I said in my review quickie for this game that the soundtrack was kind of noisy and inappropriate, and while recording I didn't find it quite as noisy as I remembered it (except maybe the Level 1 and 6 song), or maybe listening to the MP3s just removes the conflict it had with the scenery. Well, here's all the level songs anyway.
Levels 1 and 6 - This explosive number kicks off and ends the game, playing for a raging sea for the first stage what's essentially Hell for the last. It's kind of noisy, but I do like the second verse. Sorry if it's a little coarse, that's how it actually sounds through Amiga Forever.
Level 2 - Okay, it's more ambience than an actual song, but there is something about the ominous thundering that's still enjoyable to listen to.
Levels 3 and 5 - It kind of sounds like I pick this up in the middle of the tune, but that actually is where the song and level start. Similar to Level 2, but more like an actual song.
Level 4 - My least favorite song of the game, I only included it for completion's sake. It's like Tim Wright kept one of his free-writing excersises for Level 2 and used that here. It takes forever to go anywhere and I only looped it once because I got bored listening to it while recording.
I've made three major attempts at Binding of Isaac - once when I was trying to get the Krampus achievement for the Steam contest back in 2011, once when Steam released the trading cards, and finally when I was prepping this music and was inspired to give it a shot with JoyToKey and my SNES controller. And all three times I walked away thinking the same thing: I don't get this game. Most of the time I make it to about the third boss before I just stop caring, mainly because said bosses take too damn long to kill without upgrades to increase your attack and/or firing rate (especially that one that looks like it got lost on its way to an Akira cosplay convention), but since the dungeons are randomly generated it's a crapshoot if you'll get any such items. Is there something I'm missing here? The soundtrack was done by the same person who did Super Meat Boy, and while I prefer that game's music, Binding of Isaac still has some really cool stuff. Come on, Danny Baranowsky, compose for a game I like as much as your music.
Also, the original songs I got from the Humble Indie Bundle looped three times which I thought was a bit much, so I edited them to only loop twice.
The Binding of Isaac - Title screen music. A good way to describe it is the world's most depressing lullaby.
Burning Ambush - While navigating the dungeon, you'll often run into surprise boss fights with representations of the seven deadly sins, where this plays instead of the main boss theme. This also plays in the arena rooms, which I don't bother with unless I have a teleportation item. This song has a bit more to it than the normal boss theme.
Divine Combat - Music for the boss at the end of a floor. It gets better towards the end, although the first half is kind of noodling around.
Dreadful - This plays in the Depth floors of the dungeon. You're getting close to the end...
End Times - Music for the staff roll (all three people) and cast list. It's a harder, more intense version of the title screen music. It also gets swapped out for what sounds like demons singing "Jesus Loves Me" after you beat It Lives for the first time.
Enmity of the Dark Lord - Without the DLC the final boss you can fight is Satan. Does the chanting sound like "WON'T YOU BRING FORTH MACHU PICCHU!" to anyone else?
Latter Days - If you have the DLC, the Depths will sometimes be replaced with a harder version called the Necropolis, and this will play instead of "Dreadful". This is a more gothic verison of "Thine Wrath..." below, though you can also hear part of "Dreadful" in it.
A Mourner Unto Sheol - Admittedly this is more ambience than song, but it's pretty effective ambience.
My Innermost Apocalypse - If you have the game's DLC you can choose to fight Satan in Sheol or Isaac in the Cathedral after defeating It Lives, and this is the music for the fight with the latter. If "End Times" was the title theme kicked into overdrive, this is the title theme pumped full of horse steroids and set on fire. Unfortunately, there's a bit at 1:24 that was done too loud and ended up getting distorted, but that's pretty minor, and it still gets the gold medal for this game's soundtrack.
Repentant - This plays in the Cave floors of the dungeon. This is a bit mellower than the first set of floors.
Sacrificial - This plays in the Basement floors of the dungeon, and caught my attention right away.
$4cR1f1c14|_ - This is a chiptune version of Sacrificial that plays in the Arcades.
Thine Wrath... - This plays during the boss fight against Isaac's mother. I kept considering giving this a Skitty, but something feels a bit... off about it, like it's actually pieces of three different (albiet very good) songs spliced together. Give it a pseudo-Skitty, I guess.
Rebirth ironed out enough of Binding of Isaac's kinks that I actually found it a fairly enjoyable game, but the soundtrack is a huge downgrade. Most of the levels are forgettable ambient bullshit, and the boss themes are interchangeable. When I found out about a mod to change it to the original game's I was all over it, and I sure as hell don't see myself pranking any forums with a name taken from this game's soundtrack.
Ascension - In the original game, the boss fights with Isaac and ??? both used My Innermost Apocalypse (and for those who haven't played either Binding of Isaac, yes, his name actually is "???"). In Rebirth, ??? gets his own song. This is probably my favorite song in the game, which is kind of sad when you stop to think about it.
Crusade - Main boss theme. I'll confess I've had the bit from :50 to 1:16 playing in my head after a few boss battles, but overall this song drags itself out too much.
Diptera Sonata - Music for the basement levels. I still remember how much Sacrificial chilled me when I played the original for the first time, even while loathing the actual game. This just doesn't have the same effect.
Everlasting Hymn - Music for the Cathedral level. This might be my favorite of any of the level themes, but as with Ascension, I don't know if that's saying a lot.
Hericide - Satan fight. Y'know, online consensus seems to be that while the new soundtrack pales compared to the original, this is an improvement over Enmity of the Dark Lord. I have to disagree, and even if you wanted Enmity to ease up on the chanting in favor of electric guitar, there's this cover. And as an aside, I've never heard the phrase "Hericide" before and apparently it means killing your master, but I would have guessed it meant "killing a heretic".
Infanticide - Music for the fight with Isaac in the Cathedral.
Matricide - Can you tell the difference between these past three songs? Because I can't.
Periculum - Music for the basement's alternative, the cellar. If my favorite level theme isn't the Cathedral theme, I guess it's this.
Tribute - End credits music. This might be the only song I feel is about on par with its classic counterpart. Unlike End Times, this doesn't seem to ever get replaced no matter how many times you beat the game.
When Blood Dries - Music for the Necropolis. As weird as this may sound, I don't even know why I'm including this. Maybe as a comparison to "Latter Days" from the original game. Through the whole thing, it sounds like it's building to something but never gets there.
I've described Blasting Again's soundtrack as sounding like elevator music, or maybe waiting room music is a more accurate description. And while I still feel that way about a lot of it, I found myself appreciating it a little more after listening to the soundtrack disc. Though while listening to the music out of context, another thought crossed my mind - if I didn't already know what game it was to, I would have thought it was the soundtrack to an unreleased Mega Man X game. Or maybe a bunch of cut Mega Man X6 songs, to the point I would have bet money they were composed by the same person but to my surprise, nope. Anyway, these were ripped from the official soundtrack, but the songs on the disc only looped once. I've edited them to loop twice where appropriate.
Battle Field - This is the music to the hub area, and is a remix of the Area 1 theme from the first game. It's pretty much the best song in the game by proxy.
Boss Battle 1 - This plays when you fight a boss while piloting SOPHIA. I'll confess there's better boss songs out there (the opening goes on about twice as long as it should), but it's one of the only songs in this game I even noticed while playing, so there's that.
Boss Battle 2 - This is the music for when you fight a boss as Roddy on foot. SOPHIA's theme is better, but I'm taking what I can get with this game. Look, I like my electric guitars as much as anybody, maybe even moreso (Cough), but this is just noisy.
The Final Battle - The final boss theme with the Kaiser. Although it sounds more like it should be playing during your approach to the final battle with Sigma.
