Archive for the ‘soundtrack’ Category

フォースと ともに あらん ことを。(May The Force Be With You)

Tuesday, January 5th, 2016

Star Wars is, of course, an international phenomenon, and during my time in Japan I’ve come to realize that the franchise might be even more popular here than it is in the west. Sure, in America you have much the mocked Star Wars fruits, but do you have a Star Wars vacuum cleaner? What about Star Wars chopsticks (that light up)? Can you buy a X-Wing inspired Star Wars pen and pen stand (for a combined price of over $2,000)? Star Wars dishes, high-end Star Wars doormats, Star Wars kimonos. You name it, Japan has it. It’s pretty dope.

In fact, Japan getting exclusive Star Wars goodies is not a new phenomenon, just check this out.


The Story Of Star Wars (Japanese Edition)
Side 1
Side 2

This is the Japanese edition of the Story of Star Wars LP, a 1978 record that summarizes the…story of Star Wars (duh) by combining audio and dialog from the film alongside original narration that helps to cut down the running time to something that would fit on an LP (and work without the aide of visuals).

Now, a lot of countries got this record, it was released all across North America, and also in several European countries. However, all those countries, no matter what their native language, got the album in English, even if the movie came out in their country dubbed.

This was not the case with Japan.

When the time came for the album to come out in Japan, Fox actually went out of their way to release a Japanese language version of the record, complete with all new Japanese narration, as well as the original Japanese dub of the film.

I don’t know what made Japan so special that they got a uniquely localized version of this record, but I think it probably had more to do with the LP buying habits of the Japanese people than the runaway success of Star Wars in the country. During the late 70s and early 80s, these “audio drama” types of records were oddly popular in Japan. In my time browsing the used LP bins here, I’ve seen audio drama LPs for countless TV shows, feature-length anime, sporting events and even wrestling matches. The releases dry up sometime in the mid-80s, I assume home video killed it.

I’m going to be real for a second. Even though I’ve lived in this country for two years now, my Japanese is still dogshit. In fact, calling it dogshit might be an insult to dogshit. So don’t ask me how loyal to the source material this translation is or anything like that.

So yeah, when I listen to this I can probably only pick up every 10th sentence, if that. But despite my ultra-limited understanding of the language, I still find this record an interesting listen. Not only am I using it to help with my Japanese, it’s also fun to listen to hear the dubbed voices and the stylistic choices they went with for each of them. Han Solo and Obi Wan sound like rough samurais (not surprising) while Luke still comes off like a whiny idiot. Most interesting, to me at least, is that C-3P0 still speaks with a British accent.

In case you’re wondering, R2-D2 remains unchanged. Bleeps and bloops are international.

Special thanks to the boyfriend for translating “may the force be with you” into Japanese. In case you’re wondering, you pronounce that “o-su to tomoni arankoto.”

Ice Cube Hates Brandon Lee

Saturday, November 14th, 2015

Just one song tonight. But don’t worry! It’s really bad.

Ice Cube
Street Fighter
One of the only things that bums me out about living in Japan is that it’s a little harder for me to find weird 12″ singles. That was my bread and butter in the states, but they’re not as common here. And when I do manage to find them, they tend to be insanely overpriced. That Neil Young single I featured a few days ago? That was almost 20 bucks. That would’ve been no more than five bucks in the states, but I guess that’s the (literal) price you pay for living on an island nation that has to import most of its used vinyl.

While Japan doesn’t seem to be a fan of the 12″ single, it is thankfully more than a fan of the needless soundtrack. Since coming here I’ve scored original (not expensive modern reproduction) soundtracks to Phantasm, Xtro, Prom Night, the Knight Rider TV show and even the little-seen Australian kung fu flick The Man From Hong Kong.

A few weeks ago I got really lucky and scored a copy of the soundtrack to Street Fighter.

Street Fighter: The Movie.

On vinyl.

Yeah, so I bought that.

Spoiler: it’s fucking HORRIBLE. Nas and The Pharcyde aside, it’s mostly second-rate hip-hop and new jack swing by artists who were nearing the end of their relevance (Chuck D and LL Cool J) or by nobodies who thankfully vanished without a trace (The B.U.M.S., Rally Ral).

Oh, and Deion Sanders with MC Hammer. Because 90s.

