The Greatest 80s Movie Theme Collection Vol. 1 Soundtrack; Ni une ni deux Soundtrack (by Jean-Michel Bernard) Circus Noel Soundtrack (by Laurens Goedhart, Fons Merkies) The Year I Did Nothing Soundtrack (by Brandon Moore) Avengers: Age Of Ultron Soundtrack (Complete Recording Sessions by Brian Tyler, Danny Elfman).
Without music, games wouldn't quite be the same. Silent moments don't have quite the same poignancy as those backed by killer beats and struck piano keys, crazy brass, breezy woodwinds, and the sweet fury of stroked strings on violins, guitars, and more? From the primitive but expressive soundchips of 1980s consoles to the full instrumentation available to game musicians today, video games have been producing original tunes that defy classification. These are the best video game soundtracks-original jams, no licensed music-in history. Shoji Meguro is a wild person.
Attempting to mix jazz, old school midi game soundtrack style, J-pop, rock, and hip-hop all in one place simply shouldn’t work. In the hands of another musician, Persona 4’s soundtrack would sound like a discordant nightmare. Instead, it’s as effervescent as an autumn breeze running through the streets of Inaba. Battle themes like “” have all the cheesy rock glory of an Iron Maiden classic but they’re balanced out by Everything But the Girl style dance pop confections like “.” Nothing beats the mix of beats, horns, and keys that is “Pursuing My True Self,” Meguro’s main theme.Secret of Mana. In making his first soundtrack, Hiroki Kikuta bent the Super Nintendo soundchip in truly bizarre ways. Making his own samples and stretching his skills to make songs that pulsated with the same teeming life that marked Secret of Mana’s verdant visuals, the result is a soundtrack that not only doesn’t sound like anything else from the era but one that doesn’t sound like anything else on the hardware. “” is a ruminative mix of strings and piano that takes on an air of hallucinatory mystery when it opens with, of all things, whale song.
Elsewhere songs like “Into the Thick of It,” whose sweet flute melody is driven by a synth melodica underneath, is the literal sound of climbing a giant tree that is the heart of the world. God of WarThe new God of War is a powerful narrative that's only exemplified by its stunning score. Composed by Bear McCreary (who's also the brains behind the 10 Cloverfield Lane soundtrack), he uses instruments like the hurdy-gurdy to really evoke that ethereal, Norse vibe.
And what's better, if you already know the God of War series, you'll spot some familiar bars:'I took my memories of that classic God of War soundtrack – the deep choirs, pounding drums, and shrieking brass – and reinvented them for a Norse age,' writes McCreary. 'I wrote new themes, and introduced to the music exotic instrumentation and languages from various Northern European folk traditions.'
The way it ebbs and surges with the action and emotion really builds the pace and power of the game. But it's just as beautiful in isolation afterwards. Monument ValleyOkay, okay, we've snuck a sneaky mobile game soundtrack in here, but when developer ustwo has created such a beautiful soundscape, it absolutely deserves to live in our list of best video game soundtracks. A wonderful mix of atmospheric and instrumental, it's the kind of music you'll gravitate to when you just want to empty your mind and maybe even meditate a little. It's like what Bonobo or Zero 7 would make if either did game soundtracks, and it's glorious. Nier made no sense when it came out in 2010 and it doesn’t make any more sense now that it’s become a cultishly adored tributary in the stream of PS3/360 RPGs.
What happens when Square-Enix tries to make an action RPG that appeals to both east and west, with different main characters for each region? A bizarre, pastoral post-apocalyptic adventure starring a violent hermaphrodite and a talking book soundtracked by some of the most moving new age music ever written thanks to Keiichi Okabe.
Calling Nier’s soundtrack new age is misleading, but it’s the closest categorization there is for its mix of soaring orchestral pieces, quiet Spanish guitar, and Emi Evans’ ethereal singing in what she describes as “.” “” sounds like a cut from Now That’s What I Call Music in the technologically advanced future of Middle-earth. “,” with its plucked guitar and shuffling doumbek beat, is the sound of crumbling buildings overtaken with vines. Legend of Zelda: Ocarina of Time. We couldn't get away with listing the best video game soundtracks of all time without at least one mention of the Legend of Zelda. And, for us, the best of the lot is the soundtrack for Legend of Zelda: Ocarina of Time. It draws on themes and motifs that had been used in A Link to the Past and the original Legend of Zelda, but it sought to reinvogirate Hyrule with a younger, yet still familiar feel.