Hot Air - This plays in the Roddy dungeons of the first lava area. As with the SOPHIA boss fights, it's probably not going to be anybody's favorite, but it has something going for it and a little more work might have turned it into something good.
Option - I don't recommend this song. I'm just throwing it up as an example of what I mean by elevator/lobby music. This plays during the cutscenes where Elfie says she ending an upgrade Roddy's way.
Rocking Under the World - Roddy dungeons for the first cave area. Any part of this sound familiar to you Blaster Master veterans?
Rush Boy ~ Theme of Roddy - This plays over the end credits. After listening to it on the disc for a bit, I've grown to like it more than when I first heard it in-game. There actually are some well done parts, but about two minutes in it starts to get almost as bad as the Roddy boss theme, and what the hell is with that siren? By that point I usually end up closing it and firing up the Credits theme from Jamestown. But it's probably still the best original song in the game.
Volcano - This plays in the first lava area. Give the song a chance to lose that twingy electronic instrument.
In retrospect, I might have been a bit mean to this game in my quickie for it. I later got to thinking it wasn't lackluster as well as incompetently programmed, but lackluster because it was incompetently programmed. If the code had been tightened up so half the game wasn't played in agonizing slowmo and the those floating platform bits actually worked (and while they were at it, got rid of those blacked out rooms in the final dungeon. Seriously people, there's a difference between challenging the player, and just wasting their time), it probably would have been alright. And some of the soundtrack is decent. It's a sort of synth rock that takes more than a few pointers from Ys.
Barren Desert - The Ice Castle is in the middle of a desert. Go figure.
Battle in the Arena - I guess this is used when you fight at the arena in Toronto? I never actually heard this in-game because I never tried the arena.
Before the Journey - I forget where this is used. Judging by the order in the .spc set, I guess it's used when one of the characters opens the portal to the Ice Castle. Well, wherever it's from, it's short but sweet.
Demon Invasion - This song replaces the music in the town of Toronto after you see the dragon, when it becomes infested with giant insects.
Dragon Legend - This is from the opening cutscene with Remeer's father leaving.
Droog Volcano - I guess "atmospheric" is the best way to put this song? This is used in the volcano, and is one of the weaker songs in the game.
Epilogue - This plays during the extra ending after the credits. Has a sort of "See you again" vibe to it, but sort of meanders around too much.
Five Adventurers - Although they don't really do much, you have four friends who give you items or heal you in the first and third dungeons, and help you along the way in towns. This plays at the beginning when the five of you decide to go to the Tower of Light.
Giant Roach - This is used for the first boss fight, a giant cockroach (go figure), but I think it's also used for the third boss.
Gravity Orb - Out of the two boss themes, I like this one more. This is used for the boss of the second dungeon, and I believe it's also used for the final boss (in case you're wondering, one of the five dungeons doesn't have a boss). It might be a bit weird at first, but give it a chance, it might surprise you.
Natural Cavern - This plays in the underground tunnel between Arcs and the Site of Civilization.
Platinum Shrine - Used for the final dungeon. My favorite song in the game, and the only one I really noticed while originally playing it, though it did get a bit exhausting to listen to it for two hours straight.
Road to Droog - The way to Droog is some kind of cliff area.
Road to Toronto - This plays in the southern route from Arcs to Toronto. Honestly, I'm having a hard time finding much to say about the songs for the routes connecting different parts of the game, because they're kind of hard to tell apart from each other.
Road to the Tower - The first song you'll hear after leaving Arcs. Seems like it's trying to be Brain Lord's answer to First Step Towards War.
Romus' Ice Castle - Parts of this sound like something out of Earthbound. Players of 7th Saga may recognize "Romus" as the name of the first boss, a dog that was turned into a demon, although this Romus is some kind of imp wizard.
Site of Civilization - Another song that sounds like it got lost on its way to the Earthbound auditions, this is used for the ancient factory dungeon.
Staff Roll - The staff roll also contains part of the game's ending. It's sort of nice, but not particularly outstanding for ending music.
Town of Arcs - A casual song for the first town. I don't care for this song, but here it is anyway.
Town of Toronto - Brain Lord only has two towns, and this is the second. Sort of a relaxed song.
Tower of Light - Going back to the Ys inspiration, the first dungeon reminded me a lot of the Tower of Darm.
Dawn of Sorrow was an okay game, but it definitely didn't kick Symphony of the Night's ass. It has a few good songs, mainly the usual remixing of classic Castlevania songs.
Beginning - A remix of Beginning from Castlevania 3.
Bloody Tears - A remix of Bloody Tears from Castlevania 2.
Dracula's Tears - Wee, something original, I think. The music to the Wizardry Lab.
Vampire Killer - And I bet you thought for a second that Konami left this one out.
If you read my Twenty Overrated Games article, you probably know I wasn't wild about this game. That soundtrack isn't bad, though.
Crucifix Held Close - I believe this is a remix of "Cross Your Heart" from the old Vampire Killer game.
Gaze Up at the Darkness - I really hope it was a communication problem that caused "Behind the Gaze" to get on the soundtrack disc that came with PoR's preorder instead of this song. "Behind the Gaze" is the second most irritating song in the game, while this is probably the best. This is used for the castle pinnacle.
Iron Blue Intention - This one's a remix of the Castlevania: Bloodlines song of the same name.
Hail from the Past - This is used in the first Egypt stage. If I recall correctly, the music changes when you go inside the pyramid, and this is used for traveling the dunes. A beautiful piece with an Egyptian flavor.
It sounds like the people who composed CIMA's soundtrack (one of which was Yasunori Shiono, who did the soundtrack to Lufia 2) tried to mix NES and SNES music, which was a nice experiment but the result is sort of like glazing your steak with strawberry jam - they're both great things individually, but they really don't go together (although what with things like chocolate covered bacon and deep fried butter, I'm sure there's people out there who think that sounds great but shut up, it's just wrong). I guess it works when the NES music is the melody while the SNES plays harmony, but when the two trade roles the music tends to sound like it's riddled with electronic buzzing.
Aftermath - This is used in the first part of the game's ending. An okay harp piece.
Apprehension - This plays at the beginning of each boss fight sans the final one. The one that plays before the final boss is better.
Approaching the Final Battle - This ominous song plays during the long cutscene leading up to the final boss fight. And it is pretty long cutscene, so maybe it's a good thing he's such a wimp.
Battle With Elvira - Throughout the game there's four major CIMA who are sort of like the four Sinistrals from Lufia. The game's bosses are their creations, until they finally knuckle down and have a showdown with you personally. Elvira is the only female of the group, and her battle theme is probably the worst of the four.
Battle With Falcken - Falcken is a cyborg CIMA. Could you guess by the digitized steam whistle in this song that he assumes the form of a train?
Battle With Genox - Genox looks like an Oompa Loompa, and is probably the most prominent of the recurring CIMA. I don't remember much of the actual fight with him (I think it involves him warping around between crystals?), but the song's pretty cool.
Battle With Sawma - Sawma is a one-eyed berserker who turns into a giant samurai. Honestly, Sawma is the CIMA I have the hardest time remembering. He shows up halfway through the game, and I think he only spawns one boss before having a really forgettable fight himself. He has a sweet boss theme, though.
Beast of Falcken - Falcken's bosses probably get the best song of the four common ones, but considering the competition that's not saying a whole lot.
Challenge of Sawma - Sawma's minor boss theme isn't the worst of the four, and it actually starts out decent enough, but it's mostly spent noodling around.
