PlayStation Archives - The Greatest Game Music

Cowboy Bebop Soundtrack

Cowboy Bebop Soundtrack, Yoko Kanno, 1998

After a somewhat rocky start (that initially didn’t even see all episodes screened), Cowboy Bebop went on to become one of anime’s cultural milestones – on both sides of the Pacific. Setting itself apart from almost anything else produced for TV animation in either Japan or the USA, Cowboy Bebop merged disparate genres and visual styles in ways that helped the series introduce many new Western viewers to anime. Its cross-cultural appeal was partially based on its use of tropes that were familiar to Western audiences – Western, pulp fiction, film noir and cyberpunk (all within a space opera setting). Shinichirou Watanabe’s creation turned out to be popular enough to spawn a movie sequel and feature on many ‘best of’ lists in the years that followed.

As one would guess by looking at the series’ title, music played a crucial role in its eclectic aesthetic. Not surprisingly, the collaboration between director and composer on Cowboy Bebop was closer than usually – and the result was one of the most distinctive, attention-grabbing anime scores ever written. After her breakthrough with the orchestral fantasy masterpiece that was The Vision of Escaflowne, Yoko Kanno changed gears in spectacular fashion. Using jazz (and its many permutations) as the basis for Cowboy Bebop, Kanno branched out into a dizzying array of genres. She successfully dappled in everything from blues and metal to country music and opera, matching the series’ free-wheeling stylistic approach. Ultimately, Cowboy Bebop cemented Kanno’s status as one of anime’s foremost composers, able to seemingly nail just about any musical genre.

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Formula 1 Soundtrack

Formula 1 Soundtrack, Mike Clarke / Stuart Ellis, 1996

If you developed a racing video game in the mid-90s, there was apparently little choice other than to score it with electronic beats. And few companies knew this rule as well as Psygnosis. After all, they actually helped write this musical law with their enormously successful Wipeout franchise. Those games helped to take video game soundtracks into the mainstream like few other titles before.

Keeping this in mind, it’s surprising that 1996’s Formula 1 received a straight out, pure-bred hard rock/metal score. The masterminds behind Formula 1‘s revved-up beauty of a soundtrack are Mike Clarke and Stuart Ellis. While Ellis joined the project as a session guitarist, Clarke’s name will be more familiar to game music aficionados. As Psygnosis’ Sound Director, Clarke had mainly worked on Amiga titles before leaping into the CD console era. He would later return to work on the less remarkable Formula One 99. However, more helpful musical references for Formula 1 from Clarke’s career are Lifeforce Tenka and Destruction Derby Raw.

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Legend of Mana Soundtrack

Legend of Mana Soundtrack, Yoko Shimomura, 1999

While the 32-bit generation saw a seismic shift in gameplay and graphics design from 2d to 3d, that didn’t mean nobody created pixel art masterpieces during those years. And given how much Square’s 16-bit games had pushed the envelope in the early 1990s, it only makes sense that the company would occasionally return to the art style that had endeared its products to countless gamers. Square’s major forays into 2d gaming on the PS1 were SaGa Frontier 2 and Legend of Mana – and it’s probably no coincidence that both games were produced by Square veteran Akitoshi Kawazu. That probably also explains the non-linear style of RPG gameplay both games tried to pioneer. However, while the lack of a strong central narrative was typical for the SaGa games, it set Legend of Mana apart from its franchise predecessors, reaping strongly divided feedback from gamers and reviewers alike.

There were other aspects of Legend of Mana that found more unanimous praise – particularly its audiovisual presentation, which included gorgeous visuals and one of Yoko Shimomura’s best scores. For Shimomura, working on the Legend of Mana soundtrack was a thoroughly positive experience. One of the reasons for Shimomura to move from Capcom to Square had been her desire to work on a fantasy title – and of course Square’s line-up of high-profile RPGs would be the perfect outlet for that ambition. As Shimomura put it in an interview: “I kept saying I wanted to work on a fantasy and this title finally came around. I really had fun with it. I tried hard to make it fit the style of the game and to express myself!!”

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Medal of Honor Soundtrack

Medal of Honor Soundtrack, Michael Giacchino, 1999

It’s hard to find a historically more significant, more influential Western game score than Michael Giacchino‘s Medal of Honor. Sure, the Medal of Honor soundtrack wasn’t the first orchestral game score to convincingly emulate movie scoring conventions. But there were a number of powerful factors that turned Medal of Honor into a force that changed the course of game music history – and it wasn’t just the fact that Giacchino’s work was married to an immensely successful game.

