Archive for the ‘News’ Category

Music 4 Games interviews Call of Duty 4 composer Stephen Barton

Saturday, November 3rd, 2007

Just a quick one today plugging M4G’s latest interview with Stephen Barton. The Harry Gregson-Williams protégé discussed his recent assignment for Activision’s Call of Duty 4 (available this coming Tuesday), stepping in for the very busy Gregson-Williams and securing a unique opportunity to score a video game.

Call of Duty 4 chopper

Barton spoke on the criticism of video games as an art form, the ease and support of working with Call of Duty 4 developers Infinity Ward, the approach of the soundtrack relative to the game’s modern setting, and most importantly (for you music-making fetishists with pro aspirations) his comprehensive studio setup. That last one’s over my head, but that certainly didn’t detract from the interview being an excellent read.

The OneUps’ band history and success at PAX featured on MSNBC.com

Tuesday, October 16th, 2007

Thanks to Mustin for forwarding the news.

The OneUpsrecent performance at Penny Arcade Expo continues to pay big dividends as the band was profiled yesterday by Seattle’s Kristin Kalning, games editor of MSNBC.com.

The OneUps - PAX 2007

Kalning’s piece, entitled “Making music out of ‘Super Mario Bros.‘”, focused on the band’s struggles to find an audience since its formation, as well as the triumph of performing at this year’s PAX, painting an optimistic picture for the band’s future including upcoming gigs at Ikkicon & AniMix, as well as plans for a 2-disc follow-up album to The OneUps Volume 1. Audio samples from The OneUps Volume 1 were also included.

In terms of the angle of the piece, many of the same sentiments found in other mainstream media coverage of the VGM arrangement community were there including video game music being viewed as unknown, the hobby of VGM arrangement being viewed as strange, and the artists being characterized as struggling. Nothing out of the ordinary, but then again nothing untruthful in the major majority of cases.

However, the one direction the piece didn’t go in that I was grateful for was classifying older video game music as “bleeps and bloops.” Kristin Kalning, you have a new fan.

The Wingless defends Electronic Arts’ acquisition of Pandemic Studios

Friday, October 12th, 2007

After last week’s revelation of Bungie buying itself back out from Microsoft and going independent, gamers high on the news of studios “loosening themselves from the handcuffs of monolithic corporations” were summarily deflated to hear yesterday’s announcement of Electronic Arts being poised to acquire both Pandemic Studios and BioWare in a deal potentially totalling US$825-860 million.

EA button logo

The hate some gamers have for EA is all too real. It’s so real, we at OverClocked ReMix were able to center our 2005 April Fool’s Day joke on it with EA ReMix, not only pretending we were bought out that day, but later claiming that EA’s legal representation had sent up a cease-and-desist letter, successfully fooling many of the people who were wise to the original joke. People were cursing EA up and down for being that evil, accepting EA’s killjoy threat of litigation as genuine without a second thought. For whatever reasons, that large logo above (we love pushing buttons) makes some people assume the worst.

As a gamer haven, it’s no surprise that OC ReMix has its own forum-goers lamenting the Pandemic/BioWare buyout. But recent Pandemic hire and senior user interface designer John “The Wingless” Burnett had his own words on the matter from the inside, defending the positives of the deal and putting much of the gamer hatred for EA into perspective:

As part of the EA deal, I’ll give you my two cents.

You know what bothers me MOST about the deal? That nobody fucking CARES that we’re (Pandemic) are even involved in the deal. Nothing crushes morale when you’re part of a $800+ million dollar deal (the biggest in industry history) and you are less than a footnote in the great shitstorm of internet reprisal.

Regardless, all of you going, oooh woe betide my beloved Mass Effect that isn’t even out. What are you upset about? Seriously, what is terrorizing you so much? That EA will somehow befoul it? How? They bought the company(s) because they are doing well by themselves. EA is in it to make money, and this particular regime of EA rule knows that you leave well enough alone, especially when it’s generating revenue. The only time they’ll step in is when we, the game developer, fail to deliver.

In essence, we get more money, more backing, probably the biggest marketing powerhouse in the industry and a lot more press.

And for those of you horrified by sequelitis… seriously, why the fuck do you care?

Three years in the industry have no made me loathe everyone who ISN’T in the industry. It’s a hell of a thing.

Saboteur

Will EA sabotage Saboteur? (Note, we at VG Frequency are clearly an exception to The Wingless’s loathing.)