Creation of Elvira - I think this song is irritating, and I'm only including it for the sake of having a whole set. Give it a try if you're curious, and you might even like it more than I do, but don't go in expecting much.
Dragon Battle - Two other bosses, despite being creations of one of the four CIMA, are considered special enough to get their own battle themes. This is used against the giant dragon at the end of the third level, which I admit I'm really biased towards because I was seriously doubting the game for the first two dungeons, but the dragon fight was when the game finally clicked with me.
Dragon's Dungeon - This plays in the dungeon inhabited by the aforementioned dragon. I imagine most people would find it kind of annoying, but here it is anyway.
Epilogue - I guess this plays after the credits? Sure sounds like a "bonus ending" song.
Fond Farewells - This is the second act of the game's ending, and my favorite of the four ending themes.
Farlay Battle - Farlay is a bird sorcerer that flies around, dropping meteors on you. This one has a piercing screech near the beginning, but you only hear it once.
The Final Decisive Battle - The final boss theme against Pike, who despite getting a kickass fight theme is probably the easiest boss in the game.
Final Dungeon ~ Night Trap ~ - The final dungeon consists of a hub, and paths for each of the five teams. This song plays during the paths, and has a sort of "get going" tone to it.
Fire Dungeon - This sounds more like it belongs in a desert-themed dungeon, what with the old-west style. Probably my favorite of the main dungeon themes.
Forest Dungeon - Yup, this is a forest dungeon song all right. A repetetive one, at that.
Lonely Space - This is probably the most frequently heard song in the game. It's a somber guitar piece that plays in the main level hub, which consists of the train on a floating platform in an otherwordly void.
Monster of Genox - If you're paying attention to the file names, you might notice they're out of order on this listing. Well, I numbered them in the order you encounter them, and Genox is the first major CIMA you come across, so this is the first boss theme you hear.
Naming - This is used at the file select screen, which I guess is where you get to change Ark's name when you start a new game, but it kind of makes me wonder why they didn't call it "File Select".
Opening - So CIMA seems to take a lot of pointers from Lufia 2, probably as a result of being developed by the same studio. There's the box art, the four recurring enemies with their leader, and both have an opening cinema that has bugger all to do with the rest of the game. Not much of a song, really.
Pioneer Train 'Blue Creek' - This only plays at the beginning of the game, in the train before you wind up in the CIMA dimension.
The Power of Belief - This song plays at the end of the game on the way to the final dungeon, and then in the hub area of said dungeon.
Reunion - This plays every time you're reunited with somebody, either with each level's prisoner or when the team gets seperated by a trap. Short but sweet might be the best way to describe it.
Sky Dungeon - Although the Sky Dungeon is a sort of floating temple, this wouldn't be too out of place in an Egyptian pyramid level.
Staff Roll - This song seems to have the most trouble combining the NES and SNES sound sample of any.
Stone Dungeon - Not a lot to this song, is there? It's less than a minute long, and that's even with a loop.
Snow Dungeon - This is slightly better than the Forest and Stone dungeon themes, but weaker than the Fire or Sky themes.
Title - I actually never heard much of this song until I dumped the GSF set, because my first instinct was to mash Start right away to get into the game.
Theme of the Gate Guardian - This plays after defeating each boss. I will confess what actually transpires after each boss fight gets old after the third or fourth time it happens, but it's still a happy little song.
The Village of Rooda - The dragon level is the most meta moment in the game. When you enter the level, you find yourself in an RPG village full of NPCs while music that sounds like something out of Dragon Warrior plays.
If you have this game on Steam you can actually scout out the soundtrack from within the game's files, although the tracks will be in .wma format. I'm throwing up some of my favorite songs both for people who haven't bought it, and to anyone looking for them in .mp3 format.
Conflict - The main battle theme. RPGs where the random battle music doesn't suck are pretty rare. RPGs where the random battle music is this awesome are even rarer.
Existence Collapses - The theme for the final boss fight against Azathoth (if you're familiar with the Cthulhu mythos, that shouldn't be much of a spoiler). Organ music, electric guitar, chanting, pounding drums, horns, this song has everything, except maybe a final boss worthy of it. Seriously, for being the creator of the universe, Azathoth isn't exactly one of the game's harder bosses.
Descending Forever - The sunken city of R'lyeh is the game's final dungeon.
Into the Depths - This plays in the Hero Shrine you get Sharpe in, and I seem to recall one other area. This combines chanting and a piano with an electric guitar, giving you something that wouldn't be too out of place in Ys.
Limitless and Free Skies - Onward to adventure!
Master the Fire - Music for the volcano area late in the game. It starts a little slow, but gets pretty rockin' as it goes on.
One Last Tight Spot - Although it's the battle theme from Breath of Death, this song is also on Cthulhu's soundtrack, probably used in a hidden battle with Dem I never personally found, I just noticed he's in the game's Bestiary. And since I don't feel like making a Breath of Death VII entry for one song I just figured I'd throw it under here. I'm not quite as fond of it as Cthulhu's, but it's still pretty good, although since it plays for EVERY battle in Breath of Death, it could get pretty tiring.
Push Through Once More - The boss theme is a lot moodier than the main battle theme.
Rust and Scrap - It's not on the level of Fear Factory in Donkey Kong Country or Smithy's Factory in Super Mario RPG, but it's not a bad factory song.
Save the World - Also plays during some cutscenes. Music fit for a hero.
The Trial - This song plays in the beach cave the game starts at.
Victory Theme - This song was actually ganked wholesale from Breath of Death VII, where it was also used at the end of a battle.
Doom has some great rock stuff going on, though one complaint I will make is that, ambient songs aside, it often noodles around for too long. I'm focusing on the Super Nintendo versions since I greatly prefer those, but I've provided the PC versions for a couple songs.
At Doom's Gate - The song for the Hangar, the first level of Knee Deep in the Dead. A great way to kick things off!
At Doom's Gate (PC) - The PC version isn't paced or played as well, but it's not bad.
E1M1 - And for good measure, there's this I found on my computer. A heavy metal remix of At Doom's Gate. I think it's from Doom 3.
Facing the Spider - The final boss theme. Hard-hitting rock, but it's also very repetetive and doesn't last long. An interesting note, if you listen carefully, you can hear the high points of the bassline (it's hard to describe, but if you listen to the song you can probably figure out what I'm describing) fading in and out as the song goes on.
Hiding the Secrets - The Super Nintendo version uses this song for the Deimos Anomaly, the first level of The Shores of Hell. The PC versions use an unimpressive song called "I Sawed the Demons" which isn't in the SNES version. This song is awesome! This and the SNES At Doom's Gate are my two favorite songs in the game.
Hiding the Secrets (PC) - On the computer versions, this song is used for secret levels, which also aren't on the SNES version. It's not as good as the SNES one, but still worth a listen.
Kitchen Ace (And Taking Names) - The name seems like total nonsense at first, but think about what "kitchen ace" sounds like, and what's usually paired with "and taking names". Another song that's decent rocking, but I wouldn't blame anyone if they get sick of it after a while.
Nobody Told Me About id - The song for the Cyberdemon battle at the end of Shores of Hell. This one starts off slow and eerie, like it's foreboding, then shifts into the real fight.
Untitled - Apparently, "Untitled" is actually the name of the song. It's the music for the Hell Keep, the first level of Inferno. As you set foot in Hell, this really gives you a sense of how low you've fallen.
While I was recording these songs, something jumped out at me. The original songs were a bit short, so they were lengthend by playing them several different ways and connecting the versions. I know is a pretty standard thing to do with music, but this happens upwards of four times in some songs. It isn't the greatest crime to music in the world, but the narrative does get kind of fucked. Since the main level songs are a bit on the long side, I set most of them to loop only once.
