#45 - Ninja Gaiden II - The Dark Sword of Chaos
Battling Precariously (Stages 2-2, 4-2, 5-1a, 7-2)
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Requires Flash10
Track information:
| Game title: |
Ninja Gaiden II - The Dark Sword of Chaos |
| Track title: |
Battling Precariously (Stages 2-2, 4-2, 5-1a, 7-2) |
| Game release year: |
1990 |
| Composers: | Ryuichi Nitta (Shitamachi Kajiya), Mayuko Okamura, Miyazaki |
| Download: |
NSFE
(complete), NSF (track 3)
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Review by Norrin_Radd:
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It's weird. In NES games, there tended to be genres of music for certain settings in a game. Ice levels had really glassy sounding square waves, fire\hot levels couldn't help but have some tribal toms of some kind etc. But one of the more uncommon setting genres were any level with falling, or cascading water of some kind (Toad Man in Megaman 4, Waterfall stage in Contra, Batman Stage 3-2 etc). This may be my absolute favourite example of all the NES rain/cascading water levels. The tonality of the main square lead is so damn wet! A theme I notice in lots of levels like this. There is usually a nice long chorus effect on the square waves that is so long, it is really just used to create a "round" detuned sound. As is usually the case, they really focus on a melody that appears to be cascading downward. It's really quite a clever use of melody to match the game play (I really believe the composer did this on purpose). The noise channels is also used very effectively here (and in other rain level songs) to simulate the patter of rain in a rhythmic fashion. Secretly, I think this may be one of the catchier songs to have ever been written on the NES, but shhhhh, don't tell anyone. |
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#44 - Ninja Gaiden II - The Dark Sword of Chaos
Tower of Lahja (Stages 3-2, 7-2)
Listen to this track:
Requires Flash10
Track information:
| Game title: |
Ninja Gaiden II - The Dark Sword of Chaos |
| Track title: |
Tower of Lahja (Stages 3-2, 7-2) |
| Game release year: |
1990 |
| Composers: | Ryuichi Nitta (Shitamachi Kajiya), Mayuko Okamura, Miyazaki |
| Download: |
NSFE
(complete), NSF (track 1)
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Review by Jace:
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A perfect tune for simulated two-dimensional ninja action. Knowing the name of this song--"The Parasprinter"--influences my ecstatic opinion of the piece as a simple and propulsive monument to righteous vengeance. I see the opening snare drum as the feet of the warrior touching ground, beginning his dash through especially treacherous territory. The tremelo effect on the square waves in the energetic-though-mournful melody that follows? That's enemy blood bouncing from wounds in newly-lifeless bodies. This melody slashes nimbly around a basic minor key chord progression that is as relentless as the hero's sword. |
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#43 - Teenage Mutant Ninja Turtles
Save the Dam! (Underwater Theme)
Listen to this track:
Requires Flash10
Track information:
| Game title: |
Teenage Mutant Ninja Turtles |
| Track title: |
Save the Dam! (Underwater Theme) |
| Game release year: |
1989 |
| Composer: | Keizou Nakamura | | Arranger: | Hidenori Maezawa (not credited) |
| Download: |
NSFE
(complete), NSF (track 5)
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Review by Norrin_Radd:
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What kid alive (in the 80s) did not absolutely fear and respect this level? This was possibly the first memory I have in video games, where I thought, "really?". Naturally, this level is not the immovable wall it once was, but to an 8 year old, goofy, uncoordinated child, draped in a Hulk Hogan Sweat Suit, fully mulleted; this level was the ultimate challenge. What better musical track to accompany this real time bomb diffusion countdown! This track is entirely focused on a maddeningly cyclic bass riff that only seems to keep reminding you to "Hurry the F up! This place is gunna blow!" The track just continues to build tension, and to make matters worse, you can never put your finger on the beat because the snare drum is always just one beat off. I have actually really been impressed with the drums in this song, while reviewing this track. It kind of has an Morgan Ågren feel to it (Fredrik Thordendal's Special Defects). They manage to create some extremely heavy power chords toward the end of the song, and they really do a create job of creating a fairly unique echo/reverb system using lots of staccato notes. I swear, I am having phantom flashbacks due to having this track on loop. |
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#42 - Shadow of the Ninja
Stage 5
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Requires Flash10
Track information:
| Game title: |
Shadow of the Ninja |
| Track title: |
Stage 5 |
| Game release year: |
1990 |
| Composers: | Iku Mizutani, Koichi Yamanishi |