And what's more, when you were playing the Ocarina in-game, you were part of it, solving puzzles casting spells and generally drowning in the glorious harmonies and melodies Koji Kondo had created. These are also the themes that have gone on to define and elevate the rest of the Zelda series, so it's not just excellent music, it's also history in the making. Metroid Prime. The original Metroid trilogy produced some of the most iconic game music ever made. Hip Tanaka’s “,” Ryoji Yoshitomi’s ripping on Game Boy, and Kenji Yamamoto’s eerie, propulsive work on are the definitive aural landscape of sidescrolling exploration games. Yamamoto’s work on Metroid Prime, though, is in a class all its own.
Midi compositions that capture the ruined grandeur of the alien planet Tallon IV are propped up by bizarre instrumentation and profound emotion. “Chozo Ruins” is a jittery mix of funk and ‘50s pulp cinema sound effects while “” is a glassy piano soundscape propped up, like all songs on the Prime soundtrack, by what sounds like a synthesized theremin. The is, like the whole game, bizarre, alien, and beautiful.
Castlevania 3: Dracula's Curse. From the very first screen of the original on the Famicom Disk System, Castlevania has been known for absolutely bitchin’ jams. “Vampire Killer” is to chiptune what “Johnny B. Good” is to rock and roll, but the series’ legacy extends beyond 8-bit into the elegant melange of styles captured by Michiru Yamane in Symphony of the Night, Aria of Sorrow and more. If there is a peak to Mount Castlevania, though, it must be Castlevania 3. Whether listening to the Famicom version bolstered by a unique soundchip in the cartridge or the stripped but not less spectacular NES version, these tunes capture every mood the series is capable of. “” rocks harder than almost everything in the series while “” lays down an absolutely irresistible groove.
“,” the dusky theme that plays as soon as you turn on the game, is also the first moment that the music starts to hint at its potential for real gothic beauty. Silent Hill 3.
Akira Yamaoka’s soundtracks-thick stews of rock, trip hop, industrial, drone, and more-are almost as famous on their own as the games they appeared in. When the furiously plucked mandolin gave way to beats, guitar and piano in the original theme “,” Yamaoka established a signature sound as unmistakable as Prince’s guitar or Dre’s beats. While Silent Hill 2 comes close, Silent Hill 3’s soundtrack is the crown jewel in the Yamaoka discography. The quiet, lulling strums of “” lead into a plucked counter melody that sounds like an afternoon nap as conceived by Joy Division. The shuffling menace “” uses cresting, looping piano to create an air of furious ecstasy that’s never given proper release. And then there’s “,” a rock song so pure you can practically feel Chrissie Hynde nodding in approval as it plays. Streets of Rage 2.
There's a reason why Yuzo Koshiro's name is front and center on the title screen to Streets of Rage 2 - it's because he's a god among video game composers. Taking cues from 80s and 90s action flicks, Detroit house, and the Eurobeat scene, Koshiro worked magic on the Genesis' FM synth sound chip and crafted a soundtrack that's equally appropriate for the sidescrolling beat-'em-up as it is at home at any dance club. The sounds like the theme to Lethal Weapon from an alternate universe, properly setting the stage for an urban beat-down. You could probably mix 'into a house music set and no one would bat an eye. And of course, who can forget ',' which will go down in history as one of the most memorable first stage tracks of all time?
It's one thing to listen to great video game soundtrack; it's another to listen to one so infectious that you're tapping your foot and humming its techno synth melodies long after you've turned your console off. Streets of Rage 2's soundtrack isn't just good video game music-it's the very definition of fresh.
Halo 3 was the culmination of composers Marty O'Donnell and Michael Salvatori's work on Bungie's (now Microsoft's) sci-fi shooter series. Sure, it might not be the game that introduced us to the famous Gregorian chant-laden theme we all know by heart, but it was the game that refined and expanded on it, while also providing us with some of the best backing music to Master Chief's adventures. You might not know the track names by heart, but listen to “” or “” and you're guaranteed to remember scenes of action and heroism, as one of the last Spartans fought to save the galaxy from darkness and annihilation. Spartans never die, they're. Hotline Miami. Hotline Miami's special breed gameplay combines speed, skill and ultraviolence with a soundtrack that pulsed through your ears with the kind of furvour that put you into a kill-die-repeat loop for hours on end. You always emerge from your hypnotic lull with the kind of head-spinning momentum that almost makes you want to dive straight back in, but more importantly keep that same soundtrack on loop in the background for any kind of medial household task.