African Mines - The African mines takes on a jazzy, tropical flavor.
The Amazon - Holy crap, this song doesn't know when to end! You think it's getting ready to hit the loop only to have it keep going, like, three times.
Boss Battle - Hope you like it, because you sure get to hear a lot of it during some of the drawn out boss battles.
The Dime Chase - After you beat the final boss, you have to beat Magica and Glomgold to Scrooge's dime, and then escape a rising sea of lava. You might recognize this as a more alarmed take on the "might solve a mystery/or rewrite history" part of the Ducktales theme.
The Dime Chase (8-bit) - Yes, they actually remade some of the new music in chiptune! I won't be posting the 8-bit versions of the songs that were in the original because I'd rather post those in a listing for that game, if I do that at all.
Dracula Duck - Music for the final fight with Dracula Duck (obviously). It might not be everyone's thing, but if you like your final boss songs loud and a little dissonant, this is sure to scratch your itch.
The Himalayas - I let this loop twice since it's not as ridiculously overdone as the other level themes.
Money Bin - The Remastered version added a tutorial level in Scrooge's Money Bin. If you're not fond of silly, cartoony music you might find this song annoying, but otherwise it's okay.
Money Bin (8-bit) - If you found the original version annoying, this might be more to your liking.
The Moon - I like this song, but for fuck's sake people, stop calling the original the best song on the NES.
Mount Vesuvius - Instead of revisiting Transylvania, the final level of Remastered takes you Magica De Spell's volcano hideout. Granted, the song sounds like something out of Castlevania.
Mount Vesuvius (8-bit) - Funny, the transition to 8-bit actually makes it sound less like a Castlevania song. NES Konami music really has a different flavor to it than NES Capcom music.
Title Screen - It's the NES title screen theme with the harmony instruments updated. And being based on the Ducktales theme to begin with gives it a major advantage.
Transylvania - So the volcano level sounds like Castlevania, but the haunted mansion level makes you want to do the Monster Mash. Go figure.
Where Bubsy failed, Earthworm Jim succeeded in being a cartoon video game. The first game is pretty hard, especially the Tube Race which has no doubt stopped some players in their tracks. 2 was weaker in both gameplay and soundtrack. The Special Edition remixes for PC are well done.
Banjo Race - An entertaining banjo song from the Andy Asteroid levels.
Buttville - True story: before I reached it I thought Buttville's graphics were going to be a collection of asses. But it's actually a creepy, insectious setting somewhat in the vein of Aliens.
Intestinal Distress - This level isn't in the SNES version. I recently learned the level was practically put together over night and thrown in at the last minute because of a deal with Sega to put an extra level into the Genesis version. It shows and frankly it's a pretty lame level, but this song is the stuff of nightmares.
Junk It! - A rock song from the first game's first stage.
Lorenzen's Soil - This is used in Earthworm Jim 2's second level. Creepy and moody, the SNES version also uses this for ISO 9000, the paper level. Except the Saturn version uses that annoying bagpipe music from the Granny Chair bonus stage (bleh!).
Tangerine Synth Rock - Another rock song from the second game's first stage.
Use Your Head - This is the "helicopter" part of Buttville. The Special Edition remix is amazing, especially the second half which wasn't in the SNES/Genesis games.
What the Heck? - What the heck, indeed. It starts off with Modest Mussorgsky's Night on Bald Mountain, then record scratches and starts playing a happy happy tune with people screaming.
Who Turned Out the Lights? - From a gameplay perspective this (thankfully optional) bonus stage was pointless and annoying, but from a humor perspective it's not bad and the music sounds like something out Looney Tunes.
Fogedge - This soft, adventurous, and kind of sad tune plays for all the areas of the overworld.
Elemental Master is an overhead shooter where you play as a wizard, and is actually my favorite soundtrack on the Genesis. Unfortunately, the actual game is really easy, mainly because of how overpowered the charged Light weapon is.
Avatar of Flame - Every boss in the game has its own song, and this is used for the boss of the fire level. Lots of percussion and guitar work here, though with the mewling cat noise it almost sounds like something out of Blaster Master 2 (though it would make a significantly better boss theme than that game's)
Calling on the Dark Dragon King - This one is used for the boss fight with Clauss, the lizard man who walks out and transforms into a giant dragon. My favorite of the boss themes, and my second favorite song in the game.
The Blood-Stained Lake - The music for the water level. Y'know, a while back HardcoreGaming101 had some thing where people voted on the 100 best game songs, and from Elemental Master's song library, the is the one that ended up on it. Really? I don't hate this song, but it's still my least favorite of the four main levels.
Cursed Destiny - Music from the opening cutscene.
Cursed Destiny (GYM) - This is the same song, only recorded from a GYM file through WinAMP instead of the actual game. I'm uploading it because it's a bit better than the recording from the game, as I can actually hear somethings besides the percussion from :55 to 1:34 here.
Dance of Flame - Music to the fire stage. My favorite of the level songs.
Deceptive Beauty - Although Salome looks like a human woman, she's somehow Clauss' sister. I don't know if it makes things weirder or not that she turns into a giant spider (guess when in the song her transformation completes).
Den of Evil - This is for the sixth level, some sort of temple with mummies and spike traps. Short and strange.
Fate - This is the first part of the final boss fight against Roki, the main character's brother (which I think is a mistranslation of "Loki"). A cool song, but he's taken down so quickly with the charged Light beam that you'll probably never hear much of it in-game.
King Garia's Revival - And this is the second part of the final boss, with the demon that emerges from Loki when defeated. The first song is better.
Like the Wind - Music to the wind stage.
Setting Out (Staff Roll) - A happier epilogue piece. There's a guitar part about 2/3 through that I find a little out of place, but the rest is quite nice, and it's become my favorite song in the game.
Shudder of Darkness - This is the music for the final level, and it's less than a minute long even with a loop. While listening through these songs I'm noticing a dip in quality after the fight with Clauss, at least until the end of the game. These songs aren't awful or irritating, just not on the level of the earlier songs. What's funny is that after the fight with Clauss is when the game itself loses it.
Sorrowful Requiem - This plays over the first half of the ending. Now I honestly didn't know whether to laugh or cry at the ending, but this piece leaned me in the "cry" direction... though it is a little comical that the little ditty at the end is the Game Over music.
Specter Living in the Water - This is the theme for the boss of the water level. It's... different, I guess. A little on the loud side.
Terror of the Glacier - After you clear the first four levels in whatever order you want, you play the last three in order. This is the fifth stage, an ice-themed level.
Until the End of the Earth - Music to the earth stage. This would be my favorite level song, except some parts drone on for a little too long and there's a section in the middle that feels kind of slapped on. The rest of it is amazing.
Garfield: Caught in the Act might have had some pretty, well-animated graphics and decent music, but the nicest thing I can say about the actual game is that "mediocre" is still better than "completely terrible" like every other Garfield-based video game, right? And I know that the Genesis version came first and that alphabetically "Genesis" comes before "PC", but since I had the PC version of the game first and am more familiar with those versions of the songs, I want to talk about them first. So there.
Alien Landscape (PC) - The Alien Landscape level is exclusive to the Special Edition, so there's no Genesis version of this. Dream-like might be the best way to describe this song.
Bonus Round (PC) - The game has two types of bonus stages, one where you fly through a tunnel and a Whack-A-Mole type game that goes on for-fucking-ever. This is the music for the latter, and is the most irritating song in the game. I'm really only posting this for completion.
Bonus Round (Genesis) - Aaaand just in case you didn't think the PC version was that annoying...