Obviously, it remains to be seen what effects and/or potential reshufflings will ultimately result from the buyout. Yet it’s important to note that what some gamers conclude to be a tragedy, some employees on the creation side believe to be…an opportunity.

Of course, even employees have mixed feelings. As The Wingless said later in the day…

Now… if you ask me whether or not the EA acquisition is good in the short or the long term… you will get some wildly different answers from me…

…ellipses

Music 4 Games interviews Kenji Yamamoto and Retro Studios’ sound team

Saturday, October 6th, 2007

Jayson Napolitano of Music 4 Games posted an interview yesterday with Nintendo composer Kenji Yamamoto and the Retro Studios sound team regarding the sound of Retro’s latest game and Yamamoto’s latest work, Metroid Prime 3: Corruption (co-composed with Minako Hamano and Masaru Tajima). It’s a rather nice read, detailing the technical, creative, and organizational processes that went into making the sound and music of Samus’s latest adventure:

Metroid Prime 3 password

As for the music for Metroid Prime 3, we knew we wanted to move in a more orchestral direction, but one that still maintained the game-y and synthetic nature of the previous Prime soundtracks. I sat down and identified some reference game and movie soundtracks and progressive electronic music to present to Yamamoto-san as possible style guides and references. Soon after I compiled my references, we found out that Yamamoto-san was coming to the states and was interested in visiting Retro Studios himself. This allowed me to present to him my musical references and style guide in person and for us to have a face to face dialog. He was very easy to work with and really understood our desired aesthetic. The cool thing was that after we got our musical direction discussion out of the way, we were able to geek out and exchange ideas about audio tools, music in general and even have a quick jam session. It was truly an honor that I got to play drums behind Yamamoto-san’s excellent guitar playing and our CEO Michael Kelbaugh’s kick ass bass playing.

Yamamoto also talks a little bit about his past work as well. Check out the full interview at http://www.music4games.net/Features_Display.aspx?id=174.

OC ReMix Albums on Last.fm, FF7:VotL Updates

Tuesday, October 2nd, 2007

OC ReMix Albums on Last.fm, FF7:VotL Updates

For Immediate Release
October 2, 2007
Contact: David W. Lloyd, dlloyd@ocremix.org

OverClocked ReMix recently made all nine of its albums available for live streaming on Last.fm (www.last.fm), a music and social networking website. The albums are listed at http://www.ocremix.org/albums/, with credits and links to their official homepages, BitTorrent downloads, and Last.fm pages.

The most recent album, Final Fantasy VII: Voices of the Lifestream, was recently reviewed by SquareSound, one of the largest websites devoted to Square Enix music on the internet, at http://www.squaresound.com/reviews/ronin/ff7vol.php. Since its debut on September 14th, Voices of the Lifestream has been downloaded an estimated 70,000 times via both a BitTorrent distribution and MP3s available at the official album website, http://ff7.ocremix.org. Limited physical copies of the album made for promotional usage will be given away at the upcoming Anime USA (http://www.animeusa.org/) and MAGFest (http://magfest.org/) conventions and through online competitions that will be announced shortly.

OverClocked ReMix Albums, Newest to Oldest:

CocoeBiz releases new interview with Hiroki Kikuta, Music 4 Games reviews Alphabet Planet

Tuesday, October 2nd, 2007

Been meaning to mention this a ways back (and was jogged by Music 4 GamesJayson Napolitano recently reviewing Alphabet Planet), but a couple of weeks ago popular VGM storefront (and VGM preservation society, as far as I’m concerned) cocoeBiz released an interview between site founder Kahori Ezaki and legendary VGM composer Hiroki Kikuta.

Hiroki Kikuta - Alphabet Planet

In it, Kikuta discusses his musical influences [editor’s note: Prince!], his recent first (Lost Files), second (Alphabet Planet) and (potentially) third original albums, as well as desired future plans. The interview, also available in its native Japanese, is a quick read that’ll put you in the know of some of Kikuta’s latest developments. If you’re a fan of the Secret of Mana soundtrack or any of Kikuta’s other works, the general buzz on Alphabet Planet (thank you, Babelfish!) is that the hooks and energy evoke the same feelings as listening Kikuta’s game work. And check out those glazed doughnuts.

