Tag Archives: Nintendo

VGM Entry 36: Mother, Batman, Goemon

Posted on by necromoonyeti

VGM Entry 36: Mother, Batman, Goemon
(Thanks to Tish at FFShrine for the banner)

A lot of solid Nintendo soundtracks were released in 1989, and I can’t touch on all of them, but here are a few other noteworthies I can’t justify passing over.

Ganbare Goemon 2 (Konami, 1989) added a lot to the sound of the original 1986 Goemon titles (Legend of the Mystical Ninja series in the west), maintaining the same style but adding a percussion track and much more complimentary and varied tone selections. I’ve not managed to find a satisfactory answer as to who composed it though. Tomoya Tomita, Koji Murata, and Michiru Yamane have all been credited here an there without any explanation as to their different rolls, and I’m pretty sure at least the latter two were definitely involved in some capacity, but I can’t be sure.

Konami has a long history of botching the names of their video games, and the Goemon series is no exception. For instance, I have seen sites unattentively list authorship credits as: “Goemon: Satoko Miyawaki. Goemon 2: Michiru Yamane”. But not only was there no game in the Goemon series actually titled Goemon or Ganbare Goemon, there were two games titled Ganbare Goemon 2. Different sub-titles sort this out, but I don’t trust the creators of massive composer compilation lists to have attentively adhered to this.

In so far as the original Mr. Goemon was released on arcade and the third Ganbare Goemon title was an MSX port of the first NES game (I’m not sure why it’s listed separately), calling the 1989 instalment Ganbare Goemon 2 was a fair move. The confusion in this instance did not arise until Konami decided to release Ganbare Goemon 2: Kiteretsu Shogun Magginesu in 1993. (If you add them all up, the second “Goemon 2” was the tenth Goemon video game.)

At any rate, you’re hearing Ganbare Goemon 2, no subtitle, and it was released in 1989. Enjoy.

Nobuyuki Hara and Naoki Kodaka composed Batman (Sunsoft, 1989) in the wake of Mega Man 2, when the bar for NES action game soundtracks was through the roof. I certainly don’t think it’s as good as Takashi Tateishi’s historic work, but it demands an honorable mention. Its most famous track, first in this compilation, feels straight out of a Castlevania game, whereas the second song here kicks off with more of a Mega Man vibe. All the while it is consistently driven by a forceful bass which really best defines the soundtrack. It is in large part the consequence of Hara and Kodaka landing on highly complimentary bass and drum tones which seem to mutually emphasize each other. The bass track is also much more complex in a lot of these songs than was typical for Nintendo music, and the dark, punchy vibe is perfectly suited for a Batman-themed action game.

Similarly, the frequent employment of Castlevania-style melodies is less a ripoff than a completely appropriate sound for the game. I mean, it could be a total coincidence that they sound alike at all. What is our hero here supposed to be again? Oh yeah, a bat.

Or it could be the case that Hara and Kodaka were avid fans of contemporary video game musicians and incorporated the best of every world with conscious intent. A lot of amazing works have derived from calculated stylistic fusions, and I would not rule out either possibility.

And then there is Mother (Nintendo, 1989). If you ever played Earthbound on the SNES, its music is etched into your memory whether you like it or not. Earthbound was the sequel, and Mother has still yet to be released outside of Japan today. I was a cool little middle school computer nerd who managed to get his hands on a fan-translated ROM, but having succeeded in acquiring it, I promptly lost all interest in actually playing it. It’s a shame, because now I am completely perplexed as to how these two games overlapped. The gameplay is literally identical to the SNES sequel, and I’m not wholly convinced that the plot is not as well. Likewise, quite a number of the songs of Earthbound first appear in Mother, including a lot of the battle themes. Keiichi Suzuki and Hirokazu Tanaka remained partners for both titles, and there is hardly any break where one lets off and the other begins. The original was certainly one of the most unique compositions on the Nintendo, but the same can be said for its sequel on the SNES despite the music really not changing much.

This compilation is really one of garudoh’s weaker efforts, and I can’t easily provide you with many alternatives, so I may leave most of the Mother discussion for Earthbound when I get to it.

But on a final note, here is one of the revisited battle themes in its original form, just to give you an idea of how effective Keiichi Suzuki and Hirokazu Tanaka’s drum and bass emphasis was even on a system as limited as the NES.

VGM Entry 31: RPGs in ’88

Posted on by necromoonyeti

VGM Entry 31: RPGs in ’88
(Thanks to Tish at FFShrine for the banner)

Nobuo Uematsu and Koichi Sugiyama were both at work in 1988, recording installments of the Final Fantasy and Dragon Quest series respectively. They both maintained their own standards, remaining at the forefront of RPG and adventure style music on the NES.

Final Fantasy II (Square, 1988) was actually a big improvement over the original. Nobuo Uematsu’s fundamental style hadn’t changed (and I would argue that it still hasn’t), but I feel like on this game he really mastered how to effectively arrange his works for the NES. I mentioned that Final Fantasy‘s arrangement felt like a finished product compared to some other genre-related games released that year, but in Nobuo’s later NES works you can start to get the feeling that the original Final Fantasy was also a sort of work in progress. It incorporated a number of slightly distorted tones which really gave his soft, subtle melodies an air of technological primitivism.

On Final Fantasy II you hear none of that. The overall sound is a lot more smooth. It’s immediately apparent in the “Main Theme” following “Prelude” in this sample. The main melody, here carried by a very soft and pretty tone, is precisely the sort of sound for which he employed a grittier, more mechanical tone in the first game. Since Final Fantasy II was released on the Famicom, not the FDS, I can’t imagine that there was any change in the platform’s capacity. I think, rather, he took some lessons from his earlier shortcomings on the production end of the spectrum.

Final Fantasy II was the first game to feature the famous “Chocobo” theme (1:40), and “Main Theme” (0:53), “Tower of Mages” (not here featured), and “Ancient Castle” (2:42) are all particularly noteworthy, but I think it’s the improved arrangement which really makes the soundtrack shine.

