CategoryGames and Music

7 Classic Songs from the Nintendo 64

The Nintendo 64 may have had a smaller software library than previous Nintendo consoles, but it still had some quality titles. While the unfortunate lack of RPG’s compared to the SNES meant less legendary soundtracks (it’s tough to top Chrono Trigger and Final Fantasy 6), the N64 featured a number of memorable tunes from other genres. With plenty to choose from, here are seven classic songs from the Nintendo 64.

 

Bob-Omb Battlefield (Super Mario 64)

 Super Mario music has generally featured light and catchy tunes in the past, giving players the perfect tunes to run and jump around with. Super Mario 64 has a number of notable pieces (Dire Dire Docks is a personal favorite), but the very first level introduces perhaps the most recognizable track in the game.

The trumpet is the prominent instrument on display here, but there are also some memorable “doots” from a synth. This tune is easy on the ears and plenty of fun to listen to, making it the perfect introduction for the levels still yet to come. It’s even featured in several other stages in the game as well.

 

Spiral Mountain (Banjo Kazooie)

 Grant Kirkhope delivers one of his most iconic and downright brilliant soundtracks with Banjo Kazooie. Spiral Mountain acts as the tutorial level of the game, giving players a chance to learn some of Banjo and Kazooie’s moves.

The song itself begins with an upbeat banjo riff, before bringing in a xylophone, drums, and later a flute. Much like other tracks in the game, Spiral Mountain uses a variety of sound effects, ranging from bird chirps, to buzzing bees (which kind of sound like an elephant). It’s the perfect jolly tune to start Banjo’s adventure, and helps set the tone for the rest of the game.

 

Hyrule Field (The Legend of Zelda: Ocarina of Time)

 “I can go anywhere!” That’s probably what most Ocarina of Time players felt when they stepped foot into Hyrule Field for the very first time. Sure, the area is mostly barren aside from surrounding towns and Lon Lon Ranch, but the adventurous feel is not lost.

The song evolves from a triumphant, march-like tone, to a fairly dramatic display of blaring trumpets. You’d almost expect a boss to show up in the middle of the field, though luckily the area is safe from enemies during the day (well, except for those giant peahats). The music of Hyrule Field makes Link, and the player, feel less like an outsider in an open-world, and more like a true adventurer.

 

Credits Theme (Super Smash Bros.)

 There’s nothing quite like finishing a game, only to be greeted with a celebratory ending theme. Considered one of the best multiplayer games on the console, Super Smash Bros. also has a simple, yet still entertaining singleplayer mode. Players are given the challenge of defeating each of the characters in the game, in addition to a few mini-games, such as “race to the finish” and “target test.”

The mode concludes with a battle against Master Hand (who is, quite literally, a giant hand.) The reward is a credits sequence with an excellent rendition of the game’s main theme. It almost sounds reminiscent of the opening to an 80’s animated sci-fi television series. The main melody was even referenced in later Smash titles, including an appearance in the Final Destination theme from Melee.

 

Rainbow Road (Mario Kart 64)

Whether it’s your favorite Mario Kart level or your worst nightmare, there’s no denying the impact that this classic song has had on players over the years. It really makes you feel like your racing on a giant rainbow in the sky. The stage may be the most difficult in the game, but the song really helps make the experience feel less stressful. There’s even a great guitar riff that plays the main medley during the second verse, which only adds to the epic scale of this final stage. Nothing says “welcome to Mario Kart” quite like the uplifting melody of Rainbow Road.

 

Opening Theme (Star Fox 64)

 While this song is mostly recognized from Super Smash Bros. nowadays, it serves as the grand introduction for Fox and his squad on the Nintendo 64. When it’s not featuring talking dinosaurs, the Star Fox series deals with a galactic war between space animals and a giant monkey head (were the dinosaurs really that out of the ordinary in Adventures?)

This opening theme gives players the adrenaline rush they need before flying into action, dodging asteroids and barrel rolling through enemy fire. Not to mention, seeing the main characters run with such quick, silly motions is always a blast.

 

The DK Rap (Donkey Kong 64)

 What? You thought I’d just forget the quintessential rap track of the 90’s? The DK rap has no doubt influenced countless artists throughout the twenty-first century (because who wouldn’t be inspired by this masterpiece?)