Playing the game, of course, you realise just how well the techno-drenched soundtrack fits with the tension and release of each level, but listened to in isolation it's a heart-pounding masterpiece. I can't even deal with how much I love Jasper Byrne's 'Miami'.Street Fighter 2. The ambition of Street Fighter 2’s creative team is as inspiring today as it was in 1991.
To make a game that gave players unprecedented control of eight different characters, each one with dramatically different physical characteristics, and then render those characters in animation and music as rich as what ended up in the game was unprecedented. That this was Yoko Shimomura’s first work out of college, her first stab at composing a wide variety of music, and her first time working with a technology like the CPS-1 soundchip makes it all the more astounding. Every track is iconic, rife with the international flavor of the game’s cast. “” with its rumbling percussion, the chiming bells and desperate tone of “,” the joyful pentatonic scale boogie of “:” every song is as evocative of its character and stage as it is pleasurable on its own. Final Fantasy 8.
Everyone's got their own favorite Final Fantasy soundtrack, but if there's one that deserves a place on a list of best soundtracks, it's Final Fantasy 8. For 8, series composer Nobuo Uematsu was clearly shooting for something cinematic, and you can feel it right away with the opener, “”, which is like Star Wars' 'Duel of the Fates', only a million times better. Seriously, pick any song out of the 74 different tunes in the soundtrack, and you'll find your mind instantly swept away on a grand sci-fi/fantasy adventure. There's “”, which is single-handedly the greatest overworld theme in Final Fantasy's decades-long history. “” is a rollicking, blood-pumping tune, and is just as listenable after dozens of hours of random battles.
And of course, there's “” which basically sounds like if Rush got a side gig making video game music. Every single song is a masterwork, a bizarre blend of prog-rock, classical music, and Uematsu's signature style combining to create something not just unique within Final Fantasy's oeuvre, but within video games as a whole. Final Fantasy 8 may not be the most obvious choice, but dammit, it's the right one. Katamari Damacy.
Katamari Damacy wastes zero time getting weird, as its PS2 Memory Card set-up screen plays a stripped down, acapella version of its theme song called “.” What follows it is pure auditory joy - the musical equivalent of bathing in a sea of multi-colored jelly beans and rainbows. Combining elements of jazz and big band, electronic music, J-Pop, and piling on a heaping helping of strange, Katamari Damacy's soundtrack could have been a total mess of genres and styles. But like the big ol' ball of stuff the diminutive Prince pushes around, all of the music just fits together, forming one incredible, cohesive package.
I bet you can't hide that grin while listening to “,” or keep your feet from tapping to “,” or stop yourself from singing the bizarre lyrics to “.” Katamari Damacy's tunes want to wad you up into its life, and it's impossible to resist.Bastion. Bastion started as a game about cartography where the player moved and a world built up around them, a physical experiment divorced from the emotional survival story Supergiant Games ultimately produced. Even with its text, art, and delicious action in place, though, Bastion wouldn’t truly have its heart without Darren Korb’s soundtrack. A dusty mix of folk like “,” country like “,” bluegrass like “,” and even freaky tribal like “” clumps and morphs into a ripe whole not unlike Bastion’s in game ruins. Just listen to “” and try not to get swept away. Donkey Kong Country.
There’s a reason people freaked the geek out when David Wise was announced as the composer for Wii U’s Donkey Kong Country: Tropical Freeze: his SNES Donkey Kong Country soundtracks kicked ass, particularly the very first. Songs like “” blend ragtime piano with animal sounds, synthesized beats and clarinet into a jazzy new age morass that is Wise’s very own style. But Wise is never one note in Donkey Kong Country. Minimalist chill out tracks like “” couldn’t be more different than DKC’s more energetic jams, but they still feel perfectly suited to the game’s pre-rendered world and are beautiful just to listen to. It is convenient that DuckTales for NES is a super fun game, but its quality is hardly essential to success. DuckTales could have been a boring, unplayable monstrosity and it wouldn’t have mattered as long as Hiroshige Tonomura’s songs were still there.