Dragon Quest III (Enix, 1988) is a little harder for me to assess, as I’ve somehow completely failed to acquire full soundtracks for this series. What I’ve heard seems like more of the same old, which is absolutely fine. Koichi Sugiyama seems to have continued to focus on rearranging earlier works rather than composing wholly new ones, and he had a decent amount of success in doing so. I’m not going to talk at length about a score I really know nothing about, but I thought it worth throwing out there again.

As I hope I’ve by now established though, the NES had by no means a monopoly on this style of video game music. Takahito Abe and Yuzo Koshiro’s work on Ys I is a soundtrack I’ve frequently cited, and its follow-up, Ys II: Ancient Ys Vanished – The Final Chapter (Nihon Falcom), was yet another fine 1988 sequel.

But the music here is pretty hard to come by. Takahito Abe was not a part of the sound team this go around, and Mieko Ishikawa took on the bulk of the load, with Yuzo Koshiro providing some of the more up-beat tracks, such as the one here sampled. Ishikawa isn’t a musician I’ve come across too often up to this point, but she was credited alongside Koshiro and Abe on Sorcerian, and I gather she was involved in future Ys titles. I suppose I should have featured one of her songs and not Koshiro’s, but I can’t find enough of it out there to get a good feel for it. There’s a nice sample of the song Tender People up on youtube that might give you an idea. It lacks Takahito Abe’s gentle touch, but it’s quite pretty nevertheless.

A lot of the difficulty in digging out Ys II tracks (at least in the short period of time I can allot it) stems from a remake of the game having been released for PC Engine / TurboGrafx-16 in 1989, a mere one year later. That release, Ys I & II, featured some outstanding new arrangements from Ryo Yonemitsu, but its success denies us easy access to Ishikawa’s original PC-8801 work. As far as Koshiro is concerned, some of his upbeat tracks come off quite well, but I feel like he lacked restraint on this album and ended up with a sound that just didn’t quite suite the type of game he was composing for. It’s a problem which Koshiro would thoroughly overcome over the next three years, adding such stark stylistic distinctions to his name as ActRaiser (Enix, 1990) and Streets of Rage (Sega, 1991).

Above all else in the RPG/adventure world of 1988 though, I’m most impressed by how my new-found hero Kenneth W. Arnold manages to maintain the high standards he set back in 1983.

This guy’s music blows me away every time I hear it, and his work on Ultima V: Warriors of Destiny (Origin Systems, 1988) is no exception. It’s atmospherically perfect. “Engagement and Melee” might be a simple song, but could it have been any more appropriate for a tense medieval battle? It doesn’t deliver with speed and aggression, but rather with a vision of the distant fantasy world it represents. The distortion sounds archaic in the best of ways.

There are a lot of different versions of it floating around out there, as best I understand because Apple II music is nearly impossible to rip and requires some creative liberty. But I did manage to nab a replica of the original Apple II sound as it was meant to be heard through a Mockingboard sound card, and I present these samples to you now. (Thanks again to Apple Vault.)

The aesthetics here never fail to impress me. The sound quality in “Greyson’s Tale” is exploited flawlessly, using every potential adverse limitation to the music’s advantage. The distortion and the fairly minimalistic, distinctly medieval compositions paint every ideal image you’ve ever had a of a fantasy world. There’s something not quite clear and not quite safe about all of it.

In “Dream of Lady Nan” the distorted bass is so forceful you can feel the vibrations, and the melody is crystal clear, creating an unnatural juxtaposition that’s completely haunting. I normally avoid encouraging the free download of potentially copyrighted material, but in consideration of the fact that the owners of this material have nothing to lose and everything to gain from it being distributed, I highly recommend you go download all of Kenneth W. Arnold’s works in Ultima III-V. You can find them in their ideal form at this link.

Ultima V: Warriors of Destiny. It’s not quite on par with Ultima III and Ultima IV in my opinion, and the tracks don’t loop quite as flawlessly as they used to, but it maintains the series’ standing in a complete league of its own, beyond comparison to the contemporary best efforts of Nobuo Uematsu and company. If there were other soundtracks out there like it, well, I would very much like to hear them.

VGM Entry 29: Mario’s many sequels

Posted on by necromoonyeti

VGM Entry 29: Mario’s many sequels
(Thanks to Tish at FFShrine for the banner)

While the Genesis was just getting started, Nintendo developers were pumping out sequels. Super Mario Bros. 2, Final Fantasy II, Mega Man 2, Dragon Quest III, Super Mario Bros. 3… They were coming out right and left in 1988, and most of them were improvements over the originals.

The first thing you might ask is how Super Mario Bros. 2 and Super Mario Bros. 3 ended up being released in the same year. Well, they actually came out a mere two months apart. There is a bit more to this story though, and since Super Mario Bros. 2 has by far the best music among NES installments of the series, there should be time enough to tell it.

The first game to be titled “Super Mario Bros. 2” was released in Japan in March 1986. It seems to be readily downloadable today, but if you’re like me and don’t play games much these days you probably only ever encountered it on Super Mario All-Stars (1993) for the SNES, where it was titled The Lost Levels. As you might recall, it wasn’t particularly interesting; it was pretty much identical to the original, music and all, just with new level designs. This was not originally intended to be the case. A much more unique and creative game had been in development, but for whatever reason Nintendo’s market research lead them to believe that an expansion of the original would have greater commercial success. The project in development was passed off to Fuji Television Network and released as Yume Kōjō: Doki Doki Panic in July 1987. Koji Kondo’s original work went along with the package, and much of what you are hearing now first appeared in Doki Doki Panic.

Nintendo sensed a different interest in the American consumer and went ahead with the original project. You may have heard at some point years back–I know I had–that the American Super Mario Bros. 2 was just some cheaply refurbished port of a non-series Japanese title, but this is not entirely correct. The projects were one and the same for much of the game’s development. In a very peculiar turn of events by early gaming standards, North America (and Europe) got the real Super Mario Bros. 2, and Japan got the ripoff. It took so long for the game to be released in its intended form, however, that it ended up launching in North America at pretty much the exact same time that Super Mario Bros. 3 came out in Japan.