It’s shit. And not even fun shit. It’s boring, forgettable shit from a nearly forgotten era of pop music. Not even worth talking about. Except, for this, the title track by one Ice Cube. Now, don’t get me wrong, it’s shit too. But it’s shit in the most wondrous ways.

This is a boasting track, with Ice laying down rhymes about what a bad motherfucker he is. Usually, that’s quality material for an Ice Cube track. He is a bad motherfucker, after all. But Ice is a bad motherfucker when he’s talking about dealing drugs and drive-bys. He is not a bad motherfucker when he talks about his marital arts prowess. Who the fuck does he think he is, Wu-Tang?

Some choice lines:

“At the Japanese deli fo’ my troop.
And we all take malt liquor, in our wonton soup.
Oops as I smell my fork.
It smells like sweet’n’sour pork.”

Japanese deli. Wonton soup. Sweet ‘n’ sour pork.

Repeat after me, Ice, Japan and China are different countries with different cultures and cuisines.

He also talks about eating burgers with chopsticks, drinking 40s of sake and offing dudes with poison darts. But to be honest the culturally confused lyrics aren’t the worst offenders here. No, it’s when Ice calls out individual martial artists. At one point he straight up says “I want to kill Chuck Norris” before dropping a line targeting Jean Claude Van Damme that is sadly censored (probably because the movie featured Jean in the starring role).

Neither of those lines can hold a “what the fuck” candle to this though.

“Many black belts wanna try and snatch the pebble.
From the mas-ter, but I’m much fas-ter.
Just ask Bruce Lee.
Him, and Brandon died, befo’ I can who-ride.”

So, unless I’m mistaken, Ice just claimed that he could’ve laid waste to Bruce Lee had he been given the chance, and not only that, but that his son Brandon was actually lucky to have died before Ice had the chance to fuck him up.

This was 1994. Brandon Lee died the year prior.

Man, Ice that’s some fucked up shit.

Last Minute Halloween Music Post

Sunday, November 1st, 2015

It’s still Halloween for a few more hours in some time zones so it’s not too late to post this!




Henry Manfredini
Introduction To Horror
Excerpts In Terror
Moments Of Madness
It turns out that Friday The 13th soundtracks are weird.

While the original Friday The 13th was an immediate sensation the moment it was first released in 1980, at the time the film’s original score (in many ways the best thing about the movie) did not receive an official release. Neither did the score for the 1981 sequel.

It wasn’t until the release of the third movie in 1982 (man, they really banged these suckers out back then) that the film’s iconic score got a release. But that release wasn’t the score for the third film, instead it was a strange compilation that featured the opening credits theme for the first film (which is a disco number) followed by three cuts that combine highlights of the scores from the previous films and the new one.

In 2012, when La La Land Records began releasing the Friday The 13th scores on CD, they glossed over this release and instead gave the third album a proper soundtrack release. That album does include the opening title credits music, so I’m not including that one here. However, it does forgo these strange “greatest hits” cuts, so I thought I’d share them tonight.

Happy Halloween!

No One Will Care About It In Five Years

Tuesday, July 28th, 2015


If you follow me on Twitter, you know that I recently ranted a bit about Nicki Minaj. You might also know that such ranting put me under the ire of several feminists who think that white men have no right to critique pop music sung by a woman. (They may claim otherwise, but that’s what they’re doing). Go there for more information. I feel that a few of the people who attacked me might have some good points, if they didn’t decide to dogpile and insult me non-stop. If you do read their comments, don’t reply though. I’m not in the business of sending hate mobs. I just thought the entire disaster was worth mentioning.

I was going to write about this tonight. But I can’t find the words to express myself in a way that doesn’t come off as horribly defensive or dismissive. (It’s almost like race and media are complex issues and that a person’s value or worth as a feminist can’t be defined by a singular viewpoint regarding a single artist!) So here’s a depressing song instead.

Rabbit In Your Headlights (Instrumental)
Rabbit In Your Headlights (Underdog Mix)
Rabbit In Your Headlights (Underdog Instrumental)
Rabbit In Your Headlights (3D Mix Reverse Light)
Rabbit In Your Headlights (3D Mix Reverse Light Instrumental)
Rabbit In Your Headlights (Suburban Hell Mix)
I love this song, but damn it makes “No Surprises” by Radiohead sound like a party jam in comparison. These remixes don’t do much to alleviate that, and are all just dark and oppressively sad in their own ways. Still a solid tune though.