Hitoshi Sakimoto reveals samples used in Final Fantasy XII

Monday, September 24th, 2007

DTM Magazine - May 2006 coverIn the May 2006 issue of the Japanese DTM Magazine, three people were interviewed about the sound of Final Fantasy XII: Hitoshi Sakimoto, the composer, Tomohiro Yajima, the sound effects director, and Keiji Kawamori, the synthesizer programmer. In the interview, Sakimoto revealed the samples he used to compose the game’s orchestral soundtrack:

Thanks to Cedille at the Soundtrack Central Forums for the scoop.

DarkMessenger wins big at Interface’s Sound Game Contest 2007

Wednesday, September 19th, 2007

Niels “DarkMessenger” van der Leest announced via MySpace bulletin that he was notified of his victory in Dutch magazine Interface’s latest competition, Sound Game Contest 2007 [note: in Dutch], with his entry receiving The Public’s Choice award garnering an impressive 46.4% of the votes.

Ghost Recon 2 explosion

Niels, along with other entrants, worked to rescore the cutscene “Ghost Story” from the 2004 Xbox release Tom Clancy’s Ghost Recon 2, developed by Red Storm Entertainment.

The competition was co-sponsored by Streamline Studios and QANTM College, with voting for The Public’s Choice being featured in the upcoming Interface issue #112. We’ll keep you posted if and when DarkMessenger’s winning effort goes public, and congratulations to Niels on his popular victory, which will hopefully provide him some of the spotlight.

OverClocked ReMix Releases Free Fan Tribute Album, Final Fantasy VII: Voices of the Lifestream

Friday, September 14th, 2007

OverClocked ReMix Releases Free Fan Tribute Album, Final Fantasy VII: Voices of the Lifestream

For Immediate Release
September 14, 2007
Contact: David W. Lloyd, dlloyd@ocremix.org

FAIRFAX, VA–Today, OverClocked ReMix released its ninth album, Final Fantasy VII: Voices of the Lifestream. The album, made by fans for fans, honors the recent 10-year anniversary of the Square Enix PlayStation video game Final Fantasy VII with 45 arrangements of composer Nobuo Uematsu’s original score.

Available for free download at http://ff7.ocremix.org, Voices of the Lifestream is not affiliated with or endorsed by Square Enix. More than 40 artists from the OverClocked ReMix community contributed more than three hours of music to the album, with interpretations covering a variety of genres and styles from jazz to electronica to rock to symphonic.

Voices of the Lifestream has already generated advance media and industry buzz. Music 4 Games (www.music4games.net) reviewer Jayson Napolitano called the album “one of the most impressive and encompassing listening experiences in the world of video game music.”

Tommy Tallarico, video game composer and co-creator of Video Games Live (www.videogameslive.com), said of the album: “OC ReMix has done it again! I’m always impressed with the amazing talent that comes from the OCR community. This album is a further testament to that quality and passion. It’s an honor for video game composers around the world to have their material be a part of the OCR community. This album rocks!”

A year and a half long effort that spanned six countries, Voices of the Lifestream is the largest creative project ever undertaken by OverClocked ReMix.

“We’re really proud of Voices of the Lifestream and I’m personally very grateful for the tremendous spirit of collaboration and dedication shown by the participating artists,” said album creator and director Andrew “zircon” Aversa. “Voices of the Lifestream really represents the heart of what OverClocked ReMix is all about: community and great music.”

OverClocked ReMix founder and president David “djpretzel” Lloyd agrees, adding that the project “…marks a high point in OverClocked ReMix’s history thus far, and stands as a powerful testament to video game music, Nobuo Uematsu’s enduring score, and the talent and dedication of fan ReMixers.”

OverClocked ReMix is an organization dedicated to the appreciation, preservation, and interpretation of video game music. Hundreds of free game music arrangements and a thriving community of game music fans can be found at OverClocked ReMix’s Web site, www.ocremix.org.

###

Music 4 Games Posts Exclusive Advance Review of OC ReMix FFVII Album

Tuesday, September 11th, 2007

For Immediate Release
September 10th, 2007
Contact: David W. Lloyd, dlloyd@ocremix.org

Today Music 4 Games (http://www.music4games.net), the premier resource for news and reviews about Video Game Music, posted an exclusive advance review of the upcoming OverClocked ReMix album, Final Fantasy VII: Voices of the Lifestream. The review is available at http://www.music4games.net/Review_Display.aspx?id=97. This review marks the first time a freely available, fan-made album of game arrangements has been evaluated alongside commercial video game soundtracks on the site.

