Spark Man
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Track information:
| Game title: | Mega Man 3 |
| Track title: | Spark Man |
| Game release year: | 1990 |
| Composer: | Yasuaki Fujita (BUNBUN) |
| Download: | NSFE (complete), NSF (track 8) |
Review by Norrin_Radd:
This track starts out with a painfully heroic lead theme in the intro. An intro which is also full of galloping rhythm sections and pounding tom fills (thanks to the triangle wave this time) and snare + cymbal fills (thanks to the noise channel). This drummer is completely hell bent on riding the hi hats . It's almost worth just listening to the noise channel. Some of the alterations in the patterns are unbelievable! On top of that, the square wave that isn't playing the main lead, is doing... Something?.. I have no idea how to explain it, and I've never heard it anywhere else before. I slowed it down and solo'd it, and all I can say is it rapid fire alternates duty cycles in a way that may be entirely unique. The result is that really cybernetic texture in the background. Absolutely brilliant execution.
It's a pretty loose theme I've noticed in NES games, but it might be well founded. There was a trend to use chromatic chord progressions or melodies whenever things got hairy. For example, if I were to write a boss theme for a fake NES game, I would probably have some kind of chromatic section, where there are lots of semi tones next to each other. I definitely get a little of that from this song. Directly after that stellar intro, there is this really tense chord progression of two semi tones. Even if I didn't know this song already, this would sort of tell me right away that this music was meant to accompany something intense. Like I said, if my memory serves me correctly, this was probably the hardest level in the game.
Surprisingly, they mesh a little chromatic chord progression with a ton of melody. Of course, that typical Mega Man 3 sassy attitude is in in full force. The very deliberate articulations on some of these square notes pretty much define the games music. There are some very choice longs and sustained notes in this song that use a hand made envelope to initially slow the attack of the instrument, with just the right amount of time before the vibrato kicks in. Phase 3 has definitely filtered out the best Megaman tracks to the top of the heap. This track is totally due.
The Silence of The Daylight (Town Stage)
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Track information:
| Game title: | Castlevania 2 - Simon's Quest |
| Track title: | The Silence of The Daylight (Town Stage) |
| Game release year: | 1988 |
| Composers: | Kenishi Matsubara, Satoe Terashima |
| Download: | NSFE (complete), NSF (track 1) |
Review by Norrin_Radd:
Any way, the appeal to this track is the way it was written. It's got very clever hooks, and it has brilliantly coordinated the leads and the drums to create these natural accents which play right into the hooks!
The square waves are written as two truly unique melodies for a majority of the song. It creates a very playful tone, even if the melodies themselves are not happy at all. There are also some very sharp techniques being used on this song. They use one of the sharpest sounding duty cycle patterns, ever, in really select portion of this song. The notes come stabbing through the mix to accent a small hook, only to suddenly dissapear. They also make very good use of a single channel echo for much of the leads by just adding a tremolo effect after the notes, instead of a smooth trail off.
Finally, the the chord progression of the bass really rounds out this entire song. It's yet another melody (totaling 3 separate melodies playing at once!),. But ultimately it unifies the two square waves, and just tightens this song up. Easily one of the classiest tracks on the system, and very well represented on this list.
Clockwork (Block-2)
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Track information:
| Game title: | Akumajou Densetsu |
| Track title: | Clockwork (Block-2) |
| Game release year: | 1989 |
| Composers: | Yoshinori Sasaki, Jun Funahashi, Yukie Morimoto |
| Download: | NSFE (complete), NSF (track 2) |
Review by Jace:
Of course, there has been great debate over at The Shizz about the merits of including Famicom-only expansion chip selections in our list, particularly considering that the vast majority of us have lived most of our lives in either North America or Europe and have not had regular encounters with the Japan-only Famicom. Additionally, there's the problem of the fact that the VRC6 and FDS sound chips had capabilities far enough removed from those of the NES's lone 2A03 that side-by-side comparisons simply don't make sense. However, I think these concerns are trumped by the fact that most of us have obviously not had access to most NES games in general, but have had access to the internet, which has made a significant majority of both NES and Famicom soundtracks available for our listening pleasure since Kevin Horton developed and released the Nintendo Sound Format file more than a decade ago.