Musically, Super Mario Bros. 2 improved on Yume Kōjō: Doki Doki Panic by integrating peppier renditions of themes from the original Super Mario Bros. The music is also a lot more crisp, though that might be the consequence of differences between the Famicom and the NES. At any rate, it is probably my favorite early Koji Kondo soundtrack. The main theme remains, arguably unlike the original Mario Bros. theme, unconditionally pleasant. The limitations of the NES are a total non-factor here. I wish I could pinpoint what sort of style it is–I get some distant vibe of jazz and ragtime–but it either falls beyond my knowledge base or proceeds from nothing more than Koji Kondo’s incredible talent for writing instant classics. I mean, I never played Super Mario Bros. 2 back in the NES days, but it feels more nostalgic to me than the original Mario theme.

Super Mario Bros. 3 is a little less interesting in my opinion, if only because its generally laid back pace and Latin/Caribbean beats just don’t feel quite in harmony with what was probably the fastest-moving of the NES Mario games. But Super Mario Bros. 3 was also the most diverse of these soundtracks, switching up its style as needed to suit a greater variety of level designs. In some instances, most notably “Level 2 Theme” (1:09), Konjo employs sounds more akin to his work in the prequel. “Hammer Brothers” (4:28) seems to be inspired by rock and roll, and the beat-laden revision of the original underworld theme, here amusingly titled “Super Mario Rap” (2:30), is undeniably cool.

I suppose Super Mario Bros. 3 can be justly regarded as the “best” NES-era Mario soundtrack, if nothing else for the shear variety of styles Konjo successfully employed. But it lacks any particular really stand-out tracks–the sort of incredibly catchy anthems for which he is best known.

VGM Entry 24: Metal Gear and More

Posted on by necromoonyeti

VGM Entry 24: Metal Gear and More
(Thanks to Tish at FFShrine for the banner)

Notice: Square Enix have apparently deemed one of my soundtrack reviews a copyright infringement and demanded I remove it. I have complied, and I kindly encourage you to boycott all Square Enix products in the future. Since their games are terrible these days anyway I am probably doing you a favor. (Their complaint involved brief audio samples from only one video game–amusingly out of print today–so I have left my other reviews intact.)

At the same time that RPG/adventure game music was coming into its own on the Nintendo, a lot of solid action soundtracks followed in the wake of Castlevania. Metal Gear (Konami, 1987) kicked off a series that would not really rise to major prominence until 1998, but its history of good scores dates back to the originals.

Metal Gear called for a lot of spy work and sneaking around, and its original soundtrack captured precisely that. Not the music you were expecting to hear? Well, two versions of Metal Gear were released in 1987. The first, released in July, was for the MSX2, and it contained a completely different soundtrack from the NES version that followed it in December. It’s not entirely clear who composed it; Wikipedia lists Iku Mizutani, Shigehiro Takenouchi, and Motoaki Furukawa as the composers for Metal Gear without distinguishing between ports. That’s pretty shady business, as Kazuki Muraoka’s NES score contained a number of original compositions and was much more popular, at least in the western world. Most sites only list Iku Mizutani for the MSX2 and Kazuki Muraoka for the NES, while the only official release of the MSX2 soundtrack simply credits Konami Kukeiha Club.

Well, I watched the actual ending credits of the MSX2 version, and Konami lists it as:

Main Sound Effect:
Iku Mizutani

Sub Sound Effect:
Shigehiro Takenouchi
Motoaki Furukawa

The same bad translation persists on the NES version, where Kazuki Muraoka is responsible for all “Sound Effect”. So that’s enough to sort it out, right? All evidence suggests that Mizutani composed the MSX2 version (with a little help from Takenouchi and Furukawa) and Muraoka composed the NES version.

Of course these indecisive credits always leave room for speculation. Here’s one for you: The PC88 visual novel Snatcher (Konami, 1988) contains an arrangement of the song “Theme of Tara” (1:49). The game offers very thorough credits, and it expressly states that the song was composed by Masanori Adachi and arranged by Masahiro Ikariko and Kazuhiko Uehara. If it’s just an arrangement of the MSX2 original, then… wait a minute…

But Adachi isn’t even credited in Metal Gear. Did Konami perhaps forget who wrote the MSX2 music and credit Adachi by mistake? Here’s the real kicker. Snatcher was ported to the MSX2 shortly after its release, and for the port Iku Mizutani is credited with arranging Masanori Adachi’s composition, which was, if our credits all add up, a copy of Iku Mizutani’s original Metal Gear composition.

Oh well. We are at least pretty sure Kazuki Muraoka wrote the NES one. In the very least he’s the only name appearing in the credits in association with sound. His score was a mix of arrangements from the MSX2 and new songs, and as far as I’m concerned the new material was almost always an improvement. Generally this consisted of replacing the weaker tracks, but Muraoka did take the risk of replacing “Red Alert!” (0:16 in the previous video), perhaps the best song in the MSX2 mix, with a completely new track under the same name (2:03). The decision paid off.

If you would like to hear some comparisons between the original MSX2 compositions and Muraoka’s ports, look for “Mercenary” (4:21 on the MSX2 video, 2:55 on the NES) and “Return of Fox Hounder” (6:52 on the MSX2 and 4:25 on the NES). Unless I overlooked something, the rest of this NES compilation consists of original compositions. The whole Metal Gear sound as established on the MSX2 turned out to be excellently suited for the NES–a system on which speed and catchiness served well to compensate for a lack of much bass or distortion. Even so, my favorite Muraoka addition is a slow one. I have no idea why “Password Entry” (3:37) was put to such petty use. It would have made a fine ending credits theme.

Castlevania II: Simon’s Quest (Konami) also made its first appearance in the summer of ’87. By this time Kinuyo Yamashita had moved on to other projects, and Kenichi Matsubara picked up the job. Like Kinuyo Yamashita in the original, it would be his only contribution to the series.