Catsablanca (PC) - I don't know if the similarities to the Catsablanca level and the Garfield "Babes and Bullets" special was intentional or if it just comes with the 1940s gangster and spy stuff. If you're into that kind of music, here you go.
Catsablanca (Genesis) - Definitely go with the PC version. Man, I can barely hear the melody from :36 to :53.
The Curse of Cleofatra (PC) - My favorite song in this game. A fast Egyptian tune with lots of percussion.
The Curse of Cleofatra (Genesis) - The Genesis version is a bit quieter than the PC version.
Cave Cat 3,000,000 BC 1 (PC) - Is it just me, or does one of the voices sound like Lorenzo Music?
Cave Cat 3,000,000 BC 1 (Genesis) - Obviously this version is missing the vocals. It also sounds more like random noise.
Cave Cat 3,000,000 BC 2 (PC) - The second Cave Cat theme is considerably creepier than the first.
Cave Cat 3,000,000 BC 2 (Genesis) - The beginning is a bit goofy, like it's being played on rubber bands, but once the main music kicks in it's actually not that huge a downgrade from the PC version.
Continue? (PC) - Also used for the bonus levels where you fly through the tunnel. Have you ever seen that Muppet Show sketch wheres Rowlf plays a ditty on a keyboard, then says "One octave higher!" and plays the same ditty at a higher pitch, then keeps doing that over and over? Yeah.
Continue? (Genesis) - This version sounds more electronic, which is fine since you are flying through a corridor of circuits and electricity through the bonus level.
Count Slobula (PC) - In the Genesis version this is the first level, but on the PC version it's the third. Organ music and ominous whistling that cuts out just as it's getting really good. Poo.
Count Slobula (Genesis) - This version trades the whistling for an organ, and the organ for some kind of keyboard thing. Go figure.
Ending (PC) - This goes on a lot longer than it does in the actual game, where it cuts off at about the 20 second mark and the credits start.
Ending (Genesis) - This version doesn't scream "You did it!" quite as loud as the PC version.
Game Over (PC) - This also plays over the credits. So yeah, they cut the Ending theme short for this.
Game Over (Genesis) - Wow, one song that's actually better on the Genesis than the PC! This actually benefits from being more subdued.
Intermission (PC) - After you complete a level you have to navigate the innards of a TV to reach the next one. This isn't much of a song, but what the hell. Not exactly a comforting song, is it?
Intermission (Genesis) - The biggest change here is the Genesis version is missing the static, and somehow manages to be even more disquieting.
Intro (PC) - Music for the opening movie when Garfield accidentally creates Glitch and gets zapped into the television by him. Sounds like the opening of the a news broadcast, doesn't it? I don't know what's with it ending with "I've Been Working on the Railroad", but like the Ending theme in the actual game the cinema ends and this song cuts out long before then.
Intro (Genesis) - Y'know, it's basically the same song, yet this version doesn't sound so much like the opening of a news broadcast.
Revenge of Orangebeard 1 (PC) - I guess I can sort of see why I didn't upload the pirate levels before. This would be a lot better if somebody had retuned their horn-thing.
Revenge of Orangebeard 1 (Genesis) - Another song that's actually better on the Genesis. It's quieter like most of the Genesis version, but also not dominated by what sounds like a rusty brass instrument.
Revenge of Orangebeard 2 (PC) - After the bit with the boat in the first half of the level, you're thrown into a jungle. Doesn't the second half sound an awful lot like the "It's time to party with Garfield and Friends" theme song?
Revenge of Orangebeard 2 (Genesis) - Well, that didn't last. Might have been alright if it weren't for all the animal noises, but then it changes into... something sounds like laundry being tumbled around.
Season Finale (PC) - You'll hear the beginning of this in the post-stage cutscenes where Glitch zap Garfield back into the TV, but it also plays during the final battle with him. A fast, techy song.
Season Finale (Genesis) - The last in a long line of quieter, weaker Genesis versions.
Jamestown is a sci-fi reimagining of the colonization of America, only with Mars and Martians instead of America and Native Americans. I originally got these songs from the same Humble Indie Bundle I got the game itself with, but slightly modified them to cut out some of the dead space at the end of the songs. Some of it works better in the game and doesn't sound like much out of context, like the Roanoke stage.
Confrontation - The regular boss music. It's okay for what it is, but it seems like they didn't put too much effort into it because they didn't think you'd be fighting the bosses for very long.
Conquistador - The final boss music. I kept flipping back and forth on whether to put this up or not. It has a strong beginning, but as the song goes on it just peters out more and more, until finally ending on fumes. But I guess it's decent enough I'll feel alright throwing it up for completion's sake.
Credits - You know what this song reminds me of? Of all things, the ending credit theme of Blasting Again and what it should have been instead of the noisefest it was.
Epilogue - This is a more melancholic version of the title screen music, that plays over the ending.
Journey to the Dark Sector - This is the song for the Roanoke level. This works works best in-game, with its jarring shift in tone as you penetrate the clouds.
Lost Temple of Croatoa - Music for the final level. The version that came with the download actually went on way longer than it did in the game but the extra stuff bored me, so I cut it back to about the length it was in the game.
Prisoner of the Badlands - Not sure how to describe this song. Bull fighter music? Jazzy? Well, whatever you call it, give it a shot.
Prologue - This is a less melancholic version of the ending music, that plays over the opening (see what I did there?)
Secret Mines of New Madrid - My favorite song in the game, though yes, I'm biased as hell towards mechanical, factory songs. But dammit, this is still awesome.
War Upon the East Frontier - Great music to start your adventure with. Like the original Lost Temple of Croatoa, this goes on longer than it does in the game (it would normally end before the electric guitar at 2:05), but I left the extra bit in because it's a lot more tolerable than the rest of the full Croatoa Suite.
Magma Dragoon - Probably the best song in the game, and the only song in the entire game I remembered years after I first played it.
I got most of these songs off a bittorrent that seems to have gone down. I actually think Mega Man X7 is an underrated game, and if you don't have anything against J-Pop the soundtrack isn't bad either.
Conclusion - An awe-inspiring piece from Sigma's second form.
Lazy Mind - This is the only song in this set I ripped myself from the actual game. I could have used the bittorrent version, except over in Japan the song is accompanied with some really annoying lyrics. We lucky Americans just got the music.
Our Blood Boils - This kickass rock song from Sigma's first form and Conclusion would probably lead you to believe the fights with Sigma didn't involve a suspicious looking gun and a beam that comes out of his lower waist.
Relation - Music for the fight with Red. This fight really concludes the game needed to be played as Axl; the poignance of the battle and this music is wasted on X and Zero.
Stage Select 2 - A short piece with a light emotional punch.
Since I only have one or two songs from each game, and most of them are various remixes of the same song, I figured I'd lump everything in the series into one category. Come to think of it, I don't think the games have much music outside of the opening theme.
Club 41 - From Tales of Monkey Island. Unfortunately the music in Tales of Monkey Island wasn't composed with a proper loop or end, but if you can overlook that this merry jig plays in the Club 41 bar in episode 4 and sounds like something off the Pirates of the Caribbean ride. I pondered giving this a Skitty, but while what's there is good, there isn't enough of it.
LeChuck vs. Guybrush - From Tales of Monkey Island. This is the music for the final boss puzzle, and is based on LeChuck's theme from the first Monkey Island. I'll admit this works better in context, but it's loud and ominous and that's what a showdown on a demon pirate's ship should be.
Monkey Island Theme (Curse of Monkey Island) - This is my personal favorite rendition of the Monkey Island theme. There's some sound effects at the beginning and end (the song starts playing during a battle), but I think they're actually kind of cool. I might redo this later because the music sounds a little scratchy and I recorded this off a ROM, but for all I know it's just as grainy on the physical copy.