While I had hoped this list would be less predictable (and it certainly has been predictable, given its extremely close association thus far to our top 30 soundtracks list published on good-evil.net in 2009), Castlevania music is truly close to peerless in terms of both style and execution. So much could have been done wrong with a "gothic rock" focus, but every single track is very deliberate, seeming to have done just about everything right. While "Clockwork" attacks Baroque tropes with less modern rock ferocity than most popular Castlevania songs (notably lacking percussion), it is not without neck-snapping cadences that somehow seem to mimic palm muting on a guitar. The VRC6 expansion chip clearly highlights the composer's vision, successfully suggesting grand orchestral embellishments beyond what could have been produced on the 2A03 alone.
Dr. Wily's Castle II
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Requires Flash10
Track information:
| Game title: | Mega Man 3 |
| Track title: | Dr. Wily's Castle II |
| Game release year: | 1990 |
| Composer: | Yasuaki Fujita (BUNBUN) |
| Download: | NSFE (complete), NSF (track 11) |
Review by Jace:
Additionnal review by Danimal Cannon: I can remember when I first got into rediscovering videogame music, this track immediately struck a chord with me, and it still does today. The reason is because it just exudes emotion, more with every chord change. You heard this track, you knew you were near the end of the game. This track means business, it reeks of heroism. There aren't really any special tricks that Bun Bun uses. The sound design of this song is very straight forward, no duty cycle changes, no arpeggios, no echoes. But it doesn't need it. This song ranks so highly because the driving rhythm and note choices are absolutely perfect. It's a great groove, and the unison square2 and triangle wave work together to create awesome pulsing counterpoint intervals that set up square1 to play an impossibly catchy lead. I could listen to this song while pumping gas and it would make me feel like I was fueling a space shuttle that was about to leave to save the Earth from some sort of Space-Cthulhu. It's that epic.
Dwelling of Doom (Mansion)
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Track information:
| Game title: | Castlevania 2 - Simon's Quest |
| Track title: | Dwelling of Doom (Mansion) |
| Game release year: | 1988 |
| Composers: | Kenishi Matsubara, Satoe Terashima |
| Download: | NSFE (complete), NSF (track 4) |
Review by Jace:
Title Theme
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Track information:
| Game title: | The Legend of Zelda |
| Track title: | Title Theme |
| Game release year: | 1987 |
| Composer: | Koji Kondo |
| Download: | NSFE (complete), NSF (track 1) |
Review by Jace:
Other than the ethereal echo of the title screen's opening and a bit of not-particularly-humanized vibrato, it's really just the overworld theme slowed down.
But this was a community decision, and perhaps it's time for me to recognize and accept that this project was never going to just be about hearing and celebrating great music on its own terms, and that that's fine. For most of us, the Zelda theme is more than just a piece of music; it's a stamp on our hearts and minds, a symbol of the adventure, heroism, and exploration that Miyamoto wished for all of us to experience as he developed the title, and a statement which Koji Kondo (someone whose Super Mario works, contrary to everything I'm saying to try to justify the appearance of the same Zelda song twice on the list, are underrepresented) perfectly communicates with his timeless fanfare. However, saying all of that feels like I'm really just reviewing the game, not the game's music.