And what a contribution it was. His efforts to maintain stylistic consistency with the first game are commendable, and he did so while writing equally catchy and memorable songs. Obviously his most famous work (and probably the most famous song in the series) is “Bloody Tears”, appearing second in the video. But I was really quite surprised to encounter tracks like “Dwelling of Doom” (2:10), which could just as easily have become series staples had future writers chosen to retain them. Kenichi Matsubara arguably surpassed the original Castlevania with this soundtrack, and it wouldn’t be the last time that the series stood at the forefront of video game music.

In the meantime, Kinuyo Yamashita had by no means fallen by the wayside. Her work on Arumana no Kiseki (Konami, 1987) is really outstanding, taking advantage of the Family Computer Disk System’s enhanced capabilities to produce a very clean, crisp sound. (The FDS was an extension of the Famicom released only in Japan. Its early titles included The Legend of Zelda and Metroid.) I have to imagine the only reason Arumana no Kiseki never got much praise is because fewer people heard it. Konami seem to have gotten around the copywrite challenges of making an Indiana Jones ripoff by simply never releasing the game outside of Japan, although they may have been better off paying up and releasing it. The first licensed series game for the NES, Indiana Jones and the Temple of Doom (Mindscape), released some time in 1987 or 1988, was a gameplay disaster on par with E.T. the Extra-Terrestrial, and its soundtrack is a lame attempt to preserve the original John Williams score.

explod2A03 on youtube provides a nice collection of music from Arumana no Kiseki, available here, along with a number of other forgotten soundtracks from the era.

Of course we all know what the most important video game music series on the NES was, and Capcom, not Konami, get the credit this time. Known as Rockman in Japan, the original Mega Man was unleashed upon the world in December 1987. Manami Matsumae did not compose for the Mega Man series for long. After scoring Mega Man and contributing to Takashi Tateishi’s work in Mega Man 2, she sort of dropped off the face of the earth, not to resurface in the series again until Mega Man 10‘s massive collaborative effort in 2010. But the legacy she began is one of the finest in gaming history.

Here’s a track list for the compilation, in case you’re interested:
(0:00) Epilogue
(1:40) Stage Select
(1:57) Robot Intro
(2:04) Cutman
(2:52) Fireman
(3:28) Elecman
(4:22) Gutsman
(4:57) Iceman
(6:00) Dr. Wily’s Castle 1
(6:44) Dr. Wily’s Castle 2
(7:20) Robot Battle
(7:49) Dr. Wily Battle
(8:17) Bombman
(9:02) Victory!

Of course the series did not find massive commercial success until Mega Man 2 the following year, but from the beginning it was as intimately tied to its score as the Final Fantasy series. It isn’t nostalgia that leads modern-day rock bands and chiptune artists to cover “Cutman”, “Fireman”, and “Bombman”, just to name a few. It’s because the music is outstanding. I mean, I think the samples speak for themselves. Manami Matsumae established a standard of quality which Capcom would strive to maintain for many years to come. Takashi Tateishi would soon raise the bar higher, but it may well be argued that, without Manami Matsumae’s original concept of what Mega Man music ought to sound like, none of the future improvements would have ever been possible.

VGM Entry 23: Wizards & Warriors

Posted on by necromoonyeti

VGM Entry 23: Wizards & Warriors
(Thanks to Tish at FFShrine for the banner)

If we are looking for the best soundtracks in the fantasy genre up through 1987, of what I have heard Koichi Sugiyama, Nobuo Uematsu, and the early team efforts of Yuzo Koshiro and Takahito Abe take the cake in pretty much every category, while the works of Kenneth W. Arnold in Ultima III and Ultima IV for the Apple II remain my personal favorites. But there is probably a lot of great stuff out there which I am missing. There are also some absolutely phenomenal songs that simply lack the context of well-rounded albums.

The works of David Wise in Wizards & Warriors (Acclaim, developed by Rare, 1987) make for an excellent example. The game is not in RPG or adventure format; it is a typical side-scrolling hack and slash with a medieval setting. As such, it calls for slightly more action-oriented songs, and that seems to have been a weak point for Wise at this stage of his career. But perhaps more importantly, he seems to sell himself short, leaving a lot of songs unfinished.

The title screen track is a simply gorgeous classical piano piece which could not help but function in any gaming medium past or present. It is a nice little reminder that the excessive emphasis on orchestration today is not always necessary. And it is not the only excellent song in the game.

“Outside the Castle” is arguably much better. In spite of the track looping after only 17 seconds, it feels as though it could go on forever. The periodically fading wave in the background is such a small touch, but it magnificently transforms an already pretty pleasing tune into something entirely enchanting. It has that sort of time dilation effect which came to characterize later forest-theme songs.

But the brevity of Wise’s compositions quickly begins to cause trouble. “Inside the Tree” could be a wonderful song, full of subtle, tasteful variations on a theme which is neither too safe for a little action nor too aggressive for anything else. But it isn’t. In fact, it’s only six seconds long! Wise, what were you thinking?

And on that note, why is this called “Inside the Tree” anyway? It sounds like it should be the sort of tune that plays inside a castle or library or something, whereas the actual song “Inside the Castle” is a boring mess that should have never been included in the game. I don’t think I’m being picky here–“Outside the Castle” functions well enough, but it definitely has a forest vibe to me, and there is a forest stage, you know. “Invincibility Potion” is actually really pretty, and could have functioned effectively as an end credit theme, or at least the start of one. (It’s only 16 seconds.) Instead, the game has no ending credit music at all. Meanwhile,”Invincibility Potion” is so out of character for any action sequence that I think I’d have been inclined to avoid the item during gameplay just to not ruin the vibe. And the boss music, oh the boss music! It simulates the sort of dread you might associate with learning that your mother-in-law is visiting for the weekend.

Here is “Forest”, or “Forest of Elrond”, depending on which track listing you’re looking at. Entirely inappropriate for the theme of the game and absurdly obnoxious when heard for more than half a minute or so, I think it reiterates my point. This whole soundtrack to me feels like Dave Wise either had zero confidence in his song-writing capabilities or else was given about three days to complete the project and had to submit incomplete tracks and some slapped-together last minute fillers. And yet the songs that pull through, most notably the title screen/end credits and “Outside the Castle”, rank among the best songs on the NES.