All jokes aside, it truly is one of the most recognizable songs from the Nintendo 64. The track was even given a remix in Super Smash Bros. Melee a few years later. Sure, it’s incredibly cheesy, but that’s part of the fun. Besides, the lyrics are actually quite accurate with the game, since they mention several key abilities that the Kong’s can learn.

How Super Metroid’s Ominous Soundtrack Creates Immersion

When Nintendo released the original Metroid for the Nintendo Entertainment System back in 1987, it introduced a new level of non-linearity to gaming. Players were thrown into an open world, not unlike the Legend of Zelda did prior, and left to figure out where to go to progress. Along with an eerie, minimalist soundtrack, Metroid truly made players feel alone in an alien world. With the limitations of the NES sound capabilities, tracks were often simple, yet had rather creepy melodies. From the ominous tone of Kraid’s Lair, to the mesmerizing, yet haunting notes of Tourian, Metroid’s soundtrack knew how to create a sense of loneliness in its world.

Though Samus would see another adventure on the Game Boy with Metroid II, the series really hit its stride in the 16-bit era. With the launch of the Super Nintendo in 1991, Metroid fans would have to wait an extra three years before the release of the third installment in the series, Super Metroid. Luckily, the wait was well worth it; Super Metroid is considered one of the finest Super Nintendo games of all time.

With enhanced 16bit visuals, improved controls, and new abilities (not to mention a map!), Super Metroid was a huge step up from its predecessors. Perhaps one of the most iconic aspects of the game is its soundtrack; not only were there far more tracks than the NES original, Super Metroid utilized the Super Nintendo’s sound capabilities in incredible ways. The result is an immersive, atmospheric masterpiece that leaves the player isolated on an alien planet.

Though Super Metroid is far from a horror game in terms of gameplay, its atmosphere is perhaps one of the darkest and loneliest on the Super Nintendo. From the moment the player begins their adventure, the opening segment doesn’t use any musical melodies prior to the encounter with Samus’s enemy, Ridley. An ominous beeping noise and single droning note are the only sounds accompanying Samus. Even when exploring Crateria, the first main area of the game, the music consists only of droning vocal samples, and a low backing drumbeat. It’s as if the vocals are coming from the alien life that lives on the planet, warning Samus to pack up her spare missiles and get out of their home.

One comparison that can be drawn to the Super Metroid soundtrack and atmosphere is the 1979 sci-fi horror film, Alien. With its droning notes and eerie sound effects, the music of Alien often builds tension with minimalism. Some tracks begin quiet with little instrumentation, before introducing brief, loud melodies that last only a few seconds. Sure, the same can be said about most horror movies, but Alien is already a big inspiration for the Metroid franchise. One of the film’s tracks, “The Lab,” in particular sounds like it could fit right at home in a Metroid game.

While Alien’s soundtrack does create tension, the film has its fair share of jump scares as well. The scariest scenes are often more frightening from the unexpected nature of the moment, rather than the Xenomorph itself. Similarly, Super Metroid is all about setting the right tone for horror; the music itself is often more frightening than the actual environment or situation. That’s not to say there aren’t some creepy enemies in the game, but the stress from the slow, lingering vocal samples and noises are what really drives the atmosphere. This lonesome, chilling tone continues for the duration of Samus’s journey.

The final level of Super Metroid, Tourian, brings the soundtrack full circle, and uses noise samples in place of an actual musical track. It consists of bubbling lava and a grumbling sound, not unlike a hungry stomach (what has Samus had to eat all this time anyway?) Much like the beginning of the game, the final segment relies heavily on in-game sound effects, including the occasional shrieks of the Metroids themselves. The result is a familiar atmosphere that reminds the player of the beginning of their adventure.

Even during the first phase of the battle with Mother Brain, there is still no music present until the last segment. It’s not until the true final encounter that a loud, dramatic track begins to play. The notes are shrill and piercing, with Mother Brain screeching at the player with every chance she gets. This is the perfect way to give the player a final send off; it begins with an ominous lack of music, drawing Samus further into the lair of Mother Brain. Then, just when her adventure seems to be finished, the boss rises up once again (after unexpectedly growing legs) and begins one final attack.