Perhaps I should look at it in the context of my beloved Mega Man 3, Wily Stage 2 song. As a piece of music, the Zelda title theme is as emotional and timeless as it is largely because of, not in spite of, how simple it is. A great and simple melody, like this one, is sort of undeniable in the same way as a sunset, a delicious meal, or a post-coital snuggle: simple and uncomplicated joys that provide a sensation of comfort and belonging.Additionnal review by Norrin_Radd:Hmm, I suppose I spoke too soon earlier with the overworld theme. I guess the verdict is in: theshizz.org really like the original Zelda theme. I guess it makes sense that this track would rate so highly. It's not easy to break down and assign a number to. It's like going back to the source and trying to determine how good it was at creating a staple of gaming culture. I assume this was a perfect 100 on more than a few people's rating scale. Something I can't blame them for if they truly feel it deserved it. However, I have a nagging suspicion that most people just blindly clicked 100 without really weighing this track against some of the 1700+ other tracks.
Regardless, my rant aside, I personally rated this track some what highly as well (90). But that was after listening to it for probably close to 40 minutes, and cross referencing it with other tracks at the time, and other tracks I rated the same. When you listen to the classics like this, especially for a game as old as Zelda, you have to factor in different things. Production is an issue for this track, in that this song was made before Konami and Capcom showed the world how crazy NES music could get. This is almost akin to creating a ringtone on those cellphones that let you have a single tone, or something. How do you write something memorable when you have so little to work with, and you genuinely don't know any better?
Well, I think Koji Kondo must have really understood what this game was suppose to be, because he absolutely captured the adventure, and the character with this one single track. Maybe it has something to do with the fact that the instruction manual had a mini comic that really fleshed out the story, with pictures and the works.
The squares, while extremely simple, are playing two unique and separate melodies (something that I love about NES music), that tie in to each other in a very playful style. Even though the game itself had no real in game "character", I think this song really helped define what this series was all about. Considering the game was released in 1987, I think it's very very impressive that so much was able to be extracted from this theme.
Additionnal review by raubhimself: Let’s face it. This song is in the top 10 based on nostalgia alone. I can’t speak for anyone but myself but there are times when I just can’t imagine listening to this song. It’s iconic, everyone knows it, and it’s way over-hyped. Why is it even in the top 10? Well wait a minute. I’ve heard this song so much that I’ve never really thought about how great it actually is. The opening melody is mysterious and pure fantasy. The rhythm enters with an ominous, dark groove. But over this dark groove begins a beautiful melody that weaves between major and minor chords. The song inspires a relaxed sense of exploration rather than a foolhardy leap into battle. It’s strangely meditative, and as I listen to it now I imagine the pace of Link walking around Hyrule taking in each screen with thoughtful pleasure.
Mad Forest (Block-3)
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Requires Flash10
Track information:
| Game title: | Castlevania 3 - Dracula's Curse |
| Track title: | Mad Forest (Block-3) |
| Game release year: | 1990 |
| Composers: | Yoshinori Sasaki, Jun Funahashi, Yukie Morimoto |
| Download: | NSFE (complete), NSF (track 3) |
Review by Norrin_Radd:
I have no doubt that the composers for this game were well versed in music theory. Where they must have just been able to look at each square wave on paper, or in text, and just know, "yeah, that'll work." Like looking at the Matrix screens or something. All they saw was blondes and brunettes.
Stage 1
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Requires Flash10
Track information:
| Game title: | Batman |
| Track title: | Stage 1 |
| Game release year: | 1990 |
| Composer: | Naoki Kodaka |
| Download: | NSFE (complete), NSF (track 1) |
Review by Norrin_Radd:
The effect of the two square waves playing the one lead is really profound in this song. The technique is not even complicated. One square plays the lead very straight and on time, while the other played it just a hair off, with a slightly duller attack (I think). Both sqaures have a very light amount of reverb on them, that, when combined, give the overall lead a very deep reverb, with a very noticeable echo at both the start and the end of each note. Simplicity is a very powerful tool when applied by a master.
To add a nice counter point to the fairly simple square waves, the bass in this track is really firing on all cylinders. It's pretty much rapid fire riffs that frame every chord change in this song, instead of being the base of the progression as is usual for a rhythm section. Added on top of that is some more of those unbelievably gorgeous drum samples and insane drum fills. This track is just bad ass, plain and simple.