The music of Gauntlet (Tengen, 1987) for the Nintendo was composed by Hal Canon. (Atari’s 1985 arcade Gauntlet, on which it is based, contained very little music, and Canon’s work is original.) The theme of Stage 1 is entirely appropriate for the ghoul and goblin-graced dungeon on the load screen. Despite the game being quite distanced from your typical adventure game, the music manages to keep pace and still present a wonderful medieval vibe. I do not wish to say that the album falls short after the first level, because it does remain fairly well written and entirely appropriate to the gameplay, but it abandons any serious attempt to sound classical after that first phenomenal success. The music only continues to work because the game itself isn’t nearly as thematic as the title screen leads us to believe. Hal Canon proves here to be a consistently good composer; he doesn’t quit trying the way Wise seems to have. If only he’d remained consistent in style as well, Gauntlet could have numbered among the best.

VGM Entry 22: Final Fantasy

Posted on by necromoonyeti

VGM Entry 22: Final Fantasy
(Thanks to Tish at FFShrine for the banner)

Final Fantasy also lacks much of a kick. Nobuo’s decision to not use any drums might have seemed surprising, had Koichi Sugiyama not done the same thing. Much like Sugiyama, Uematsu was able to craft songs which were memorable and struck a pleasant balance among the available tones. Both artists successfully mastered the positive aspects of the Nintendo’s cleaner tones.

Final Fantasy doesn’t need much of an introduction. It’s worth noting that it was fairly lengthy for its day, with nineteen full songs. Garudoh did a fine job of capturing all of the best tracks in this collection. The songs which appear here in order are:

(0:00) Prelude
(0:49) Final Fantasy Main Theme
(1:40) Overworld Theme
(2:17) Battle Theme
(3:08) Undersea Shrine
(3:46) Sailing
(4:33) Airship
(5:04) Gurgu Volcano
(5:49) Matoya’s Cave
(6:30) Temple of Chaos
(7:08) Funeral
(7:57) Victory!

I think it would be easy to be a little critical of Nobuo Uematsu’s work, considering how much better his later soundtracks became. One can easily point to later improvements in “Main Theme”, for instance, to say that the original was a little bland. But if you turn to tracks that were not improved upon in future games, “Gurgu Volcano” for example, you can tell that the originals were valuable in their own right. Where Zelda II felt to me like a prototype for a desired sound which the Nintendo was unable to produce, Final Fantasy feels like a finished project.

You will also probably get the distinct impression that Uematsu was inspired by Sugiyama. At least, I did, but this may simply be a consequence of the decision on the part of both musicians to not use a drum track. Uematsu actually had a slightly longer history of writing game music. Koichi Sugiyama started this career late in life, composing his first two game scores, Dragon Quest and Wingman 2, in 1986 at the age of 55. Uematsu’s first soundtrack, a DOS game called Genesis, came out in 1985. The difference is slight, but by the end of ’87 Sugiyama had only one more composition on the books–Dragon Quest II. In that same span of time Uematsu managed to accumulate a staggering repertoire of thirteen.

I couldn’t find samples from either artist’s first soundtrack, but if you listen to King’s Knight, a Square game composed by Uematsu and released for the MSX in 1986, you can tell that Final Fantasy was no epiphany. It might have been his first recognized and highly acclaimed work, but it was not his first good one.

Uematsu and Sugiyama were acquainted at an early stage though. In an interview on nobuouematsu.com, he states that “Koichi Sugiyama is a big boss of game music. I think he was the first person to really pay attention to my works.” Whether this came before or shortly after the release of Final Fantasy, the two were certainly aware of each other’s work.

My best guess is Sugiyama did influence Final Fantasy, but not in regards to song-writing. That talent came naturally to both of them. Rather, I get the feeling Uematsu may have taken some tips from Dragon Quest on how to effectively arrange these types of songs for the NES medium. I suppose if you got an opportunity to interview Uematsu it would be a petty question to ask, but I’m curious all the same.

Perhaps Nobuo Uematsu is still guilty in some capacity of letting the NES sound limitations get the better of him. The sort of stuff he made his career writing worked just fine in King’s Knight, but the NES just didn’t have the capacity to take it all in. Some of the best NES artists dealt with these limitations by allowing the system to dictate the musical style; they approached the NES as an instrument rather than a medium through which to present music existing independently of it. I suppose I’ve said that a lot at this point. Perhaps MSX2 version of Final Fantasy will make it a little more clear. Micro Cabin released the port in 1989, with their sound programmer Tadahiro Nitta handling the new arrangement, not Uematsu himself. Nevertheless, it sounds a lot better than the original in my opinion, and I think it might be a more honest interpritation of the music than Uematsu’s own finished product. If Uematsu had been composing for the MSX in the first place, his music would have made a lot more sense. But the counter argument is fairly obvious; if he hadn’t composed Final Fantasy for the NES the way he did, this MSX version would have never existed.

VGM Entry 21: Zelda II and Metroid

Posted on by necromoonyeti

VGM Entry 21: Zelda II and Metroid
(Thanks to Tish at FFShrine for the banner)

You’re going to see Zelda II: The Adventure of Link (Nintendo, 1987) on a lot of “best of the NES” soundtrack lists. I considered skipping over it, since I’m not a big fan myself, but I suppose a famous score ought to be addressed whether I care for it or not.

Zelda II brought a completely new soundtrack to the table, sharing nothing in common with the original Legend of Zelda save a passing nod at the beginning of “Hyrule Overworld”. (The track list on this compilation is “The Adventure of Link” (0:00), “Hyrule Overworld” (1:22), “Danger” (2:17), “Village Theme 1” (2:53), “Village Theme 2” (4:07), “Palace” (4:27), and “Ending” (5:57), if you’re curious.) This departure is not a surprise in itself; Nintendo oddly chose to give Akito Nakatsuka rather than Koji Kondo the job, so we’re dealing with a different composer here. Zelda II was also a much more extensive soundtrack than the original, featuring 13 full-length songs if I’m counting correctly.