The rollicking pop of “” and the Rob Zombie-by-of-NES horror schlock of “” are the kind of righteous chiptunes that have kept this soundtrack famous for almost 30 years. Even the “Stage Select” jingle melody, a simple 8-note looping melody, is a sweet earworm that lodges in the brain. Its centerpiece, the utterly wistful “,” is the song that demonstrates why bands like Anamanguchi continue to use the NES to make music today. Perhaps you didn’t know that a cello could simultaneously break your heart and put it back together again. Austin Wintory’s beautifully atmospheric Journey soundtrack positively soars.
From the mournful “” and echoing “,” to the sand surfing joys of “” and the victorious “,” Wintory makes Journey a tour de force of strings-driven emotion. This was the very first video game soundtrack to be nominated for a Grammy for good reason and matched up with the sandy visuals of ThatGameCompany’s masterpiece perfectly. Layered on top of the ringing chirps of your be-scarfed adventurer, this is the beautiful and heartbreaking sound of video game music transcending anything that has gone before.
No, that’s sand in my eye. Parappa the Rapper. Stop me if you’ve heard this one before: A dog wants to impress his ladyfriend, who is a flower, by becoming a hero. He does this by, among other things, taking karate lessons from an onion, cooking with a chicken, and trying not to poop himself while waiting for the bathroom. Parappa the Rapper is a glorious exercise in music rhythm game weirdness as you tap along in an attempt to master each song’s unique and absurd challenge. The gameplay isn’t overly remarkable, but the songs have real staying power: For proof, simply say “Kick, Punch” to a Parappa fan and their reply of “It’s all in the mind!” will be swift and guaranteed. Every track is a winner, but my personal favorite is the reggae-esque tune from the flea market.
Just because the rhythm is slow, that don’t mean that you can’t flow. That is a great wisdom.
The Elder Scrolls 3: Morrowind. You could pick any of the Elder Scrolls games for this list, really, as it’s impossible to go wrong with a Jeremy Soule soundtrack. We went with Morrowind, though, because of the way it effortlessly evokes the beautiful loneliness of that game’s landscape.
Oblivion embraces pomp and Skyrim bravado, but Morrowind captures the quiet solemnity of your role as the hero standing alone against the darkness. It’s impossible to remember your time as the Nerevarine without hearing Soule’s elegant arrangements in your head, whether it’s the quick strings and horns that accompany an unexpected battle across the hillside (it’s always a goddamn cliff racer), or a cheeky little ditty that picks up your spirits as you wander down the road. Morrowind’s soundtrack is woven into the very fabric of Tamriel and gives everything you do there an air of gravitas.
Even if it’s finding out what happens when you drink 600 bottles of skooma. Mass Effect 2. The original Mass Effect set the tone for BioWare's three-part space opera with its '80s action movie-inspired, synth-heavy soundtrack, but Mass Effect 2 is the game that took that concept and made it palatable to a wider audience while giving listeners bigger crescendos and more variety. The track “” is a great example, starting slow, mysterious, and electronic before evolving into something organic and genuinely thrilling to hear, full of a wide variety of instruments, percussion, and a chorus of chanting voices. And if the blockbuster inflection isn't your thing, there's the sublime tones of the galaxy map music to gently sweep you away on solar winds. Mass Effect 2's soundtrack is so good, you really can't help but speak in hyperbole about it.
R4: Ridge Racer Type 4. 'He's the one for me, there's no place I'd rather be, yeah, yeah, yeah. To the finish line, everywhere you look he's right on time.' Lyrics to the hot new summer single? Nope, those are the words to “,” the opening of R4: Ridge Racer Type 4 for the PlayStation. And it only gets better from there. The eclectic soundtrack boasts some of the best and most unique driving songs you could ever hope for, fusing Namco's game-y synth beats with jazz, funk, and house genres.
Tracks like “” and “” are standouts, but really it all comes back to the tone set by that opening tune. Buckle up and have fun, it says, because there's nothing out there that drives - or sounds - like this.