Village People
I Love You To Death
Okay fine, let’s go out tonight on a high note. Have you ever seen Can’t Stop The Music? You should see Can’t Stop The Music. It’s a musical starring the Village People, Steve Guttenberg and Caitlin (at the time Bruce) Jenner. It might be the greatest movie ever made. It is certainly one of the gayest movies ever made. And trust me, I’ve seen some gay-ass movies. Notice that I said gay-ass movies and not gay ass-movies.

That’s a whole other genre.

Anyways, the soundtrack to Can’t Stop The Music is unfortunately out of print. There’s a lot of amazing stuff on that LP if you’re a fan of horrible cheese, and I thought I’d pick two of the best tonight.

“Milkshake” is a song…about milk. In the movie the Village People are hired to sing a song for a milk commercial and this is what happens. And it’s not an innuendo either, it’s literally a song about how great milkshakes are. The end. It’s amazing.


Unfortunately I can’t find the video on YouTube, but it’s nothing more than the construction worker flaming it up around a construction site for three minutes while women in red evening dresses alternately fawn over and ignore him. It’s pretty much worth buying the movie for. That and the surprising full frontal male nudity during the “YMCA” dance number.

I’m not kidding.

If you want more information on this classic, I wrote a review on my other site. Also on that site is a review of the recent Demons soundtrack re-issue that isn’t that bad.

Ah, Village People. I feel better now.

Fight Music For The Fight – Bare Knuckle DJ Mix by Yuzo Koshiro

Saturday, September 6th, 2014

I came to Japan for a lot of reasons. I wanted to teach people and try and do something that actually can make a difference in people’s lives. I wanted to expand my comfort zone and try new and exciting things. I wanted to meet new people, make new friends and go on exciting new adventures.

All that and, y’know, buy DJ mixes of classic video game music.

The important shit.


Yuzo Koshiro
Bare Knuckle Legend Mix 
One of the first game music CDs I bought when I came to Japan for vacation last year was a copy of the Bare Knuckle II (AKA Streets of Rage II) soundtrack. It cost me nearly 50 bucks, but it was worth it, because that game’s music is, no doubt, some of the best music ever put on a cartridge. I want Yuzo Koshiro to score my life. I’m sure if he did it would be hella exciting, and feature 50% more dropkicks. And we all know dropkicks are the most dope kicks.

At least, I thought it was worth it, but that was because no one ever told me there was 4 CD VERSION WHAT THE FUCK.

Four CDs of Streets of Rage music. God. Damn. That’s my jogging soundtrack for the next month (that and the Pointer Sisters’ Break Out, did you know that’s one of the greatest albums of ll time, cuz it totally is). How do you fill up 4 CDs of music from Streets of Rage?

GOOD QUESTION allow me to answer it.

Not only does this set have the entire soundtrack to Streets Of Rage and Streets of Rage II for the Sega Genesis (Mega Drive), but it also includes, in their entirety, the complete soundtracks to the Game Gear versions of both games. That’s the kind of attention to completist overkill that I can really get behind.

The cherry on top is the fourth CD, which includes an exclusive DJ mix of the music from the series by Koshiro himself. That is what I’m sharing tonight. He apparently mixed this live at some game music club event in 2002. That’s incredible. Are game music DJ mixes a regular thing in Tokyo? If so, then fuck I’ve been going to the wrong clubs. I want to get my groove on to a non-stop Mega Man mix.

Wait, YOU KNOW WHAT WOULD BE GREAT? Gradius DJ mix. No, wait, a Darius DJ Mix. On second thought, no, that would just be too damn weird. On third (fourth? I’m tired) thought, I just want someone to do a DJ mix that combines all of the greatest game music of all time. Double Dragon, Tempest 2000, Shinobi, Afterburner, Pac-Man DX, you name it. Girl Talk that shit. Mash it up. That would be epic.

And they have to end it with Vib-Ribbon. Because there’s no time hurry up everything is so fantastic.

Now that I have these themes to Knight Rider and Airwolf I feel that I can do anything

Tuesday, July 29th, 2014

Somewhere, buried in a scrapbook, photo album or shoebox is a photo.

It is a photo of me at the (then) happiest moment of my life.

It is a photo of seven year old me in motherfucking K.I.T.T.

Goddamn that was a good day.

Man, remember when TV was awesome? TV used to be awesome. And I don’t mean bullshit critically acclaimed awesome of today’s TV. I mean talking cars, flying motorcycles, shapeshifting detectives, cyborg secret agents, electro-kinetic guitarists and Night Court.