There is no obvious reason to dislike the soundtrack. “Hyrule Overworld” is catchy, no doubt, and “Palace” is a particularly noteworthy song. Zelda II has a few gems, and more thought went into it than many contemporary video game soundtracks out there. But is it really anything special? The simple fact that it wasn’t bad might have stood for something a few years prior, but by 1987 I expect a bit more. Most of Akito Nakatsuka’s compositions are pretty simplistic, not all that memorable, blandly arranged, and generally fail to capitalize on any of the system’s unique potential. I am rather inclined to believe the music was popular merely due to its having the name “Zelda” attached to it.

Another game which receives, I think, a little more praise than it deserves is Metroid (Nintendo, 1986). My complaint here is not nearly so well founded, especially considering it was, I’ll admit, a great soundtrack, and Hirokazu Tanaka, unlike Akita Nakatsuka, had a long and meritorious career in the video game music industry. (Nakatsuka’s only other claim to fame to the best of my knowledge is Excitebike (Nintendo, 1984).)

But Metroid and Zelda II are remembered in different degrees. If Zelda II makes all the lists, Metroid always seems to top them. The problem here can be seen in which tracks are well remembered. “Brinstar” (1:40) is probably the most famous song in the game, followed by the title theme (0:00). But “Brinstar”, much like “Escape” (4:09) and “Victorious” (5:18) in this video, are pretty standard fair. Catchy songs, better than most; I’ll grant them that. The best on the NES? Well, they’re at least worth considering as candidates. But if these are the songs Metroid is best remembered for, something went wrong here. What you hear at the beginning of the intro, as well as in “Norfair” (2:34) and “Kraid’s Lair” (3:17), is a bit more indicative of what I think Tanaka was aiming for, and the brief “Bridge” (7:33) at the end of this video is probably the most revealing track.

Tanaka was trying to bring the world of Metroid alive through music. He wasn’t just writing background pieces; he was integrating music into the gameplay environment, and that was no easy task on the Nintendo. To quote an interview with Hirokazu Tanaka conducted by Alex Brandon and published in 2002:

“…sound designers in many studios started to compete with each other by creating upbeat melodies for game music. The pop-like, lilting tunes were everywhere. The industry was delighted, but on the contrary, I wasn’t happy with the trend, because those melodies weren’t necessarily matched with the tastes and atmospheres that the games originally had. The sound design for Metroid was, therefore, intended to be the antithesis for that trend. I had a concept that the music for Metroid should be created not as game music, but as music the players feel as if they were encountering a living creature. I wanted to create the sound without any distinctions between music and sound effects.”

The introduction and “Bridge” pull this off wonderfully, and “Norfair” and “Kraid’s Lair” suit the vision admirably as well, but the majority of the more popular tracks from Metroid are nevertheless Tanaka’s poppier pieces. I wish I could write this off as fan failure to appreciate, but the truth is the other more obscure tracks, “Tourian” and “Mother Brain”, are excluded from garudoh’s compilation for a reason. They missed the mark, and they just weren’t all that good. Don’t get me wrong; I’m not suggesting Metroid was anything short of a great soundtrack, but it was nevertheless a little short of what it strove to be, and many of its redeeming qualities rest in the residual traces of precisely what Tanaka was trying to weed out.

Metroid deserves an honorable mention on any list of NES soundtrack greats, but it’s not top ten material. I think it has too many faults for that, and Tanaka himself would contribute to a better NES score on Mother a few years later anyway.

VGM Entry 20: The Great Giana Sisters

Posted on by necromoonyeti

VGM Entry 20: The Great Giana Sisters
(Thanks to Tish at FFShrine for the banner)

A number of video games released in 1987 would go on to become major generation-spanning series. The Great Giana Sisters was not one of them. In fact, if was probably one of the worst ideas in gaming history. It was apparently developed for release on the Amiga, Amstrad CPC, Atari ST, Commodore 64, and MSX2 all at the same time, with a ZX Spectrum version to shortly follow. It was intended to be Rainbow Arts’ major commercial rival to the smash hit Super Mario Bros. But what was it exactly?

Well, one version of the box art depicts an attractive, perky-breasted woman in a miniskirt flying through a bizarre montage of giant lobsters, magical mushrooms, UFOs, and deadly dragons guarding foreboding castles on grim, icy mountain peaks.

Another depicts two trailer trash meth addicts sporting peace signs and an “I’m Cool” nametag, along with the suggestive comment that “The brothers are history!” A bit contradictory? Well, look right here! Zzap!64 says it’s “the greatest platform game of all time”, so it must be true!

The music, too, might lead you to believe this. It was also one of the first soundtracks composed by the now legendary Chris Huelsbeck (more often spelled Hülsbeck, though the artist himself uses Anglicized adaptation. For the sake of consistency I’ll stick to the latter in the future). The game’s title screen theme is pretty intriguing, bearing a sense of foreboding that aptly reflects the degree of strife and diversity which at least some versions of the cover art promise to bring.

Are you excited? Or at least curious? Good or bad, all signs point to a game that will in the very least be extraordinarily unique. Well, let’s take a look at the gameplay. Brace yourselves.

…

Needless to say, they got their pants sued off and pulled every version of the game from the shelves within weeks of its release, never again to see the light of day until Nintendo, perhaps for pure comedy value, allowed publisher Destineer to release it on the DS last year.

Rainbow Arts was a German publisher, and perhaps copyright laws are different there, but one has to imagine that a good many staff members were flipping burgers after this brilliant idea. Chris Hülsbeck would not be among them. He would go on to compose for many Rainbow Arts games to come, including the highly acclaimed Turrican series for which he is best known.

But before we brush The Great Giana Sisters off, really, what is going on with the music here? The main gameplay song is quite catchy and appropriate, but the title screen and underground theme (see Stage 4 in the video, 3:24) have about as much in common with the game as the box art. It would be interesting to find out why he chose these songs in particular. Perhaps they were some unaffiliated demos he had lying around in a dusty desk drawer, or perhaps he took advantage of a terrible game to write what he wanted to with no concern for relativity.

