It starts off with a little synth-riff and some hip-hop scratches and beats, with the guitars coming in during the verse.  The lyrics are a bit saccharine: talking of self-confidence and destiny in that odd way that occurs when a Japanese track is exported to the English market; slightly odd, but making some sense, however completely different to the original (I think, though this is unsubstantiated as I don’t speak Japanese, I’m just going by the number of syllables in each of the two versions), and some might say that it’s a bit homoerotic, or indeed slightly sexual, depends on your mindset I suppose.  I never noticed it that way until it was suggested…It’s not heavy, it’s not hard, rather like pop-rock, and it’s got some hip-hop and electronica influences, so it’ll appeal to most people.

It’s a solid track, no doubt, but it does get a little bit grating after a while.  Plus, it’s ther ONLY track to be played during the menu screens, so you’ll be hearing the start of it A LOT!  As far as in-game tracks go, it feels a bit tacked on at the last minute, to give the game a bit more flavour; making it edgy and cool for the new gaming generation (seriously, who were Capcom trying to kid with this one?  Street Fighter.  The name alone sells bajazillions of copies on launch day.  Street.  Fighter!), apparently a bunch of anime-obsessed teenagers who’ve been deprived of Street Fighter 2 (the pinnacle of the series).

Check it out if you’ve been deprived of Street Fighter (you poor child) here: English Version || Japanese Version

Now, go play some Street Fighter!  You’ve got no excuse as SSFIV is only twenty smackers, and SFIV will probably be a bit less, so what ya waitin’ for?  An invitation?

So, instead, I’ll create this “The Bridge” feature to talk to you a bit about various interesting things about music and gaming.  Bit of a cop-out, I know, but just go with it, you ravenous vultures.

The Bridge, also sometimes known as the middle eight, is a musical device used in a composition which alters the mood, feel, melody, chording structure, tempo, lyrical style or any combination of the above, briefly during the middle section of the song, coming before the last verse or chorus; linking the first half with the second if you will.  It can be used to just give a bit of a break, or used as a musical stylistic thing to introduce the ending, reflect on the start, and even lead up to the climax.  Not every piece needs to have one, and sometimes you can have several in one song.

To me, music is very important in all aspects of my life.  Being a musician has helped me appreciate it more over the last few years.  In gaming this is also true.  Yes, sometimes I can’t be bothered listening to the in game tracks, or a lot of the time I don’t really pay attention to them, but when I do actually listen to some of the material, I’m blown away.

I really appreciate the effort that some studios will go to to have great music in their games.  Nintendo are always good for it (except Wii Music, that is just wrong) with their own IPs.  Naughty Dog knocked it out of the park with the Uncharted series, really nailing some fantastic compositions performed by wonderfully talented musicians.  Even EA, not known for having scores, include many both popular and not-so-popular songs with several of their games as a soundtrack.

Don’t you think if the developers saw fit to have music in to enhance the experience, you should at least give it a listen?  You never know, you might actually like it.  A lot of tracks are in there because they suit the mood, or the context of the action on screen; it’s like what they do in films: enhancing the story through subtle audio changes.  It helps to heighten emotions and make you feel what’s happening in some small way.

Whether it’s the ominous strings, or the frankly ridiculous heavy metal guitar, you’d miss it if it wasn’t there, but you don’t really notice it.  Odd that isn’t it?  So, take a moment to listen to what’s playing in the background next time you’re playing.  Pause it, turn the slider up and listen to that sweeping orchestra as you play your ballet of blood ad death across the cityscapes of Helghan.  You won’t be disappointed.  I know I won’t be.

Mirror’s Edge.  An FPS game without a lot of S.  Lisa Miskovsky.  Tall, blonde, Swedish, hottie, fan of gaming, and she can sing a bit.  Bring these two ladies together, and you get one sweet-ass game theme, “Still Alive”.

There’s a little piano riff and Lisa starts singing with the drums playing an urban-jungle type backing, synthy strings quietly harmonising in the background through the verse.  The chorus kicks in, with the drums becoming heavier and the piano riff being repeated. The broken down bridge and instrumental adds a bit more depth to the affair.  It’s quite atmospheric, too, and different to most theme songs we hear for things, so it suits Mirror’s Edge brilliantly, as one of the stand-out “different” games.