Reviewer Jayson Napolitano writes that it “doesn’t get much better than this when it comes to arrangement albums,” calling Voices of the Lifestream “one of the most impressive and encompassing listening experiences in the world of video game music.” More information about the album, which will be released freely online this Friday, September 14th, can be found at http://ff7.ocremix.org.

Hundreds of free game music arrangements and a thriving community of game music fans can be found at OverClocked ReMix’s Web site, www.ocremix.org.

Review and video of The OneUps at Penny Arcade Expo

Monday, August 27th, 2007

A few days ago, Larry reported that The OneUps would be performing at this year’s Penny Arcade Expo in Seattle. Frank Caron, a writer for Opposable Thumbs, Ars Techinca’s “journal devoted to games and toys,” wrote a review on The OneUps’ performance.

For a band that neither Ben nor I had heard of before, The OneUps put on a rock-solid show that ignited the crowd on numerous occasions. They showcased music from a treasure trove of age old games using a full seven piece band and unvieled a two piece keyboard duet called “Final Fanboy.” Plowing through a strong hour-and-a-half long set, The OneUps won the favor of the Main Theater’s near-capacity crowd.

The full review can be read here.

Sean and Coop of Gamervision also attended The OneUps’ concert, and posted a video on YouTube of highlights of their performance:

The songs in the video are:

  1. 0:23-0:44: “Sub Castle BGM” from Super Mario World (SNES)
  2. 0:44-1:30: “Korobeiniki” from Tetris (Game Boy; originally a folk tune)
  3. 1:30-2:10: “Match BGM” and “Get Up!” from Punch-Out!! (NES)
  4. 2:10-2:50: “Green Hill Zone” from Sonic the Hedgehog (Genesis)
  5. 2:50-3:42: “Brinstar - Dense Vegetation Area” from Super Metroid (SNES)
  6. 3:42-4:14: “Dark Mountain Forest” from The Legend of Zelda: A Link to the Past (SNES)
  7. 4:14-4:31: “BALROG [Spain]” from Street Fighter II: The World Warrior (SNES)
  8. 4:38-5:52: “Mii Channel BGM” from the Wii system software

Enjoy the footage of Arkansas’s premier Celine Dion cover band.

Fast Talk: Gamer Controls Music 2.0

Tuesday, August 21st, 2007

Andrew “zircon” Aversa is a long-time colleague of mine on the OCR Judges Panel, and has a remarkable business sense about him. He’s always trying to learn everything he can not just about the creation side of music, but the fiscal side as well. Currently attending Philadelphia’s Drexel University, he’s in a great place to soak up knowledge, and always passes along cool information he picks up along the way.

Via the July issue of Fast Company (#117), Andy clued me into something regarding Electronic Arts that I read about a year or so ago in the conception phase having recently resurfaced. The article by Cora Daniels features EA Worldwide Executive of Music and Marketing Steve Schnur discussing his plans for a record label inspired by video game music.

Well, not in the traditional sense of releasing original or arranged soundtracks. But with the Artwerk label (a cooperative venture with Nettwerk), Schnur feels that the exposure from popular EA franchise games like Madden NFL and NBA Street have the potential to launch breakout bands with original albums after clinching fan interest via the game soundtracks. So far, the label’s first big signing in Tom “Junkie XL” Holkenborg this past March looks nothing but good. With such a conservative approach by Schnur and EA purposefully not aiming to create a big label, however, do you think a format like this could fully achieve its stated goals?

Sephfire interviewed re: Shadow of the Colossus by Tales of Shadows

Friday, August 17th, 2007

After I read Alex Rowe’s interview with SGX over at Tales of Shadows, I let him know that he should talk with other OC ReMixer fans of Fumito Ueda’s games, including Sephfire and Binster. But before Alex ever heard from me, he already had his plans in motion to interview Daniel “Sephfire” Floyd.

Released yesterday, the interview discusses Sephfire’s plans to arrange material from Sony’s recent blockbuster hit Shadow of the Colossus. Floyd’s arrangement, entitled “Snowfall on Forbidden Lands,” was also his first released collaboration with his wife Carrie “ceili” Floyd, which made for an excellent pairing, resulting in a whole that, in my opinion, was greater than the sum of its parts.