What’s on TV now? Shitty sexist sitcoms, non-stop reality TV, and over-the-top exploitation garbage disguising itself as art.

Yeah, there’s a lot of good stuff out there I guess. TV shows with nuance, interesting, complex characters, dramatic tension, and amazing acting. But fuck that shit. When I turn on the TV, I want to escape from reality completely and without question. I want to be free of tension, depression, anxiety and sadness. I don’t want to be reminded of anything horrible, any of mankind’s ills, and of the horrible problems in the world. I want to see a man and a talking car fight crime. I want to see a helicopter take out…whoever the bad guys in Airwolf were (it’s been a while). And I want to see it without a hint of pretense, without any suggestion that the people behind the scenes are thinking for one second they are making art (which was the problem with Lost, Heroes, and just about any other “serious” sci-fi show of the past 15 years).

And I’m sure there are a lot of TV fans reading this right now thinking that I’m full of shit. Fine, maybe I am full of shit. Maybe you (and everyone else) was right and Breaking Bad was actually a great show; maybe Game of Thrones is actually a well-written fantasy that doesn’t bank on controversy and sexism to bring in the ratings; maybe the Big Bang Theory actually is funny (FUCK YOU NO IT’S NOT).

Maybe all that is true. But I’ll tell you one thing; none of those shows, not a single one, have a theme song as epic as the theme song to Airwolf.















The Japan Symphonic Orchestra/K.R. Right Project
Airwolf Theme 1
Knight Rider Theme 2
Knight Rider Theme 1
Knight Rider Theme 3
Airwolf Theme 3
Airwolf Theme 2
I fucking love Japan and stuff like this is why. An EP comprised entirely of cover versions of theme music from Knight Rider and Airwolf, two shows that had absolutely nothing in common, not even networks, aside from the fact that both had utterly amazing theme music (and completely radical vehicles as the title characters). Why release something like this? Because the Japanese know amazing music when they hear it.

The first track is an extended, very extended (eight minute!) symphonic take on the Airwolf theme. And yes, it is as unbelievably amazingly spectacularly stupendous as you think it is.

The other five tracks are primarily synthesized versions of the music from both TV shows, featuring elements from the series’ incidental music as well as the main themes.  They’re all amazing, but hey, when you lead with an eight minute symphonic version of the motherfucking Airwolf theme, other shit just seems weak in comparison.

By the way “K.K. Right Project” is actually Kenji Kawai, a Japanese composer who worked on about a billion different Patlabor projects.

The Super Flyest

Wednesday, July 23rd, 2014


There is an insanely awesome super deluxe edition of Frankie Goes To Hollywood’s Welcome To The Pleasuredome coming out later this year via PledgeMusic. However, do to stupid bullshit lawyer shit, it can’t be purchased by anyone living in the US or Japan. As those are the only two billing addresses I have, I’m screwed.

Would any of my UK/Australia/wherever readers be so kind as to buy it in my stead and mail it to me? I’ll pay for everything, including shipping, of course. I’ll even send you some tunes if you so desire.

If so, leave a comment with your email address. I won’t approve it, I’ll just use it to contact you. Thanks!

Someone helped me out! Thanks for all the offers everyone!

And now for something completely different.


Super Fly TNT – Original Motion Picture Soundtrack

The original Super Fly is widely regarded as a classic of the “Blaxploitation” era of films, and is typically mentioned in the same breath as other classics such as Shaft, Foxy Brown and Cleopatra Jones. But here’s the thing about Super Fly – it’s really not that good a movie.

I mean, yeah, it’s not a bad movie. It certainly oozes style, and Ron O’Neal is one of the coolest motherfuckers who ever graced the silver screen. But it’s a pretty boring flick. It meanders for far too long, the acting is at times incredibly weak, and it’s not even directed all that well. And it’s entirely lacking in Antonio Fargas, who was literally in every other blaxploitation movie from 1969 to 1978. The only reason why we still talk about Super Fly to this date is because of its soundtrack, which is still probably one of the top five greatest soundtracks of all-time (a list that, for me, includes Purple Rain, The Crow and Flashdance and I will not budge on that).

But while Super Fly isn’t a great movie by any stretch of the imagination, I’m going to assume that it’s better than the sequel Super Fly T.N.T., which came out just a year after the 1972 original.