Whatever the case, the staff at Rainbow Arts heard his work even if no consumers did, and his future game assignments seem to reflect his personal style, not the reverse. The title theme and Stage 4 of The Great Giana Sisters examplify precisely the sound he would become famous for.

VGM Entry 19: Ys I

Posted on by necromoonyeti

VGM Entry 19: Ys I
(Thanks to Tish at FFShrine for the banner)

Yuzo Koshiro’s first major breakthrough is generally considered to be Ys I: Ancient Ys Vanished (Nihon Falcom, 1987), sometimes alternatively subtitled as The Vanished Omens or The Ancient Land of Ys. While I don’t think it is quite musically on par with Xanadu Scenario II, it is certainly a commendable work. arx7893 on youtube has assembled a very nice collection of songs from various versions of the game. I especially recommend you check out the song “Palace”.

My intention here is to focus specifically on the music for the last boss, known as “Dark Fact” or simply “Final Battle”. It is one of the best examples you will presently find for multi-system song porting, both because Ys I: Ancient Ys Vanished was released on a staggering number of platforms and because the song is good enough for most versions to have found their way onto youtube.

This is the initial song. The game was originally developed for the PC-8801, but Yuzo Koshiro was surely aware that it would need to be quickly adapted to other platforms. This first release came on June 21, 1987, and the ports rapidly followed: to the X1 on June 26th, the PC-9801 on August 28th, the FM-7, 77, and 77AV on October 8th, the MSX2 on December 10th, the Famicom on August 26th, 1988, the Sega Mark III on October 15, 1988, the Sega Master System some time in 1988, MS-DOS, the Apple IIGS, and the PC Engine CD-ROM in 1989, the TurboGrafx-CD in 1990, the Sharp X68000 in 1991, and finally the TurboDuo in 1992. Did I mention the list was staggering? It is also available for Microsoft Windows, the Sega Saturn, the Playstation 2, the Nintendo DS, and the Wii now.

Aaanyway, what makes “Dark Fact” a little peculiar is that whoever all arranged it could not seem to agree on what constituted its main melody. In the original PC-8801 version above you have a faint, clean tone playing a simple melody over a deeper, more distorted and complex one. Throw in some basic bass and drums, occasionally accent it with a fifth track, and there’s your song.

The next readily available version is for the FM-7, released a little over three months later. You’ll notice that the original soft lead, previously overshadowed, is now completely gone, while the song’s deeper side is nearly identical. They distorted the principle bass track and made it a lot louder, but that’s about it. Half way through, the song transitions to a completely new melody which successfully outshines the bit they got rid of. From here it repeats.

Then came the MSX2 version, about another two months later. Clearly limited in sound channels, Yuzo Koshiro and crew set aside both of the humbler melodies they had toyed with earlier and elevated that deeper, distorted progression to center stage. The song does not quite function in a live playthrough, what with every other bass note cutting out, but its general idea is quite appealing. It feels like the sort of thing you might expect from a really stellar Game Boy soundtrack, and in a peculiar sort of way I find it more appealing than the previous two examples.

The Famicom port the following year built upon the same approach. Aside from adding drums to the mix, it tweaked the bass a bit to create a sound more suited for the system. Those rare moments where the bass line manages to not cut out in the MSX2 version video, mainly at the very start of the fight, you can really tell how beautifully the two tones compliment each other. The two tracks play fairly equal roles in creating what feels like a single solid sound. But Famicom tones were always a little soft, and the sound team made amends by having the bass line here function more as an appendage to the percussion. The bass note changes as seldom as possible, remaining stagnant where the MSX2 version does not. Rather than complimenting the melody to the fullest, it emphasizes the breakneck pace of the song, creating a much more intense feel to the whole fight.

The MSX2 version is a much more aesthetically pleasing stand-alone track–probably my favorite among the lot of them–but it doesn’t really enhance the fight much, especially considering it pushes too far beyond the system’s limitations for the player to effectively experience it and kill the boss simultaneously. On the Famicom it almost feels as if they acknowledged this and focused on an arrangement that, while fairly similar, makes a bit of a self-sacrifice for the sake of enhancing the actual gameplay experience.

When the game finally made it to the Sega Master System, that soft melody present on the original PC-8801 take and long since forgotten mysteriously resurfaced. The arrangement is bland, lacking any of the contrast of the original, and the obnoxiously bad drums really nullify any redeeming values it may have otherwise had. But the return is an interesting decision. I wonder, whose decision was it?

It is nearly impossible to tell where Yuzo Koshiro’s involvement ends and that of various other staff members begins. The PC-8801, FM-7, MSX2, and Famicom versions certainly sound to me like a careful progression through improvement and system adaptation. I am convinced if nothing else that whoever arranged each of them listened to the previous versions and not just the original.

The SMS approach gives me no such impression. It sounds like the arrangement took the original PC-8801 cut and hastily slapped together a replica with no attention to detail. It is completely devoid of the sophistication present in all four earlier arrangements I have been able to find. The end-game credits list Bo (Tokuhiko Uwabo), Ippo (Izuho Numata), and Neko (still anonymous today) as the sound team, and make no mention of Yuzo Koshiro. The game also features a number of original tracks.

If I may go out of sequence for a moment, it’s worth noting that the Sharp X68000 version, released in 1991, is even worse. It completely abandons the complex and compelling melody which the MSX2 and Famicom versions embraced exclusively, providing nothing more than that boring PC-8801 ‘soft’ melody track and a gimmick “rock and roll” drum beat and guitar rhythm. The drums are less annoying than in the SMS version only because better technology carries them, and they have no greater value. And in consideration of the technology, the wholesale abandonment of the more complex melody is simply inexcusable.

But an interesting point can still be made here. If all you had to go on were the MSX2 and the Sharp X68000 versions, you would likely conclude that they were two entirely unrelated compositions. Yet both clearly and distinctly derive from the original.

I will leave you with the 1989 PC Engine CD-ROM arrangement of “Final Battle”/”Dark Fact”, because almost all future ports and remakes of the game (the Sharp X68000 version excluded) derive from it, not the original.