Additionnal review by raubhimself: Heartbeats accelerate from fear. This is their turf, but they know better. Something is coming, but what? A glimpse of their adversary emerges from the shadows, only to retreat in dark sustain. Panic sets in. What was that? They have to ask, but they know. It’s the bat. In a frenzy the he leaps from the darkness, fully revealing himself. There’s no time to think, only to react. Under the pale moonlight the dance begins. The thugs struggle to keep steady. The bat is too fast, too confusing, following each beat with swift attacks. As quickly as he came he disappears into the darkness leaving them with a lesson it already knew: Don’t mess with Batman.
Beginning (Block-1)
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Requires Flash10
Track information:
| Game title: | Akumajou Densetsu |
| Track title: | Beginning (Block-1) |
| Game release year: | 1989 |
| Composers: | Yoshinori Sasaki, Jun Funahashi, Yukie Morimoto |
| Download: | NSFE (complete), NSF (track 1) |
Review by Jace:
Anyone outside the community of The Shizz might look at this list and think that we're all just a bunch of Castlevania fanboys, and maybe we are, but if so, there's a reason. "Beginning," and myriad songs like it among the Castlevania series, can only be heard for what they truly are within Castlevania games. There is no band that sounds like this. And even if there was, even sort of, it's unlikely they would be able to include flourishes the likes of the uniquely synthesized sounds and tricks of the 2A03 (and VRC6) that make these originals even more intriguing than any rock guitar arrangements I've heard. For example, digging through the sound channels in the .nsf file one by one to determine what makes that jet-engine portamento downshift in the brief half-time section near the end, and discovering that it's contained to merely one of the 2A03's square waves, turned my brain into magic missiles that tore through my skull. I also commend this expansion chip version of "Beginning" for using the VRC6 primarily to achieve increased fatness without getting muddy or convoluted. Castlevania music may dominate this list, but like so many other addictive substances available to us on this planet, it provides us with something that we simply can't get anywhere else.
Additionnal review by Norrin_Radd:
While I am typically the first one to shoot down NES track that use expansion chips, I think this one is done particularly well. For the most part, they adhere to the punchy rhythms that make all NES music so good, and they really use the extra channels to add more echo effects. Instead of taking the extra channels for granted, they seem to have maxed out everything channel as far as it will go, really making this song come to life.
Aside from the bla bla expansion debate bla bla, this is simply one stellar track. It's full of very original and bombastic neo-classical licks. And really just does not stop. From the opening drum fill right to the end, this track bombards you with wave after wave of pure gold! If you ignore the lead, and just listen to everything that is going on in the background of this song, it should say all it need to say about where this track placed.
Aquarius (Block-6)
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Listen to this track:
Requires Flash10
Track information:
| Game title: | Castlevania 3 - Dracula's Curse |
| Track title: | Aquarius (Block-6) |
| Game release year: | 1990 |
| Composers: | Yoshinori Sasaki, Jun Funahashi, Yukie Morimoto |
| Download: | NSFE (complete), NSF (track 9) |
Review by Jace:
One of our forum members has mentioned feeling that this whole thing may have turned out to be more interesting if we had somehow limited the number of songs from a single soundtrack that could be voted on. I think it's important to point out to people who are coming from somewhere other than The Shizz and reading our list that we made an attempt to encourage this in phase 1 of the project, the track nomination phase, by asking individual members to limit their nominations to two songs per soundtrack. Of course, a LOT of crap got nominated among the 1700+ tracks that ended up in the voting process, and many games ended up with most of their songs nominated anyway. The only thing I can think of that could have been done to curtail this would have been to take each soundtrack that had more than two or three songs nominated and give them their own, isolated shoot out, but by Phase 3 the project had already been far more work than you might imagine. With over 200 games having more than four songs each nominated, the idea of getting any internet community rallied around narrowing each of those games to their three (or so) best songs makes me want to faint. The project overall is already over a year in the making.