Monkey Island Theme (Escape From Monkey Island) - This is pretty much the same as Curse, only shorter, sans sound effects, and with a different beginning and ending.
Monkey Island Theme (LeChuck's Revenge) - From the DOS version of LeChuck's Revenge. I think this works better alongside all the pirate drawings and memorabilia that cycle through in the opening, like you're about to embark on an epic voyage.
Monkey Island Theme (Secret of Monkey Island CD) - Not quite the original, but close enough, eh?
Monkey Island Theme (Tales of Monkey Island) - I wonder if something about Tales of Monkey Island's programming only allowed songs to be a minute long. It's not terrible, but something about that flute bugs me, like it's being played by somebody who's still practicing.
So the actual gameplay of NIER wasn't great, but the writing and characters were some of my favorite in a game ever, or at least they were up until the game shit itself in the final dungeon. The soundtrack is pretty widely praised, but I think it's a little overrated - for all the praise the vocals get, I think they just make all the songs sound alike. Not helping is that many of the songs are based on a song from one of the Drakengard games. But there is still some good stuff here.
Blu-bird - Well, this isn't the best start, is it? Personally I think this song sucks, but maybe somebody with more tolerance to random yelling will get more out of it, or at the very least it's good for a laugh. This plays in the boss fight with the two armors that guard Weiss at the beginning of the game. And no, the distortion isn't a glitch in the ripping, it's supposed to be like that.
City of Commerce - This plays in the main town, as well as the seaside village.
Cold Steel Coffin - This haunting song plays in the Aerie, a windy village built on planks on the sides of a canyon where the people hole themselves up in shipping containers.
Deep Crimson Foe - The main boss theme and by far better than Blu-bird.
Emil / Karma - This is the main theme for Emil, the young boy/skeleton monster who's the last to join you.
Emil / Sacrifice - This is a more low key version of the above song and is used for the sadder cutscenes involving him, like when he gets turns into a skeleton monster in the second portion of the game.
The Dark Colossus Destroys All - This plays in the boss fight against the giant shade that concludes the first half of the game. The title totally quashes any doubts I might have had on what game influenced both this fight and the game's graphics.
Gods Bound by Rules - I actually do not remember where this plays. Due to the name and their obsession with rules I'm inclined to believe it has something to do with the people of Facade. Maybe it's for when you fight the wolf and/or boar shades alongside them?
Hills of Radiant Wind - This plays in the grassy fields outside the main town, and you have to listen to it so much it was driving me nuts by the time I finished the game.
The Incomplete Stone - This plays in the Lost Shrine, which is actually a ruined hotel or apartment complex. In the actual game, some parts of the dungeon will only use the vocals.
Kaine / Escape - This is the main theme for Kaine, the foul-mouthed woman (who's apparently a hermaphrodite, but that doesn't come up until you start a New Game+) who's the second or third character to join you, depending on if you count Weiss.
Kaine / Salvation - This is a slower version of the above song, and like the two versions of Emil's theme is used for the more emotional parts of the game involving her, like the cutscene after you defeat that giant lizard shade.
The Lost Forest - Despite the name this is actually the song for the desert area, which was once a forest. Hence, the "lost" part.
The Prestigious Mask - This plays in the town of Facade, an isolated desert community where the people all wear masks.
Shadowlord - This is the music for the final boss. One of the biggest jumps in quiet opening to explosive main theme since Carmeaty Burana in Super Meat Boy. A shortened version of this also plays in the opening cinema (jump to 2:15 if that's what you're looking for).
Shadowlord's Castle / Memory - This plays at the beginning of the final dungeon, most notably in the courtyard with the two birds that quiz you on what happened to the humans of the past.
Shadowlord's Castle / Roar - This plays in the later sections of the final dungeon. You might recognize this as a more alarmed take on "Hills of Radiant Wind".
Song of the Ancients / Fate - I don't remember exactly where this plays, but I'm pretty sure it's the penultimate boss fight.
Song of the Ancients / Hollow Dreams - At some point you can go on a sidequest to get Popola and Devola to sing this song together in a bar. The soundtrack also has versions of just Popola and Devola singing indvidually, but I figured including all the versions of this song would be overkill.
Temple of Drifting Sands - This is the desert temple you rescue the Prince of Facade from in the first part of the game. Oh, and there's an Ocarina of Time reference after you kill the boss of this dungeon.
The Ultimate Weapon - This plays in the underground laboratory under Emil's mansion, which is a parody of Resident Evil with a dash of Akira. Just the vocals and piano play when you explore the mansion itself earlier in the game.
The Wretched Automatons - I'm usually pretty keen on factory songs, but this one didn't grab me as well. Blame it on the vocals, maybe?
I'm really not sure I can provide music of the main levels. The music changes when you get a lot of zombies on the field, and I don't really have a practical means of recording and/or splicing the two version together. Also, no requests for "Zombies on the Lawn", please. It may not be as bad as the DK Rap, but I really don't see anyone listening to it outside of the game.
Boss Battle - This plays in the first three boss zombie waves. I read Laura Shigihara was inspired by retro game music like Mega Man 2 when she did the soundtrack to this game, and this song is just screaming to be done in chiptune.
Zomboss - The final boss theme. Sometimes it seems to be a spiced up variation of the main boss theme, but if the whole thing is then some parts are remixed beyond recognition.
Y'know, if the game was anywhere near as good as the graphics, music, and atmosphere it would have been a masterpiece. Sadly, what we got was a hauntingly beautiful game that uses absurd difficulty and terribly unforgiving level design that can ruin your game if you find yourself needing an item but don't have it and can't go back for it to compensate for the fact it can be beaten in twenty-five minutes. Hooray for Amiga Forever and savestates! The TurboGrafx-CD version is actually beatable without having the game memorized by the pixel (but you still need to know your way around the game as it's still possible to get stuck) and some of the music is a bit better, but it isn't quite as pretty.
Battle on the Plains (Amiga) - This song plays one time in the field when a bunch of monster bum rush you and for the final boss. Basically a jazzed up version of the Savanna song.
Battle on the Plains (TG-CD) - If you can handle how long it is, this is the better version. On the TG-CD it plays on the entire stretch of game between leaving the castle and the final boss. By the way, all the TG-CD songs are around six minutes in length, so heads up.
Beast's Stronghold (Amiga) - Music for the castle area. The electric guitar is a bit jarring after the softer, more primitive songs from earlier in the game, but this is still a great song and the superior version of it.
Beast's Stronghold (TG-CD) - The TG-CD version. I really do prefer the Amiga version.
The Cavern (Amiga) - Music for the underground areas. Some of the percussion is a little annoying to listen to through headphones, but otherwise a nice, somber piece.
The Cavern (TG-CD) - And the long, TG-CD version.
The Forests (Amiga) - This plays most of the time you're running along the outside plains. This might be my favorite song in the Amiga version.
The Forests (TG-CD) - And the TG-CD version. It starts out a bit clunky, but after that it gets really good. Strangely, the TG-CD version uses this in the second half of the cavern area, after you beat that sliding skeleton/jaw monster.
Main Title (Amiga) - This plays on both versions' Start screens, but the TG-CD version also uses it for the first stretch of Savanna.
Main Title (TG-CD) - The TG-CD version uses this for the daytime Savanna area.
Shadow of the Beast (Amiga) - Song for the opening credits and title screen. This is the song the Lemmings games use for the level based on this game.