I say “assume” because, while I’ve read a great deal about the flick and have watched the odd clip on YouTube, I’ve never actually seen the movie in its entirety. It’s barely been seen by anyone since it’s original theatrical release, in fact. It would occasionally resurface on VHS throughout the mid-80s (I know my dad’s video store had a copy) but that was about it. As far as I know it has never been aired on cable television and its never been released on Blu-ray, let alone DVD, or even freakin’ laserdisc. It belongs in the pantheon of great lost films still searching for a new home video release, alongside other classics such as Willard, Rad and Meatballs III, y’know – classics.

Equally rare is the film’s soundtrack, which was performed and composed by African band Osibisa. It was released on LP alongside the film in 1973 and that was it for that. Judging from its rarity it appears that it never even got a second pressing on vinyl, and to date has never had an official CD release. And it’s a damn shame, because while I can’t speak to the quality of the film from which it came, the soundtrack to Super Fly T.N.T. is some dope shit. An amazing combination of funk, African music, and even some rock elements, it holds up amazingly well.  Check it out.

But whatever you do, don’t check out anything that’s even remotely involved with the second Super Fly sequel; The Return of Super Fly. Amazing VHS box art aside, that is not a quality flick.


Disco Space Invaders! Mario Bros.! Wow! Exclamation Points!

Tuesday, July 15th, 2014

Disco Space Invaders


Funny Stuff (Seriously, that’s the credited artist)
Disco Space Invaders
Dancing Cats
Disco Space Invaders is not game music per say. In fact, it barely has anything to do with the game from which it was allegedly inspired. The title track only features sound effects from the game for a few brief seconds before diverging completely into an entirely unrelated (and entirely amazing) disco track. And from what I can tell, the hilariously-titled b-side “Dancing Cats” has absolutely nothing to do with anything (except for dancing cats).

However, it did come out in 1979, one year before the first Pac-Man children’s records were released in the states; two years before the similar-in-tone “Pac-Man Fever,” and several years before Yellow Magic Orchestra’s Haruomi Hosono would release the first proper video game music single – Super Xevious Hardcore Mix. As such, Disco Space Invaders holds the dubious distinction of being the very first game music-themed release.

It’s historical significance far outweighs its musical quality. But if you enjoy idiotic disco as much as I do (AND DO I), then you’ll probably find some joy in this.

The sleeve for Disco Space Invaders surprisingly has full production credits, complete and in English. I did a search of the people who worked on it, hoping that they would include some pioneer of Japanese electronic music or perhaps a YMO associate, but I don’t think anyone who worked on this went onto do anything of note.

Also, I really hope that thing on the cover is supposed to a mushroom-shaped alien or something.


Super Mario Bros. Soundtrack


Koji Kondo
Super Mario Bros. Theme
Super Mario Bros. Theme (Orchestra Version)
Both of these tracks are from a 7″ single that’s simply titled Super Mario Bros. Soundtrack. This came out in 1986, and was one of many Mario-themed musical releases to be released that year. I’m fairly certain this was the first one though, and it was also probably the first record put out by Nintendo, although many would follow in the late 80s, as it was really a prime time for game music in Japan.

The first track is exactly what you think it is, a straight-up rendition of the Super Mario Bros. theme. Its different than the one that’s included on the Famicom Music album though. Firstly, it’s much shorter, only including the music from the first stage. Additionally, it features no game sound effects, it’s just music. Oddly enough, it doesn’t end with the stage complete fanfare, instead ending with the music that plays when Mario dies.

The b-side is interesting. While the direct translation of the track is “Orchestra Version,” there’s really not much orchestral about it. I think I hear some chimes in there somewhere, but it’s pretty much a souped up electronic version of the original theme. It’s really different than other arranged versions of the Mario theme that I’ve heard, and it’s actually pretty damn great. I hope they re-use it at some point.

Sadly this release doesn’t feature any linear notes, so I can’t tell you who worked on it. However, it did include a rad poster and some amazing stickers, so check them out!


Full size poster. Very cool.


Game shots obviously taken by someone pointing a camera at a TV.




Famicom Music

Friday, July 4th, 2014

I love it when I say “I wish I had this album” and then I immediately find the album the following day.

famicom music

Famicom Music (Complete Album Download Link)

As I mentioned in a post from a few months ago, Famicom Music was the third release by GMO Records, the game music-centric label started up by Japanese electronic-pop pioneers Yellow Magic Orchestra. It was the first of their developer-specific compilations, with releases focused on Konami, Data East, Taito and just about every other important Japanese game developer from the 80s following suit.