Floyd also provided background on how he got into video game music arrangement as well as his own take on the artistic merits of the Fumito Udea series of games. It’s a quick but interesting read for fans of all types that you should check out. Let’s hope Alex goes for the OCR trifecta down the line!

NPR covers Video Games Live in Washington, DC

Wednesday, August 15th, 2007

While attending Video Games Live in Washington, DC this past June, I saw some young reporters from NPR interviewing fans for an upcoming story. Checking around the web, I finally caught onto the story, having been released about a week ago by Benjamin Frisch in both written and broadcast form. They’re two different presentations of the story, so check them both out.

Joystiq’s Justin McElroy (employing the royal “we) had me laughing with his observation of one portion of the broadcast version:

We have to admit to being a little bit perturbed by the tone of the reporter, who appears to be mystified by the idea that anyone would be in the seats. “Why is video game music so compelling to these people?” he wonders aloud, the disdain deliciously audible.

Sure, one could interpret it that way, but I’ll give Ben the benefit of the doubt, as the tone of his question is mean to evoke what a casual listener may be thinking, and may not necessarily be his own point of view. We may never know, but I also don’t lose any sleep over it.

OverClocked ReMix’s djpretzel was interviewed for the article, but in the final cut NPR went for a generalized angle on video game fandom and the increased attraction it’s brought to the orchestra rather than the rise of the profile of video game music. More’s the loss, I say, but I have my preferences. :-D


Tommy Tallarico reasoned that Beethoven would have been a video game composer, which has gained some criticism from various people who’ve encountered the article. While Tommy was wildly speculative in his assertion, when you think about it, it is really that far out there a scenario? Not to merely be biased toward video game music, but when one thinks about the decline of the traditional symphony in terms of attendance and cultural relevance, you realize that orchestration remains healthy in the mediums of film, television, and video games.

As mentioned, the story is still a good read and listen, even if the overall tone of the piece is very much in layman’s terms. Give it a look and see what you think. And the next time Video Games Live or PLAY! or Eminience shows up in your town, make every effort you can to head on out there and partake in the experience.

Cheaters in the 21st Century

Sunday, August 12th, 2007

The Slate usually has some good reads about just about anything in popular culture, including the occasional pieces on gaming. A recent article by Luke O’Brien on the evolution of cheating in video games entitled “Up, Up, Down, Down, Left, Right, B, A” was pretty interesting, though I wish more depth was permissible for how cheating functions in this day and age, especially the measures given to eliminate it. Still a good read that you should check out.

And as mentioned, be sure to “compare Contra with World of Warcraft.” Hidden plugs? I’m cheap like that.

Tom Clancy Really Happy With How Latest Video Game With His Name On It Came Out

Sunday, August 12th, 2007

This man looks really happy. That’s because, I’m really looking forward to Tom Clancy’s Splinter Cell: Black Ops, and he’s gonna get my cash. Excellent coverage of this pending business transaction is provided by The Onion.

And here’s a free track from OC ReMix arranging Rainbow Six: Rogue Spear; classic stuff with Jared Hudson, who (if all goes well) will eventually score a future Tom Clancy-named interactive cash cow.

IGN posts list of best ten 8-bit soundtracks; the universe laughs

Friday, August 10th, 2007

IGN has started a new weekly column called “Top 10 Tuesday,” in which they, predictably, post a new top ten list of some sort every Tuesday. Their very first list, published this week on the 8th, is entitled “Top Ten Tuesday: Best 8-Bit Soundtracks,” covering, among other systems, the NES and Sega Master System:

We realize that, in addition to the Nintendo Entertainment System, the 8-bit console era also included the Sega Master System. And while we considered titles like Phantasy Star and Wonder Boy, the truth is the best Master System soundtrack isn’t as good as the tenth best NES game.

Erm, scratch that. But anyway! The list!

  1. Super Mario Bros.
  2. Castlevania
  3. The Legend of Zelda
  4. Contra
  5. Shadowgate
  6. Punch-Out!!
  7. Dr. Mario
  8. Wizards & Warriors
  9. Blades of Steel
  10. Metroid

Blades of Steel title

Their honorable mentions include such vastly inferior soundtracks as Mega Man II’s.

