VGM Entry 33: Amiga 500
(Thanks to Tish at FFShrine for the banner)
It was around 1988 that European computer gaming really started to make the transition over to the Amiga 500 from the Commodore 64. While the Amiga line had been around since 1985, the Amiga 500 launched in 1987 and was designed to be a much more cost effective, mass consumer-friendly product.
With a change in platform came a change in composers, oddly enough. Rob Hubbard is mentioned in a measly nine game credits on Lemon Amiga, and Martin Galway not at all. Suddenly David Whittaker, a Commodore 64 composer with an expansive library but little fame, ruled the roost. If we consider again a simple Lemon Amiga search result, his name pops up in 86 different Amiga titles. Platoon (Ocean Software, 1988) was not actually originally his, but as a faithful port of Jonathan Dunn’s 1987 C64 original (unless of course the music appeared in the movie itself; I’ve never seen it) it makes apparent the audio improvements the Amiga could offer. Whittaker’s Platoon was not necessarily better than the Jonathan Dunn original if we consider what the two artists had to work with, but he certainly did not squander or misuse the expansive new options that the Amiga 500 brought.
Whittaker’s most famous work would arrive the following year. Shadow of the Beast (Psygnosis, 1989) was a 12 song collection which really helped to solidify what we might think of as the Amiga 500 sound. The old Commodore 64 crew typically failed to carry on their legacies in the Amiga era, true, but most of the composers who replaced them did get their start programming for the C64 and enjoying the works of Hubbard and co. Artists had to be very selective about the styles of music they pursued in the C64, given its limited capacity, and what I think you hear on soundtracks like Shadow of the Beast is a continuation of those styles set to pretty decent instrument samples. This song could easily be translated into a SID piece and retain its original character. The actual C64 conversion sounded bad, as it turned out, but only because Fredrik Segerfalk did a shoddy job of it, not because the music was incompatible.
My favorite Amiga 500 tune by far though is Crystal Hammer (reLINE Software, 1988) by Karsten Obarski. The game itself is a mere Breakout copycat, but Obarski really made it shine. From what I can tell it was one of his only game compositions–Sarcophaser (Rainbow Arts, 1988) is another good one–and the brevity of his works is quite a shame. He made his name known more as a software developer, creating the highly criticized but frequently employed Ultima Soundtracker for the Amiga. Despite having almost no involvement in Commodore 64 composition whatsoever, Obarski’s music sounds just as indebted to Rob Hubbard as the rest of them. This is especially apparent on Sarcophaser, where you can get a feel for how the standard SID sounds and the more original style of Crystal Hammer existed side by side.
Chris Hülsbeck was a bit of an exception to the rule of new names on the new platform. One of his most shining moments was the Amiga 500 port of R-Type (Electric Dreams, 1989). Though Hülsbeck did, to the best of my knowledge, create the loadscreen music to the Commodore 64 version of R-Type as well, he chose two completely different songs. Never fully conforming to the ‘standard’ sound of any system, Hülsbeck was going to forge ahead with his own unique sound, and the product might not be backwards compatible.
That being said, while I have no doubt that Hülsbeck composed the Amiga title screen–it is unmistakably his style–I can’t say with certainty that he actually wrote the C64 one. Ramiro Vaca is additionally credited as a musician on the C64, as is Darius Zendeh on the Amiga, and I am not sure what role either played.