First and foremost, there is the soundtrack’s sheer artistic quality. Its strongest predecessors in the genre of Western live orchestral game music – Heart of Darkness, Total Annihilation, Star Trek: Starfleet Academy – had already delivered some outstanding music. However, the Medal of Honor soundtrack surpasses them all in terms of both breadth and consistent quality (early Japanese orchestral game scores by the likes of Hiroshi Miyagawa, Yoko Kanno and Kohei Tanaka are a different story). What’s more, the score’s thematic sophistication set a new benchmark for live orchestral game music. Giacchino writes no less than three main themes that run through the entire score. He always uses these melodies judiciously and to further the music’s storytelling capabilities. On top of this, Giacchino introduces a new secondary motif on almost every track, builds the respective composition around this motif, and then masterfully weaves in the three major themes.

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Medal of Honor: Underground Soundtrack (PS1)

Medal of Honor: Underground Soundtrack (PS1), Michael Giacchino, 2000

Medal of Honor strove hard to create a first-person shooter experience that left an impression on players beyond the mere satisfaction of shooting bad guys before they could shoot you. However, the fact that the game progressed the FPS genre in terms of subject matter wasn’t its most revolutionary aspect. Instead, that particular achievement would have been the wide-spread critical recognition of game music’s quality outside of the gaming community. Michael Giacchino‘s Medal of Honor score fashioned itself on John Williams’ action scoring of the late 1980s and early 1990s. Astonishingly, it matched the elevated standards that come with such role models. As a result, bloggers, film score collectors and music fans in general – many for the first time – took note of the music produced for a video game.

Even more than Medal of Honor, Underground aims for historical authenticity (and thus reverence). Its main character Manon Baptiste is based on real-life French resistance fighter Hélène Deschamp Adams – who also served as a consultant on Underground. These efforts highlight the game designers’ increasing ambition to enrich action-driven gameplay through the retelling of one individual’s personal story. As a consequence, the Medal of Honor: Underground soundtrack shows greater interest than Medal of Honor in illuminating its protagonist’s psyche.

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Psybadek Soundtrack

Psybadek Soundtrack, Mike Clarke, 1998

Including Psybadek in a list of “The WORST Playstation Game[s] Ever Made” (as a YouTube reviewer does) is probably taking things a bit far – remember that there were loads of horrendous shovelware for Sony’s console, particularly in its latter years. Still, Psybadek remains a bit of a mystery. Here’s a game by one of the 32-bit era’s most successful and trendiest developers (Psygnosis), released in between heavy-hitters by that company like the WipeOut, Colony Wars, Destruction Derby and Formula 1 titles – and according to both contemporary and more recent reviewers, Psybadek falls flat on its face, with nary any redeeming features. At least Psybadek’s mix of racing and platforming elements showed that the developers were thinking outside of the box, even if that genre combination was ultimately poorly implemented.

As Gamespot noted in their review though, there’s one aspect where Psybadek – unexpectedly – shines: its score. Their claim that “the soundtrack is easily one of the best in video games anywhere” might sound like hyperbole. However, this is indeed one of the era’s strongest electronic game scores and far better than what you would expect to find in a game with such an otherwise poor presentation. Thanks be to veteran composer Mike Clarke, who had delivered numerous soundtracks for Psygnosis since the early 1990s, including one of the best metal scores ever to grace a video game: Formula 1.

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Sentinel Returns Soundtrack

Sentinel Returns Soundtrack, John Carpenter, 1998

Sentinel Returns was the entirely unexpected sequel to 1980s computer cult puzzle game The Sentinel. That 1986 title was one of the first games to feature solid-filled 3D graphics. Its successor wasn’t as revolutionary, but it still had a striking visual appeal all of its own. The world of Sentinel Returns was an entirely surreal one, unsettling and gloomy. It was full of bizarre flesh-meets-metal inhabitants that only had a vague resemblance to real life objects.

Sentinel Returns might have been a puzzle game, but its world was that of a nightmarish horror title. It’s no surprise then that horror maestro John Carpenter’s Sentinel Returns soundtrack is a perfect fit for the game. However, Carpenter’s involvement in Sentinel Returns is still a bit of surprise. Remember, Western movie composers crossing over into video games was still an absolute rarity in 1998.

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Swagman Soundtrack

Swagman Soundtrack, Nathan McCree, 1997

Nathan McCree‘s body of work is the textbook example of one particular work overshadowing a game composer’s other accomplishments. Of course, we are talking about Tomb Raider and its many sequels, two of which McCree scored himself. Outside of some highlights, these scores don’t play too well outside of the games they accompany, and there are arguably more rewarding works in McCree’s discography. After all, his output ranges from Star Wars homage Soulstar to the creeping menace of Skeleton Krew‘s synth textures. As with so much other early Western game music, an album release was never on the cards for these titles.

Thankfully, once more a mid-90s French game magazine came to the rescue, with one of those promotional CD releases that accompanied many of these publications (see also: Formula 1, Rapid Racer). The particular album in question holds – among other works – the majority of McCree’s work for Swagman. That game is a mostly forgotten action adventure title from Tomb Raider‘s Core Design. Reviews were middling and so it’s understandable that Swagman wouldn’t be on the radar of many game music fans. As it turns out though, the game contains what might well be the best score of McCree’s career.

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