| Download: |
NSFE
(complete), NSF (track 7)
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Review by Jace:
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Almost sounds like Mizutani's ode to Castlevania; specifically, it's deeply reminiscent of Block 1/"Beginning" from Castlevania 3. I'd have predicted that this similarity would've taken this track down a few notches in our ranking, but I suppose I take for granted that Castlevania music is so regarded 'round these parts (and not without warrant) that a finely honed simulacrum will be enough to send boners popping. The transitions have a (deliciously) disgusting FUNK to them that distinguishes the tune from generic NES metal, and there's just enough of that signature Mizutani delay to keep it from appearing derivative in any detrimental way. |
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#41 - Akumajou Densetsu
Anxiety (Block-4)
Listen to this track:
Requires Flash10
Track information:
| Game title: |
Akumajou Densetsu |
| Track title: |
Anxiety (Block-4) |
| Game release year: |
1989 |
| Composers: | Yoshinori Sasaki, Jun Funahashi, Yukie Morimoto |
| Download: |
NSFE
(complete), NSF (track 4)
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Review by Jace:
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This Famicom version's extra sound channels give "Anxiety" an even deeper and slimier level of murk than it's NES counterpart. I respect the Castlevania composers for paying just as much attention to the details of these sorts of atmospheric tunes as they did to the nuances of their monster-slaying rockers. Very effective as a piece of music to play a dark video game to, drawing the player into the cohesive world of the game just as well, in its own way, as songs like "Aquarius" and "Vampire Killer." What I appreciate most is the space in the rhythm tracks; there's something diabolical in the 4/4 section that makes the switch to 6/8 seem deviously natural. |
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#40 - Blaster Master
Area 1
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Requires Flash10
Track information:
| Game title: |
Blaster Master |
| Track title: |
Area 1 |
| Game release year: |
1988 |
| Composer: | Naoki Kodaka |
| Download: |
NSFE
(complete), NSF (track 2)
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Review by Jace:
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I'd like to direct your attention to this song's bassline: it epitomizes "solidity" as a rhythmic device. Always pulsing, but with only the most deliberate movements, and thus always accenting and amplifying the melodic figures of the square waves. The rhythmic and melodic elements play off of each other well, like a highly efficient machine. In the loop's last phrase, both elements come together to create a melodious atmosphere of adventure that isn't cartoonish. It's appropriate that one of the NES' most unique and vibrant game worlds would be highlighted by music as fun and idiosyncratic as this. |
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#39 - Super Dodge Ball
USSR Theme
Listen to this track:
Requires Flash10
Track information:
| Game title: |
Super Dodge Ball |
| Track title: |
USSR Theme |
| Game release year: |
1988 |
| Composer: | Kazuo Sawa |
| Download: |
NSFE
(complete), NSF (track 10)
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Review by Norrin_Radd:
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This is one of my very favourite themes on the NES. One of my favourite aspects of NES music is the way you take these fundamental frequencies and attempt to write a song that fits with the theme or imagery of the game. Since you can not use traditional Russian instruments to easily tell the listener they are hearing a Russian song, you have to rely solely on the melodies. There are a lot of example of this concept on the NES for all sorts of world genres, but as it stands, there are almost no examples of Russian folk music on the NES. Since Tetris is actually based on real songs, that basically just leaves this track as the only example of an original Russian song on the NES. This is definitely one of the most unique and profound NES tunes in my eyes. |
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#38 - Teenage Mutant Ninja Turtles 2 - The Arcade Game
Technodrome (Stage 7)
Listen to this track:
Requires Flash10
Track information:
| Game title: |
Teenage Mutant Ninja Turtles 2 - The Arcade Game |
| Track title: |
Technodrome (Stage 7) |
| Game release year: |
1990 |
| Composer: | Keizou Nakamura |
| Download: |
NSFE
(complete), NSF (track 117)
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Review by Jace:
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One of the more intriguing mid-tempo headbangers on the list. Within any genre or instrumentation, I find that the most powerful works of music inhabit what I think of as "the world of the song," wherein any and all component pieces work together to create a singular whole with its own, fully cohesive sonic landscape. This song is a great example of this methodology. Each figure in the song speaks to and builds from those previous to it in such a way that the song itself emerges as One Thing, rather than just a pile of cool riffs. In a way, this is one of the most important factors separating "good" NES music from "great." There are literally hundreds of NES songs that might boast one notable and cool part or trick, but only an elite few form a complete and perfect circle that shapes an airtight identity for the work as a whole. This quality of songwriting cohesion also served a utilitarian purpose on the NES, as it allowed players to tolerate relatively short bits of music repeated nearly ad-nauseum during gameplay. |
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#37 - Castlevania 2 - Simon's Quest
Monster Dance (Night)
Listen to this track:
Requires Flash10
Track information:
| Game title: |
Castlevania 2 - Simon's Quest |
| Track title: |
Monster Dance (Night) |
| Game release year: |
1988 |
| Composers: | Kenishi Matsubara, Satoe Terashima |
| Download: |
NSFE
(complete), NSF (track 3)
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Review by Norrin_Radd:
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Absolutely masterful use of duty cycles and echoes. This track might not jump out as one of the more technical NES tracks out there, but the amount of techniques that they keep throwing at you are incredible. If you solo out each square wave on their own, you'll hear how each section of the song, and sometimes even each transition, uses an entirely new technique for texture. For example: You know that sound the text makes as it changes from day
ight? They very covertly use exact square wave sound in tons of places in this song. Always for a tiny little bit of texture here and there, but the end result is really just amazing. Add to that a super meaty mid paces thrash drum beat (ala Motörhead) and a bass that is not shy about walking up and down the fretboard. Well sir, you got your self a beefy track, with a lot more than meets the eyear. |
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#36 - Teenage Mutant Ninja Turtles
Introduction
Listen to this track:
Requires Flash10
Track information:
| Game title: |
Teenage Mutant Ninja Turtles |
| Track title: |
Introduction |
| Game release year: |
1989 |
| Composer: | Keizou Nakamura | | Arranger: | Hidenori Maezawa (not credited) |
| Download: |
NSFE
(complete), NSF (track 1)
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Review by Norrin_Radd:
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This could very well be one of the most humanistic tracks to ever come out of the NES. The squares do an immaculate job of creating a believable guitar sound. To the point where there is absolutely no question as to what they were going for. It seems as if every single note was carefully considered, and unique envelope, echo, volume, and duty cycle properties were applied to each in order to make it sound as close to a live performance as possible. A good example would be during that small lead guitar solo right before the song loops. If you listen carefully to each note, you'll hear small changes in every alternating note which add a sense of alternating up and down picking, or even hammer on pull offs. But it doesn't stop there. They also go out of their way to create characteristic idioms of lead guitar. Techniques such as quickly sliding your finger down the fret board after a heavily accented note, and call me crazy, but I swear there are some pinch harmonics in this song. Finally the round it all out with some of the most accurate and heavy sounding NES power chords ever made. Straight up palm muting! It's absolutely nuts!
Enough about the guitars though, this song isn't even finished impressing. The bass... The bass is attempting to go for the world record of most notes attempted in a single NES song. I am listening to it solo'd right now, and it's almost a song worth listening to on it's own!
Lastly, I just have to give some proper attention to the drums. Right from that opening drum riff, this song just does not relent. The samples are pretty much familiar to all of us. Anyone who has ever made an NES chiptune cut their teeth using these samples (at least it seems that way). And with good cause. They are perfect! I have no idea how they did it, but that snare drum you are hearing is actually part of the Noise channel! As a result, they are usually able to achieve a somewhat randomized snare sound, which adds to some very humanized drum fills. It seems like they may have caught on to this idea as well, because they have purposely added some energetic drum rolls during some of the snare hits which only consist of very short snare drum hits. But since they all come out every so slightly different, it really does sound like a drummer who's just playing with a lot of intensity. I am so glad that this song is on the list! |
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