Shadow of the Beast (TG-CD) - I like this version more than the Amiga's, which isn't a bad song either. The instruments are better (love those bells) and the song is fuller.
Underwater (Amiga) - This is the music for the part with the jetpack after the castle and before the graveyard, although I never got the impression you were actually underwater here and not just flying. It uses a similar style to the castle, and at first that twanging that starts about a minute in annoyed the hell out of me, but it's grown on me.
Underwater (TG-CD) - The TG-CD version replaces that twanging from the Amiga version with a trumpet, and the opening is kind of cartoony.
In some ways Beast 2 was the step in the right direction, and in others a step back. Beast 2 expanded on the gameplay and level design, but it was even more obscenely difficult. More chances to screw yourself by getting somewhere without the item to continue, and even when you had the items you could screw yourself by not doing what you had to at the exact moment you had to, even more imbalanced enemy placement, the level design tends to disagree with having to press Up to jump (which I imagine would be even more awkward with the joystick you'd be using on an actual Amiga), and how the bloody hell is anybody supposed to figure out on their own to press A and type in "Traps" to have that one guy tell you which switch to hit later on? 'Course, those last two don't apply to the console ports. Anyway, the soundtrack didn't stand out as much to me as Beast 1's, but it has its moments.
Land of Karamoon - The main area theme. This is the song the Lemmings games use for the level based on this game.
For the third and final Beast, Reflections finally got their act together, retooled the gameplay to be more puzzle oriented and less about enemies blindsiding you at every turn, gave the player three lives instead of one before having to restart the whole game, and finally named the main character while they were at it, and put out a respectable game. The soundtrack suffers a little from the same problem as the TG-CD version of Beast 1, in that the songs sound like they were played twice, had a new part added on, then all that was looped, so the songs feel a little dragged out and it also made the recording a pain when I couldn't figure out when a song was actually done. What's there isn't bad, but a lot of the songs sound like they're building to something they never reach.
Battle in the Caves - This is used during the boss fight with the fire-breathing chestburster thing in the Caves of Bidhur.
Caves of Bidhur - The third stage music. This song kind of reminds me of the music for those levels with the thorn vines in Donkey Kong Country 2.
End Theme - Out of the Amiga Beast trilogy, Beast 3 has the closest thing to an ending, and boy is this song a nice way to conclude the trilogy. Although it is a little creepy the way Aarbron is staring right at you while the ending text rolls.
Food for the Beast - This takes over in the Forest of Zeakros when you run through the monster camp and those spike capsules. It's very long song, over three minutes, so I only looped it once.
Forest of Zeakros - This Oriental flavored song plays for the first stage. It's quite pretty, but it seems like it could have been a bit more than it is.
Fort Dourmoor - The second stage's music. Another long piece and one of the more upbeat songs in the game.
Maletoth's Lair - Final boss music. Kind of short, but so's the boss.
Stage Select - A melancholic piano and flute pieces that doubles as the title screen music.
Shinobi is an amazing ninja game with speed, challenge, and though the graphics are kind of bland the animation is very smooth. It also had good music; I've practically posted the entire soundtrack here.
The All-Seeing King - Battle music for Yatsurao, the giant machine boss. Starts ominous, then becomes a mix of mystic and foreboding.
Aomizuchi - This actually isn't what the soundtrack calls this song, but the real name is a spoiler although anybody who thinks about it for a few minutes could probably figure it out. This is the music for the first battle with that ninja who stalks you through the game.
Bloody Sword - Music for when you fight Ageha. An emotional song for an emotional fight.
Ceremony - Stage music for the first two levels. A J-Popish rhythm with an Oriental flute.
Demon God - Battle music for supernatural bosses, which includes the Hellspawn Lords.
Distorted Vortex - Music to the flooded city in 5-A.
Encounter - The music to 3-A and -B. It's kind of a twisted, dark song, which works better in 3-B where the stage is covered in sticky spiderwebs and rampant with demon spiders.
Fantastic Machine - A song with a technological feel to it as you infiltrate the Nakatomi building.
Fate - Title Screen music. It's nice to have an MP3 of this, because you couldn't hear the entire thing without constantly moving your cursor around because it would eventually cut to the intro movie.
Flames of Destruction - The music to 4-A and -B, the burning village and volcano (or maybe just an underground firey fissure?). An upbeat Oriental flavored tune.
The Golden Castle - Music to the Golden Palace, which I guess was called the Golden Castle in Japan.
Hiroe Temple - The English version calls the stage "Kan'ei Shrine", but this is the music to 7-A. A peaceful melody that sets a tone for the tranquil setting... well, if you can ignore being attacked by demons and possessed ninjas.
The Hiryu Name - Battle music for Hiruko, the final boss. You might notice it contains snippets from previous levels, as if all your struggles have led up to this moment.
Ninryo - This is the music for boss fights against a possessed Oboro clan member.
Peaceful Shrine - Music to stages 2-A and -B.
Remniscence - I think this sad piece is what plays during the cutscene after you beat 7-B.
Shinobi - Music to the game's movie intro. I should make a movie of that, because the movie is as rocking as this song, but I can't find it on YouTube.
Shinobi ~ Dream Talk - The ending credits music, and is essentially an extended version of the above song.
Sick Hand ~ Suicide Attempt - I don't know for sure what this song is, but I have a hunch it's for that bonus stage that I haven't unlocked yet.
Soryu - The second battle with the other ninja. I'm not overly wild about this song, but it's okay, and I thought somebody else might like it.
Super Meat Boy is based around running fast and jumping through deathtraps, and the soundtrack is appropriately fast and hard hitting, and more than a bit inspired by classic 8-bit Nintendo soundtracks. It really makes me wish I liked the actual game more.
Ballad of the Burning Squirrel - Music for the Dark World Forest levels. Eh, not my least favorite song in the game, but not one of my favorites either.
The Battle of Lil' Slugger - Music for the first boss, a giant chainsaw on legs that chases you through a burning forest. Amazing electric guitar work here. It sounds like something you'd hear in a modern Blaster Master game if the music was new, yet true to the first game instead of elevator music. Come on, you listen to the third act and tell me it doesn't remind you of the Area 7 theme.
Beatus Blues - Music for the Light World Hospital levels. Sounds like something out of Castlevania, but maybe I just think that because the Hospital opening cutscene is an homage to Castlevania.
Can o' Salt - Music for the Salt Factory Light levels. It's appropriately grainy, but it's my least favorite of the Light World songs.
Carmeaty Burana - The final boss theme, and my favorite song in the game. First time I fired it up, I thought "Huh, I don't remember the music to that level being this mellow.... oooohhhh..."
C.H.A.D.'s Broken Wind - Music to the Dark World Hospital levels. Now this I keep expecting to segue into Vampire Killer.
C.H.A.D.'s Lullaby - C.H.A.D. is the boss of the Hospital, and is some kind of giant hunk of hairy flesh swimming in blood.
Devil n' Bass - Dark World Hell music. It's a little noisy for my taste and my least favorite of the Dark World songs, but I guess it's not completely terrible.
Dr. Fetus' Castle - This is the music for the Dark World Rapture levels. Man, the beginning reminds me of an NES game, like Mega Man 2, or maybe Guardian Legend? Or maybe I'm thinking of a song from Tyrian.
End Credits - A rock remix of the title theme and the light world level themes.
Escape! - After sending the final boss to his death, you have to flee through the stage in reverse order.
Fast Track to Browntown - The epitome of Super Meat Boy's sophisticated humor comes at the end of the Salt Factory when you meet Brownie, a Meat Boy clone made out of poop. With urine for eyes.
Forest Funk - Light World Forest theme. Sort of a mellow beat to get you started in the game.