The song is simply beautiful; the music, written by Arnthor Birgisson and Rami Yacoub,  and the lyrics, by Miskovski, work incredibly well together as a wonderful pop-rock ballad with an edge.  Entirely ungeeky and infinitely serious, it suits the tone of Mirror’s Edge: the struggle between Faith and the totalitarian government: the vast and starkly white buildings juxtaposing to the human element: freedom vs. oppression.  The lyrics seem to be Faith speaking to her sister, but it could also be singing to the oppressed city.

It speaks of hope, of faith and belief in the tenacity of humanity, a fitting tribute and accompaniament to the game proper.  The freeing nature from the archetypal game music genres being classical or hard rock pieces feels pretty good and adds depth to the game too, given the freerunning that makes the game what it is.

For a sample, pop this into your browser.  Go on, you know you want to: http://www.youtube.com/watch?v=SzmUde_EK5Y

Thanks to EA, DICE, Lisa Miskovski, Arnthor Brgisson, Rami Yacoub, YouTube and the gaming community as a whole for the fantastic music.

On a side note, if anyone likes dubstep, there’s a great Mt Eden Dubstep remix of it here. It’s pretty unique – LS

Not to overdub on LS’s sidenote, but there are a couple of good remixes by some top remix artists like Armand Van Helden, Benny Benassi, and Paul Van Dyk, which were released as B-sides with the original track.  If you do a bit of digging, you can probably find them on YouTube, maybe iTunes, I dunno.  You can tell I can’t be bothered linking, can’t ya? – SB

Now, when Jonathan Coulton (JoCo, as he is sometimes known), semi-famed for being a geek and quite humourous, writes a song he bloody well writes a song.  And when you get a game as genius as Portal together with a man as genius as JoCo, good things start to happen.

Still Alive comes during the end credits, and it’s probably the worst-kept secret in gaming history.  Hell, I’ve never even finished portal and I knew about the song before I’d even played it.

Now, in the spirirt of GLaDOS, time to analyse.  It starts off slow, with GLaDOS gently and softly serenading your ears in that strangely erotic computer voice of hers/its (I’m not the only one to be slightly aroused by that am I? AM I?) while a guitar picks a little arpeggio, up and down.  The drums hit a little snare leading to the second verse and some chimes harmonise with the guitar. The bass kicks in and it sounds a lot fuller.  The fourth verse sees the distorted guitar come in before the breakdown in the fifth, then building up again before plateauing out and declining to an abrupt halt with repetition of “Still Alive”.

It’s a funky ditty, darkly comic and kind of feel good, maintaining the level of fun that Valve created with The Orange Box. The lyrics are wonderful and so sing-along-able.  As a quirky songwriter, Coulton shines through, sticking with the premise, but without making it so cringinly self-referencing that it disappears into its own mythos, or too cheesy for anyone to take it seriously.  It’s a fun song and an absolute joy to listen to.

Oh, you should check out this wonderful flash animation done by Scott Ramsoomair (of VG Cats – vgcats.com – fame) set to the music.  It’s hilariously good.  http://www.vgcats.com/comics/extras/stillalive.php

Thanks to Jonathan Coulton, Valve, and Ellen McLain (GLaDOS’s voice) for this awesome tune and the awesome game.  And to Scott Ramsoomair for the flash vid.

For me, this was indeed a triumph, so I’m making a note here; it’s been somewhat successful and hey, at least I’ve got some cake.

To show you how much it kicks ass, I trawled the depths of the internet to find this link to show it to you.  Seriously, It took aaaaaages to get it, so you better appreciate it, http://www.youtube.com/watch?v=NmCCQxVBfyM .

Ah, memories of the Motherland, squat-dancing and swigging copious amounts of vodka come to mind when I hear it, also moving blocks and eliminating lines and lines of completed, er, lines.

Probably the most iconic of puzzle game themes, even though it’s Russian (Cold War’s over, guys, let it go), which suits Alexey Pazhitnov’s addictively simple, yet fiendishly difficult puzzler.  I could listen to Korobeiniki all day long, making it a part of my everyday life, because there’s no task you can do that’s not enhanced by this Russian folk tune.