The Adventures of Batman & Robin. You know how the Mega Drive/Genesis had fairly paltry audio compared to the Super NES? Composer Jesper Kyd - layer of HItman and Assassin's Creed fame - positively beat that thing into performing, and did so with one of the most original, distinct, and utterly banging soundtracks of the 16-bit era at the same time. Because Jesper Kyd does things like that.
Throwing out the soaring, gothic, Danny Elfman vibe of the cartoon the game is actually based on, what Kyd actually produced is a, as fresh and arresting now as it was in the mid ’90s. It might not be in any way TV authentic, but as the actual sound of the inside of the head of a pathologically death-obsessed man who eschews sleep every night in favour of wanton violence, it’s pretty much perfect. Shadow of the Beast.
Of all of the Commodore Amiga’s achievements in the ‘90s, its vast library of excellent soundtracks is easily its greatest. The same goes for Shadows of the Beast itself. Although regrettably, undeniably duff as a video game, from an aesthetic perspective it’s a masterpiece. In fact it’s uniquely stunning, surreally ethereal art and music are the entire reason the game has a reputation today. Shadow’s looks and sound intertwine perfectly, but the latter remains entirely captivating in its own right.
Layered, swirling, and constantly twisting toward dark, dreamlike places you’ll never expect, its complete otherness makes it one of the best fantasy soundtracks of all time in any medium.
A great soundtrack is more than just a collection of great songs. A great soundtrack pulls a story along while somehow effortlessly blending into the background. The right one can help define a movie; a terrible one can ruin an otherwise decent film. A great one can even stand on its own, though it really shines accompanying something on-screen. Which are the best of the best, the ones that help movies soar? These are the 23 best soundtracks ever put together.1.
DriveSince this Ryan Gosling-led movie features such sparse dialog, Drive relies heavily on its amazing soundtrack to convey the mood of the film. There’s an ‘80s electronic vibe present in most of the tracks, and Cliff Martinez did a masterful job of matching the feel of Nicolas Winding Refn’s neo-noir flick.
If you’re driving through the city late at night and the streets are empty, this is what you should listen to. This Is Spinal TapIt’s hard to top the mockumentary greatness that is This Is Spinal Tap, and those epic performances from the film are captured in the film’s equally impressive soundtrack. Turn it on and turn it to 11.3.
RushmoreThis Wes Anderson film features a hodgepodge of great tracks. The original idea was to use only songs by The Kinks, but the final collection ended up being a mixture of random tracks from the likes of Cat Stevens, John Lennon, and more. Each selection feels as random and fun as one of Max’s hobbies.4.Iggy Pop’s “Lust for Life” was such a perfect addition to the junkie-fueled epic, that it overshadows the rest of the killer soundtrack. Other standouts include classics from Lou Reed, Brian Eno, and others.
The soundtrack somehow captures the fast-paced vibe of the Edinburgh club scene and the calm, blissful release the characters find in their drug of choice.5. Blade RunnerThe soundtrack to Blade Runner is mysterious and dark. It blends moody synths to create a gloomy and atmospheric sound fit for the setting of the Harrison Ford-led film based on the story from Philip K.
It’s one of Vangelis’s most amazing works.6. The DepartedIt might not be the greatest Scorsese soundtrack (more on that later), but the selection of music for The Departed is pretty stellar. Using Dropkick Murphys instantly means you’re in Boston among Irish immigrants. But here it feels far from cheap and easy. The soundtrack is also packed with legendary tracks like “Comfortably Numb.” So, you could say it’s pretty eclectic.7. Pulp FictionLike most Tarantino movies, Pulp Fiction contains a grab bag of songs.
The most famous of the bunch is the rendition of “Misirlou” that has become synonymous with the film—but it’s far from the only standout.8. High FidelityIt makes sense that a movie so focused on music would have such a great soundtrack. High Fidelity is about the soundtrack to our love lives, and with quotes from the film like, “What came first, the music or the misery?” don’t go expecting all happy pop, but do expect something great.9. Saturday Night FeverDisco-haters look away. While it might not be your cup of glittery tea, you can’t argue with the artfully crafted soundtrack to Saturday Night Fever.