Hmm, this ending seems a bit familiar…remember the finale of Alien? Just when it seemed like Ripley was going to make an escape without having to worry about the Xenomorph, it appears unexpectedly, hiding in the same escape shuttle. In a similar sense, Mother Brain returns even after it seems like she is no longer a threat. Ok, so this comparison may be a bit of a stretch, but Super Metroid does evoke a similar feeling in its last battle. The adventure isn’t over until Samus makes it off the planet in one piece, and the player won’t feel safe until they are certain they have escaped. One final victory song plays, with a rendition of Samus’s theme. It marks a triumphant conclusion to a game that previously provided pure isolation and terror, and stands as one of gaming’s greatest finales.

 

 

In Defense of Breath of the Wild’s Ambient Soundtrack

The Legend of Zelda series is home to some of the most iconic music in gaming. The franchise even debuted its own orchestral concert tour, Symphony of the Goddesses, back in 2012, just a few months after the release of Skyward Sword. No matter how each entry chooses to portray its world and characters, music is a reoccurring theme that holds many Zelda games together. This includes the use of playable instruments, such as the ocarina, wind waker, harp, and even wolf howling from Twilight Princess (ok, so that one was a bit eccentric). The series has often given players the role of performing specific songs to uncover secrets, satisfy an NPC’s musical needs, or even change the weather or time of day. Link has become quite the musician over the years, but his talents seem to have been lost in translation in his latest adventure, Breath of the Wild.

Unlike past Zelda titles, Breath of the Wild uses an ambient soundtrack composed of minimalistic tracks, often with soft piano or strings. Songs rarely build up to full-blown orchestral pieces, unless necessary for a dramatic cutscene or boss encounter. Likewise, there are no instruments for Link to play, and musical leitmotifs aren’t as common either. Admittedly, it can be a bit jarring to see such a lack of catchy, recognizable songs in the overworld of Breath of the Wild. However, there is an intentional choice to keep the music minimalistic in the game’s world, and it shows a connection to previous titles.

Let’s take a step back to some of the past 3D Zelda games. During the daytime, the overworld always has the same piece of music playing; whether you are exploring Termina Field in Majora’s Mask, or the Great Sea in Wind Waker, there is always a stand-out track accompanying you. When nighttime arrives, the music cuts out in favor of some quiet time (minus Link’s occasional grunts and “hiya’s!”). The use of silence enhances the tone of the night, signaling a sense of urgency for the unknown, especially when enemies are approaching. Wind Waker uses silence when exploring many of its random islands, while Ocarina of Time uses ambience for most of its dungeons. Even Ganon’s castle lacks music for its entire first section, and instead uses an ominous, eerie drone.

So if other titles have used similar musical elements before, what makes Breath of the Wild so divisive? Well, it may come down to expectations, and what some fans hoped to see from a new Zelda game. Putting music aside, remember the negative reception from Skyward Sword’s excessive motion controls and linearity? Or how about when people mocked the cel-shaded visuals from Wind Waker? It’s not out of the ordinary for fans to look at past Zelda games and expect certain aspects they loved make a comeback.

When compared to other Zelda titles, Breath of the Wild is more unconventional in its approach to world building, story telling, and, perhaps most notably, exploration. It shows the player as much as he or she chooses to see; the main quests can even be skipped altogether in favor of rushing to the final battle. There are only four main dungeons and no additional items to uncover after the prologue, which is a drastic difference from what fans are used to. Breath of the Wild is less concerned with guiding the player on an adventure, and instead gives them the ability to create their own journey. Sure, there is a story to tell, but it’s essentially optional.

The emotional value of music tends to be different for each listener, but it’s common for Zelda soundtracks to work toward evoking specific emotions. For example, it’s clear that the “Song of Healing” from Majora’s Mask is meant to be somber; this is notable from its minor chords and general slow tempo. Conversely, the shop theme from Ocarina of Time is a jolly tune that can easily make the player want to dance. In Breath of the Wild, ambient tracks don’t particularly have just one emotion to convey, because that isn’t really its goal. This is a game about nature (or “the wild”), and the ambient music builds a relationship between the player and the game’s environment. Just as the player has the option to explore the world at their own pace and limits, the music is often kept minimal, so as not to drive the player in one particular direction emotionally. Ambience is a universal musical style that helps build atmosphere, which can be interpreted in different ways.