The early GMO releases are different than a lot of other game music albums that came after because they would often incorporate the gameplay sound effects into the tracks. Sometimes this is rather annoying (I’d rather hear the Yie Ar Kung Fu theme without punch effects) but sometimes it worked to great benefit. The Mario Bros theme track uses the block smashing sounds in some interesting ways, and the 12″ single “Xevious (Hardcore Mix)” (which I will feature here someday) really uses sound effects in an interesting way that expands on the original music.

Also of note here are the arrange versions (arrange means remix) of themes from two classic Nintendo games, Super Mario Bros. and Balloon Fight. In an era before CD-quality game audio, FM synthesis or anything remotely resembling dedicated audio boards, these arrange versions were usually the only way to hear what the composers of the games had probably had in mind when creating the music for the games. In the case of the Mario Bros. one, it’s almost like a portent of what the game’s music would eventually become in the 16-bit era and beyond.

As this is some of the earliest game music around, this CD is kind of  a mixed bag when it comes to music you’ll actually want to listen to. Obviously the Mario and Zelda themes remain timeless classics, but Wrecking Crew, Donkey Kong and a lot of the others included here are more sound effects than music. Still, they’re interesting from a historical perspective, and will probably trigger massive waves of nostalgia for anyone who grew up on these classic games. Enjoy.

Vintage 8-Bit Jams and a Kickstarter Plea

Monday, May 12th, 2014

One of my favorite games of all-time is Harmonix’s Amplitude, an amazing rhythm game that served as the foundation for the Guitar Hero and Rock Band series. It’s fucking dope, and I wish more people remembered it.

Thankfully, right now Harmonix is using Kickstarter to bring back the series! Which is great! However, with less than two weeks to go before their deadline, they’re still well short of their goal, which is not great!

I love this game and I want to see a new one (I gave…far too much to this Kickstarter) and I want to do whatever I can to help make that happen.  So while my blog isn’t exactly popular, I’m going to do what I can, which is bribe what few readers I do have in the hopes that every little bit helps.

If the Amplitude Kickstarter is a success, I will update Lost Turntable five days a week for one month. And each post will have completely new music, no reposts, no re-recordings. All new shit. So if you’re a reader of this site and have lamented my lack of updates since my move to Tokyo, yo, this is your way to get my ass writing again.

So what are you waiting for? Head over to the Amplitude Kickstarter page and send them a few bucks!

Then when you’re done with that check out this vintage collection of dope game music!


Konami Game Music Vol. 1 (complete album download link)

When I was on Retronauts last year (which, if you haven’t heard, you can listen to here) I briefly mentioned the instrumental role that Yellow Magic Orchestra had in getting game music released in Japan. Not only did the group sample video game sounds in their early releases, they started their own label to release game music, the ingeniously-titled G.M.O. Records (Game Music Orchestra).

The first release on said label was simply titled Video Game Music, and I’m fairly certain it was the first full-length video game soundtrack ever released (early 1985), although I could be mistaken. They followed it up later that year with The Return of Video Game Music.

After that, they got a bit more specific with their releases, focusing more on individual game companies for each album. The first of these was Famicom Music, which featured nothing but music from Nintendo-produced Famicom titles. With a roster of tunes that includes themes from The Legend Of Zelda, Super Mario Bros., Excitebike and motherfucking Balloon Fight (in a remixed version no less!) it’s definitely on my want list. One day it will be mine.

But while I don’t have that stellar compilation, I do have the second developer-focused release by GMO, Konami Game Music Vol. 1, which came out in 1986. While it doesn’t have anything as well-regarded and classic as the Zelda or Mario themes on it, it does have some pretty great standout tunes. The theme music to Yie Ar Kung Fu is included in full, and that shit is dope (even with the game sound effects playing over it). But by far the real standouts here are the TWO versions of the Gradius theme music; the original version and a remixed (or “arranged”) version. The original Gradius theme is some of the greatest game music of all-time, so getting any version of it is a win in my book.

And if this leaves you in the mood for more game music, I recommend the amazing soundtrack to Darius, which you can actually get on iTunes (wow). Check out this batshit insane live version of the Darius theme “Chaos.”