Highlighted by songs from the Bee Gees, it would go on to sell an insane amount of copies and become one of the most culturally relevant soundtracks ever composed.10. The Social NetworkThis is just another step in the evolution of Trent Reznor. His ambient soundtrack for The Social Network was made with Atticus Ross and received many major awards. The tracks are haunting and addictive and perfectly match the uncomfortableness and anxiety of the film.11. Into the WildSean Penn was persuasive enough to get Eddie Vedder to craft the soundtrack to the film adaptation of Jon Krakauer’s book.
The Pearl Jam frontman played every instrument in every song and took audiences on a journey that matched that of Christopher McCandless.12. SnatchThe soundtrack to Snatch shouldn’t work. The songs are so wildly different that you’d be hard-pressed to find a string between them. The whole thing should just fall apart. Only it doesn’t.
There’s a mad-brilliance to the collection that features Massive Attack, John Murphy, and Oasis’ “Fucking In The Bushes,” among others.13. Tron: LegacyGet Daft Punk to craft your soundtrack and we don’t care if the movie is terrible, we’ll still see it. The resulting soundtrack for Tron: Legacy blends the electronic sounds of the French duo with an 85-piece orchestra for a grand score worthy of the big screen or an awesome home audio system.14. GoodfellasPerhaps the coolest of all Scorsese movie soundtracks, and that’s saying a lot. Each song moves from the foreground to the background as the dialogue and action wrap around them. Unfortunately, the album doesn’t include all the brilliant selections. That said, it’s just more reason to put the film on.15.
Garden StateIn one quick scene, Natalie Portman made us fall in love with The Shins. Besides the two tracks from the band, the movie from Zach Braff features singles from Zero 7, Colin Hay, Frou Frou, and many more.
The melancholy tunes fit the movie, as Zach Braff’s character tries to find his place in a world evolving around him.16. Dazed and ConfusedTo accompany Richard Linklater’s 1993 classic, he chose a bunch of ‘70s rock songs that go perfectly with a nicely stoned summer.
It’s hard not to think of the film when you hear “Sweet Emotion” or “School’s Out.”17. Easy RiderThe music in Easy Rider is, simply put, perfect. The collection can easily stand on its own, but the classic rock tracks beautifully fit into the narrative of the biker flick.18. Reservoir DogsWe only wanted to include one Tarantino movie on this list, but we just couldn’t leave Reservoir Dogs off. There are plenty of great tracks dispersed throughout the film, including gems like “Magic Carpet Ride” and “Stuck In The Middle With You.” It’s great even if you’re only listening with one ear attached.19. Above the RimOne of the greatest hip hop soundtracks of all time. Besides “Regulate” from Warren G, which obviously would go on to make the album a smash hit, the soundtrack features legendary cuts from 2Pac and other all-stars.20.
Fast Times at Ridgemont HighJackson Browne’s “Somebody’s Baby” is the highlight of the soundtrack to Fast Times at Ridgemont High, but there’s a lot of great tracks mixed in. It’s one of the most solid rock & roll soundtracks of all time and helps the film stand as an all-time classic.21.
Inside Llewyn DavisInside Llewyn Davis is about a struggling folk singer in the ‘60s, trying to make his way in the big city after the loss of his partner. It’s also about a cat. But that’s not important right now. From the beautiful minds of the Coen brothers, the film is jam-packed with period-appropriate folksy tracks, all under the watchful eye of T Bone Burnett. All are fresh recordings, outside of one Dylan song and one from Dave Van Ronk. Put it on and step inside a smoky NYC basement club.22. The GraduateNo coming of age tale has ever been scored better than The Graduate.
We mean, how could one, when there was never a better duo to convey the feeling of being lost than Simon and Garfunkel? Director Mike Nichols leveraged multiple numbers from the legendary group to convey a feeling of alienation. And, of course, there’s the whole “Mrs. Robinson” scene.23. Guardians of the GalaxyPeter Quill’s mixtape serves as the vehicle to introduce some seriously great songs into the 2014 film Guardians of the Galaxy. Topping the Billboard charts for 11 consecutive weeks, the soundtrack features such all-timers as “Hooked on a Feeling” by Blue Swede, “Spirit in the Sky” by Norman Greenbaum, and “Ain’t No Mountain High Enough” by the late, great Marvin Gaye. Want delicious craft beer in the comfort of your own home without ever having to go outside?
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