Edward Scissorhands

1	Edward Meets the World: Introduction (Titles) 2:36
2	Edward Meets the World: Storytime 2:35
3	Edward Meets the World: Castle on the Hill 6:25
4	Edward Meets the World: Beautiful New World/Home Sweet Home 2:05
5	Edward Meets the World: The Cookie Factory 2:14
6	Edward Meets the World: Ballet de Suburbia (Suite) 1:17
7	Edward Meets the World: Ice Dance 1:45
8	Edward Meets the World: Eitquette Lesson 1:38
9	Edward Meets the World: Edwardo the Barber 3:19
10	Poor Edward: Esmeralda 0:27
11	Poor Edward: Death! 3:29
12	Poor Edward: The Tide Turns (Suite) 5:31
13	Poor Edward: The Final Confrontation 2:17
14	Poor Edward: Farewell 2:46
15	Poor Edward: The Grand Finale 3:26
16	Poor Edward: The End 4:47
17	Poor Edward: With These Hands / Tom Jones 2:43

Barnes & Noble

Former Oingo Boingo member and now immensely successful film composer Danny Elfman began his career scoring Tim Burton's films, so it's only appropriate that one of his most memorable scores should come from a Burton feature, 1990's "Edward Scissorhands." Elfman, eschewing his penchant for dark thematic textures here, has written a truly lyrical storybook score that opens with a music box motif that gradually gets elaborated by a full orchestra and chorus -- a device that has been imitated in many films and television commercials since, though without the delicacy and whimsy Elfman puts across so effectively in his music. The entire soundtrack is as moving as it is uplifting, effectively demonstrating that Elfman was a more fully rounded film composer than his earlier work had an opportunity to display. Andy Dursin

All Music Guide

It is not the easiest task to combine compassion and creepiness into one musical piece, but Danny Elfman has demonstrated, quite elegantly, just how to do it. Edward Scissorhands is quite considerably his masterpiece, instantly recognizable and hauntingly memorable. The concept of a man-made creation, a recluse who has been left with scissors for hands because his inventor died just before attaching natural ones, is certainly strange and possibly laughable. The film may indeed have played as pure farce if not for Elfman's artistry. While many films use soundtrack as the "glue" of the story, or as border, Elfman saturates every bit of Scissorhands so that it is as much his art as it is the director's (Tim Burton). The opening title is fantastic, emitting the wonder of childhood dreams and classic storybooks. But it is only the starting point on a journey of music that concludes with the "grand finale," which is not merely grand, but all encompassing. There are minor detours along the way, like "Edwardo the Barber," which is fun and reminiscent of Pee Wee's Big Adventure, but even in its lighter moments, Edward Scissorhands is classic. Peter Fawthrop