The tune comprises 2 parts: the basic awesome melody line, backed up by some funky drum-and-bassitude, and the drawn-out breakdown featuring longer notes and culminating in the little scale upwards and back to the start.  It’s perfect for looping, which makes it an ideal base for music composition and it’s featured quite frequently in the more niche dance and rock scenes.  Plus you’ll find about a million and one different versions of it on YouTube.

I could say more, but I’d be waffling more than I have done, so, yeah.  Go play Tetris, or at least stick Korobeiniki on.
“Do do de do do de do do de do do di de do do do do do doooo.”

About as Famous as Mario’s Overworld Theme, is Zelda’s Overworld Theme.  Gamers all over the world recognise it as one of “those tunes” that everyone knows.  Epic in it’s compostion, and summing up the RPG quest within one track is a tough job, but Koji Kondo is the man to do it.

The Legend Of Zelda would be nothing without it’s titular track as the game would be dull without the upbeat little ditty.  Simultaneously filing in the “Adventure” and “Battle” themes which you often have separate in most action RPGs, it fits in in both roles brilliantly and effortlessly.

The melody goes along at a nice pace, very, emm, melodic, telling you a story of swords sorcery and pointy ears, augmented at certain points to emphasise the grandeur and boost the tempo of the piece while the bass does it’s own thing; wandering all over, emulating Link’s movements throughout Hyrule, up hill and down dale.

Need I say much more on this wonderful piece of gaming history?  I probably should, but I’ll let the music do the talking with this one.  Away and enjoy it some more, maybe get playing Zelda once more or something I don’t know.

Sample: http://www.midishrine.com/ostepop/nes/The_Legend_of_Zelda/overworld1.mid

“Old Ganon’s madder than a barrell full of Octorocks and li’l Zelda, she don’t care”

Thanks to www.midishrine.com for hosting the midi file.  Again, you’ll need to have a media player plugin installed in your browser, such as QuickTime, to hear the sample.

So let’s get to it, starting with….

Final Fantasy Prelude – Nobuo Uematsu, Final Fantasy, 1989
(Sample: http://ffmusic.ffshrine.org/ff4midis/ff4-The_Prelude.mid)

A harp sweeping and arpeggiating up and down quickly, backed up with a simply beautiful string section playing a wonderful melody.  Perhaps the de facto tune you think of when someone says Final Fantasy, other than the Victory Fanfare.

To Zanarkand – Nobuo Uematsu, Final Fantasy X, 2001
(Sample: http://ffmusic.ffshrine.org/ff10midis/ffx-1-01-i_would_like_to_say_everything.mid)

A simple arrangement of a piano playing a lovely, sad and provocative melody.  Inspirational, beautiful, haunting; it sets the scene perfectly and serves as the other memorable track from the ninth pseudo-sequel in the franchise.  The piece is also known as “I Would Like To Say Everything”, which probably sounds more clever in the original Japanese, but, a rose by any other name.

One Winged Angel – Nobuo Uematsu, Final Fantasy VII, 1997
(Sample: http://ffmusic.ffshrine.org/ff7midis/ff7-4-16-one_winged_angel.mid)

Orchestral string chords hitting in succession, reminiscent of Hendrix’s “Purple Haze” (which was the inspiration for this piece, Uematsu-san loves him some rock and roll).  Ominous, foreboding, catchy and with a killer hook.  Latin-esque choir sections, this is Sephiroth’s theme and the final boss battle in the game.  Truly a masterstroke and one of the most memorable pieces in the entire back catalogue of Final Fantasy tunes.  It was even revamped for Advent Children: a full orchestra with The Black Mages (Uematsu’s band, who “cover” FF tracks in a heavy metal style which ends up very proggy.  Uematsu loves him some prog too.)

Otherworld – Nobuo Uematsu, Final Fantasy X, 2001
(Sample: http://www.youtube.com/watch?v=OONqel6f_8M)

Guitars in a Final Fantasy track?  And Heavy Metal vocals?  Madness!  No, awesomeness.  It hits hard, it hits heavy and it blows your mind, especially when coupled with the Blitzball opening video with Sin’s attack on Zanarkand.  Sheer genius.

Vamo’ Alla Flamenco -  Nobuo Uematsu, Final Fantasy IX, 2000
(Sample: http://ffmusic.ffshrine.org/ff9midis/ff9-01-07-vamo%27_alla_flamenco.mid)

Spanish Guitars playing a lovely little story to accompany the duel scene in the Tantalus production of “I Want To Be Your Canary” to a Flamenco beat, and with some strings to boot.  Uematsu isn’t afraid to push the boat out, and this is one of the tracks which prove it.