Hot Damned - Music for the Light World Hell levels. I wish whatever that shrill instrument that dominates the second act of the song is supposed to be (some kind of horn?) was toned down, but there's plenty else to like about this song.
It Ends - Music for the Light World Rapture levels. Although the Rapture levels take place in a ruined city this sounds like it'd be more at home in a factory level, and even channels Raymond Scott's Powerhouse at one point.
It Ends 2: End Harder - Music for both the Light and Dark World End levels. Atypically light for this game, but I'm not complaining since it's one of my favorite songs.
Larries' Lament - A trio of giant worms conclude the Rapture world. The music is based on the Rapture level music, though it also sounds a bit like Carmeaty Burana if you took out the chanting.
Meat Golem - Despite the more appropriate name in the song, the boss of Hell is actually called Little Horn. Cool opening, and that high-pitched instrument from Hot Damned isn't quite so distracting here.
Rocket Rider - Dark World Salt Factory. Has a bit of a dance club vibe to it. I actually like this a bit more than the Light World version.
Tyrian - The Song - Title screen music. A sort of blast off to adventure kind of song.
Credit Music - Wario Land 3's soundtrack ranged from bad to mediocre and often sounded like Wario was making noises, but the ending credits music really stands out. It has a music box sound to it, fitting in with the music box theme of the game.
I'm one of the only people in the world who actually liked this game, but what I liked most about it was the atmosphere and graphics. On reflection the music might work better in context, but there is one song that really stands out...
Terrormisu - This pulse-pounding number is the final boss theme, and screams "You can do it!" (and you probably can, because as fucked up as her backstory and second form are she's not that hard). I actually downloaded this from somewhere, but the original download was fifteen minutes long. And while I can totally listen to it for that long, I felt I should provide an alternative.
Beast Engine - The music for the level where you ride that toothy beast for the second half, which seems to be the favorite part of everyone who played the game. This song is a great mixture of wonder and terror, and is my favorite song in the game.
Bombopolis/Palace Karn - The version Bombopolis uses is actually about a minute shorter, but it isn't a signicant change so let's just say this is the music for both of them.
Maximum Velocity - This plays for those two levels where you're falling down a tunnel with an enemy and have to ram them into the walls, like a top-down version of the Snot a Problem levels from Earthworm Jim. A hard rocking X-treme sports-like tune that's just screaming to be hooked up to an amplifier and blasted.
Wex vs. Karn - Final boss music. Even though the back of the game says Karn has a face the size of New York, he doesn't, although he's still pretty big. My guess is they indended for him to be that big, but had to abandon that and forgot to change the packaging description.
I've heard people say Ys has the best soundtrack ever, but while that's preferrable to some other claims of "best soundtrack ever" it's still a stretch. But it's still pretty good! After playing the DS version I thought the soundtrack was a desecration, but while some songs really do suck (the fight with Dark Fact was somehow reduced to a irritating electronic wailing barely recognizable as the same song), after listening to the CD that came with the game it seems to be less the actual music and more the DS's speakers sucking.
Campanile of Lane - This song plays as you race up the bell tower to save a girl from sacrifice, and gives a sense of urgency.
Don't Go So Smoothly - This music plays at the very end of the game, right before the final hallway to Darm's room. A little waily and padded, but it's alright.
Final Battle - Or rather, the Not-So Final Battle. This is the fight with Dark Fact at the end of Ys 1, and when I first heard it some time before I had a TurboGrafx I thought it was so hardcore that I was a little disappointed when I actually played the game and found all Dark Fact did was pinball around the screen like an asshole.
First Steps Towards War - The overworld music to Ys 1, although that might be stretching the definition of the word, because outside the three dungeons, one of which takes up half the game, Ys 1 only has four other extremely small areas.
First Steps Towards War (DS) - Just to give you a headsup, a lot of descriptions for the DS versions are going to be "Louder and not as good, but still alright."
Holders of Power - The boss music for both Ys 1 and 2. The DS version actually has a different boss theme for Ys 2, but both are a bunch of obnoxious noise and were left off for the sake of your ears.
Ice Ridge of Noltia - The song for the glacier region of Noltia.
Ice Ridge of Noltia (DS) - This version is louder and not as clear, but it's still okay.
The Last Moment of the Dark - The song for when you reach the top of Darm Tower where Dark Fact waits. This version has an air of tragedy around it, and according to the Ys anime Dark Fact was originally a pretty decent guy but went batty when his father was murdered for his devotion to the goddesses.
The Last Moment of the Dark (DS) - And this version sounds more like typical big bad guy music.
Moat of Burnbless - The music to the magma caves of Ys, Burnbless, which is actually called "Burnland" on the TG-CD. This song was actually left off the DS version's soundtrack disc and I'm not dumping it from my DS.
The Morning Grow (DS) - That was probably supposed to be Morning Glow, but the back of the disc sleeve says "Grow" so I left it that way. The DS verison uses this as the ending of Ys 1. It's not much, but I still felt I had to include it because this song actually saved my butt in my last Creative Writing class. Maybe I'll tell you about it some day.
Noble District of Toal - My favorite songs in Super Mario RPG and Donkey Kong Country are Smithy's Factory and Fear Factory respectively, so I clearly have a thing for "mechanical" songs. And it's odd how mechanical this sounds when it plays in a run-down temple.
Noble District of Toal (DS) - This version actually sounds somewhat like sacred palace music.
Palace - This plays at the entrance to the shrine in Ys 1. A somber song with dripping water.
Palace (DS) - There's no dripping water sound effect, but it is interesting how this is the only song on the DS that has a definite ending instead of a fadeout.
Palace of Destruction - This is for the main part of the shrine dungeon. When I first played the game, this was the first song I noticed.
Palace of Salmon - Yeah, that was supposed to be Palace of Solomon. The way it sounds now, it sounds like a shrine to a tasty fish.
Palace of Salmon (DS) - I'd recommend the TG-CD version above, but this is okay too.
Ruins of Moondoria - I'd be hesitant to say Ys 2 has an overworld. You just go through dungeons and the occasional town for the entire game. The ruined temple of Moondoria is the first place you go after you leave the town at the beginning of the game.
Termination - The final boss fight with Darm. A decent song, its main problem being that it seems to go on forever and a lot of that length is just padding.
Termination (DS) - The one DS song that I actually like more than the TG-CD version, although it's pretty dreadful on the actual DS. Yes, as with most of the DS soundtrack it's a lot louder than the TG-CD version, but this is the good kind of loud. It's also a much more appropriate length, is structured better, and the part from :59 to 1:31 hits me harder than anything in the TG-CD version. I also thought the in-game fight with Darm was a lot more impressive, or at least it was before I knocked half his life meter off and he reverted back into the Black Pearl and sprouted three sets of angel wings. Stop doing that, people.
To Make an End of Battle - This jazzed up version of Palace of Destruction plays during the transition cutscene between Ys and 2, as Adol gets fired into the sky and flies to the floating continent of Ys.
To Make an End of Battle (DS) - Legacy of Ys uses this for the barely comprehensible intro movie of Ys 2, and while I prefer the TG-CD version I must say I like that part where everything goes really quiet and you hear the birds flying away.
Tower of the Shadow of Death - The song for the Darm Tower that you have to hear for most of the second half of Ys 1. While I do like this song, you hear it almost nonstop for the two or three hours you're in the Darm Tower, only broken up by the occasional boss battle, and it starts to get pretty maddening.
Tower of the Shadow of Death (DS) - Another one that was noticeably cut in half, though I will confess the "angry screaming cat" bit was never my favorite part. I can take either version of this song.