That’s not to say Breath of the Wild can’t have clear emotions to portray in its soundtrack. One of the game’s most memorable songs plays when the player encounters a Guardian; a large, spider-like machine with devastating laser attacks. The result is a tense melody that fills the player with panic and dread. This element has appeared in all previous 3D Zelda games, where a suspenseful piece of music will play when an enemy is nearby. In this case, not much has changed, and if anything Breath of the Wild is even more dramatic with its enemy and boss encounters. Some of the enemies can defeat Link in just one quick attack! Still, it’s far more common for the game to keep its music simple and in the background, rather than a fanfare of upbeat instrumentation.

Nintendo has effectively shattered fan’s expectations for what a new, open-world Zelda game can be. Breath of the Wild doesn’t follow most of the series’ past conventions, and isn’t afraid to embrace new ideas. Yet at its core it holds a significant part of what makes the Zelda franchise so cherished. It creates a world where the player is free to explore and genuinely feel like an adventurer. This time, the music adds even more depth to the world, subtly permeating each region’s locale with mellow piano keys and windy breezes. Breath of the Wild may not have as many iconic, or even hummable music, but its soundtrack still builds one of the strongest immersive experiences in gaming today.

My Top 10 Video Game Songs

  1. “Corridors of Time” – Chrono Trigger (1995)

 Chrono Trigger has one of the finest soundtracks of any game I’ve played, so choosing just one track was a bit difficult. Since the game deals with time travel, I feel “Corridors of Time” perfectly showcases the sensation of traveling to another world. The song plays in the kingdom of Zeal, a city that floats above the clouds. It marks a big turning point in the game, and the story really starts to pick up during this section. The track itself stands out for its ascending notes, vocal sound fonts, and an overall “Zen-like” atmosphere.

 

  1. “Gusty Garden Galaxy” – Super Mario Galaxy (2007)

 This may very well be the unofficial anthem of Nintendo during the Wii era. While the level itself is plenty of fun, the music is what really makes this part of the game stand out. Mario games didn’t traditionally embrace orchestral pieces before the release of Galaxy, especially to this degree. The use of strings, brass, and a triumphant percussion keeps the rhythm going, while Mario jumps his way around various grassy planetoids. Even a decade after the game’s release, I still think Galaxy has the best overall soundtrack from a Mario game, and this song is a true highlight.

 

 

  1. “Dire Dire Docks” – Super Mario 64 (1996)

Traveling back over a decade before my previous entry, Super Mario 64 is generally known for a catchy, upbeat soundtrack. However, “Dire Dire Docks” perhaps embodies nostalgia in its purest form. While I didn’t grow up playing the game when it first released, I did play the DS version of the game back around 2005. Even coming from the smaller speakers of the DS, this song really stood out to me for setting a soothing tone to the game’s world. My favorite section is when the drums begin to kick in, completely changing the feel of the song. Considering how much everyone dreads water levels in video games, I think this track helped make Mario’s underwater adventure a bit less stressful.

 

 

  1. “Ruins” – Kirby 64 (2000)

It’s hard to believe this track comes from a Kirby game. That’s not to say the games don’t have plenty of great soundtracks, but I can’t think of many songs in the series that sound this atmospheric. It plays only a few times in Kirby 64, generally during a desert or underwater level. I love the echo effect that the bell chimes have, along with the use of synthesized strings as the song builds up. It all adds up to an emotionally powerful tune; for a series that usually goes for a catchy “pop” style, it’s a welcomed surprise.

 

  1. “Sona Mi Areru Ec Sancitu” – Panzer Dragoon Saga (1998)

 Panzer Dragoon Saga is, quite possibly, one of the greatest video games of all time that, sadly, not many people have had the chance to play. It’s an incredibly rare title that released at a time when the Sega Saturn was starting to lose its relevancy. This track plays during the ending credits, bringing the game’s somewhat sorrowful ending a last bit of hope. The song uses the game’s fictional language, “panzerese,” which borrows characteristics from Latin. It combines tribal drumbeats, a strong brass section, and a fairly unique vocal style to really bring out the otherworldly feel that the game presents.

It’s a tough call to make, but I think if I had to choose one dream arrangement for MGSO to perform, this would probably be it.

