score.

Thank you!

GoodMusician...please don't let the enjoyment of the honest fans here be ruined by some selfish crooks! Your work around here is really appreciated by us folk that are powerless to stop these jerks.

GoodMusician thank you for this, an incredible share! And shaqfu's cover is so well done...a perfect match. I salute you both.

So it was brought to my attention that people are selling my work. They are also misrepresenting MY edits as sessions and tricking people into trading for them.

I don't get money for my edits and I SHARE them freely for others to learn about them and enjoy them. I don't mind people sharing them, in fact, If I'm sharing, so can you! I think giving your friends these sets is an amazing way to spread knowledge and the love of film music and if an official printing comes along, it'll make you want it all that more...

But when it comes to my attention that MY work that I put ALL The energy and effort into to make sure it was 100% right (more than you can say about MANY labels which actually make REAL products you can buy), my labor of love... and people are tricking people with them? Posting them on EBAY? Selling them?? OTHER people are making money on them???

Watch how quickly my edits STOP GETTING POSTED.

If I see it again, then I'm removing all links.

I feel your pain. The work I have done in the past is being sold online. Jaws 2 and Fright Night (1985) to name a couple. I don't charge for my projects because it defeats the purpose of a fan editor, they're a labour of love and I work so hard on every single one. It cheeses my onions to see some spineless, money grabbing, lazy, hunk of steak faeces ripping me and fellow editors off. It jeopardizes what we do and it's a smack in our faces ... and if you are one doing this, you are a cunt.

I was planning on doing Legend for its 30th anniversary but I see the European / directors cut has been covered. From what I can gather, you had the same trouble on this as I did with Flash Gordon and Nightmare on Elm Street. You have done an awesome job. I'll try the American version at some point in the near future.

many grateful thanks for your hard work GoodMusician!!!

We do not speak of THAT LEGEND here!... jk :-p

I don't mind the Lemon Nightmare version. I'm easy. Easy come, easy go.

---------- Post added at 08:48 AM ---------- Previous post was at 08:44 AM ----------




<a href="http://imgur.com/n1WtwMy">

Ooooh nice Horny cover.

Great share, man. Thank you very much.

Looking forward to listening to this while reading your notes; thanks for the work & the share.

About half way through it and so far

http://i629.photobucket.com/albums/uu19/Sharkathi/36243-slow-clap-citizen-kane-orson-w-bJkI.gif

Thank you so much for your hard work.

Wow! Thank you so much! :o

Bill :D

Wow! Your obsession to get this "right" has paid off in spades. Thank you so much.

Brilliant read.... fantastic!

Thank you so much for this amazing music! Great share!

Take your pic ;)

(http://imgur.com/1m8ZIRz) (http://imgur.com/jBRk0NR)

wow! Thanks for the art!

thank you very much for your work GoodMusician

Great covers Dave

excellent job

Great share, thank you very much.

wow! Thanks for the art!

Thank YOU for your hard work! I must've lost this somewhere because I only had SonicAdventure his remastered version. I came back for this and had to make some art to accompany it ;)


thank you very much for your work GoodMusician

Great covers Dave

Thanks :)

Thanks for the new art.

Man wouldn't it be fantastic if Ridley Scott after Bladerunner 2 did a sequel to Legend. Id get James Newton Howard to do the music.

Fantastic work! Thank You!

Superb work on this---thanks!

Thanks for the new art.

Man wouldn't it be fantastic if Ridley Scott after Bladerunner 2 did a sequel to Legend. Id get James Newton Howard to do the music.

One can only dream :) I agree on JNH. Perhaps Johansson would be a good choice as well.

Can someone re up this or send a link please? Thank you.

Please reup!

First post links updated

Just wanted to say thanks again for this work and re uploading it.

Masterful work on the masterpiece. Thank you.

Also just wanted to add my thanks to your incredible work with this amazing score :)

Thank You

Great stuff! Thanks so much for reuploading!

I love this score, and I have to say that your work on it is as comprehensive as possible given what's available. Thank you.

Nice work OP. I loved this soundtrack from the first time i heard it back in the 80's.

Thank you, GoodMusician!

I cannot thank enough for being the one to bring this magnificent score back to life for the rest of us!

Could someone please repost again?
Links down as of Aug. 3, 2018.

could someone share the link again? thanks in advance!

Yeah, a re-up would be great! Thank you! :)

Can someone re up this or send a link please? Thank you.

link isn't working =(