Matoya’s Cave – Nobuo Uematsu, Final Fantasy, 1989
(Sample: http://www.youtube.com/watch?v=sUc_t3i4qwE)

A funky little theme from the original FF, showing that Uematsu-san injects quite a lot of character into his compositions, as it’s quite different to the rest of the soundtrack.  Used in the rather unique area known as Matoya’s Cavern in the game, to help emphasise the wackyness of Matoya.

My Hands -  Ina Wroldsen, Arnthor Birgisson, performed by Leona Lewis from her 2009 album Echo, included as EU/US “theme” for Final Fantasy XIII, 2010
(Sample: http://www.youtube.com/watch?v=d8qtteb9FBY)

Wait, what? No! Leona Lewis?  I mean, seriously?!  Bad move, Squeenix, bad move.  Stick to J-pop singers if you’re doing promotional songs, please.  I doubt Ms. Lewis even knows what Final Fantasy is.  Alright, the song is OK as far as weepy pop ballad junk goes, but as far as I’m concerned, it’s nothing to do with Final Fantasy XIII.

Aaaaaand, finally:

Victory Fanfare – Nobuo Uematsu, Final Fantasy, 1989
(Sample (FFIV version): http://ffmusic.ffshrine.org/ff4midis/ff4-Fanfare.mid)

Heard in EVERY FF game after the conclusion of battle wherein the player is the winner (except, apparantly, XIII).  Well, it’s not called Victory Fanfare for nothing.  Where would we be without it?  I’ll tell ya where: game over, that’s where.

Big thanks to http://ffmusic.ffshrine.org for hosting those midi samples.  If you’re interested in FF midis and sheet music, see this site.  Also, if you’re going to play the samples (apart from the YouTube ones), you’ll need the Quicktime plugin for your browser.

If you’re interested in hearing some hard rockin’ versions of some of Uematsu’s best work, check out The Black Mages’s albums “The Black Mages” and “The Black Mages II – The Skies Above“, which you can buy off iTunes.  They also have a third album, “The Black Mages III – Darkness and Starlight” which may be a bit harder to get a hold of, legally that is.  Once again, StartGame does not condone copyright theft of any sort.  Be good to the artists and pay for your music.

This first edition, I’m bringing you probably the most iconic video game theme EVER!  The Overworld Theme from Super Mario Bros. (1985, NES)

Everyone knows it, and if you don’t where the hell have you been, man?  Here’s a sample just to remind you of it (complete with the Sheet Music for it. Sheet Music!  It’s THAT popular.  You need to click play in the little player at the top, by the way), not that you need reminding of it.  Aw heck, just go listen to it, it’s brilliant.

Composed by Koji Kondo for the 1985 classic, it apparently took the longest time of the six featured tracks to compose and was the toughest for Kondo-san to make , going through multiple changes as the development of the game progressed.  The Latin beat driving the melody along, the funky bassline complimenting the tune effortlessly, while creating a stylistic dichotomy with the chording.  It’s catchy as all hell too.  Just as well it is, seeing as how it was written for one of the most iconic games in the history of gaming and the flagship for Nintendo’s NES console and Ninty themselves.

Provoking images of Italian plumbers in boiler suits, mutant mushrooms, freakish winged turtles and princesses in other castles, it’s got the unserious, family-friendly attitude, is light-hearted and accessible.  No overbearing or foreboding overtones here (they come in the underworld theme).  Heck, you could stick it on in a club and people would move to it, possibly singing along to the tune.

It just proves that Koji Kondo is one of the best composers in the Japanese gaming market, as he scored not only Mario, but Zelda games too.  Fun-loving with a great attitude and a killer head for notes, he’s one of my gaming heroes.

To this day, 25 years after it was first heard by the gaming world, it is still popular, regularly lauded and lampooned, homaged and covered with a distorted guitar on YouTube.  For crying out loud, it’s older than us oldies here on StartGame (me and LS), but that doesn’t make it any less awesome.

Anyway, 2, 3, 4… “Mario looks cute in his braces and boots, a handful of coins in his hat.”