 

 

  1. “Dear to the Heart” – Final Fantasy 7 (1997)

 Sure, this song is essentially just another arrangement of the main Final Fantasy 7 theme, but it’s still my favorite from the game. Final Fantasy 7 is also my favorite video game of all time, and this track serves to remind me of all the memories I’ve had with it. Though the song appears several times in the game, my favorite moment is when the main cast of characters is finally about to leave the city of Midgar and explore the rest of the world. That’s right, there’s still another thirty hours or so of story content after Midgar! The game’s story can be pretty tragic at times, but this song always lets the player know that there is still some beauty left in its world; you just have to chase Sephiroth for several hours before you find it.

 

 

  1. “Multi-Man Melee 1” – Super Smash Bros. Melee (2001)

Huh? Super Smash Bros. Melee has twenty-nine playable stages? Who needs those other stages when you’ve got this awesome track playing on Battlefield! I’m not usually into competitive gaming, but Melee is an exception. Every time I sit down to practice, I need to play on Battlefield so I can hear this song. The synthesized guitar solo is permanently engraved in my mind as one of the coolest riffs in gaming. Set the stock count to 99,  hold the L or R button when choosing the stage, and get ready for hours of intense button clicking.

 

 

  1. “The Crystal Stars” – Paper Mario: the Thousand-Year Door (2004)

 I won’t spoil the ending for anyone who hasn’t played the Thousand-Year Door, but I will say that this track plays during a rather triumphant moment in the final boss fight. Having played the game when it first released in 2004, I’ve always had a soft spot for this song over the years. This track serves as a reminder that, though you’ve still got an incredibly daunting opponent left to fight, all the characters you befriended along the way have your back. It would be nice if they could do more than just cheer you on, but it’s the thought that counts!

 

 

  1. “Lofty Castle” – Spyro the Dragon (1998)

 The Spyro franchise may not be around today, but during the late 90’s it was one of the top 3D platforming series. Stewart Copeland, the drummer for the popular rock group, The Police, composed the soundtrack. Copeland utilized synthesizers, electric guitar, piano, and of course his remarkable drumming skills. “Lofty Castle,” in particular, sounds quite different from the other songs in the game. The level itself has a dreamlike atmosphere, with pink skies and flying pigs (which I used to think looked like turkeys for some reason). Unlike some of the other songs in the game, piano is the primary instrument on display here; it’s played in a fairly unique style, and I still haven’t been able to figure out how to replicate it properly.

 

 

  1. “Undertale (Main Theme)” – Undertale (2015)

 Before I played Undertale, I didn’t really have any expectations in advance; my only prior knowledge of the game was that it was a turn-based RPG where you didn’t have to kill any of the enemies. Oh, and apparently it was similar to EarthBound, a game I already had a ton of appreciation for. On my first playthrough, I opted for the “pacifist route,” where I wouldn’t have to hurt any enemies, or other characters in the game. It made the game’s tone a lot happier, and kept me motivated to continue befriending every character I met. It took only a few short hours, but I was beginning to reach what I believed to be the final section of the game (though I’d later find out that wasn’t quite the case). I had made my way to the home of the supposed main villain, Asgore, and anticipated an immediate battle.

As I approached the closest save point, a soft guitar began to play a familiar leitmotif from past sections of the game. It looped a few times, before a timid piano was added, and finally some strings and percussion. I had to take a moment to sit back and appreciate what I was hearing; it was such a simple melody, and yet it worked so perfectly within the context of the game. Undertale loves to go against the player’s expectations. It doesn’t just throw you into an epic final boss fight right away. Instead, it gives you time to let the results of your journey sink in. What kind of player were you? Did you fight every enemy you encountered, or only a few? Or, did you spare every enemy instead? I sure knew what kind of player I was…I was the one who started bawling when this song played.

In a few of these entries, I‘ve talked about nostalgia, and how certain tracks, even if you didn’t grow up hearing them, can still bring you back to earlier moments in your life. To me, that’s exactly what the main theme of Undertale manages to do. It may sound somber in its first few measures, but the final key change ends everything on a positive note. It assures you that, though your journey is coming to an end, there were plenty of memories made along the way.

The main theme from Undertale evokes a powerful essence of innocence and love that few songs have managed to match for me, video game soundtrack or otherwise.