Based on various liner notes and some samples of his other works, I am pretty positive this was arranged by Ryo Yonemitsu. Unlike the “port arrangements”, which focused on direct improvements to the original, system limitations, or otherwise mere expedience, the PC Engine CD-ROM approach is more of an authentic reinterpretation of the music. It pays ample homage to Yuzo Koshiro, but it doesn’t feel confined by any obligations or limitations. It is faithful and unique at the same time. While I am certainly not blown away, I respect what Ryo Yonemitsu is doing here.

Ryo Yonemitsu, by the way, has quite a history with the Ys soundtrack, having released arrangements of it as early as 1987. Was he the guiding light who ensured so many excellent port arrangements of the final battle theme? Was it Yuzo Koshiro himself? Or was it perhaps a chance occurrence–the consequence of various talented artists recognizing the song’s worth and having a go at it?

VGM Entry 17: A question of authorship (part 3)

Posted on by necromoonyeti

VGM Entry 17: A question of authorship (part 3)
(Thanks to Tish at FFShrine for the banner)

Kinuyo Yamashita and Kazunaka Yamane: two respected video game composers whose main melodies have appeared in both refined, noteworthy form (on the NES) and in rather half-hearted, trashy form (on the MSX and in the arcade respectively.) The lack of well-documented attribution leaves us clueless as to how much of a role either played in this disparity. But at least we can be fairly confident that they wrote the basic melodies of the songs.

In the case of some pretty famous works, even that much information can be difficult to come by.

Take Bionic Commando. Its main theme (calling it the “main theme” might be something of an afterthought; it first appears as the background music for level 2) is an iconic NES classic. But in the span of about a year between 1987 and 1988, Capcom released this game for the arcade, the Amiga, the Atari ST, the Commodore 64, the Amstrad CPC, the ZX Spectrum, DOS, and oh yes, the Nintendo. The Nintendo version did have its fair share of differences, both in gameplay and in song selection (perhaps as an undermining of Nintendo’s licensing laws akin to Vampire Killer), but the “Main Theme” faithfully appears in every version.

Here is a collection of some of the song’s variations over the years. You’ll notice that even the early takes were each quite different:

The first track in this mix is the arcade version. You’ll notice the central roll of the drums and the flutey trills, giving the song a distinctly martial feel quite appropriate for the game. It was clearly composed with an orchestra in mind, and could I imagine be preformed live with hardly any alterations.

The second track in the mix is from the Commodore 64 version. Tim Follin is credited with the arrangement, and if you’re at all familiar with his unique and lively approach to video game music, there can be hardly any doubt. The then about 17 year old Follin was determined to make a musical impact, and he certainly did, taking such spirited risks as mixing in the Star Wars theme song and converting an upbeat march into a grimy space groove. Completely inappropriate for the game, it’s certainly sub par to the arcade version, but Follin was fairly new to C64 sound programming at the time, having made his initial mark in the world of the ZX Spectrum. (Follin did use this same version of the song for the ZX Spectrum release, not featured in the compilation video, but considering its drastic departure from his previous Spectrum compositions I have to assume his arrangement was originally intended for the C64.)

The next track, confoundingly labeled “Nintendo Sequel”, “WRONG AMIGA VERSION”, and a bit later “Bionic Commando Rearmed” is in fact the Amiga 500 version. You might think of it as a toned down, slightly safer take on Follin’s C64 version.

The fourth take is the Nintendo version. Whether it should be regarded as a “sequel” or simply a heavily altered port is debatable. Its music in this instance is faithful to the arcade version, ignoring Follin’s spin, but it fails to incorporate a lot of the original’s frills or deliver with nearly the same impact. It is, I would say, by far the weakest of the five, while the original arcade take is the best. (The “Bionic Commando Rearmed” version which follows in this video is obviously a travesty, but it was released in 2008.)

Now tell me: who wrote this song? Do a quick google search, pull your best resources, see what you can come up with. Pretty much every result is going to direct you to either the 2008 remake Bionic Commando Rearmed or the 2009 sequel Bionic Commando (both by Capcom, same publisher as the originals), because their soundtracks were actually released and the latter uses the exact same name. You’ll find a lot of sites that simply list a composer for the 80s versions with no further information, but they can’t all seem to come to an agreement. Something official from the publishers would be nice. The original game manuals contain no credits (I checked), nor do the original games appear to have ending credits, save the NES version, which lists the composer under a pseudonym. So I pulled up the official liner notes of the 2008 and 2009 game soundtracks. Both acknowledge “Main Theme” to be based on the original by Junko Tamiya. A-ha. We have an answer.

But Wikipedia lists Harumi Fujita as the composer of Bionic Commando (arcade, 1987)–providing no source–and Junko Tamiya as the composer of Bionic Commando (NES, 1988)–providing precisely the 2009 liner notes I used as a source. And we know that “Main Theme” appears in the arcade version. You just heard it. The NES version wiki’s subsection on Music states that “The music for the game was created by female videogame music composer Junko Tamiya, who was credited under the pseudonym “Gondamin”. It is very highly praised for its militaristic compositional element. Two songs from the Arcade versions are used in some areas.” This last comment again has no source.

That makes a bit more sense. I picked up copies of both soundtracks, and sure enough, aside from “Main Theme” and “Power Plant”, all of the NES music is original. Junko Tamiya did likely compose sixteen out of its eighteen tracks. The problem is that one of the two she did not compose happens to be her most famous composition!

What to do when a few unsourced claims on Wikipedia get the credits right and Capcom, the people who actually made the game, don’t?

Bionic Commando‘s “Main Theme” is one of the most revered video game songs of the 1980s. If it wasn’t, I wouldn’t have been so concerned about figuring out who originally wrote it. It would certainly appear as though Harumi Fujita wrote it, Junko Tamiya rearranged it for the Nintendo shortly thereafter, and an oversite more then twenty years later lead the company who released it to get the two mixed up. But this is only a best guess. It just goes to reaffirm the dismal state of preservation of even some of the best early video game music.