But the very best part about the article is that IGN decided to include samples of each game’s music to show why each game deserved to be on their list. I personally was unsure that Contra should rank as high as fourth, but after hearing their audio sample, the seven-note title theme, I was convinced. Likewise, the song that comes to my mind when I think of Dr. Mario? Why, the game over theme, of course!

NOTE: The list says that the #8 game, Wizards & Warriors, was developed by Acclaim. This is incorrect; the game was actually developed by Rare (the soundtrack was done by resident composer Dave Wise). But after coming up with such a well-reasoned and carefully researched piece, I think we can let that one little mistake slide.

SGX interviewed re: ICO by Tales of Shadows

Thursday, August 9th, 2007

Alex Rowe (not to be confused for this OTHER Brit) of the ICO and Shadow of the Colossus blog Tales of Shadows interviewed Danny “SGX” Adler yesterday as part of the blog’s ongoing series of “Player Interviews,” where celebrity fans of the two Sony/Fumito Ueda hits discuss their own expressions of fandom.

SGX was questioned on his love of ICO, as brought to life by his arrangement of the soundtrack’s “heal” and “continue” known as “Save Me”. (”Save Me” is freely available in an edited form at OverClocked ReMix, while a wholly original track comprised of the non-VGM bits of the arrangement called “Saved” is available for purchase on SGX’s fourth album Synesthetic.)

Danny shed light on how arranging video game music was responsible for building his fanbase, and even suggested that he may not be entirely done with video game arrangements. Always good news to me. Check the interview out for a good read.

Activision Reports Sluggish Sales For Sousaphone Hero

Saturday, August 4th, 2007

God bless ya, The Onion. Washington, DC is the paper’s ninth print edition market, and I love picking it up every week. The cutting edge of reporting.

And this? The cutting edge of video game music. The game’s not a hot seller, I’m afraid.

Half-Life: Black Mesa developers on Cockbite Radio

Saturday, July 28th, 2007

Uh…Cockbite Radio.

But yes, the developers of the upcoming Half-Life 2 mod Black Mesa were on episode 5 of Cockbite Radio (there’s that name again) this past Wednesday to discuss all things Black Mesa and how they’re remaking the first Half-Life from the ground up. OC ReMixer Kevin “Lorenzo” Sisk, one of the voice actors of the game, intros the podcast. (Check for him also at the 11-minute and 53-minute marks as well.)

Kevin adds: “That screenshot [below], other than the surface tension dam, is a prime example of how the team is trying to bring the original game up to date with today’s graphic standards, while preserving the game’s spirit.” Definitely give it that look.

Also of note for this podcast, 30 seconds in has a hilarious rant from Casey about 12-year-old boys on Xbox Live. Creepy, immature boys on the internet? Never.

virt experiences wet dream, scores Contra 4

Friday, June 29th, 2007

As CHz reported over at ThaSauce, arrangement scene old-schooler turned professional game composer Jake “virt” Kaufman was outed last week in the current issue of Nintendo Power (#218) as being the composer for Konami and WayForward Technologies‘ upcoming Contra 4 for the Nintendo DS. (Here’s hoping they at least stick with Contra IV/4 in the title, and don’t drop that in favor of just a subtitle.)

Contra IV jungle

While unable to comment much beyond confirming his role on the upcoming shoot-them-motherfuckers-up (loosely translated, “schmup”), Jake backs up the Ninty Power interview and assures us that we’ll be rocked by new themes as well as rearrangements of classic themes from the Contra series.

I personally can’t wait until Jake has a chance to score another console game a la 2005’s Legend of Kay, but congratulations to Jake on a dream project that’s a major footnote in his growing career.

How a Russo-Nigerian Stallion Found Video Game Music, Part 1: The Games

Sunday, April 29th, 2007

I thought it would be appropriate to give some background on myself and why I decided to start a blog about video game music. Or, more accurately, how my girlfriend (a woman you’ll hear more from known as “The Lady”) encouraged me to start a blog about video game music. It’s been a relatively long road getting to VGM listening as a life’s hobby.

I was never big into video games as a kid. I loved the ones I did have, but never owned too many or spent way too much time playing them. In short, loved ‘em, just not fanatically. And it continues that way up until the present day. I don’t own a Wii, a PS3 or an Xbox 360, though I’ve played WarioWare: Smooth Moves for a few minutes and loved it.

My uncle bought my (fraternal) twin brother & I an NES in 1988 for our birthday, which came with the Super Mario Bros./Duck Hunt combo cartridge (naturally). Despite playing Nintendo together at the same distance from the television, my brother’s eyesight stayed 20/20 and mine started getting worse for whatever reason. I needed glasses in 1st grade (didn’t end up getting them until years later).

The music of Super Mario Bros. definitely stuck with me and remains an instant bit of nostalgia, but while it planted a seed, I never sat down and tape recorded the music like a lot of colleagues I know.

Other earlier memories involved:
*a friend of my brother’s, Nnamdi Ifejika, having a ton of NES games, which allowed me to sample a lot of ‘em and get to know bits and pieces of several titles
*3rd grade, where my friend Eric Hole had a huge Nintendo Power strategy guide and letting me borrow it for a few days, as just reading about the games was amazing enough
*playing the Sega Master System, particularly the footbag portion of California Games, at my uncle’s house (the one who bought us the NES)
*playing Duck Hunt at a brother’s friend’s house and chancing on a sweet spot in Clay Shooting that allowed me to hit each target no matter where it was on the screen; I eventually got nervous around Round 90 after I sportingly let one clay pigeon almost get away, then somehow got nervous and tried to shoot it directly
*Receiving both Super Mario Bros. 3, and the excellent Nintendo Power Strategy Guide for it in 1990
*Playing the SNES at Dave Riccio’s house back when it first came out, especially Street Fighter II years later
*Choosing Chip ‘N Dale Rescue Rangers over Teenage Mutant Ninja Turtles for a birthday present (a difficult choice at the time, an excellent choice in retrospect)
*Teenage Mutant Ninja Turtles IV: Turtles in Time
*My friend Hayden Mixsell bequeathing me his Sega Genesis after moving onto the Nintendo 64, hooking me up with Sonic the Hedgehog 2 and Streets of Rage 2 in the process

It’s difficult to encapsulate the entire mish-mash of games of my childhood, but so many of them had really memorable themes, Streets of Rage 2 in particular. Some of Pilotwings comes to mind. Road Rash. Super Mario Bros. 2. Street Fighter Alpha had a really big impact on me. There’s a big list eventually waiting to be recollected.

It wasn’t until Street Fighter Alpha 3 and Napster in 2000 during my freshman year at Emory University in Atlanta, GA that I really got into trying to find video game music. As far as I knew, back in the relative infancy of the internet, there weren’t any concentrated websites to buy game music let alone simply find it. But on a whim, I figured that if mainstream music was available, maybe somebody had some video game music from games I used to love.

There was no luck finding Street Fighter II, but Street Fighter Alpha 3’s “Brave or Grave” came up once somehow and I decided to check it out. I’d never played the game at the time, but I loved the track. In retrospect it’s not an A-grade piece of work, but the energy was pretty crazy the first time I heard it. I was gradually able to amass most of the soundtrack by searching for Street Fighter Zero 3 and becoming lucky when certain users would show up. Karin Kanzuki’s theme “Simple Rating” quickly became my favorite, along with Cody’s “Stripes,” Vega’s “Crimson,” and Cammy’s “Doll Eyes.”

A friend of mine who lived in my freshman hall, and who I stayed friends with throughout my 4 years, Dave Share, had a Sega Dreamcast and quickly got me back into the Street Fighter game series, far and away my favorite bunch of games. Eventually, I was playing Marvel vs. Capcom 2, Capcom vs. SNK (truly a dream game when I first saw it) and Street Fighter III: 3rd Strike, loving each one of the soundtracks even more than I loved the games.

It wasn’t until 2001 that I became interested in spreading the word on VGM through the radio. That’ll take us to Part 2…

VG Frequency #084 Playlist

Sunday, March 26th, 2006

VG Frequency #084: Pull the Claado Trigger
Larry Oji - WMRE (Emory University Student Radio; Atlanta, GA)
Saturday, March 25, 2006 / 10:55 PM - 4:08 AM EST
Liontamer f/TCK, Rexy, KyleJCrb, Species8472, Fusion2004, Kevin “Lorenzo” Sisk & Compyfox
Eon_Blue: “I’m pretty sure Larry just called my artwork garbage.”

(more…)

VG Frequency #082 Playlist

Sunday, March 12th, 2006

3/11 - 11:45PM
(more…)

VG Frequency #081 Playlist

Saturday, March 11th, 2006

3/11 - 8:35PM
(more…)